50 Lighting Setups / 50 configuraciones de iluminación

Page 62

Business Titan CASE STUDY #19

CAMERA: LENS:

FILM:

Canon F1

85mm f/2.8

Fuji RDP transparency film EXPOSURE:

f/8 at 1/125 second

LIGHTING: Luz 800ws pack with two strobe heads (medium softbox for the main light; umbrella for the backlight)

Assignment

had him take off his jacket and lean on the desk, then

BusinessWeek called me to photograph Henry Kravis, a

did some GQ-style shots with his jacket over his shoul-

managing partner of Kohlberg, Kravis, Roberts & Co.,

der (which looked silly). The session lasted about ten

which was a major leverage buyout firm in the 1980s.

minutes, then we shook hands and he left.

Visual Objective

Tips

My goal was to show confidence and wealth. I also

Time is money in business—and the wealthier your

wanted to find a strong pattern for the background.

subject is, the less time they seem to have to be photographed. The key to a successful corporate shoot is

Posing

being decisive. Know what you want and don’t be

When I photograph CEOs, there is always a great desk

afraid to tell the subject.

in the room. This was no exception, and the desk be-

On these shoots, be careful of what you talk about.

came the anchor for Kravis to lean on. To create a look

Don’t pretend you know a lot about the stock mar-

of confidence I had him place his hand on his hip.

ket, leverage buyouts, or municipal bonds. If you touch upon a personal connection (family, hobbies,

The Story

etc.) the subject will usually stay a little longer.

When my assistant and I arrived at the location his secretary led us to his office and told us that Kravis would arrive in half an hour. I wasn’t sure how much time Kravis was going to give me; since I might only have time for one setup and I wanted to imply wealth. His office was filled with antiques and oil paintings. I saw the painting of the two genteel Englishmen and their horses and decided that would help narrate the photo. We moved the 200-pound desk so that I could

gobo umbrella on back wall medium softbox

place Kravis between the painting and the strong vertical inlay on the wall. After my second Polaroid, he walked in. I had been hoping for more time, but we shook hands and he asked what I wanted him to do. I LIGHTING CASE STUDIES

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