[Bill Sparkes]

Thanks.
I have an extensive background as a Credentialed Professional Photojournalist (still am).
(I’ve done all this before as a photogrpaher.) See: https://vimeo.com/258216401
This is a sample of still images I created as a sample of what video would look like for promotional purposes.
Yes, I get permission.
No, I don’t affect their productivity or income. I tell them to just ignore me…if they forget that I’m there…perfect.

Background is somewhat unimportant…it will be mostly the cloudless skies we get in Southern California.

As per several suggestions, small reflectors are probably the simplest and easiest way to go.
I can place them where I want, no power required, and adjust them as I move along with the workers.

I thought there might be some new lights I don’t know about….or a particular technique I’m not aware of.
In my 60s and still learning…(and thankful I am) 🙂

[Bill Sparkes]

Thanks for replying Bob.
Eastwood was in a position to be forgiven for the way he lit “Unforgiven”. Not sure if I will receive the same leniency.
What I want to capture is the emotion, expression and sweat on the faces.
Most of the workers wear hats, wrap-around scarves or something else for sun protection, and they look down
Already a bit of a challenge.

[Bill Sparkes]

Thanks Craig.
Any thoughts on 4k 8bit vs HD 10 bit using the Sony PXW-Z90? How do you like the camera in general? Pros and cons? Links to your work using it?
This is the first time I am looking to specifically target broadcast requirements…will be combining field footage and talking head interviews.
How does the BMPC match up with the Z90?
I was thinking the A7RII might match well because both are Sony… and I have all that $ invested already 🙂

[Bill Sparkes]

Thanks Todd. I appreciate your acknowledgement of Rick and your additional input. Smaller reflectors are probably the way to go as per both your replies. Trick will be to keep moving a reflector along with the workers – depending on the crop they can move along quite quickly. I am familiar with the “Boris Karloff” look from under-lighting, certainly not what I am trying to create.
I always want to incorporate “art” into my images, usually by careful sturdy of the existing natural light conditions.
With my background as a professional photojournalist, where one does not interfere with anything, I had to learn to be extremely conscious of light: from where, to where, how much, shadows created etc.
As I transition into documentaries the use of light is crucial to me.
I want to use light as an essential element of my storytelling.
Often, (always) light is everything.
I am usually a one or two-man-band, for this kind of work low key presence and simplicity is the name of the game. Workers are usually in the fields from 6 am to 3 pm, so in order to avoid that harsh daylight I may be seeing some early mornings. Will be working with wide angle lenses in close proximity.

[Bill Sparkes]

Thanks Rick. Could you provide some links to products mentioned? Also this will be a very small crew 3 at most…may not be able to deal with very large reflectors. If I only want to say backlight 2-3 workers at a time, would something like a battery powered Joker bug 200 work? Or a smalker type reflector? Will a 8×8 scrim jim do the trick?