Lit with 2 Speedlights. The blue in the blacks was added by Marko.
On a serious note there was a great deal of head scratching being done when I was arranging these shoots. I had to consider US employment law, public liability insurance cover, US tax, UK tax, and VAT. We decided to take the common sense approach to all these things. Details beyond the jump
We took all monies in the form of a booking fee in UK pounds online in advance. This made it a UK transaction and liable to UK tax (even though the service was delivered outside the EU). This meant I was not technically employed in the US and I was certainly not taking the job of a US worker. So I traveled as a tourist. We were holidaying in New York for 8 days in total. I arranged insurance cover with Towergate/Camerasure Alliance our regular insurers. I booked Alex our model through Model Mayhem and paid her in dollars. I researched locations with the help of one of the delegates and Google Earth street view. We chose out of the way locations that were not going to be considered terrorist targets and we kept ourselves to ourselves
This dappled light shot was taken on the way back from lunch at an Italian restaurant on 9th Ave. It's not what you are looking at that matters on a shoot it's what you see that counts. I think all the delegates were seeing different shots here.
On Day 1 we were challenged for a permit to shoot in one of the parks and one of my delegates was a New Jersey Cop so a quick flash of his badge gave us some breathing space. The same would have happened in Hyde Park in London for instance. The shots were non commercial and not for sale so technically we didn’t need a permit anyway. If it had been a wedding shoot or a real client shoot that would have been a different matter. Anyway, the events all went smoothly and I’d do it again in an instant. A different city next time though. Just for a change.
A simple natural light shot that relies on repeating pattern and being taken on a long lens into the light.
This shot is taken with a single Speedlight fitted with a full orange gel. The white balance was set at 3200 Kelvin (tungsten setting).
Here I've added a kick light from the left. The flash units that are in shot on the right will be removed prior to printing but I'm showing them so that you can see the full orange gel on the Honl Speed Grips.
We moved 10 yards down the building and used the same lighting set up.
This is one of my two favourite frames from this set up.
And this is the other one.
All these shots have the Honl Speed Strap attached to my key Speedlight and a full orange filter fitted.
After a bit of a walk in the 30+ degree heat it was time for some high key shots. This one is lit by direct sunlight.
This was taken using natural light in the same location as the first frame I showed from the day 1 shoot.
Another natural light shot showing two point lighting. The light here is very soft, created by large virtual softboxes.
This is the same 2 point lighting technique but lit with punchy hard light sources. 2 Speedlights again on TTL.
The sun was our back light and a Speedlight was our key. f/16 was needed for this shot. It is the same lighting technique as Louis Vuiton use in their advertising campaigns. Only they use soft boxes and Broncolor Mobil lighting no doubt.
We had got so hot, we cooled off in a shady park for a few delicate frames before heading to the Brass Monkey pub for a few pints of locally brewed Summer Ale.
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