Late last year I was asked by the lovely folk at TotallyDublin to go to the National Print Museum and take some photographs of the people and machinery there. I didn’t know we had a National Print Museum at all and I just presumed it was in some place that it really wasn’t. Thankfully I’m *always* early for stuff like this, so when I got word it wasn’t anything to do with the Book of Kells in Trinity (honestly, even I don’t know how I got that impression), a quick taxi-ride took me over to it. Alf (the man above) was being interviewed when I arrived.
Left to my own devices, I plodded around the place, taking some shots of the machinery and setting up my portraits, by placing light stands here and there. The machinery was baffling, but thankfully after his interview Alf came down and talked us through every machine there. Every one. It could’ve been a real bore, but when you meet someone with a real passion for something like Alf, it’s easy to get sucked into his stories. I learned about Slugs and bleeding and how you could lose and arm or tone up your arse muscles in an old printing factory. Better still I learned how to spot a fake Declaration of Irish Independence (It’s the c’s, they didn’t have any in the font they started to use, so they’re all in a calligraphy-type script – Oh, and the large letter P in ‘republic’ is just an R with a lump taken off it.)
So there y’are. That’s the background to this, but I was asked by a few people how I got this shot, so I’ll do a little run through it.
Right, so the image is composed with two light sources in a cross-lighting pattern (Have the lights facing each other and the model between them). First off I took an ambient light reading. It was exceptionally dark in this part of the gallery. I needed a narrow aperture to get detail in everything around Alf, so I settled on f/11 after a few shots (I normally start at f/8 and wiggle from there). 1/50 @ ISO 2000 (yup, thousand) was where I was otherwise. I needed to get some background detail in here and as I didn’t have a tripod with me, I had to limit the shutter speed to 1/50 as my lowest possible factor. Thankfully the D700 can handle this kind of ISO tom-foolery, so 2000 was acceptable at the time.
Right, so next I brought in my background light (the one flaring to the right of the frame). I placed it behind Alfie at an angle that’d light the back of his head and also the work space around him. It did a good job. Although it may be somewhat over-exposed on the white area in the back, it had to be somewhat to pick out the details in the keyboard below that. As you can imagine, given the settings mentioned earlier, the flash was at a relatively low setting (1/8 for the background if I remember correctly). I had it at it’s widest point, so as to illuminate as much as it could in the scene around him.
With that all looking fine-and-dandy I introduced my second light – a small softbox held above and to the left of Alf (facing the other light, essentially) by one of the helpful staff members there. As far as I can remember it was about 1/16, but I’m open to argument. The softbox has seen better days, but it still gives lovely light. If you click the image there you can see it large on Flickr. I just love the fall-off from it.
There y’are now. Not a perfect solution to this scene, but one that I came to first whilst working on my feet. If I was to change anything, I’d go back, open up that aperture, knock the background really out of focus, blur everything up to the keyboard by his side and adjust correspondingly with the flashlights.