subjecs gaze: rembrandt to kerstens

7/31/2019 Subjecs Gaze: Rembrandt to Kerstens

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THE SUBJECTS GAZE: REMBRANDT TO KIRSTENS


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REMBRANDT


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Titian Rembrandt Jeonloup Sieff


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CARAVAGIO


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LEONARDO DA VINCI


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IRVING PENN


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CHARLES FREGER


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JASPER CLARKE


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JEANLOUP SIEFF


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ANNIE LEIBOVITZ


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HENDRIK KIRSTENS


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BRIAN GRIFFIN


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HELEN VAN MEENE


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PAOLO ROVERSI


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RICHARD LEAROYD


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KYOKO HAMADA


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GUIDELINES


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GUIDELINES

Meet Before the Shoot Meet with your subjects before the shoot to

tell them what to expect. Perhaps, interview

them. Give them copies of the interviewquestions so they aren't surprised on theday of the shoot. The goal is to put yoursubject at ease. That starts by letting themknow what will be expected of them at theshoot.

Set Up Before They Arrive

Arrive at the set well before your subjectdoes; so you can get everything set upbefore they arrive at the shoot. It is hard toconcentrate on your subjects when you arerummaging through your camera bag,looking for adapters, scrambling for anextension cord or running to the storebecause you forgot a blank tape. If you areunprepared, you'll make your subjectnervous and add unneeded stress to theshoot.

Use a Stand-in to Set the Lights Arri continuous lights can get extremely hot,

and your subjects will feel the heat if you

leave them under the lamps too long. Tokeep your subject as fresh as possible, havea friend stand-in while you position yourlights.

Meet Them at the Door Its a good idea to have your assistant act as

an ofcial greeter on shoot day. This person

should be able to answer basic questions,direct subject to sign-in & also a suitablewaiting area and make your guestscomfortable while they are waiting. This willhelp relax the talent, and keep them fromgetting under foot before you are ready forthem.

Be Personable Call each person by name and make sure

you're genuinely friendly. This will help yourtalent feel more comfortable and at ease.They will respond to your coaching better ifthey think of you as a caring friend.

GUIDELINES


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GUIDELINES

Be Attentive Listen to the concerns of your on-camera

subjects and be sympathetic. You may need

to assure one subject that he looks good,and another that her response doesn'tsound silly. If someone isn't saying whatyou want or need, you may have to help himnd his words. Set Up Before They Arrive

Perhaps, Give Them Something to Hold? If the talent doesn't know what to do with

her hands, give her a prop to hold. Oftenthis will keep a subject from dgetingnoticeably on camera.

Eliminate Distractions Usually, the fewer people in attendance at

the shoot, the better. Your job is to helpthem concentrate on their role and the topic

at hand. Too many people milling aroundcan make your subject uneasy.

Be Flexible What works for one person may not work

for the next. The situation largely depends

on the individual involved. Some peopleimprove with practice while others getworse. Some accept coaching easily andothers become more irritable. Be preparedto tailor your coaching technique to eachperson you shoot.

Turn Lights Off During Breaks

Lights produce heat, and excess heatproduces excess sweat. Uncomfortable,shiny subject isn't good for your production.


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STUDIO LIGHTING EXAMPLES


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RIM LIGHTING


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LIGHTING: REFLECTORS & GOBOs


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NO FILL-IN LIGHT


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WITH FILL-IN LIGHT


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LIGHTING WITH A LATTERN


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subjecs gaze: rembrandt to kerstens

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