Fashion Photo Shoot Help Needed

[bINGLe]

Hi all,

I've read a few tutorials and general lighting guides, so have some theoretical knowledge for the basics.
However, I'd like to get some ideas/tips/guidance for this specific situation:

My photographic experience - advanced amateur. I understand how to get the best out of the shoot from a camera operation point of view. I'm also reasonably confident in composition, but less so for this shoot.

Lighting - next to no experience of using flash, except occasional use indoors/outdoors (bouncing off ceilings, some fill flash for sunny situations, etc) - I'm using manual so I learn rather than relying on TTL.
I'm currently learning and have a cheap setup to practice with (couple of softboxes, couple of shoot through umbrellas, light stands, couple of third party off camera flashes and trigger).

The shoot - my niece is in her final year of a fashion degree at Uni, and needs to do a shoot of her garments on a model.
The model isn't professional, but has some experience, and also works in the arts, so understand importance of composition and direction.
I need to split the shoot in two:
1. Environmental - garments/model in a suitable setting
2. Garment close ups - as the phrase suggests, close ups
Both my niece and I like the idea of contrasting juxtaposition: the garments are very feminine, lightweight and delicate, so want environment to be (something along the lines of) industrial, harsh, derelict.
We've looked at a few locations, indoors and out - dark streets/red brick, discussed warehouse, timber yard, etc.

What are people's thoughts then?
-how many light sources to keep it simple/workable
-diffusers (or not)
-positioning of lights (distance from subject, angles)
-power compared to ambient light
-composition
-model posing
-etc

Generally, how would you approach it?

 

[tirediron]

...What are people's thoughts then?
-how many light sources to keep it simple/workable: As many as necessary; could be zero, or ten. This will be totally location and look dependent.

-diffusers modifiers (or not): Very unlikely that you will not need modifiers for your key light at least. I would want a good selection of large modifiers as well as V-flats, scrims, grids and snoots

-positioning of lights (distance from subject, angles): Again, absolutely impossible to say without knowing your plan and seeing the location. Chances are though, that wherever you put them, they need to be closer; the #1 mistake I see is people placing their lights too far from subject.

-power compared to ambient light: Depends: Is the set well lit with ambient? Is it day? Night? Evening? Do you want soft and subtle or harsh and dramatic?

-composition: Such that it shows off the clothing to advantage.

-model posing: As above. The model is simply the support system for the clothing.
-etc

Generally, how would you approach it?

My approach would be to decide on a location, then determine the number of articles of clothing and the number of looks for each article required. I would then rough out a shot & lighting plan based on the overall concept that the designer/creative director wants to achieve. Unfortunately, it's all but useless to try and suggest how someone should light something when they can't see the clothing, the model or the venue, and don't have the creative concept beyond "juxtaposition".

I would suggest however not restricting yourself to one look for the entire shoot; either do it all 2-3 times with different looks, or shoot groups with different looks.

 

[Designer]

A single flash can be successful if handled with skill and forethought, and you can add a reflector for fill, so there is about the minimum. I think that is what I would recommend for you because it sounds as if you are not quite ready for multiple lights at this time.

You can also use a bare bulb if you want "edgy". So I will recommend one bare flash and a reflector opposite for the timber yard shots. Be sure to get the blessing of the manager first.

In studio, use whatever diffusers you need to get the detail shots.

 

[Designer]

I was called out of the room before I had finished.

For the location shot, keep the flash trained on the clothing. Let the model's face and feet go slightly underexposed. position your reflector even with the light, only opposite. To make the light unbalanced, move the reflector back some to decrease the intensity of the light on that side.

 

[ac12]

Ouch, on site shoots are tricky.

Depending on where you go, you may need an assistant at each light, so the wind won't blow the light stand over.
If there is any wind/breeze, you may as well forget soft box, umbrella, or diffusers, as those will be like a sail in the wind.

On site, how/where will the model change?

 

[sergezap]

Get a moodboard first.
Until you have no idea what you do want to get, it is all useless.

 

[bINGLe]

Thanks all for you input so far - any and all is appreciated.
To be fair it was a bit of a rambling post to ask a simple question - what would you do if you had a blank canvas to plan from?
If I break it down/translate:

------------------------

My photographic experience - advanced amateur. --- I AM NOT A PROFESSIONAL SO DON'T HAVE FUNDS TO BUY ADDITIONAL EQUIPMENT ALREADY LISTED ABOVE. I ALSO HAVE NO EXPERIENCE IN PREVIOUS SHOOTS OF THIS NATURE, SO ASKING FOR HOW YOU WOULD APPROACH IT WITH FREE REIGN.

Lighting - next to no experience of using flash, except occasional use indoors/outdoors (bouncing off ceilings, some fill flash for sunny situations, etc) - I'm using manual so I learn rather than relying on TTL. --- ANY TIPS OR EXAMPLES OF LIGHTING SETUPS IN LINE WITH HOW YOU WOULD APPROACH IT. AS I HAVE LITTLE/NO EXPERIENCE.

The shoot - my niece is in her final year of a fashion degree at Uni, and needs to do a shoot of her garments on a model. The model isn't professional, but has some experience, and also works in the arts, so understand importance of composition and direction. --- THIS IS NOT A PAID JOB, AND IS WITH OTHER NON-PROFESSIONALS (NO ASSISTANTS, MAKE-UP, HAIR, MODEL), SO I AM RELIANT VERY MUCH ON ME-ONLY TO SETUP/DIRECT.

Both my niece and I like the idea of contrasting juxtaposition: the garments are very feminine, lightweight and delicate, so want environment to be industrial, harsh, derelict. We've looked at a few locations, indoors and out - dark streets/red brick, discussed warehouse, timber yard, etc. --- THIS GIVES A LOOSE EXAMPLE OF THE LOOK WE'RE AIMING FOR, AND I'M SURE CONJURES A PICTURE IN YOUR MIND EVEN IF YOU DON'T KNOW WHAT THE GARMENTS ARE OR LOCATIONS LOOK LIKE. SUGGESTIONS OF EXAMPLE LOCATIONS WOULD BE USEFUL, AND PROS/CONS ALONG WITH THEM.

Generally, how would you approach it? --- ASKING IF YOU HAD A BLANK CANVAS; COULD CHOOSE LOCATION TYPE, STYLE, LIGHTING SETUP BASED ON LIMITED AVAILABLE EQUIPMENT; WHAT WOULD YOUR IDEAL SCENARIO BE?

------------------------

I'm not looking for a manual to follow (all camera settings, flash power settings to within 1/64, millimetre placement of the lighting, etc) - just some guidance and tips.
This could be as simple as an example known fashion photographer who uses limited equipment and has a specific style that you are reminded of by the brief description above (although of course the years of experience cannot be replicated!).
Maybe links to a lighting setup diagrams, that sound like they would be appropriate for the admittedly brief overview and limited equipment and means.

 

[Designer]

Both my niece and I like the idea of contrasting juxtaposition:

Bear in mind that this only works with viewers who are familiar with and understand the concept. All others are just confused.

 

[ac12]

Logistics:

No assistants, not really, get some relatives and/or friends to help you.
Besides holding the light stands, you will need help carrying the gear and clothing.

Did you and your niece figure out how/where the model will change clothes.
If not, you will be limited to the ONE outfit she is wearing to go there. And she will be sitting on it in the car.

 

[SquarePeg]

What your location question made me think of - I watched a Creative Live tutorial the other day (one of the free on air versions) where the photographer did a lot of on site shoots at places like junk yards and loading docks. Lots of girls in dressy clothes in front of old rusted cars or standing near chain link fences or wooden pallets. He used a one light set up with reflector attached to a stand. It was interesting. You will have a model and your niece with you so your niece will have to suffice as your assistant during shooting and dresser/MUA for the model during costume changes. I would make sure you have some pins and small clamps to micro adjust the clothes just so and if the focus of the shoot is the clothing, I wouldn't get too busy or creative with the backgrounds... Are you in the city or countryside?

Lighting - I'll leave that to the experts.

 

[Derrel]

What are people's thoughts then?
-how many light sources to keep it simple/workable
-diffusers (or not)
-positioning of lights (distance from subject, angles)
-power compared to ambient light
-composition
-model posing
-etc

Generally, how would you approach it?

Well, one light source is the easiest. A single, on-camera speedlight in the hotshoe can be manually set to 85mm zoom setting or longer, and that flash can be bounced off of walls,corners,ceilings, or off of a large poster board held by an assistant, and that creates a rather large light source that looks good, and which has a fairly high degree of predictability.

Diffuser? On the flash itself,no. Bouncing the telephoto-zoomed flash's beam off of another surface,like a wall, or off of a 30x40 inch white poster board from an office supply store, yes, that type of diffusing is okay. Or--go with bare, undiffused flash, for a crisp, sharp-shadowed look, using the flash off-camera, and held in place on a light stand, or by an assistant on a stepladder. Be mindful of the shadows; get the shadows going "down and to the right", in general. Watch the nose shadow, watch the under-chin shadow; see where these fall with a particular light placement and direction of light beam "aim", and you can keep that light-to-subject aiming pattern, and can shoot multiple garments with a successful placement. That will maintain continuity over the session,and across garments, and give a more-cohesive look to the set!

Sharp-shadowed flash lighting is _not_ always "bad"....it can look good! In a contrasting soft-against-derelcit industrial type of shoot, hard, crisp-shadowed lighting might look very good!

Power compared to ambient? Composition? Posing? ALL of those are up to you!

The way I approach anything these days is to get there, observe and decide on the approach. With a d-slr, one has the ability to shoot in RAW mode, and to literally SEE how the exposures are, in relation to the light. The EASIEST thing to do is to figure out the ___right___ exposure, with flash + ambient, and then, turn OFF the flash, and visually evaluate the ambient's contribution. With the flash off, you can see how the background is rendering at the f/stop and shutter speed that's right for the flash. Slowing the shutter speed down, and "dragging the shutter" is an easy way to make the background brighter; sometimes, going way-way slow, like 1/20 second to 1/6 second, can get some cool effects with flash+ambient, but you've got to be careful when the f/stop + shutter speed + ISO that makes up the exposure triangle is close to correct for the ambient light, because at that level of exposure, one risks blurring, or "ghost image" creation from 1)the ambient and 2)the flash...this is a tricky area, and the results can be creative and cool, or utter rubbish, depending! Again--on-site evaluation of the results in relation to the settings and lighting is the advantage the d-slr give use.

As far as background rendering: elevating the ISO effectively raises the reach of the flash and makes the background brighter. Using lower ISO levels keeps the background dimmer, and effectively, makes the flash pop carry _less_ distance than otherwise.

As always, ON-scene evaluation of the histogram and the images on the rear LCD of the camera can give you a good idea of how well the setups are working. in general...indoors, with speedlight-type flash power levels, I personally like the ISO to be at 250 to 500, and NOT 100 to 160...that's just marginal, in my experience,with speedlight-type flash pops.

I want to wish you the best of luck in this endeavor!

 

[SquarePeg]

@Derrel just curious why you don’t recommend having a diffuser on the flash itself?

 

[Derrel]

@Derrel just curious why you don’t recommend having a diffuser on the flash itself?

Most "cap" diffusers (like StoFen or the mfr's) don't soften the light very much on a person-picture, but can soften it a little bit on a macro shot or close-up. I'm suggesting mostly bounce-lighting, so the diffuser just spreads the light out,and weakens the bounce off of the foam core 30"x40" paper board. And, if going for crisp-edged lighting, the regular flash does a good job, and the diffuser cap really does not make the flash better. To really "soften" the light at people-picture distances, a speedlight needs something like a small umbrella of 30 inches or larger.

 

[bINGLe]

Thanks again all - very much appreciated.
These are the kind of questions I need to be skiing myself.
Now I can happily sit down to start planning and factor in these pointers.