The Moment It Clicks: Photography Secrets From One of the World's Top Shooters

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    So we got the wings at ll:30 in the morning for a 1:00 p.m. photo shoot. I was being allowed 30 precious minutes of this very important 18-year-old’s life, no more. I had exactly an hour and a half to figure out how to hang these wings, stage and light the photo, and come up with at least two different solutions.

    How to Get This Type of Shot

    Okay. Usual deal. Speed lighting. Overhead softbox for him, small spot for background. Now the wings. Clamped ‘em to the boom arm of a C-stand and sand bagged the heck out of it. Then put three strobe heads with magic arms on the same stand, all with honeycomb spot grids [ 2 ] . The whole rig looked like a science project gone bad.

    [ 2 ] Honeycomb Spot Grid: A circular metal grid (that looks like a honeycomb) that goes over your strobe head and limits the spread of the light.

    Fanned the heads out desperately trying to get an even spread for backlight on the wings. They gotta look heavenly, right? So backlight’s the deal. Got it close enough to work just as Brandan came around the corner. Retouching took it the rest of the way.
     
    Like much location work, this one was truly a wing and a prayer.

     

    Brandan Wright
    Ring Light
     

    “It’s too bad ring light’s gotten a bad rap, because when used properly and judiciously, it is a pretty snappy light that edges out your subject with the clean and definitive efficiency of a drill press.”

    The ring light [ 1 ] needs to be used…carefully. It has gotten a bit of a bad rap, probably from overuse in those downtown magazines with catchy names that usually last for about two issues and run page after page of disaffected, outlandishly dressed young people, apparently high on some form of illegal substance, staring vacantly at the camera with a circular highlight in their overlarge pupils.

    [ 1 ] Ring Light: A circular light source that wraps around the barrel of the lens. Produces a hard, shadowless light. Very popular with fashion photogs.

    It’s too bad, because when used properly and judiciously, it is a pretty snappy light that edges out your subject with the clean and definitive efficiency of a drill press. Throw in a bit of hair, makeup, styling, a fishnet cat suit, a killer look, and oh my! Have to be careful tipping it around too much though, ‘cause at an unfortunate angle it produces shadows that can turn even a shimmering sex goddess into something that dropped out of the ugly tree.

     
    Bring a Chainsaw
     

    I was sent to the Southwest to photograph a Tyrannosaurus head for the cover of Discover .

    Now this T. rex head turned out to be a realistic-looking, eight-foot hunk of polyurethane that was in the sculptor’s garage, gathering dust. This is a typical assignment for me. Go make a national magazine cover out of a grime-laden piece of plastic.
     
    We cleaned it, loaded it into a pickup, and trucked it out into the desert area, which was actually part of a national park. I rented a heavy-duty crank lift and a chainsaw, and got some rope and lumber. I’m an overgrown adolescent who saw Jurassic Park too many times and I wanted this puppy coming out of the trees, just like on the big screen. We found a tree, made sure no park rangers were around, chainsawed the $#!& out of it, and stuffed the lift in there. Then we took some of the branches and A-clamped them to light stands, lit the whole thing up Hollywood-style (shot at dusk), and got outta Dodge.

    “This is a typical assignment for me: Go make a national magazine cover out of a grime-laden piece of plastic.”

    Tech Note: It was my first shoot with the Nikon D2X. Nikon had squirreled me away an early prototype. I’d been shooting with the D2H, and with my first few frames from the D2X, I saw the colors pop and knew, digitally speaking, we weren’t in Kansas anymore.

    How to Get This Type of Shot

    A shot like this depends on really defined, colorful splashes of light. When using gels to create these colors, it is best to use honeycomb spot grids. This shot was “spot grid city.” Big, broad sources of light don’t work with gels, because the different colors overlap and bleed into each other. One spot with a green gel was just out of frame by his eye. There’s a light with a tight grid and a red gel in the tree lighting his neck. There’s a Nikon hot shoe flash inside his mouth—in the lower jaw—giving some detail to his tongue, and there’s another spot grid to the left of the camera lighting his nose and upper