ROB DURSTON PHOTOGRAPHY

Abbey Insurance BTS

Short and sweet, a detailed brief came my way for an insurance company’s new campaign for outdoor and print. two images of subjects in cars and one of a father/daughter in a home. The more interesting of the three were the car images.
Location photography is always more tricky than studio. Studio you have control over your lighting (ultimately) and your weather. On location, you’re subjected to whatever Mother Nature wants to throw your way and sometimes she can be damn brutal. The saving grace for our two car based images was that they were a very tight crop; we just had to have a “sense” of the environment without actually showing everything around them. Another factor to think about with the shoot is the trickiness of shooting through glass (especially the coated and sometimes tinted automotive glass).
Our first shot was on location in the parking lot of the agency. This allowed us to stay tight to the building for shade (lighting control) and any auxiliary power if we needed it. Since we were using the Profoto 600B’s, we didn’t need power for the lighting, just the laptop to keep it topped up throughout the shoot so we knew we’d have enough juice in it come the afternoon.

parking lot studio

parking lot studio

Now that we have the car in relatively the right spot (we will end up moving it slightly as the sun comes around a bit), we set up our lighting. For this image we are just using the one light, a single head off a Profoto B600AIR with a Magnum reflector and a single full CTO gel covering it.
The CTO will give us a full 2000 degree kelvin shift to the warmer end of the spectrum, that along with the fact we will be shooting in shade will give us a wide spread of colour shifting from the highlights to the shadows without doing it in post.

Camera & light positioning

Camera & light positioning

All we need now is a model. . . . . without facial hair . . . that’s blonde and looks happy (sorry Steve), enter Niamh.

Here is a raw image right out of the camera, with our model in position and looking her part.
RDP_20160509_01351

As you can see, when you backlight translucent materials they show off any and all dust, smudges and smears on the surface. So after some retouching and colour treatments in Photoshop the final looked something like this. RDP_20160509_01351-Edit

And the final artwork with the copy
Photo by Rob Durston ( www.durstonphoto.com )

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