Shawn Perine: When we were doing this shoot you kept things moving, pushing us all along.
Arnold Schwarzenegger: I never had much patience for any of the kind of setups, or special lighting, or anything like that. When you have natural lighting coming in from the windows or a skylight, you pretty much get away without having to use all the lamps and all the other stuff. You can’t get any better than sunlight. It’s an honest light and you’re letting the people see exactly what it is, rather than lighting it up with special lights. Even when Artie Zeller would sometimes try to bring in lights I would say “I’m not having any part of it. I will not pose for you. I will do muscle poses with lights, but not exercise poses. You’ve got to try to grab the shot while it’s happening. If I’m doing T-bar rowing with seven plates, I’m not going to hold that pose for you. If I’m doing dumbbell curls I will sit closer to the window for you,” I’d say, “But I’m not going to wait for you to set up a strobe light, because it isn’t going to happen.”
And that was always kind of the atmosphere. He would be running around like he was going to have a nervous breakdown any second. It would be like 14 days out from the Olympia and he would see me all pumped up, and this was his chance and he felt like I was not giving him the appropriate amount of time. But with photographers, you can never give them the appropriate amount of time, because they’ll always want to get an extra little lamp, or a spotlight for your eyes, that no one really cares about. So, it’s the same thing we went through at this shoot as back then. The best shot we took was against the brick wall, with the natural lighting. Or that photograph there on the bench, where it was just the lighting from outside. SP: It’s real, and people like to see what’s really going on in a gym shoot—not something that’s staged.