This week I shot Abandon Ship Apparel's Sports Lux Collection in the studio. They wanted me to show how this collection wasn't just streetwear, but that it could hold its own in a high end environment. Due to the nature of the shoot we decided on a model with a great physique to showcase it.
As I was shooting in the studio it enabled me to shoot tethered; I prefer to shoot this way as much as possible as it gives me an accurate rendition of how the images will look on a correctly calibrated monitor, It also enables me to shoot with custom presets applied to the images to show where they will end up in post. It's like looking two steps ahead. If you haven't tried this I urge you to, it's a great way to work. It enables the client to see what's being shot in real time and enables them to sign off on images. This saves a massive amount of time as you don't have to go back through the images with the client after and select your favourites.
Lighting: I'm a huge fan of rembrandt lighting. It's probably my favourite way to light other than on camera flash. If you don't know what Rembrandt lighting is, here is a brief description with some examples of both Rembrandt's paintings and the real life application of the technique by Steven Meisel and Mert and Marcus.
"Rembrandt lighting is characterized by an illuminated triangle under the eye of the subject on the less illuminated side of the face. It is named for the Dutch painter Rembrandt, who often used this type of lighting." Source
Rembrant lighting is widely used in fashion photography and in portrait photography. In fact I'd say you'd struggle to open a good fashion magazine and not see the lighting technique used in 90% of the editorials.
There's a lot of different ways to achieve Rembrandt lighting but here is how I get the perfect Rembrandt lighting.
As you can see from the above diagram the key light is very close to the subject to allow the maximum amount of light falloff. This enables you to set shadows into the subject on the opposite side, giving more shape to the subject and emphasising the triangle of light under the eye. To further emphasise these shadows in this example I opted to place a black polly board on the opposite side of the light to prevent bounced light hitting the wall and filling out the shadows.
For this shoot I wanted to have my subject against a dark grey background so I chose to not use a background light and allowed the background to be lit only by falloff from Key and Fill light.
The strip box behind the subject is used to separate the subject from the background. It was metered at f/5.6 whilst the key light was metered at f/8 this is to make sure that the rim light does not create too harsh a light. This type of rim light is especially popular within sports photography so was well suited to the shoot.
Model - Gareth Taylor from Model Team
MUA - Sharon L Stephen, great makeup artist
Studio - Broadscope Studios
Camera - Canon 5D Mark ii
Lens - Tamron 24-70 2.8
Software - Lightroom CC for tethered capture and Photoshop to process.
Any questions leave em in the comments and I'll answer them.