Gobos, spots and fulgurators

In the previous post I explained how, from a technical point of view, the Image Fulgurator had the same function as a spot light, like Zoom Spot 18-135 or a Mini Spot Lite, both from Elinchrom.

Elinchrom Zoom Spot 18-135

Elinchrom Mini spot lite Elinchrom Mini spot lite

DIY Image Fulgurator © Marcelo Isarrualde DIY Image Fulgurator

The special features of these accessories is that they have an optical part – lens or condenser – that allows that image located between a strobe and the optical part, to be projected in a background. These metallic parts that can be put between the light and the optic, are called Gobos (Goes Before Optics). There is quite a large variety of options that can emulate venetian blinds, foliage, and stars, among others.

Gobos

On one occasion I used them on a photo shoot for Clara magazine. It consisted of making a cover on Araceli Segarra, followed by an illustrated article that could be the first of a series of covers, dedicated to prominent women in different professional areas.
The ambience on the set shouldn’t have to have too many elements because any of the pictures could be considered a possible cover. There had to be enough empty space to allow for text and headlines.

Araceli Segarra © Marcelo Isarrualde

It had to look like it was a wide space with natural light. To achieve this, we used a Wafer big softbox with a Bowens 1500 strobe and the contrast was decreased with three big expanded polystyrene reflectors (Porexpan®, Telgopor®, Styrofoam®, Frigolit®, etc). A big white umbrella was set above the camera, exposed at -1 ½ EV below Wafer softbox power, to light up Araceli. Finally, an Elinchrom Zoom Spot 18-135 adapted to a Bowens’s bayonet was used together with another Bowens torch at 1500 W/s. A gobo with the image of a venetian blind was placed on to the spot light.

Lighting diagram © Marcelo Isarrualde Lighting diagram

The shot was taken with a Kodak slide film EPP100. In the analogical world a correct exposure and the power ratio correspondence between the strobes ,was key because of the little latitude margin of the slide film, (error margin in the exposure). But also nowadays it is very important a correct exposure in order to the make the most of our raw files.

Araceli Segarra © Marcelo Isarrualde Making of

Gobos, spots and fulgurators.pdf

Clara Magazine cover assignment

This assignment was for a feature on beauty and health, and it was shot by the pool of the Majestic Hotel in Barcelona. One of the pictures was to be considered a possible cover for the magazine.The covers for Clara Magazine are characteristically very clean looking, usually with a white background and wide framing to allow for text and headlines to be included.The story headline texts of most women’s magazines have to be on the cover, which unfortunately detracts from the picture.

We have to take into account that each magazine is a product addressed to a very specific public and therefore every cover has to fulfill all the requirements set by the management department. But I guess that every photographer’s dream is a less crowded cover, like Harper’s Bazaar or V.

Clara magazine  © Marcelo Isarrualde  Harper's Bazzar magazine © Marcelo Isarrualde

Back again to our assignment – the difficulty in it was finding a white wall with enough available space to work comfortably. In addition, this cover had to be brighter than usual because it was summertime and it had to deliver a fresh look.
I found the perfect place on the last floor of the hotel and luckily there was a white sofa that I could use. We just had to move the furniture a little and shoot the cover.

© Marcelo Isarrualde  Cover Clara magazine © Marcelo Isarrualde

Lighting

Clara covers are usually shot with a neutral, low-contrast light that is neither too hard nor directional; which tends to be more natural.
To achieve this effect I used a couple of Wafer 100 light boxes with Bowens flashes of 1500 w/s plus a silver/white Lastolite reflector. However, on the left of the set one can notice a Window and a zenithal skylight. They have not interfered with the lighting since its light power is lower than that of the flashes.

Making of © Marcelo Isarrualde

The light box directed to the background wall, overexposes the surface and bounces off to the model reaching her hair slightly above the main light. The shots have later been exposed to 1/2 EV again above the main light to slightly “clean” the skin. This shoot was done with film and the exposure error margin in the slide EPP was critical.
I took a couple of Polaroid pictures to be sure that the light was under control.
Nowadays with digital sensors and histogram readings everything has changed. There is much less need to use a light meter! I am not sure that this is a good thing.
Lighting diagram © Marcelo Isarrualde Lighting diagram

Once the cover was done, I shot the photos on beauty and health using natural light and reflectors (and a less prominent flash)

Model : Janna / Agency : Colors

Clara magazine © Marcelo Isarrualde  Clara magazine © Marcelo Isarrualde

Clara magazine © Marcelo Isarrualde  Clara magazine © Marcelo Isarrualde

Clara magazine © Marcelo Isarrualde

Clara magazine cover.pdf

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