Building Peter Lindbergh's sunbounce cage...would appreciate feedback from pros!

[xvelids]

Hi all - I’m a documentary photographer who’s working on a portraits series in which I would like to create portraits in look/style of Peter Lindbergh (via the ones shot in the cage), but also inspired by the work of Fazal Sheikh’s portraits in particular his work in the white tents in Africa. (Will link to a mood board at the end of post) While, I’ve watched numerous videos of Peter Lindbergh’s sun-bounce cage at work through BTS youtube videos - any feedback from regarding the set-up, metering and lighting would be great as I begin testing!

By the way, I’ve decided to build the sun-bounce cage out of EMT Canopy materials because of the logistics of the grip (from what I can tell so far it is various single/double wind-ups, 12by frames and etc…) and also I can keep the entire cage on set.

About my gear:

I’m shooting on 8x10 view camera in B&W (the goal of project is to create 8x10 contact prints for each individual portrait). I’m most likely using a 360mm lens, Ilford FP4, a yellow filter for contrast if need be and have access to a pro darkroom.

Firstly, from what I can tell, Lindbergh uses a 12x12 double net (http://www.filmandvideolighting.com/ma12donetscb.html) as a backdrop and shoots through at the beach/ocean. What I like about this set-up is that the double net helps create depth/separation from the subject to the background and probably prevents the white sand from completely blowing-out the background. While I understand that the DOF in particular on a 360mm 8x10 in similar lighting conditions will probably result in a DOF of mere inches, it is something I would like to test. However, my issue is that I will not be shooting at the ocean with white sand, but will be shooting on a farm surrounded by grass/trees. Furthermore, for the specific look, I would like an off-white background (aka. not Avedon’s bone white seamless..) such as this image, but also a little lighter.

My initial solutions:

1. Use a white fabric backdrop or wall and figure out the distance and size upon set-up of cage and lighting. And also make sure the backdrop is evenly illuminated and not blown out.

I’m going to test all of this, but any advice or tips would be greatly appreciate as I am now in the process of building the cage. If there is a better/smarter solution, I would appreciate hearing that as well…

Secondly, I have not shot in this set-up before, but is there any particular way to position the box? I see that Lindbergh places his cage in many positions even with the sun coming through the back. For me, I am looking for more of an even/directionless light (or rather open shade) much like in Fazal and Avedon’s work (In the American West) and I believe I’ll place the box either with the Sun on box/camera right and use duvetyn on the top/left/right of the cage. It’s now summer and I’ll most likely start shooting in full sun from 11 am ~ 4 pm. I can also bounce/feather the light towards the subject and of course use various silks/reflectors/flags for more contrast control. The main question is how to position the box and backdrop? I’m going to test meticulously, but would appreciate any feedback.

Thirdly, and these are tertiary concerns:

I will bringing with me 12by full-stop silks, China silks, 18x14 flags for contrast control. I’m thinking out loud here, but I’ll probably might switch the duvetyn for the silks depending on the exposures, lighting control and overall look I want. Any feedback for contrast control such as negative fill, diffusion and etc would be appreciated as well. As for metering, my subjects are light skinned and I’ll probably meter for a zone 6. I’ll expose twice and bracket for the tests (STD processing and N-1). I’ve also attached the following as various mood board inspirations:

Peter Lindbergh - the technical and refinement of his work.

His set-up:

Fazal Sheikh - the look and feel of its documentary work is awe-inspiring for me.

Avedon - mainly because of it is 8x10 work and also composition and framing.

I just like this shot of Avedon at the show.

Irving Penn - mainly because of its composition, framing and refinement. Also, the platinum prints from Penn are break taking and among the greatest I’ve ever seen.

August Sander - mainly because of the subject matter which is similar to mine.

Guys - thank you so much for reading! I understand it’s overdrawn, probably over thought out, but mainly I’m trying to see if I covered all my bases and feedback/suggestions from experience is invaluable. I haven’t shot an elaborate set-up like this and also have my hands full from producing the tests, shoots and just normal working life.

 

[ParkerSmithPhoto]

If you look at Laura Wilson's book "Avedon at Work" you can see that he photographed on the shady side of a building. This is essentially what Lindbergh is doing: blocking most overhead and side light and then bouncing light in from the front with a big reflector. Obviously much easier to do Avedon's way.

 

[M Carter]

A note on using the black net for the BG - yep, he's essentially using it as a big ND filter. Your two big concerns with this are (naturally) the DOF has to be short enough that none of the mesh registers. And, this is huge - you will need a TIGHT stretch of the stuff. Any bit of sag or ripples, and the sizes of the holes in the mesh will change, essentially - and you'll see dark streaks, potentially a moire-look (a true moire would be enough sag for the mesh to overlap itself, but I imagine you get the idea). From your post, it seems you're considering white mesh vs. black - I'd wonder if even a 1/4 stop china would be too much? I have a Westscott Scrim Jim with a large bridal fabric, almost a gauze I had made. (I use it to just barely diffuse the light yet still have the "feel" of hard sunlight and just taking the edge off a bit.) If indeed you're talking white for knocking down the BG, do plenty of fabric tests! But it sounds interesting, as it would diffuse the BG even more than DOF. I wonder if white would be a big help in knocking the BG down (sometimes you need 3 or 4 or 5 stops after all) - being white. Makes me wonder if a neutral gray mesh would be more effective? Test test test of course...

In the old effects days, model photography of buildings and fake mountains was done through bridal mesh to give the look of atmospheric distance. I think some planning went into working any seams into horizontal things in the subject, like horizon lines.

I do a lot of location video, and though many have tried ways to knock down a BG, the solution is most often to get more light on the subject. Beadboard (and big ones, even 8x8), BIG white or silver reflectors, silver or a plexi mirror shot through a diffusion frame, or HMIs. Everything you do to soften the light on your subject will knock out lumens, and jack with your balance of BG vs. subject exposure, as you know.

Grip-wise, I'd think some hi-hi's would be a big help for this, but then again the size and weight that makes them wonderful could be murderous for a remote location. People can do wonders with aluminum pipe and hollaender fittings for rigs like this (I have an awesome dining table made that way). The pipe is lightweight and can be cut with a chop saw. A bit pricey but infinitely re-usable.

Cheering you on for this, I love a big production from an obsessed mind!