Page 74 - Lighting the Un-lightable 2015

a long week and the day before had literally been 20 hours

long. I wasn't in the mood for playing with lights endless-
Right Top: One Cine
ly. Besides, while I have become adept at solving lighting Reflector was fitted with
a smooth disc. I counted
problems quickly, I began to realize that wasn't enough. It on this to soften the harsh
light of the other light. This
wasn't just about speed. It wasn't just about saving time. It light was placed in the

was about creating a more effective methodology that we doorway to the bathroom in
each room.
could then apply to the rest of our business.
Right Bottom: The other
So, about two weeks before working with Akira, I decided Cine Reflector was fitted
with a more traditional
to focus on exactly how long it took me to re-engineer each
Fresnel disc. This light was
and every lighting problem on a shoot. I was less interest- placed across the room
from the other B4 strobe.
ed in the amount of time it took and more focused on the The idea was the have the
light from one intersect the
mechanics I used to solve each problem. other "head on" for maxi-

I discovered that while I was using the core of our Methodol- mum diffusion

ogy, which I shall review shortly, there was no link between Technically, I used both.
The Mini lacks the mount-
that analysis and where I placed the lights. Well, no link, no ing bracket that allows

the Cine Reflector to be
logic, I could pass on to someone else in the form of a ritual
mounted on a stand or
or "common practice." Most of the time, I just seemed to perhaps attached to an
overhead bar.
know. Going forward, that wasn't going to be good enough.
Also, Both the Cine Reflec-
tor and the Mini have a
conical insert that can be
removed. Since the insert
intensifies the light, I left it
in.

Fresnel lights create a dramatic, emotionally compelling effect. There
is a complexity that is absent when using "traditional" strobes.

74 |