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Lighten Up
Keep Lighting Simple for Brilliant Results
TEXT AND IMAGES BY GREG HOFFMAN
When I began my career as a photographer, I did a lot of
reading. An early article has stuck with me and influenced all my
work.
The article's message: Creating images with very little equipment
is probably the easiest and most creative thing we can do,
especially on self-assignments.
Granted, for some big projects, big lights may be needed. But I
have seen smaller jobs—and some very large jobs—shot
with tons of lights that were totally unnecessary. Some
photographers simply want to impress clients with their
equipment.
Why spend money you don't have, or haul more gear to a location
than is needed? I think it's time to bring enlightenment to
creativity, not big inventories of high-priced lighting gear.
I love shooting from the hip with my Mamiya RZ67 and making due
with what's around me, even when I have lighting gear with me. You
may have heard the saying: "You can't call it an adventure until
you lose sight of the shore." No matter how you capture your
images, starting with a properly lit and exposed subject is
essential. Remember, photography means "paint with light," not
"click with mouse."
I always wear my photo vest when I'm shooting because I carry a
laser pointer and mini-mag flashlights, among other things. I also
place a great deal of faith in my Vivitar 285s. I realize that some
shooters see these flash units as "on camera" assists. I use them
for creative lighting effects.
For the Mohegan Sun (bottom, left) pre-opening, I used two Vivitar
285s and balanced with existing interior light. One unit was above
the camera, the other was 10 feet higher, aimed 45 degrees up the
pillar (f/8 for 4 seconds on Fujichrome RHP 400). My reasons for
using this technique? I trust these units; the shoot was cross
country from my studio; it was right after 9/11 so traveling light
was a big concern.
I shot the green two-foot by one-foot model float (below) in a
warehouse, again using my Vivitars. I used four Vivitars and scrap
cardboard as gobo's, scrap foamcore as bounce boards, and colored
plastic business cards as gels. Those who saw me work and then saw
the final images were amazed when they viewed the transparencies
(f/5.6 for 1/30 second on Fujichrome RDPII 100).
The image of Indian ruins (below, center) in Sedona, Arizona, was
shot a while back. I'm not fond of black holes, so I placed a
Vivitar 285 with a small slave, and my red business card on it just
inside the opening, with the slave positioned at the door opening.
I then exposed for my ambient light and set the flash on my camera
to just enough power to set off the flash in the room (f/11 for
1/125 second with Fujichrome RDPII 100).
I shot the rose (below) at night, using my mini-mag flashlights to
illuminate the flowers from behind, metered through the flower,
with two extension tubes on my Mamiya RZ67 (exposures were f/2.8
for 8 seconds with Velvia). I needed to be very patient because I
don't like to pick flowers to shoot in the studio. If even the
slightest breeze came up, I kept shooting.
Patience is a virtue and self-assignments can be very valuable to
your art and your business. I like to depend on the human
factor—what you and your brain can create—before you
even touch a camera or a mouse.
To me, this is true art.
For details, contact Hoffman at
gregiconphoto@hotmail.com
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