Protecting Journalist

CASE STUDY #34 Protecting Journalist

CAMERA: Hasselblad 503cw LENS: 50mm

FILM: Kodak EPP

EXPOSURE: f/8 at 1 / 15 second

LIGHTING: two 800 Profoto packs; 30-degree grid as main light; two heads with black-wrap gobos on map (one with blue gel, one with green gel)

Assignment I was assigned to photograph William A. Orme, Jr., a journalist and the former director of the Center for the Protection of Journalists (CPJ), for the McCormick Tribune Foundation Annual Report. Visual Objective A serious subject requires dramatic lighting. Additionally, I wanted to show the global reach of the CPJ organization and the challenges they face. Posing I had Mr. Orme lean toward the camera, supporting his weight with one hand. His other arm was positioned to create a strong diagonal for visual tension. Tips The key to getting rich gel color on the desired surface is to isolate the other light sources. Since the main light is directed toward the background, that’s the light that usually washes out the color. Using a grid on the main reduces spill, as will placing a gobo between the reflector and the background. The result is a richer gel color on the background.

The Story Not-for-profit organizations, often understaffed and on tight budgets, usually have very basic facilities that are uninspiring for portraits. I decided to be inventive in this small conference room, which contained an old world map, some CPJ books, and a video monitor. I pulled out blue and green gels, arranged the books, and asked if there was a video clip I could play to put an image on the monitor. This was one of those moments that you realize the power of lighting and how it can transform the ordinary into the extraordinary. The client was happy with the image and so was the CPJ, who ended up buying a print for their office.

Alternately, if you have the luxury of working in a large space, then distance is your friend. Placing the key light far enough away from the background will also prevent wash-out of the background color. The best way to test this is by metering your background without the key light and with the key light, if there is no difference in the reading, you are good to go.

head with black-wrap gobo and blue gel

30-degree grid for main light head with black-wrap gobo and green gel

LIGHTING CASE STUDIES 91