Lighting in the fashion-shooting

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Lighting in the fashion-shooting
One week in February and one week in September, you can feel the earth shake beneath their feet. But no, it's not an earthquake. This continually triggered flash cameras, denouncing all the ups and downs in the Fashion Week. Taking this opportunity, members of the fashion industry not only to remove screenings and street-style, but also show off their latest photos, and then to enter into new contracts. In comparison with the designers and models the fashion-industry, perhaps gets less photographers laurels, but it is their skills lighting creates Icons of fashion photography, advertising campaigns, brand identity emphasizes the light and gives the style of magazine spreads. We spoke with Alessandro Dal Buono, Jake Hicks, Lara Jade, Rosella Vanon and Rob Van Petten, who shared with us his technique.
Rob Van Petten
Equipment:

    Nikon D800 and D810
    AF-S Micro-Nikkor 105mm ƒ / 2.8G ED VR
    Dynalite RoadMax 400s and 800s
    Portrait plate, three outbreaks (with cells), colored gels, blinds and diffusers
    Sometimes, if the picture needs more fill light, I introduce into the big scheme of 71-inch parabolic reflector RiME LITE

Rob Van Petten shoots advertising campaigns in a futuristic style. In Japan, when he was 10 years old, he borrowed his dad's camera Nikon, but it has not returned. His work for Nikon, Gillette, Reebok, Ray-Ban and Procter & Gamble has received numerous awards. Rob is a regular column in the magazine Nikon World Magazine, is a site moderator Nikon Digital Learning Center Flickr and My Nikon World page on Facebook. He was the head of the program dedicated to the study of photography at Boston University Digital Arts.
What are you most attracted to fashion-photography?

Initially, I wanted to live a life full of romance roving photojournalist. But then I learned the life of fashion-photographer, where no one will shoot you in the back while you work. It's a beautiful world in which embodied imagination and ball ruled beauty.
What advice can you give to those who are interested in fashion-shooting?

Engage in joint projects. The work on the project and interact face talented individuals, each professional in his field. Learn how to skillfully guide the creative flow of each team. Then the shooting are productive and fun. Our work - is primarily the creation of illusion. First, we set the scene, and then create light. Finally, you give the model indicate a scenario that she would have to play in front of the camera. Your task - to find a time when you created the same story will look more convincing and capture it. If only the entire frame is spinning around lighting and clothing, provided on models, the picture comes out lifeless and very tight. Keep the models in motion, while the photos are more believable and realistic.
What is your favorite lighting scheme?

The lighting in my photos is constantly changing and is changing, because the viewer wants to see something fresh and new. I do not like to do around from time to time the same thing. The difference in work done well, and the work done is excellent, in the nuances. Continuously improving their schemes.

I use studio equipment Dynalite. Light sources with less power I use to local positions to highlight some parts of the picture that I want to pay special attention.

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