After the success of my first Fashion Fusion workshop I decided to run it again. This was my second shoot with the new Lupo HMI lights and I’m delighted with the way they performed. The best light is definately the Lupo 800. It is perfect for interior portraits and is now my principal light of choice. Here are 24 of the 70 or so keepers from the shoot:
1. What can I say? The moment was fabulous. Chloe is lit with an Arri 300 as a key light and an Arri 150w kicker from the right of frame. The Lupo 800 provided the upstage kick from the left of frame.
The shoot really got going and was a constant creative drive. Seven outfits, various hair styles, numerous lighting rigs and Maunsel House providing the fabulous backdrop.
2. A beautiful dress provided by Diva Corsets of London. They provided their whole 'new collection' for us to shoot. Chloe and her mum raided the London store in style, walking out with thousands of pounds worth of stock. A Lupo 800 was used as the key light.
3. A Lupo 800 provided a key light for Chloe and a Lupo 1200 was used as a backlight. Ambient light did the rest.
The day was billed as interior fashion shooting using continuous light. In a fashion shoot the clothes are the star and so it is important to capture the detail. We fused a fashion shoot with some portraits to make a complete collection of shots fit for an album or catalogue.
4. That pink dress is fabulous. And so is Chloe.
5. A pair of Arris lit this scene. A white balance of 3400k ensured we had a rich warm look.
6. Gold shoes to match the mirror. Details are important.
7. Funky Diva. All we needed was a jazz band and a microphone for Chloe.
8. Chloe looks great from above or below the lens. I love those fingerless gloves.
9. The English rose look came next. Lupo 800 with a sheet of half white diffusion clipped to the barn doors was used as a keylight.
10. The shoot was bright and light. The weather wasn't though.
11. The sofa in the Kings room was perfectly lit by the window behind the camera. A Lupo 800 provided a kick light from the right.
12. That copper bath haunts me. Every time I see it, I'm stumped for shot ideas. If it wasn't plumbed in, I'd shoot it in the ballroom.
13. Fabulous fun.
14. I chose to shoot by the wardrobe to include the reflections of the windows. The last time Chloe was shot here she was in the wardrobe! Under Chris Hanley's direction I should add.
15. When shooting a collection don't forget the full length shot. Natural light was perfect in this doorway.
16. Perfect pinks. An Arri 150 dimmed to half power was the keylight.
17. The same Arri keyed Chloe in this shot too.
18. I always encourage delegates to find the 'other' viewpoint. There is often more than one great shoot spot.
19. Shots with a visual barrier are very powerful. It's a technique I love to exploit.
20. I used my now sold 24mm-70mm lens for this shot. It's a very versatile lens and the last of my zooms to go. I now shoot primes, for a while anyway. An Arri 300 with a sheet of diffusion was all I used to light Chloe.
21. This classic screen makes a fabulous background. One Lupo 800 was used to light the scene.
22. The Lupo is fantastic here. Window light provided the contrast control.
23. The ambient light in the scene was all I used for this exposure at 1/20th second.
24. We were back in the dining room for the last session of the day. A flourish of lights were used for this shot. The 1200 Lupo (250w), the 800 Lupo (150w) and my trusty Arri 300.
Vicky Waghorn created the hair and make up for Chloe plus managed the extensive wardrobe provided by the fabulous team at Diva Corsets in London. Please feel free to comment on the pictures, lights or techniques used below.