I had one mandate to observe when photographing young, talented filmmaker and actor Dante Crichlow: Keep it simple. We were looking for informal pictures. I wanted it to feel like simple walk with a camera. I was looking for spontaneous backgrounds and scenes, and light for outdoor portraits that can be applied in the simplest, most effective way.
It’s tough to take a light-hearted walk if you’re toting a veritable caravan of gear cases. Trust me — as one who has spent a great deal of their career doing just that —the spontaneity of photography goes out the window when carrying a lot of equipment.
Lighting Gear for Outdoor Portraits
I’ve done major coverages over twenty-five years for the National Geographic, several which have required up to three medium-sized trucks to carry gear. Anybody ever try to light one of the biggest telescopes on earth? Let’s just say it’s not a job for a small flash.
Although, this walk with Dante was the job for just that. I used two Profoto A10 Camera Flash units, which they bill as “the world’s smallest studio strobe.” These units are fast but powerful. I was able to put two of these into one light shaper, courtesy of Manfrotto’s lighting tools.
The light shaper of choice was the Ezybox Pro Octa, which has a bracket that can accommodate two hot shoe-based flashes. I kept the dome diffusers on the A10’s to make sure the light has a chance to spread and radiate throughout the soft box. This gives me the most even tones while, at the same time, being directional. Soft but direct was a terrific combination for the expressive visage of my subject.
Adjust to the Lighting on Location
Establishing NYC as our milieu was important, too. Storytelling is part of the deal. It isn’t all about the lighting. Dante is a New Yorker — tried and true. The city is his turf and his comfort zone. Hence, we went cross river to DUMBO to gain perspectives and views of Manhattan, as well as the bridges and the old school architecture of that area.
First steps — of course — were to deal with the ambient light level. Even if it doesn’t exist, it is still your most important light. The level of light you encounter on location drives all your solutions. If there’s no natural light, bring out a lot of flash! A reasonable quality of light — such as we had here for Dante — can allow you to be more subtle and supply increments of light that emphasize and enhance your subject.
Consider Your Mobility
The beautiful thing about a mobile light source, such as what Charles is holding here on a Manfrotto extender, is the mobility of it. I always tell my team to imagine there is a string attached to the light leading to the subject’s chin. Follow that chin. Directionalize your light. Work with the attitude of the subject’s face to craft a shadow that gives the face dimension.
Don’t Be Afraid to Get Close
Get that light close! I always work with my assistant to push the light right to the edge of the frame so much so that, after I finish a take, there is often evidence of my light source poking into the picture. I don’t recommend putting your gear in the photo but if it’s minor, it’s typically an easy post fix.
When I push the light close, it maximizes the wrapping, softer qualities of it. When working off batteries out on street locations, it minimizes stress on said batteries. This can be an important strategy to observe if you are out there all day, whaling away with a strobe light.
Finally, make sure you relate to your subject and engage with them. Find out about them. Be curious. Be gracious. The outdoor portraits are important, but so is having a laugh.
