After the light is metered to f/11 the model arrives and the light is repositioned based on where the shadows fall on her face. The set is prepared, using a large white reflector for a backdrop in lieu of a white wall. We get to see Abraham Sprinkle, a professional hair and makeup artist, exhibit his expertise, doing his own deconstruction of the Testino photo in order to match model Jenny Folsom‘s makeup to Kristen Stewart’s. Next, we observe the importance of working and communicating with a hair and makeup artist. The octabox is placed in approximation to where the light appears to be coming from in Mario Testino’s photograph, to be tweaked once the model is on set. Noting somewhat harsh shadows and a large catchlight they opt for a medium octabox and remove the outer diffusion layer, leaving the inner one in place. They begin by deducing that only one light was likely used. In this video, you get to accompany Marius Troy and Jason Setiawan through this process for their recreation of Mario Testino’s photograph of Kristen Stewart, shot for a 2016 Chanel campaign. Once you’ve got an idea of everything, it’s time for trial and error. First, you have to analyze the image – really look at the details to discern how the image was lit, at what focal length and aperture it was shot, what the model was wearing, and how hair and makeup were done.
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