This was shot to match the tone of an earlier image we shot of a crime scene where a truck was pulled over, and the criminals were burying a body (which previously gained some attention here). From the initial concept, I knew I wanted this image to lean heavily into the teal and orange pallet. So I made a light fixture, that would stick to the building facade magnetically, for added color and allow for the correct positioning. The characters were lit with artificial light; the amber colored light is an Einstein with a small beauty dish, gelled with a full CTO, and the teal light is brought to you by a 10' scrim, gelled with a full teal gel. Some additional rim lighting was provided by an additional snooted Einstein with a teal gel. We did bring out an array of fog machines to try and capture the natural light fall off from the garage and practical lighting.
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I did some extensive bts on this image, and I'm currently in the process of editing a video on how shots like this are produced from start to finish. But for real-time BTS follow the studio instagram account:
https://www.instagram.com/p/CHbYsrLlGhO/?igshid=1nhcuvjij50yo
12 Comments
Incredible shots as usual, Chase 👏
This photo is beyond incredible!
Thanks Ali.
I love it.
The only thing that I question is having the headlights of the left car on. The bright area drags my eyes a bit to the edge of the image. Maybe having it a little bit toned down might do the trick already. But this is nitpicking. Very strong image.
It is a bit much over there. I guess I’ll pull it down a little.
What a great shot
Winner winner chicken dinner 🍗
Thanks Teemu. But Felix Hernandez hasn’t put an image in yet...
He’s the goose that lays golden eggs.
I assume you stich these together in Photoshop? And keep the camera on tripod and in the same place for all the shots?
Yeah. It’s really the only way to get a realistic composite. Very seldom do I add an element that wasn’t staged at the time of the shoot. (The shower shoot being one of them. Cause organizing horses 2hrs into a desert would have been impossible) If I do add an external element, I try to make sure it’s positioned in the correct place, distance wise and on the frame, to keep the same perspective/lens distortion. It’s really a pain in the ass.
Additionally I’ve kind of devised a way to shoot these longer exposure images so as to retain some manner of detail throughout the entire frame. It’s a whole procedure that’s kind of hard to illustrate.
Love it!
Classic 70's evening. I love the compostion and grading