DPP Home Profiles Richard Reinsdorf: Master Of Architectural Fashion

Tuesday, November 10, 2009

Richard Reinsdorf: Master Of Architectural Fashion

Richard Reinsdorf blends building design and glamour in his provocative images

This Article Features Photo Zoom

DPP: How do you light projects?

Reinsdorf: On locations we use the Profoto Pro-7B2 portable battery packs, which allow me to supplement natural light where there are no outlets. We sync the lights with PocketWizards. One of my favorite light-shaping tools is the Profoto white beauty dish, which makes a great key light. Having it handheld by a photo assistant allows me to be very mobile with the models. I often use grids on heads or in the beauty dish or softbox to control the light even more. I have a number of softboxes, from the 7-foot Elinchrom Octabank to the Profoto Giant Silver 150. I’ll use 4x8-foot fomcor and movie reflectors. I also love mixing Kino Flo lights with low natural light and window light situations. Using HMI lights through a silk in a daylight studio for beauty can be amazing. Sometimes just the natural light in the open shade, such as in a tunnel entrance, can be wonderful. The key is to take control of the light and not just “throw it up there.”

DPP: What camera equipment are you working with?

Reinsdorf: I use the Canon [EOS] 1Ds Mark III and the Canon [EOS] 5D Mark II. My main lens—especially for the fashion work I do incorporating architectural elements—is the Canon 24-70mm ƒ/2.8L. The wide-to-normal perspective allows me to get in more of the environment. Another of my workhorse lenses is the 50mm ƒ/1.2, which is particularly useful when working in extremely low light.

DPP: How do you bring out the best in your models in terms of poses and attitude?

Reinsdorf: I always try to involve my subjects in the shoot as much as possible. Briefing them on the concepts and themes we’re striving for is an important part of the process. This allows them to bring their own point of view and creativity to what’s really a team effort. I surround myself with talent and vision that I can trust. This allows me to incorporate all the elements and gives me the space to relate directly to my subjects. This connection is vital. Whatever walk of life my subjects come from, I try to be sensitive to who they are.

Whether I’m shooting celebrities or models, or using real-life subjects in location settings, I need to find the best way to relate to them. This has to happen. In the flow of the stories we’re shooting, and to tie the entire story together, all the elements must come together. I’m definitely a team player and love the collaborative nature of working with people. It’s critical to give positive feedback and have good communication with my subjects and the entire team.

The shoot is only as good as its weakest link, and all the artists need to be on the same page and focused on the shoot. Model/subject, stylist, hair, makeup and set designers are like musicians in a symphony. We create visuals like an orchestra creates music.

To see more of Richard Reinsdorf’s photography, visit www.rrpix.com.


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