Had a CEO shoot in LA couple days ago. I always like giving the editor variety, so I try to shoot in 3-4 different locations, or at least have different style light setups in the same location, so there are different looks. Editors seem to stay happy that way, and quality of the photos go up: one setup or location might not be working as well as another.
For these shots I used four locations. The first three were all within 15 feet of eachother, but the looks are entirely different; see info below the images. With good planning (which I get sick and obsessive about out of unfounded worry-ness and a military background that was engrained into my skull) its easy to pull this off. In addition to the CEO, I had to shoot a few other employees. I got them out of the way first, then did the shoot with the man.
In addition to the CEO, I had to shoot these three key employees. Used one light for these shots: an Octabank behind them and nothing else. Overexposed a bit so the light wrapped around their face. Use a white reflector in front for better results. Bring back lost contrast in Photoshop.
Used a second location for these guys too. Shot them each individually, released them to get back to work, then brought them all together for a group shot in the lobby, 10 feet away from the conference room, where I was set up with the lights (the top photo). Sliced and diced in Photoshop.
With the CEO, I brought him into the conference room where I had two different lighting setups. Shuffeled him from one location/setup to the next in only a few minutes.
Close to the conference room was this nice looking semi opaque glass which I used as a background. Was going to put light on the other side of the glass aiming at back of his head, but my two dollar cable wasn't working, rendering thousands of dollars of lighting gear useless. For this shot only used modeling light from a strobe, camera set to tungsten white balance. That turned the whitish glass a sci-fi blue.
After a few dozen photos of him standing, I sat him down, in a chair next to him and lit him with a gridded beauty dish for a completely different look.
Next I brought him up to the helo pad on the top of his building, where he said he had never been. Lights were set up before the shoot, ready to go. I always pack a few hundred feet of extension cords too. Needed them here. I scouted the building before the shoot, noticed it was really tall, and decided to ask my contact if we could shoot on the roof. I fully expected her to say no - the usual response I get when asking for the unusual, but I was surprised when she said yes. My shooting time was at 2 p.m, so it was way too bright up there to really work it hard though.
