Colour psychology was really important to me, so I dictated Autumnal tones to the stylists and keep those colours in mind with my lighting. I used contrasting colours on my flashguns to create tension and drama in the imagery.
I enjoyed using a lot of flash for this shoot, Godox`s are my weapon of choice when it comes to Off-camera flash and used up to four of them for each shot. Each of them was heavily gelled (CTO`s to change colour) and I shot using the tungsten colour balance setting to give the body of work a distinct colour tone.
Each flash head was gridded as well to control the spill of light, and I used a Joe McNally softbox for the majority of the portraits too as the main light on the couple. This is a great 40cmx40cm softbox that’s got an internal cream baffle and is gridded outside too, so it creates the most beautiful light.
If anybody is familiar with my work, this is a look I really love – just look at the self-portrait project I created to see this type of set up in a variety of different settings.
Whilst I do love natural light portraits, I really see myself pushing my flash work in my normal wedding shoots as I feel its just such a creative tool.
Styling was important for this shoot, as was the overall tone and I set this whole shoot up by putting out a casting call for creatives. I then directed the setup and overall themes and look of the shoot, and I am very pleased with the results.
I naturally find myself drawn to the odd and different, so this was a joy to create.