Vignelli Design CASE STUDY #39
CAMERA:
Hasselblad 503cw
LENS:
120mm macro
FILM:
Fuji RDP
EXPOSURE:
f/8 at 1/125 second
LIGHTING: Profoto 800ws pack with one head and spun glass over 40-degree grid for the main light; Profoto 800ws pack with two heads (one with 20-degree grid as hair light; one with 30-degree grid on background)
Assignment
Tips
Massimo and Luca Vignelli, who seemed to have a
One of the reasons I enjoy environmental portraits is
very close, respectful relationship, were photographed
because the environment often reflects the subject’s
for my Fathers and Sons book.
personality. The ability to identify such environmental elements is an important skill to develop. If you do it
Visual Objective
successfully, the environment will complement your
Massimo Vignelli and Associates is a well-known de-
subject and not compete with them. In this image, for
sign firm that has created timeless packaging designs,
example, the environment is monochromatic, draw-
corporate identities, and other graphics—including the
ing your eyes immediately to their faces.
New York City subway map. I wanted an environment that reflected their sense of design.
I cannot overemphasize the need to match the light with the subject. In this image I felt that Hollywoodstyle lighting would work the best. I used hard lights
Posing
to bring out the angles of their faces. It also creates a
I posed Massimo to act as a visual anchor to his son,
little drama with the shadows and geometric shapes.
leaning against the doorframe. I asked Massimo to throw his arm over Luca’s shoulder and for Luca to lean into him. I wanted them to seem connected.
30-degree grid on background
20-degree grid for hair light
The Story
When I arrived at the Vignelli and Associates offices on the west side of Manhattan, I was in awe of the postindustrialist design, featuring contemporary furniture and walls of polished steel or stark white. I was also delighted to see that the Vignellis were both dressed in black and striking to look at. All I had to do was set up the right type of light. Because the environment suited the subjects and they were totally into having the photo taken, it was one of the easiest and most natural shoots I have ever experienced. 100
50 LIGHTING SETUPS FOR PORTRAIT PHOTOGRAPHERS
spun glass over 40-degree grid for main light
