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Event Lighting: Working with Photographers to Capture the Event in the Best Light
October 13, 2011
While lighting at an event is clearly the fairy dust that takes a party from ordinary to extraordinary, it can also significantly impact the quality of imagery that the event photographer is able to capture. From no lighting at all to neon-blasted and fluorescent-filled rooms; we’ve heard photographers’ recount story after story of their lighting challenges. As a result, Eventions has made it our mission to make sure the photographer’s needs are understood and absorbed into every event lighting design.
Over the years, we have found that photographers are truly artists that walk to the beat of their own drums. As a result, they all have different approaches and preferences when it comes to ambient or production lighting techniques. However, some of the most common lighting requests we hear from photographers usually include: installing all lighting with dimmers to allow adjustments throughout the night; providing some form of perimeter lighting; taking the monogrammed gobo off the center of the dance floor; not using sharp breakup patterns on the dance floor; and balancing the intensity of the foreground and background lighting.
Below we share some thoughts on lighting from three of the Philadelphia area’s best-known photographers:
“Whenever my future clients marvel about some of the amazing room shots that I’ve had the opportunity to photograph over the years, I always point out how great professional lighting helped to create the image. Photographers can light a room with flash, but it is always flat looking. Professional lighting provides depth to the room and highlights all the décor. When a room is properly lit with appropriate balance, all I need to do is photograph it. Candlelight is beautiful and warm to the eye but to a camera it is NEVER enough. The warm glow must be enhanced with professional lighting to make it glow deeper in the camera. Photography is capturing light either on film or a digital sensor. If there is no light, there is nothing to photograph.” Marie Labbancz www.artoflove.com
“I take a kind of street photography approach. I use the light given to me and sometimes I’ll add a bit just to help. If there’s a little soft perimeter wash around the room, great. Perhaps a soft glow on everyone’s faces. For me it would be really boring to overly light a room and have every shoot a major multi-hued production. I want to have something more organic, real. I want the challenge to find the light, use the atmosphere and create something spectacular from nothing. I want the opportunity to be the observer who shows someone something that touches the heart and soul. Most of all I want my work to be fun and my art beautiful and real. ” Kevin York www.kevinyorkphotography.com
“Professional lighting in a space should be layered, with soft perimeter lighting for depth and soft warm lighting on faces. Patterns on the dance floor or across the room is not a favorite because it causes blotches and shadows that may add decorative drama but aren’t flattering to people. Instead I suggest a mix of soft colored washes across the dance floor, like soft pinks and lavenders blended together. And even though most people like amber or flesh colored lighting, it generally turns everyone an unflattering orange.” Sarah Dicicco www.sarahdicicco.com
On most of our productions, we are collaborating on the lighting design with an event designer or/or wedding planner. Once we have those specifications in hand and the lighting plot in place, our lighting designers strive to find the balance between ambiance and clarity to allow the designer and the photographer to achieve their respective goals for the end client.
CATEGORY: A Conversation With, Business Partners, Weddings
