In January of this year I had chance to work with a new (to me) model Rosa Brighid. She is based in Plymouth but was in my area and so we arranged to work together. As it was January a studio location was the best option, so I booked Hallum Mill in Stockport. It turned out to be a very wet day (glad I had chosen to work in the studio) so having collected Rosa Brighid from where she was staying, we headed over the hills to Hallum Mills.
I got to know Rose a bit on the way across and she certainly looked to be going to be a popular model as she outlined the various shoots she had planned during the year.
As I mentioned earlier this was a very wet day so there was not a lot of natural light available to shoot with. I chose to work with a couple of different lighting setups. The first image (below) was from my first lighting setup were the main lights were placed behind the model (fitted with a small reflector and a grid). They were setup high and aimed at separate bounce boards which were positioned to the right and left of the camera in front of the model. These bounce boards bounce the light back towards the model and produce an incredibly soft and flattering light. As can be seen from the image the lights picks up the edges of the body and hair and create a rim light on the body contours and hair. It then hits the bounce boards and scatters and produces a soft front light.
The second image was lit using a continuous tungsten light source “daylight balanced” which means that you can see exactly were the light is falling and for this set the light was positioned to the right hand side of the camera.
It is interesting to see the two different lighting set outputs.
The next image was from a more normal lighting set up where the main light was to the front and off to the right of the camera and fitted with a larger soft box, which again giving a softer light but slight more edgier look.
The darker more moody images were lit using a lighting setup which consisting a one main light fitted with a strip soft box which also had an egg crate grid attached to control the light spill and make it very directional. Which keeps the light from falling onto the back ground. The result is that you get dark backgrounds and good light and shadow areas on the contours of the body.
It turns out the Rosa Brighid is a bit of a climber so here is one to finish with, were we worked with a rope ladder suspended from the ceiling. Again using the strip lighting set up to light the scene.
So thanks to Rosa for producing some good poses to go with the lighting.