As part of the shoot's modern, natural narrative and in order to push the dynamic range of the Canon EOS C500 Mark II and CN-E20-50mm T2.4 L F / FP pairing, Ian was keen to use sun flare for one scene. However, the sun had set for the day, meaning he had to improvise, putting parallel beams of light into proprietary reflectors for parallel shadows that replicate naturalistic sun flare, with a reflector directly in shot to look like sunlight coming through a cloud.
"We had the model walking and crossing through the shot," says Ian. "You were looking at the image thinking there was no flare, but then when she crossed through it, you could see the left and right contrast suddenly get deeper. So you could see the flare disappearing. That showed that the lens produces a flare, but a very subtle flare, and it holds a contrast well even in a direct light."
Inside the modernist house with large plate windows, the model then posed under direct lights with the dim twilight sky in the background, creating a layered, painterly feel. "Again, the model's skin held beautifully, even without make-up and no diffusion on the lights. It shows the CN-E20-50mm T2.4 L F / FP has a classiness to it," says Ian. "With the EOS C500 Mark II, it has excellent resolution, dimensionality, a smooth bokeh and focus fall-off, and creamy skin tones. It's not like your normal modern full-frame lens that's just very clean and completely without character. It has a refinement and richness to it. This is a proper cinema lens."