Vignelli Design

CASE STUDY #39 Vignelli Design

CAMERA: Hasselblad 503cw LENS: 120mm macro

FILM: Fuji RDP

EXPOSURE: f/8 at 1 / 125 second

LIGHTING: Profoto 800ws pack with one head and spun glass over 40-degree grid for the main light; Profoto 800ws pack with two heads (one with 20-degree grid as hair light; one with 30-degree grid on background)

Assignment Massimo and Luca Vignelli, who seemed to have a very close, respectful relationship, were photographed for my Fathers and Sons book.

Visual Objective Massimo Vignelli and Associates is a well-known design firm that has created timeless packaging designs, corporate identities, and other graphics—including the New York City subway map. I wanted an environment that reflected their sense of design.

Posing I posed Massimo to act as a visual anchor to his son, leaning against the doorframe. I asked Massimo to throw his arm over Luca’s shoulder and for Luca to lean into him. I wanted them to seem connected.

Tips One of the reasons I enjoy environmental portraits is because the environment often reflects the subject’s personality. The ability to identify such environmental elements is an important skill to develop. If you do it successfully, the environment will complement your subject and not compete with them. In this image, for example, the environment is monochromatic, drawing your eyes immediately to their faces.

The Story When I arrived at the Vignelli and Associates offices on the west side of Manhattan, I was in awe of the postindustrialist design, featuring contemporary furniture and walls of polished steel or stark white. I was also delighted to see that the Vignellis were both dressed in black and striking to look at. All I had to do was set up the right type of light. Because the environment suited the subjects and they were totally into having the photo taken, it was one of the easiest and most natural shoots I have ever experienced.

30-degree grid on background 20-degree grid for hair light

I cannot overemphasize the need to match the light with the subject. In this image I felt that Hollywoodstyle lighting would work the best. I used hard lights to bring out the angles of their faces. It also creates a little drama with the shadows and geometric shapes.

100 50 LIGHTING SETUPS FOR PORTRAIT PHOTOGRAPHERS

spun glass over 40-degree grid for main light