Part 1 of 2: Art Brewer – substractive lighting techniques

Part 1 of 2: Art Brewer – substractive lighting techniques

most of the assignments are international it seems like we do some local stuff but the largest majority is it seems to be on the road we spend a lot of time in Spain and Brazil England shooting and we do a lot of stuff in Florida the East Coast and a little bit in Los Angeles Mountains it’s really quick equipment to use it’s you know very fast to assemble even faster to disassemble roll it up and you’re on your way it’s not cumbersome to that’s the beautiful thing it travels well we take the stuff on location with us all the time fly with it I couldn’t see going about it any other ways too hard the way that we used to do this work you definitely need more people we keep a nice low angle will lose the horizon in the shot so we’re using the big black on both sides and then on top probably come in maybe with a beauty dish up high point it down to bring in our small or medium reflector down below to kick light back up on her we’ll try to Pat it because I want to have her down on her knees right in here we’re not using big heavy and everything’s lightly literally two people can carry the same thing that puts you to put on a production crowd now we carry in the back of a pickup truck it’s compact it’s so much faster than doing it the old way everything was so heavy the me flats and the shiny boards and I can’t tell you how many times have you know pinched my fingers on those beers trains and stuff like that it doesn’t happen with this equipment it’s just solid it’s light it’s flexible it’s faster you know it just makes my job easier something to work with negative lighting instead of reflected lighting with the setbacks equipment everybody always thinks it’s reflectors is something that you reflect light off of I’m going to try to go the other way and subtract light and then add it where I want it makes it more pinpoint a little bit more directional that way first thing I’m going to have is a beauty dish that will come in from the front up in front of the subject pointed more of a straight down direction and below the subject on the ground I’m going to have a small reflector that’ll kick some light up and it won’t overfill with all the negative light out on the outside panels one of the things you’d normally be concerned with is the wind down here at the beach you didn’t have any problems because the Sun bouncing quipment is very strong its lightweight and it’s well secured with the sandbags that we use from Sun baths that are made specially for it the general rigging that were set up should be an easy shoot we’re digging this hole over here so the model can kneel down in the rocks we’re going to put a Bernie pad down and then sort of fill in the rocks around her knees I’m shooting film so I want to try to do as little retouching as possible versus digital where we just go in there and fix it all in Photoshop I prefer getting it right right off the beginning what the scarring to go dark and moody slightly above here pretty much self-taught I started taking pictures when I was 15 I was a surfer and I ended up within a year of picking up the camera I had my first two magazine covers for Surfer magazine it was just a love of art and photography that got me to where I am today I’ve graduated over 35 years of surf photography and brought it into a commercial business in other than that it sort of taught myself the commercial end of photography and advertising and most of my work evolved around anything action oriented her water oriented and it’s involved a lot more in commercial action photography these days illa gray I’ve had Pepsi Gatorade de Santi water I have Meryl shoes is one of the clients that I have I have a sudden blast clients dance shoes right now I’ve been doing quite a bit of work with Quicksilver alright sports where did I get a little bit more did I get another small quality lights that’s amazing because we have so many different things you can do it that you have the subtractive light and you have to reflected light you have the dappled light that you can create with it there’s just so many variables so you have parted shiny you have soft reflective that gives you everything in one piece of equipment pretty much where I opened it up because it was still too dark underneath they have a little bit more light and we can come back the whole evolution has changed in line with the low luge and just the different types of fabrics that you guys offer there’s so many ways that you can go with the Sun bounce stuff that we were never able to do before especially now you’re creating photographs you’re not capturing them you know that’s really what this is about you can take a situation and light it the way you want and make it look as natural as you want but you’re using light modifiers and it’s all you know because the way Sun bounces put the time and effort and research in to give us these different fabrics and these you know different qualities alike we never asking for it doesn’t make sense to go backwards when we can go forward with lighter more streamlined stuff that’s gonna be really efficient with the big heavy gear on a windy day you’d have a terrible time of it because it is so heavy and it’s such a big space there’s not enough weight to pull down that type of stuff I remember we had to use 1,200 pounds of sandbags to hold down at 20:20 one time in Florida and with this year you wouldn’t need that type of way because it’s lighter and it covers the same type of area it’s easier to work with it’s not going to fly away those are the best things okay so they’ll off the big panels incredible we take those on jobs and people are just amazed with how handy and how light and where before we were using foam core and foam core just gets destroyed and they’re good for one or two jobs and that’s about it the Sun Mouse just it’s great stuff swear by

5 thoughts on “Part 1 of 2: Art Brewer – substractive lighting techniques”

  1. Art,

    Wait a minute!

    In the video you claim that a 20×20 foot panel if it was a Sunbounce would act differently in the wind than a traditional 20×20. Have the rules of physics changed? As far as I know if a wind came up, the effect on any 20×20 would not matter – both would act as a sail and you would need the same amount of weight to hold either one down.

    Or does a Sunbounce 20×20 foot panel have something different about it? Possibly gaps to allow air to flow through? Yes, something like that would make a difference.

    Terry Thomas
    Director of Photography and Commercial Photographer
    Atlanta, Georgia USA

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