In Part Two of Cameron’s look, we perfected the lighting and got the final shot. But before we got started, we searched for a new direction and inspiration for the shoot. We landed on an image that appeared to use multiple small, direct light sources. So I completely changed the set and switched to six 7-inch (18cm) to 8.3-inch (21cm) reflectors, some fitted with grids.
The first problem I needed to solve was detail. I was using directional light to emphasize the texture in Cameron’s hair, but the side effect was that some areas of his hair and the frame were becoming too dark to show the detail we needed. I moved the fill light from almost underneath Cameron to a position in front of him. Then I worked on refining its position so the reflection of that light would fall exactly where I wanted it in his glasses.
And if you’re thinking this shoot is dragging on, it was. Getting everything where we wanted it was a struggle, and poor Cameron was even starting to fall asleep on us.
Watching the shoot in retrospect, I think I would approach it differently next time. I would probably start with a large, soft fill source behind the camera to establish a baseline level of detail throughout the hair. Then I would use the smaller, more directional lights to create the highlights, shadows, and texture that give the haircut its shape.
Eventually, we added a seventh light so we could have both a kicker on camera right and another light from the side to emphasize the texture in the fade. With the lighting pretty much set, we could finally turn our attention to refining Cameron’s pose and finding the best camera angle.
Sorry for all the swearing. I don’t know what got into me!
Barber: Nieves Almaraz https://www.instagram.com/howtofadehair/
