Cover image: In order to suspend French model Laetita Casta for this advertising shoot for diamond.com in a life size “spyder net”, high above a 4×6′ Broncolor Cumulite, itself rigged up on 2 massive crank stands, this set required a great amount of solid and reliable grip. Any failure of the equipment would have resulted in catastrophe. (image by Markus Klinko).
Don’t skimp on the grip
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I am willing to bet that grip is the weakest link in the photo production chain, not only in countless private photographers’ own studios, but also in many major rental facilities.
Somehow photographers, and studio/rental managers, are just not willing to invest as much money and care in stands, booms and related grip stuff, as they eagerly doing with camera and lighting gear.
A big mistake in my opinion.
First, when it comes to great lighting in photography, the angle, placement and direction of the light is actually a lot more important than what kind of modifier or flash brand you use.
Many photographers have expensive gear, but have no way to position it properly, and therefore can not reap the full benefits, no matter how good a light they use.
It is also a lot faster, safer and more convenient to rig on top notch, well maintained and appropriately chosen gear, and makes the job a lot more fun.
In film production, where lighting crews are teams of specialized, trained professionals, this slacking on proper grip does not occur.
I have personally always been very keen on great grip and rigs. Earlier in my career I spent a lot of effort and money to design elaborate custom camera rigs and brackets.
During the transition time from film to digital, in the mid 2000s, there were no better solutions than adjusting existing cameras to best fit the new technology.
Luckily for me, this is no longer necessary nowadays, as excellent products are available. Read More »
