In the end we decided to shoot in the Assembly Point room in the Ellen Terry building. This offered the best cover, ease of access and certain amounts of privacy if the model wished to change in the room or if they wished to change in the toilets then this was also no hassle.
However since this room contained a lot of glass to cause reflections from lights or other objects in the room, we decided that a test shoot would be our best option to see how we could deal with the reflections and to see any other positions we could put the lights.
First Lighting set up
This lighting set up is a very simple one. Two lights, one either side of the model to light up both sides and not to create too many shadows.
On the other hand as predicted the glass showed the lights in the background. This is not a problem for a full length image like the one above, but for a full window shot, like the one one of the photgraphers wanted to use, then it becomes an issue that would be better of resolving in camera rather than in post production later on.
Second Lighting Set up
For the second set up we moved the lights directly 3 and 9 0’clock to the model. This would eliminate the problem of the reflections and give light to both sides of the model. Also with this light it does create more shadow on the model, however this can be a good thing as it will give shape to the model and further create shadows that could give a dramatic look by covering the face or other areas when the model moves her head in certain posses. As you can see from the last image above there are some shadows forming, but notice there are no reflections to be seen.
On problem with this set up though is that the since the lights are close to the walls to stop the reflection occuring, they are now closer to the white walls and therefore create ‘hot spots’ on the edge of the windows where the most light is going. This will either be needed to be ‘flagged’ off with darker material to bounce the light away from the walls or the lights to be pointed more outwards away from the wall.
Further more the lights are no longer pointing at the window frame as much and so the white edges are also not blown out with too much light.
Another option we have is to reflect the light coming in through the massive window back onto the model. This can then control and narrow the light onto the model and not onto any of the white details to blow them out.
One more problem we came across in this test shoot is capturing the ambient light. Since the light levels will be different for each day then we can not total judge the shutter speed we need to capture this natural light to alter the mood of the sky and general area outside the window. (The higher the shutter speed the darker the light gets)