Business Titan CASE STUDY #19
CAMERA: LENS:
FILM:
Canon F1
85mm f/2.8
Fuji RDP transparency film EXPOSURE:
f/8 at 1/125 second
LIGHTING: Luz 800ws pack with two strobe heads (medium softbox for the main light; umbrella for the backlight)
Assignment
had him take off his jacket and lean on the desk, then
BusinessWeek called me to photograph Henry Kravis, a
did some GQ-style shots with his jacket over his shoul-
managing partner of Kohlberg, Kravis, Roberts & Co.,
der (which looked silly). The session lasted about ten
which was a major leverage buyout firm in the 1980s.
minutes, then we shook hands and he left.
Visual Objective
Tips
My goal was to show confidence and wealth. I also
Time is money in business—and the wealthier your
wanted to find a strong pattern for the background.
subject is, the less time they seem to have to be photographed. The key to a successful corporate shoot is
Posing
being decisive. Know what you want and don’t be
When I photograph CEOs, there is always a great desk
afraid to tell the subject.
in the room. This was no exception, and the desk be-
On these shoots, be careful of what you talk about.
came the anchor for Kravis to lean on. To create a look
Don’t pretend you know a lot about the stock mar-
of confidence I had him place his hand on his hip.
ket, leverage buyouts, or municipal bonds. If you touch upon a personal connection (family, hobbies,
The Story
etc.) the subject will usually stay a little longer.
When my assistant and I arrived at the location his secretary led us to his office and told us that Kravis would arrive in half an hour. I wasn’t sure how much time Kravis was going to give me; since I might only have time for one setup and I wanted to imply wealth. His office was filled with antiques and oil paintings. I saw the painting of the two genteel Englishmen and their horses and decided that would help narrate the photo. We moved the 200-pound desk so that I could
gobo umbrella on back wall medium softbox
place Kravis between the painting and the strong vertical inlay on the wall. After my second Polaroid, he walked in. I had been hoping for more time, but we shook hands and he asked what I wanted him to do. I LIGHTING CASE STUDIES
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