Lighting a bed for catalog shot

<p>I'm an art director and will be working with a photographer to shoot beds in a barn. I want to recreate the lighting in the link below. This photographer doesn't work with a lot of artificial lighting and I'm concerned that in this environment natural light alone won't be enough. I'd like to be able to give him some direction. Any tips would be appreciated.<br>

Thanks<br>

Sue<br>

file:///Volumes/Production/Concepts/2014/Photo%20Style%20Guide/*Dramatic%20Lighting/bed_1.png</p>

<p>One very large light source on the left, imitating a window. If you have lots of light outdoors, and the window is facing in the right direction you could do this with natural light, but everything has to be just right.<br>

<Chas></p>

<p>Depending on the position of your source of light (window) you may need in the right side a white, reflective surface, to control the shaddows.</p>

<p>A single monolight in a big softbox lighting up the back side of a larger, window-sized diffuser. <br /><br />In short: if you want light that looks like a cloudy day outside a big window, you need to create a light source about the size of that large window.<br /><br />This guy:<br /><br />http://www.picturecorrect.com/tips/imitating-natural-window-light-for-portrait-photography/<br /><br />essentially creates a giant softbox out of three panels (one translucent, two reflective).<br /><br />You can do wonders with a couple of modestly priced Photoflex LitePanels and almost any source of light. <br /><br /><br /></p>

<p>I agree that a softbox large enough to get that effect is going to be a cumbersome and expensive option.</p>

<p>Simple reflectors seem to have become a forgotten tool these days, and are far cheaper and generally more portable than huge softboxes, since reflectors can be folded flat or rolled up.</p>

<p>I'd try a reflector of around 5ft by 7 or 8ft and simply aim two or three lamps at it from out of shot. And since the light is effectively folded, you don't need as much studio space as with a deep and large softbox. By cunning placement of the lamps and their spill you can also provide fill with another reflector or two. Maybe directly above the bed for example.</p>

<p>A really simple option would be to pin a white reflector sheet to the nearest wall of the set.</p>

<p>To begin with, is that truly the effect that you are after? The light placement is great, but the fact that there is no detail in any of the shadow area is not what I would expect to be good catalog work. That is probably why others have mentioned a reflector fill and I would strongly agree with that. You don't need a huge amount, just enough to raise to light value in the shadows so that you see a little detail instead of this total inky blackness. That can be done with professional reflectors, or something as simple as a white bed sheet suspended from a couple of stands and brought in close on the side opposite the light source.</p>

<p>Secondly,you don't have to have a huge softbox, although that would be pretty much ideal. You could also suspend a second white sheet on the bright side and place the electronic flash behind that (and up high) so that the flash would go through the sheet and onto the scene. Keep the flash back far enough from the sheet so that the light mostly covers the sheet and you will have a very nice and delicate fall of the light across the bed, the kind of light that should show the texture and color details quite well. Effectively, the sheet becomes the light source.</p>

Understand that the sample you posted was most likely shot on a set that was completely fabricated for the photo.

 

You might want to ask your photographer to hire an assistant or grip who does know how to set the lights to get the effect

you want ,and also a grip truck and lighting kit , so the photographer can concentrate on directing the shots.

<p>The lighting on this is very simple. As mentioned above, a large diffused light source camera left and an equally large reflector camera right.</p>

<p>The more difficult part of the shoot will be the styling of the bed, linens and props. </p>

<p>An obvious question comes to mind and that is why would you hire a photographer with limited experience in lighting for this shot? These kinds of shots are all about the lighting, styling and propping. </p>

<p>"An obvious question comes to mind and that is why would you hire a photographer with limited experience in lighting for this shot? These kinds of shots are all about the lighting, styling and propping."<br /><br />My thoughts exactly. Catalog work is highly specialized and there are people who do it every day. I've been both a photographer and an editor hiring photographers. If I were hiring for a catalog shoot and the photographer told me he "doesn't work with a lot of artificial lighting" I would move on to the next photographer on my list.</p>

<p>Well first off why is not the photographer here asking the questions? LOL. Anyways the sample you showed is not good and certainly not dramatic looking. It looks like it was shot by an amateur as well. All the elements look good but the lighting which creates the mood or feel is lost and cold looking. On the flip side it is better than having no strobes at all. Just have your guy rent two strobes with two soft boxes and move the lights around to see what looks best. With out knowing the conditions of the barn its hard to give specific advice.</p>

<p>Sue, I've got to jump back in and join the others who have questioned the judgement in hiring a photographer without tangible lighting experience. I suggest you completely rethink your approach, find an actual commercial photographer in your area, and explore their experience and artistry level before even beginning to think about scheduling this shoot.</p>

<p>YOUR reputation is on the line here even more than that of the photographer and the last thing you want is to hire the wrong person for this job.</p>

<p>If you want some help finding a qualified photographer, you might contact the Professional Photographers of America about shooters in your region, or your state's professional photography association, or just post here where the shoot is to take place and perhaps a member will be able to steer you to a known commercial photographer in your area.</p>

<p>Also, Portrait and commercial photography are totally different animals. Some portrait photographers have also trained in commercial photography and could do this job well, but many (and I do mean many) post that they can do product photography while having no clue as to the differences in technique and lighting knowledge that you may need. Be very sure that you check any photographer's actual portfolio of commercial images before hiring someone for this important an assignment!</p>

"YOUR reputation is on the line here even more than that of the photographer and the last thing you want is to hire the

wrong person for this job."

 

Couldn't agree more but I understand that perhaps your client or boss put you in an impossible situations regarding

budget. If that is the case explain to the that the images used are often the first impression the company will make on

your potential customers.

 

On the other hand the photographer you've hired might be crackerjack at shooting outdoor lifestyle that needs minimal

lighting. If that is the case , hire someone else to handle the merchandise shots that need to be staged and lit.