FALL SUNSET:

Backdrop lit with:

- NC at 25% from above
- L713 at full from above
- AP3180 at 75% from above
- NC at 25% from below
- RED at 75% from below
- GRN at 50% from below

Model lit with:

- AP3180 at full, 17 ft. above deck, 3 ft. SR of model, 8 ft. DS of model, 14 ft. throw, 52 degree elevation angle, 21 degree side angle.
- AP 6800 at 25%, 0 ft. above deck, centered on model, 8 ft. DS of model, 10 ft. throw, -37 degree elevation angle.
- AP 6800 at 31%, 12 ft. above deck, 12 ft. SL of model, direct sidelight to model, 13 ft. throw, 27% elevation angle.
- AP 6800 at 61%, 6 ft. above deck, 12 ft. SL of model, direct sidelight to model, 12 ft. 0 degree elevation angle.
- AP 6800 at 50%, 1 ft. above deck, 12 ft. SL of model, direct sidelight to model, 13 ft. throw, -23 degree elevation angle.

I chose to emphasize the sidelight created by the sun setting in the west. The darker and lighter shades of purple used as toplight on the backdrop are meant to give the feeling of the night sky still illuminated by the setting sun, which, at least in New England, is often purple in hue.

SUMMER NOON:

Backdrop lit with:

- NC at full from above.
- AP 2140 at full from below.

Model lit with:

- AP1500 at 60%, 17 ft. above deck, 3 ft. SR of model, 8 ft. DS of model, 14 ft. throw, 52 degree elevation angle, 21 degree side angle.
- AP1500 at full, 17 ft. above deck, centered on model, direct downlight on model, 11 ft. throw.
- AP1500 at 60%, 17 ft. above deck, 3 ft. SL of model, 8 ft. DS of model, 14 ft. throw, 52 degree elevation angle, 21 degree side angle.
- AP2140 at 20%, 0 ft. above deck, 6 ft. SR of model, 8 ft. DS of model, 12 ft. throw, -31 degree elevation angle, 37 degree side angle.
- AP2140 at 20%, 0 ft. above deck, 6 ft. SL of model, 8 ft. DS of model, 12 ft. throw, -31 degree elevation angle, 37 degree side angle.

High noon in the Caribbean has a white-hot sort of feel to its sunlight, so I used almost pure white downlight (it being noon, when the sun is directly overhead) on the model, with some fill on either side to prevent unwanted shadowing. I thought adding light reflected off the sand would be interesting, so I found a gel that matched the sand color and used it for some footlight.

SPRING SUNRISE:

Backdrop lit with:

- NC at 25% from above.
- AP3540 at full from above.
- NC at 25% from below.

Model lit with:

- R12 at 25%, 17 ft. above deck, centered on model, 8 ft. upstage of model, 14 ft. throw, 54 degree elevation angle, direct back light.
- L143 at full, 17 ft. above deck, 3 feet SL of model, direct sidelight to model, 11 ft. throw, 75 degree elevation angle.
- R4490 at 50%, 17 ft. above deck, centered on model, direct downlight on model, 11 ft. throw.
- L106 at full, 17 ft. above deck, 3 ft. SL of model, direct sidelight to model, 11 ft. throw, 75 degree elevation angle.

I was working with the idea of the model being at the altar, lit mostly by light coming directly in from behind her and from both sides through stained glass, hence the shadows and the saturated colors. It isn’t a naturalistic setup, but I feel it conveys the spirituality of the moment. For a fill of the cathedral itself, I used a pale blue that made me think of the sky on spring mornings.

WINTER AFTERNOON:

Backdrop lit with:

- NC at 80% from above.
- NC at 60% from below.

Model lit with:

- G680 at 40%, 17 ft. above deck, 9 ft. SR of model, 8ft. DS of model, 16 ft. throw, 42 degree elevation angle, 48 degree side angle.
- AP3300 at 75%, 17 ft. above deck, centered on model, 8 ft. DS of model, 14 ft. throw, 54 degree elevation angle.
- AP6200 at 40%, 17 ft. above deck, 9 ft. SL of model, 8ft. DS of model, 16 ft. throw, 42 degree elevation angle, 48 degree side angle.

This was my experiment with the McCandless system: I used complementary colors at opposing (roughly) 45 degree angles in front of the model. I used breakup gobos to give the effect of light coming through the trees, and I added a wintry bluish-white direct frontlight to give the impression of the crisp feeling in the air just before snow.