I was asked to provide a photo to accompany a Q & A piece for the Journal. Since these articles are usually about local artists, I usually try to learn about my subject's background, looking for inspiration for how I might make my photographs less headshot and more portrait. Ms. Lucey is known for injecting classic opera with a more contemporary outlook. In addition, she loves nail art!
I wrote ahead to the Opera's publicist, requesting that I have access to a parking space in the roundabout for one hour. I planned to arrive at 2:00 pm, set up for 30 minutes, and meet with Ms. Lucey at 2:30 for a 15 minute shoot.
Afternoon At The Opera: I arrive at the roundabout at 1:30 and checked in. I was thankful for the convenient parking because I had a rolling duffle bag full of lighting equipment, a camera bag on my left shoulder, a flash bag on my right shoulder, and my tall light stand. Covid protocols were in place, so I was required to show proof of vaccination and boosters, fill out an on-line inoculation summary, and take an antigen test. While waiting for the test results, I would be taken on a tour of possible locations for the shot. The testing process took longer than I would have wanted, which ate up valuable setup time. I decided to use on of the lounge areas on the second floor, mainly because of the warm, red décor.
Lighting: While I had access to a softbox, I decided to use a standard umbrella as a beauty dish. Zack Arias used this technique in in One-Light Video series, and I liked the effect he was achieving. In this environment, the setup gave me a relatively soft light source that was tightly contained in a "cylinder of light". This eliminated an light spilling out and washing over the background. The flash I used was a Godox round headed speedlight with a full CTO gel attached. In retrospect, I should have used a 1/4 or 1/2 CTO gel to keep the skin tones more natural. Come to think about it, I don't know if I have such a gel in my kit, but I will be sure that one is available in the future.
One thing that you'll notice is the position of the speedlight. To prevent light spilling onto the background, it should be placed deep inside the "cone" of the collapsed umbrella, creating both the round, concentrated light of a beauty dish while containing it, as you could using barn doors. This was a little problematic with the folding umbrellas I normally carry, so in the future I may strap a full-sized umbrella onto the light stand, just in case.
The actual product was priced fairly, which is to say that it wasn't the sturdiest bracket I own, nor the most reliable. The pivoting adjustments had retention teeth to prevent slippage when tightened, but they didn't hold very well. The sliding clamp arms seemed like a bit of overkill until I saw how much force was required to securely lock all the parts in position. Still, this bracket is a viable solution to a problem I've had with several of the unusual lighting setups and adaptations I've made in the quest for a perfect light source.
I'll be sure to add one of these reticulated umbrella brackets to my rolling bag. I'll also add a 1/4 CTO filter for times when I need just a smidge of warmth instead of the full-on, incandescent look seen in this shot. If I had more time, I might have been tempted to experiment more, but Ms. Lucey had a busy day planned, and I was thankful for the precious minutes she made for me.
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