People / Portrait Shots

Transcription

1 People / Portrait Shots

2 Table of Contents Basic Head Shot Consistent Portraits Page 5 Page 8 Clamshell Portrait 1 Clamshell Portrait 2 Page 15 Page 18 Clamshell Portrait 3 Casual Portrait 1 Page 20 Page 23 Casual Portrait 2 Casual Portrait 3 Page 27 Page 31 Casual Portrait w/umbrellas Page 35 Dramatic Portrait Page 39

3 Table of Contents Casual Studio Portrait Page 42 Kids Portrait Page 45 Baby Portrait B & W Portrait Page 51 Page 57 Fashion Portrait Glamour Portrait Page 61 Page 65 Professional Portrait Trophy Portrait Page 68 Page 72 At Home Portrait 1 At Home Portrait 2 Page 75 Page 82

4 Table of Contents Capturing Your Vision Page 89 Two Light Portrait Page 97 Three Light Portrait Page 106 Full Length Portrait Page 117

5 Basic Head Shot There are many decisions to make when creating a headshot. You can decide to shoot indoors or outdoors, to use available or artificial lighting (or a combination of both), or to position your subject in front of an available or custom background. This lesson examines some basic lighting techniques for an indoor location headshot. Topics Covered: * Creating a simple portrait set on location 5

6 Equipment Used: * 2 Strobes with a Soft Boxes on Standard Light Stands. * 1 Small Strobe with a Soft Box on a Small Stand for Lighting the Background * Camera with Infrared Slave Triggering Capabilities * 1 Large Reflector and Stand Figure 2 Figure 1 We began by placing a strobe with softbox slightly to the right of the camera and up high aiming down (figure 1). This is the result (figure 2). Figure 4 Figure 3 Next, we placed a 32 reflector disc to the left to fill in the shadows on the left side of the model s face (figure 3). This is the result (figure 4). 6

7 Figure 5 Then we placed a second strobe with softbox to the far right of the camera aiming at the model s hair. We also placed a small strobe with softbox behind the model and aimed it at the background to blow out the background. This step is not necessary for the shot you may like, but we wanted to show you some options. Also, for this shot the reflector was removed. Figure 6 This is the result. Figure 7 We put the reflector back in position to fill in the left side. Figure 8 As you can see in our final result, an extra light or two can really change the outcome of your shot. 7

8 Consistent Portraits In this lesson we show how to set up and shoot the perfect portrait every time. With a few simple tips and tricks, you can rig your portrait gear to save time and make those school portrait jobs a snap. Topics Covered: 8 * The concept of the string method * Creating a basic portrait set * Setting your gear for consistent results

9 Equipment Used: * 2 Strobes with Soft Boxes. One on a standard light stand and one on a boom and boom stand. * 1 Large Reflector Disc * Camera with Infrared Slave Triggering Capabilities The trick to consistent portrait lighting is to set your lights (the main, fill, hair, and background) the same distance from your subject each time you set up your lights. This will ensure consistent light levels and exposure values. Many photographers simply tie strings of established lengths from each light. The string then becomes the ruler for setting the light the proper distance from the subject. Creating a Basic Portrait Set In figure 1 we show the completed lighting solution for this lesson; each of the lights have been labeled as to what their purpose is in the lesson. We used a standard four light portrait set including a main/key, a fill, a hair, and a background light. The best way to establish your light to subject distances it to set your lighting solution where you want it with results you like. Then you can mark your lights with the strings one at a time. Figure 1 Figure 2 shows the result of using the main light only, a medium strobe with soft box. The high contrast and lack of shadow detail in the shot can be easily corrected with a fill reflector. Figure 2 9

10 We set up a lite disc holder and attached a 32- inch white/silver lite disc to it with the white side toward the subject. It was set to camera left at about 45 degrees from the camera and 3 feet from the subject. We made another exposure (figure 3). Figure 3 In figures 4 and 5, we see the effect of the LiteDisc on the subject and the reduction of the overall contrast. Figure 4 Figure 5 As an option to using a reflector as the fill, we decided to use a second strobe and softbox to replace the LiteDisc reflector. This light to subject distance of this light was about 1-1/2 to 2 feet more than the main light distance (figure 6). This ensures that the fill light is not as bright as the main, helping to achieve a better highlight to shadow ratio. 10 Figure 6

11 In figures 7 & 8, we see the effect of the fill light on the subject. We reduced the contrast another notch and added an extra spark to the shot. Figure 7 Figure 8 The next item for this classic portrait set up is to add the hair light. Our hair light was a small strobe and soft box on a boom stand. Once assembled, we set the boom to camera right at 90 degrees from the camera. Then set the boom and light directly over and just behind the subject and about 3 feet from the top of his head (figure 9). Figure 9 To clearly illustrate the effects of the hair light, we shut down the key and the fill lights and made an exposure with just the hair light. With the position set properly, the hair light just strikes the head and shoulders of the subject without illuminating the face (figure 10). Figure 10 11

12 With the hair light in position, we powered up the key and fill lights and shot our next set of images. Figure 11 shows the previous result shot without the hair light and figure 12 shows the result shot with the hair light. Notice the nice separation between the hair and shoulders from the background. Figure 11 Figure 12 To complete our lighting setup, we added a light to the background. We used a small strobe and softbox on a short stand. We placed the background light directly behind the subject and tipped it slightly up to light the seamless paper with the light to dark gradation (figures 13 and 14). Figure 13 Figure 14 12

13 To illustrate the effects of the background light, we shut down all the other lights on the set and shot a photo with just the background light (figure 15). Figure 15 Figures 16 and 17 show a comparison of our light setup without and with a background light. Notice how the background light provided even more separation between our subject and the background. Figure 16 Figure 17 Once all of the lights are producing satisfactory results in our portraits, we can record the placement of each light. This is where the string is used. Each light (or light stand) used can have a string tied to it (figure 18). The string is then pulled taut toward the subject and cut just in front of the subject s face. Figure 18 The next time the lights are set up, each light can be set up in the same manner as the original set up by using these strings to keep the light-to-subject distances consistent. 13

14 Figures show how each string is used to set the distance between each light and the subject. Figure 19 Figure 20 Figure 21 Figure 22 14

15 Clamshell Portrait 1 Here we will illustrate a very common lighting approach used by professional fashion photographers called clamshell lighting. Clamshell lighting is popular because it typically renders a flattering 1:1 lighting ratio. For this lesson, we scheduled a photo-shoot with a local model to create a classic clamshell head and shoulders shot. Topics Covered: * Creating a 1:1 lighting ratio * Filling in the shadows with the soft box strobes * Using a soft box strobe to create a hair light 15

16 Equipment Used: * 3 Strobes (one with a softbox and two umbrellas) on Standard Light Stands. * 1 Large Reflector Panel * Camera with Infrared Slave Triggering Capabilities Figure 2 Figure 1 We placed a 1000 watt strobe with soft box on a Boom and BoomStand. We then placed the Medium Starlite over the subject as our key light (figure 1). Here we see the results with the key light only. Figure 4 Figure 3 16 We placed a small 500 watt strobe and soft box on a short stand and set it in front of our model as a fill to open up the shadows (figure 3). Here we see the results of our fill light.

17 In this set up, we added a 500 watt strobe with a soft box on another Boom and Boom Stand, as a hair light. Figure 7 In our final image, we see the effects of the hair light. Our model is now separated from the background and has very nice highlights in her hair (figure 6). Figure 6 17

18 Clamshell Portrait 2 Lighting from overhead is very common in fashion shots for women for several reasons. If the light source is large enough, a very soft light is created. By contrast, lighting from the side can render unwanted shadows of the nose and far cheek. Lighting from the top also illuminates the hair more fully and renders cheekbones nicely. Coupled with reflector disks, the results are impressive as shadows are minimized and eyes reflect large, even catch-lights. Topics Covered: 18 * Top lighting for portraits * Using reflectors to control lighting ratios

19 Equipment Used: * 1 Extra Large Strobe with a Soft Box Hung from the Ceiling. * 1 Large Reflector Panel * Camera with Infrared Slave Triggering Capabilities Figure 2 Figure 1 We suspended an extra large strobe with soft box from the ceiling using ropes. Having the soft box suspended eliminates the need for an overhead boom and keeps the working area clear. The overhead main light works well, but we need a better light to shadow ratio. We can achieve this by using a reflector to bounce light from the main light back into our subject. Figure 4 Figure 3 We used an oval LiteDisc with the silver reflector in a traditional clamshell lighting set up. This gave us great results. We achieved a nicely balanced lighting ratio and attractive highllights in our model s eyes. 19

20 Clamshell Portrait 3 Here we illustrate a very common lighting approach used by professional fashion photographers called clamshell lighting. Clamshell lighting is popular because it typically renders a flattering 1:1 lighting ratio. For this lesson, we scheduled a photo-shoot with a local model to create a classic clamshell head and shoulders shot. Topics Covered: * Shooting portraits using the clamshell lighting set up Equipment Used: 20 * 1 Extra Large Strobe with a Soft Box Hung from the Ceiling. * 1 Large Reflector Panel * Camera with Infrared Slave Triggering Capabilities

21 Figure 1 An extra large strobe with softbox was suspended using a boom and boom stand to create our overhead main light. The weightbag visible in the foreground was used to counter-balance the weight of the strobe and soft box. Figure 2 This is the result of our overhead main light. Figure 4 Figure 3 This is the result shot. We achieved great results using only one light source and a reflector as the fill (figure 4). An oval LiteDisc reflector was placed under the main light to bounce light up into the face of our model. This is a common lighting set up known as clamshell lighting (figure 3). 21

22 Figure 6 This is the result of using only the large overhead soft box strobe as the main light (figure 6). Figure 5 We used another model to demonstrate the same lighting set up (figure 5). Figure 8 This is the result of our clamshell lighting set up. 22 Figure 7 We then used an oval reflector disc with the gold side up to warm up the shadow areas of our shot (figure 7).

23 Casual Portrait 1 Soft light is created when a light source (sun, light bulb) becomes diffused. Because diffused light renders people and objects in smooth tonal transitions, it works very well when taking portraits. Topics Covered: * Setting the main light * Using a reflective lite disc indoors to create a fill light * Creating an overhead hair light 23

24 Equipment Used: * 1 Strobe with a Softbox on a Standard Light Stand. * 1 Strobe with a Softbox on a Boom and Boom Stand. * Camera with Infrared Slave Triggering Capabilities Figure 1 Figure 2 We set up a small 500 Watt strobe and a softbox and took our first shot (figure 1). This is the result. 24 Figure 3 We added a 32 White/Gold reflector disc on a stand. The reflector will fill in the shadows on the left side of the model (figure 3). This is the result (figure 4). Figure 4

25 Figure 5 To put more light on the hair, we added a small 500 watt soft box on a boom and boom stand (figure 5). Figure 6 At left you see the results and the significant difference from our first shot (figure 6). Figure 7 To better control the hair light and keep it from overexposing the model s shoulders, we added grids to the small soft box overhead (figure 7). Figure 8 This is the result (figure 8). 25

26 From left to right, you see the results of a one-light setup, a one-light setup with a reflector filling in the shadows, and a two-light setup with the reflector fill. (figure 9). Figure 9 26

27 Casual Portrait 2 This lesson shows how to set up a simple studio portrait lighting set up using strobe lights. The main light is a strobe with a softbox which has gold and silver panel inserts for modifying the color of light output. We also used a softbox, to light the hair and background with only one light. Topics Covered: * Setting the main light * Adding a reflector fill * Adding a hair/background combination light 27

28 Equipment Used: * 2 Strobes (one with a Multidome and one with a softbox) on Standard Light Stands. * 1 Large Reflector Disk * Camera with Infrared Slave Triggering Capabilities Figure 2 Figure 1 A medium strobe with soft box served as the main light. The gold panels were inserted in the soft box to produce a warm light (figure 1). This is the result using only the main light. Figure 4 Figure 3 28 To fill in the shadows on the left side, we added an Oval LiteDisc with the soft gold side reflecting light from the main light (figure 3). The shadows have been filled in (figure 4).

29 Figure 5 Figure 6 We added a strobe and soft box on a boom to serve as a hair and background light. This shot shows the soft box with 2 of the removable black panels attached to block light directed toward the camera. This side-view shot shows the soft box on its boom. The white sides of the box illuminate the background while the face of the soft box acts as a hairlight (figure 6). Figure 7 Figure 8 Notice how the above light provided enough light for the background and added a nice separation light to our model s hair (figure 7). We added the grids (available separately) to the Medium MultiDome to give us more directional control of our main light (figure 8). 29

30 Figure 9 This is our final result shot (figure 9). 30

31 Casual Portrait 3 This lesson shows how we used a large main light, a reflector, and two umbrellas to light this shot. Topics Covered: * Setting the main light * Setting the fill reflector * Setting the background light * Setting the rim light 31

32 Equipment Used: * 3 Strobes (two with a umbrellas and one with a softbox) on Standard Light Stands. * 1 Large Reflector Panel (white fabric) * Camera with Infrared Slave Triggering Capabilities Figure 1 Figure 2 We began with a reflector umbrella as a main light. This is the result using only the main light. Figure 3 Figure 4 32 We used a large white light panel as a fill for the shadow side of his face (figure 3). The LitePanel filled in the shadows nicely.

33 Figure 5 An adjustable white umbrella was added to light the background. Figure 6 This shot shows the umbrella setup in relation to the background. Figure 8 Figure 7 We turned the umbrella to our subject to act as a separation light and added a second White Umbrella setup on the right as the background light (figure 8). We have a new look with the background lit (figure 7). 33

34 Figure 9 The separation light from the umbrella produces a nice rim light. Notice how this setup produced a sense of depth to this final image (figure 9). 34

35 Casual Portrait With Umbrellas When it comes to shooting fashion or portraits, using an umbrella is an inexpensive and time-saving alternative. The cost of an umbrella, makes a good choice for those on a budget. In most cases, when you compare results from both a softbox and an umbrella, you will see greater contrast in the images using an umbrella. Topics Covered: * Umbrella as a Key Light * LiteDiscs for fill * Lighting a background with an Umbrella 35

36 Equipment Used: * 3 Strobes with Umbrellas (2 reflective and 1 shine through) on Standard Light Stands. * 1 Large Reflector Disk (Silver and Gold) * Camera with Infrared Slave Triggering Capabilities Figure 1 Figure 2 The RUT umbrella can be converted to a shootthrough umbrella by removing the black cover (figure 1). Using a shoot-through umbrella is a cost-effective method of softening the light output of your strobe (figure 2). Figure 3 36 We set up an RUT Convertible Umbrella as our main light (figure 3). Figure 4 This setup gave us very good results. Yet, there is more we can do (figure 4).

37 Figure 6 Figure 5 We added a 32 white/ soft gold LiteDisc, with the white side reflecting, on a lite stand. The LiteDisc produced a pleasing fill light. Figure 7 Here, you can see the comparison of using only a main light set up and using a main light with fill reflector set up (figure 7). Figure 8 Figure 4 To brighten the background, we added 2 ADW Adjustable White Umbrellas behind and to both sides of our model. 37

38 Figure 9 The result is a much brighter image with a different feel than the earlier shot. 38

39 Dramatic Portrait Creating a dramatic portrait can be a very simple task when you use the right tools. In many cases shooting a portrait with drama can be much easier than a traditional portrait. These types of portraits tend to be more expressive, and may have to tell more of a story in a single image. Topics Covered: * Using a main light * Adding a fill reflector * Adding a rim light * Adding contrast with a background light 39

40 Equipment Used: * 2 or 3 Strobes with Soft Boxes on Standard Light Stands. * 1 Reflective Light Panel * Camera with Infrared Slave Triggering Capabilities Figure 2 Figure 1 The result shows a good start, but we want to brighten up the shadow side (figure 2). We used a strobe with an OctoDome head which was mounted on a lite stand, as the main light in this portrait (figure 1). Figure 4 Figure 3 We added a White Lite Panel, to reflect the main light into the shadow side. This is our fill light. This is better. Now we want to create more definition by adding a rim light (figure 4). 40

41 Figure 6 Figure 5 This is even better. Now we will light the background to provide some separation (figure 6). We next set up a small strobe with a soft box to serve as our rim light (figure 5). Figure 7 To the right side of the set, we place a medium strobe with a softbox as a background light. Figure 8 Good. Now we have separtion between the subject and the background (figure 8). 41

42 Casual Studio Portrait This lesson will show how to use a large main light with inexpensive secondary lighting to light a casual portrait. Topics Covered: * Using a main light * Adding a reflector fill light * Using umbrellas as background lights 42

43 Equipment Used: * 3 Strobes (one with a softbox and two umbrellas) on Standard Light Stands. * 1 Large Reflector Panel * Camera with Infrared Slave Triggering Capabilities Figure 2 Figure 1 Our large strobe with soft box served as the main light (figure 1). This is the result using only the main light. Figure 4 Figure 3 We used a 39 x 72 light panel (white surface) as a fill for the shadow side of our model (figure 3). The LitePanel filled in the shadows nicely, bringing more definition to our shot. 43

44 Figure 6 Figure 5 An adjustable silver umbrella was added for light to fall on the background and on our model as a separation light (figure 5). We have a new look with the background lit and a nice rim light adding even more dimension to the photo. Figure 8 Figure 7 44 We added a second adjustable silver umbrella to the right of the set to light the background and the model. The separation light from the umbrellas produces a nice rim light as well as background light. The final lighting setup produces a rich, bright light to great result (figure 8).

45 Kids Portrait In this lesson we will look at producing a simple three light portrait with portable flash units. These flash units are designed to be used on camera and are ussually dedicated to specific camera brands. When used in this way, portable flashes are extremely versatile lighting accessories, which give the photographer many features including TTL flash metering. In the studio, these same flash units can be used in place of expensive studio strobe setups and with amazing results! The following lesson will guide you through using three portable flash units with Photoflex soft boxes and light stands to create a classicly lit portrait. 45

46 Topics Covered: * Setting the main light * Setting the fill reflector * Setting the background light * Setting the rim light Equipment Used: * 3 Strobes with Soft Boxes (small portables used in lesson) on Standard Light Stands. * 1 Large Reflector Panel (Silver and Gold) * Camera with Infrared Slave Triggering Capabilities The Key Light: With our key light ready it was time to invite our model onto the set. We sat her on the stool and spent a few moments explaining what we were doing and her part in the photo shoot. I feel this is always a good idea, no matter who you are shooting. It sets the subject at ease and makes for a much smoother shoot. Once she was comfortable we brought in the key light and set it in position, 45 degrees to camera right about three feet away and just above the subject s head level (figures 1 & 2). Figure 1 Figure 2 With our light and subject in position we set the camera to f 8 according to the meter reading, attached the sync cord to the camera, framed up the shot, and made an exposure (Figure 3). 46

47 Our result shot shows the light pattern created by our key light and it is doing just what we wanted. We have a good start for our simple portrait. Figure 3 Reflective Fill: Our next step was to add some fill to the shadow side of our model s face. To accomplish this we used a 32- inch reflector disk on a stand. Once we had the reflector assembled, we set to camera left, about three feet from the subject and centered the reflector with our model s shoulders (figures 4 & 5). Figure 4 Figure 5 47

48 With our fill in place we were ready for the next shot. For this result shot we are showing only the effect of the fill on the subject. You can easily see the detail in the shadows that we could not see before the reflector was set in place (figure 6). Figure 6 The Hair Light: Our next step was to assemble the second of our three extra small strobes with soft boxes. Once this was done we attached it to a boom and set it to camera left just behind the model and raised it up to about eight and a half feet from the floor (figures 7 & 8). Figure 7 Figure 8 With the hair light now in place we shut off the main light, moved the fill aside, and made an exposure with only the hair light (figure 9). We then moved the fill back in and fired up the key light and made a second shot (figure 10). 48

49 These result shots show the effect of the hair light on the subject and how the two lights and the reflector work together to render the subject in a very clean, classic look. Figure 9 Figure 10 The Background Light: For our last step we set up the third small flash unit. To properly light the background of our portrait, we set this assembly on a short stand. With this arrangement we could get the light right on the floor and tilt it up to light the background. Once we had the background light package put together, we set it just behind the subject s stool pointed at the background (figures 11 & 12). Figure 11 Figure 12 49

50 With the background light roughed in, we shut down the key and hair lights and made our final adjustments to the background light. To show the effects the light has on the background we made an exposure (figure 13). Then we switched on the hair and key light and took a second shot (figure 14). Figure 13 The result is a very well lit and pleasing image. 50 Figure 14

51 Baby Portrait You want to get a portrait of little Billy or Suzy, but you just don t know how to achieve that perfect smile with professional lighting. One of the biggest challenges any photographer, professional or not, would put at the top of their list is photographing infants. They have a mind of their own and their ability to take direction is limited. Getting the picture you want is not what is on their mind. If you are lucky enough to get an infant who is at least still enough, you are faced with another big issue: lighting. In this lesson we will show you how, with a little bit of patience and with the right lighting equipment, you can create beautiful infant portraits in your own home. 51

52 Topics Covered: * Using various umbrella and soft boxes as the key light * Adding a Fill Light * Posing babies Equipment Used: * 3 Strobes with soft boxes or umbrellas. Two on standard light stands and one on a boom stand. * Camera with Infrared Slave Triggering Capabilities Using an Umbrella as the Key Light We started by positioning the infant on a seamless white backdrop, wide enough to allow the child plenty of movement. We asked Mom to sit close to her son, but just out of the frame. This way she could help us to position him and then quickly remove her hands before we took the shot. For our first shot, we positioned a 1000w strobe with convertible umbrella on a stand, to the left of the camera at about 45 degrees to the child (figure 1). Mom helped us to sit him up, and our assistant made some funny faces to get his attention. As soon as the child looked towards the camera we took our first shot (figure 2). Figure 1 Figure 2 52

53 USING STROBES: Anyone who has tried to photograph an infant in the studio, probably knows the value of strobes. One of the major advantages of strobes versus continuous lights is their ability to freeze action. Another advantage is that a strobe allows for much greater depth of field, which is very useful when the subject is inclined to move around, in and out of the plane of focus. Using a Strobe and 3 ft. Soft Box as the Key Light As you can see, the result (figure 2) is good using just one umbrella. The light is relatively spread out, reaching both the subject as well as the backdrop. The angle of the light in relation to the baby creates good modeling on his face. Nevertheless, we felt this lighting to be far from ideal especially for an infant. First of all, the quality of the light is still harsh and contrasty causing bright highlights and deep shadows. To improve on this result, we wanted to make the light softer and to gain more control over the direction of our light source. To do this, we decided to try a soft box, which is designed to soften the light considerably and is widely recommended for portraiture. We set up our 3 ft. soft box on the same 1000ws strobe that we used in the previous step and positioned it at the same 45 degree angle to the subject (figure 3). The result (figure 4) shows how the soft box has softened the light allowing for a much smoother gradation across the baby s face. Also notice that the light is no longer reaching the background. This is important, because it allows the background to be treated separately from the subject. Figure 3 Figure 4 Swithching to a 5 ft. Soft Box as the Key Light While we were happy with our results using the 3 ft. soft box, we felt there were still a few improvements to be made. The main problem we noticed right away is that the light source was now much smaller. This became a real issue when our model decided (very spontaneously) to reposition himself just outside of where the light was hitting and then to do his best cute face. To solve this problem we decided to try a larger soft box, which would allow the baby a larger area to move around in and still be fully lit. 53

54 For our next shot, we replaced the 3 ft. soft box we were using before, with a 1000ws strobe with a 5 ft. soft box (figure 5). Our photographers got the baby s attention with a rattle toy in one hand while looking through the view finder. As soon as our model looked up, we took the shot (figure 6). Figure 5 Figure 6 In the resulting image (figure 6), the light is even softer creating beautiful, almost painterly modeling across the baby s face. Most of the shine and bright highlights on the baby s face, which were there even with the 3 foot soft box, have now disappeared. The background is still in shadow and there is now plenty of room for the infant to move around within the path of the light. The images below (figure 7) are a comparison of the three light modifiers we used so far. These are the 60 inch Convertible Umbrella (left), the 3 foot Octodome (middle), and the 5 foot OctoDome (right). Figure 7 54

55 Adding a Fill Light Satisfied with the quality of our key light, we decided to take our baby portrait to the next level by incorporating a fill light. To do this, we attached our 3 foot softbox to another 1000ws strobe. We then set-up a power ratio of 1:2. This means that our key light (the 5 foot soft box) was set to put out twice as much light as the fill light. This also translates to a one stop difference in the amount of light being put out by each strobe. We set our fill light just to the right of the camera pointed directly at the baby (figure 8). In the result (figure 9) notice how the second light has filled in the shadow side of the baby s face with beautiful soft light, without over-powering the key light. Now our portrait has a much more natural, balanced look. Figure 8 Figure 9 Using a StarFlash 300 in a Medium WhiteDome The image above (figure 9) could very well be considered a final shot and we could have safely stopped there. Nevertheless, we wanted to see if we could improve this portrait even more by adding another light to fill in the background and add a little bit of light extra light on the infant from the top. To do this we setup a 300ws strobe and soft box on a boom and positioned it slightly behind and directly above the infant. The soft box is designed with translucent side walls as well as a translucent face. Any of the side walls can be blocked off with black Velcro panel attachments. We blocked off the front side of the soft box (the side facing the camera) and pointed the soft box so that most of the light would fall onto the backdrop directly behind the infant (figure 10). By now, our infant was getting a little bit tired of seeing flashes go off and huge lights being moved around. After positioning our final lighting setup, we decided to take a break and let everyone, including our star model, to unwind a little bit. We also took this opportunity to try on a few hats and to think about other way to pose the baby besides the uncomfortable sitting position repeated in the shots above. 55

56 Figure 10 Figure 11 For our final shot, we picked a blue baseball cap to match his outfit. This time, he was not as cooperative for the sitting pose and preferred to crawl around, so we let him do just that. Thankfully, our 5 foot softbox was large enough to spread out the light, allowing some extra room for the baby to crawl. After a few awkward shots of the baby crawling and rolling over on his back, we finally captured our end result (figure 11). Notice how the background has now been filled in, creating a smooth, even tone from front to back. Also, notice how the extra little bit of light coming from the top has helped to define the baby giving him much more presence in the shot. We decided to test the same lighting concept with a different model. We had her lie down on the seamless backdrop in the same place as her brother and took a few shots. The image shown on the left (figure 12) is one of the better shots we took. Notice how the Whitedome has added a little bit of light to her hair making for a very nice, finished look. As you can see, the right lighting tools and some basic knowledge of portrait lighting can go a long way towards creating gorgeous infant portraits. Remember that the larger the soft box, the softer the light. Also, using a larger box allows the baby a lot more movement with in the frame. Most of all, just remember to be patient, keep the lighting simple, and have fun! 56 Figure 12

57 Black and White Portrait When we shoot in color, we do not depart from what we see everyday, so our eye expects certain details in order to fill out the image. Black and white photography gives us the opportunity to diverge from this norm, and in a way view reality as an abstraction. For certain situations, it is advantageous to use the black and white setting on your digital camera, as it is the only way to see without color; observing only the highlights and shadows. Professional photographers used polaroids for years, now we can use our LCD screens! In this lesson, we will create dramatic black and white portraits that may not have worked in a color setting. Topics Covered: * Black and white portraiture * Creating effective lighting for B & W photography * Creating appropriate backgrounds for B & W photography 57

58 Equipment Used: * 2 Strobes with Reflective Umbrellas on Standard Light Stands. * Camera with Infrared Slave Triggering Capabilities To begin, set up your lights and a 10 x12 gray back drop. Then have the model sit for some poses. We took one of the studio lights and set it up at eye-level with our model and about 3 feet away (figure 1). We positioned the light deep into the umbrella (figure 2) to create a smaller reflected light source that will help with creating a more moody atmosphere. We also set the light parallel to the backdrop in order to keep light off of it and directed at our subject. Finally, we had the model turn slightly into the light so that the shadow from her nose left a slight upsidedown triangle of light on her left cheek. This is known as Rembrandt Lighting, and serves to give the model a more three dimensional appearance. If properly positioned, a nice highlight will show in the model s left eye. Figure 1 Figure 2 We wanted to shoot a black and white portrait, so we set the filter mode on our camera to Black-and-White. We set all of our exposure settings, focused, and made the first exposure. In our result (figure 3), we get nice highlights and shadows on our subject s face without any background detail. This is a very nice effect, but restricts the amount of detail information we get from our subject. 58 Figure 3

59 While we like the first result very much, it is a little on the artsy side and not really a classic portrait. By adding gradated light to the background we can give more information about our subject and still maintain our original lighting scheme. In figures 4 and 5, we added the second light behind our subject, raised it about two feet over her head and moved it a foot closer to the backgound than the other light. We then positioned the light in the umbrella to get the maximum reflection and no light leak. Then, by changing the axis of this light, we achieved different levels of gradation across our backgound. Figure 4 Figure 5 Now, the strong key light we liked on the face remains, but we have added new layers of dimension to the image (figure 6). The highlights on her face contrast nicely with the black background, and the gradation gives us a nice sillhouette to define her form. Instead of a disembodied head, we now have a very tangible person. Figure 6 Plus we have added a neat little Rembrandt on her left cheek. This refers to the small upsided down triangle of light that occurs when we turn the model s face just enough to let light spill over the bridge of her nose. This light is also reflected in the right eye of our model, giving her more life. We like both images for different reasons and applications. Perhaps a more intimate portrait mood for figure 7 and a professional resume shot for figure 8. It is important to think of the end usage for your image, but is also important to experiment. Photography provides for many happy accidents, so don t be afraid to color outside the lines. Especially in black and white. 59

60 Figure 7 Figure 8 By using black and white as our medium, we have come up with a very striking end result. Our eyes are not distracted by different color variations and the subject is presented prominently. If you have a model and the time, be sure to try other angles or change the lights. Here are some variations we did with our model. As you can see, changing the angle of her head or the expression on her face can dramatically alter the feel of the portrait. Just remember to have fun and that there are no lighting rules, only lighting guidelines. 60

61 Fashion Portrait For many fashion and portrait shots, it s necessary to use several different light sources to get good results. For example, it s not uncommon to have a main light, a fill light, a hair light, and one or two background lights. That said, there are also times when you can capture great shots using just one diffused light source, as we did here. This lesson demonstrates some techniques for using strobes to light full-length fashion shots and illustrates how to drop out the background naturally (without the use of Photoshop) using lighting ratios. 61

62 Topics Covered: * The advantages of using a stylist * Setting up a white background sweep * Positioning a strobe overhead * Experimenting with different poses * Using lighting ratios to knock out the background naturally Equipment Used: * 2 Strobes with Soft Boxes on Standard or Boom Light Stands. * Camera with Infrared Slave Triggering Capabilities For this fashion shot, we used a hair/make-up/clothing stylist. It s a good idea to have a stylist on fashion sets because while you are focusing on lighting, camera settings, and getting your subject to interact with the camera, they are able to focus on the details of the shot. They will watch for stray hairs, bunched clothing, and the positioning of props and elements in the background. When the stylist and the model arrived on the morning of the shoot, we set up a makeshift dressing room in the studio s office and adjoining bathroom. During the time it took for the stylist to apply make-up, fix hair, and select the right clothing for the shot, we went about building the set (figures 1 & 2). Figure 1 Figure 2 For lighting, we started with a 500-watt strob and soft box on a Boom and Boom Stand. We then positioned it over the center of the paper, where our model would be crouching. Since the model was nearly ready, we had her come out to the set so that we could frame up the shot while the stylist finished up (figures 3 & 4). 62

63 Figure 3 Figure 4 Once the camera was mounted vertically to a tripod, we zoomed all the way out on the lens to keep lens distortion to a minimum. Looking through the viewfinder, the shot already looked great. We set the aperture to f/4 to keep the background soft, set the shutter speed to 1/125th of a second, and took several shots as the model gave various crouching poses (figure 5). Reviewing the images on the back of the camera, we were particularly drawn to this image. Not only was the model s pose captivating, but the lighting was elegantly simple. The soft box overhead did a wonderful job of lighting the model s hair, face and body while creating a subtle, soft shadow on a background that transitioned from light to dark gray. All from one light! Figure 5 63

64 Knocking Out The Background Next, we wanted to demonstrate how to drop out the background without the help of a photo-editing program. In order to illuminate the background to pure white, we needed to light it with twice the light output of our main light. Since our main light was lit with a 500-watt strobe and soft box, we set up two 1000 watt strobes with soft boxes on standard light stands, and positioned them on either side of the background (figure 6). Figure 6 To make the foreground and the model 2/3 of a stop brighter, we opened the aperture to f/3.2 and kept the shutter speed at 1/125th of a second. After the stylist touched up the model s hair, we took several more shots with various poses (figures 7 & 8). Figure 7 Figure 8 In these final result shots, notice how the background and foreground are now white, while the light levels on the model have been maintained. As you can see, the set up for creating high quality fashion/portrait shots can be very straightforward. 64 Remember to experiment with your lights and have fun!

65 Glamour Portrait The following lesson will illustrate how to use stobes with medium soft boxes to to photograph a classic glamour portrait. These set-ups will produce even, natural wrapping light. Topics Covered: * Setting up the main light on standard and boom stands. * Using a reflector disc * Using a background light 65

66 Equipment Used: * 2 Strobes With Soft Boxes on Standard or Boom Light Stands. * 1 - Large Reflector Disc (gold / silver) * Camera with Infrared Slave Triggering Capabilities Figure 1 For the this set up shot, we first assembled a strobe and soft box with the inner baffle and the front diffusion installed on a standard light stand (figure 1). Figure 2 In this set-up, we added a 42 MultiDisc with the white reflector surface facing the model and attached it to a reflector disc stand (figure 2) 66 Figure 3 In this setup, we have added a second strobe and soft box (with inner baffle but no outside diffuser) on a Boom and Boom Stand. We placed the light over the model s head as a hair light (figure 3). Figure 4 Here we see the placement of our background light, a strobe head and reflector attached to a short stand (figure 4).

67 Here we see the placement of our background light, a strobe head and reflector attached to a short stand. Figure 5 Here we can see the final results of the shot with all the lighting products and lighting processes. This ended up to be a great and alluring portrait. Figure 6 67

68 Professional Portrait The basics of portrait photography could fill many large books. Here we show how to shoot a professional style studio portrait using strobe lights and reflectors. Topics Covered: 68 * Using portable flash units * Using reflective fill

69 Equipment Used: * 2 Strobes with Soft Boxes on Standard or Boom Light Stands. * 1 - Large Reflector Disc (gold / silver) * Camera with Infrared Slave Triggering Capabilities We began this shoot by setting a large soft box with the four gold panels installed inside, to the right of our camera. The gold interior will give our model a warmer look (figure 1). We snapped a results shot (figure 2). Figure 2 Figure 1 Then we set up a 32 reflector disc (white/soft gold), held in place by a reflector holder and stand (figure 3). Figure 3 We put the soft gold side towards the model and positioned the LiteDisc towards the front of the model so that the fill would hit the face and not the hair (figure 4) Figure 4 69

70 Figure 5 This is the result (figure 5). Figure 6 We put a 22 reflector disk on a Stand and positioned it above the model to light the hair (figure 6). Figure 8 70 Figure 7 This is the result (figure 7). Finally, we set up another strobe and soft box and positioned it so that it would light the background to give depth to the photo.

71 The result is a very well lit professional looking portrait. 71

72 Trophy Portrait This lesson shows a simple studio lighting solution for portraits. Topics Covered: * Setting a main light * Using reflective fill * Using a hair light 72

73 Equipment Used: * 2 Strobes with Soft Boxes on Standard or Boom Light Stands. * 1 - Large Reflector Panael (White) * Camera with Infrared Slave Triggering Capabilities We used a 1000 watt strobe and a soft box on a standard light stand as the main light in this portrait (figure 1). Figure 1 The result shows a good start, but we want to brighten up the shadow side (figure 2). Figure 2 73

74 Figure 3 We added a lite panel, white side out, to reflect the main light into the shadow side. This is our fill light. Figure 4 This is better. Now we want to create more definition by adding an overhead light called a hair light. 74 Figure 5 We set up a small 1000 watt strobe with softbox on a boom stand and positioned it overhead. Figure 6 Our final image is well lit with good separation from the background.

75 At Home Portrait Want to plan a portrait session at home but don t know where to begin with lighting? Coming away with professional-level results is easier than you might think! This lesson looks at some basic lighting techniques for shooting classic portraits in your own home. Topics Covered: * The Concept * The Test Shot * Adding an Umbrella Light * Adding Fill to the Shadows * Lighting up the Back Room * Comparisons * Coming in Tighter * One for the Grandmothers * Setting the Self Timer * An Outtake 75

76 Equipment Used: * 1 Strobe with an Umbrella on a Standard Light Stand. * 1 Large Reflector Disk * Camera with Infrared Slave Triggering Capabilities The Concept For this lesson, we asked our friend, Rohan, if we could document him taking Mother s Day portraits in his house for his wife, his mother, and his wife s mother. He was all for it, so the following weekend, we all met at Rohan, Kaela (his wife), and Ruby s (their daughter) house for the shoot. When we got there, Kaela was reading a book to Ruby and Rohan thought that this might make for a nice portrait. (figure 1) Figure 1 The Test Shot To start, Rohan first walked around the room to see which camera angle he liked best for this shot. Once he found a general shooting frame, he placed one vase of tulips on a nearby side table and one in the room behind them for an added touch (Rohan came to this shoot prepared!) When everything looked good through the frame, he decided to take a test shot with the built-in flash of his camera activated, and with the exposure mode set to Auto (figure 2). Figure 2 Needless to say, Rohan wasn t thrilled with this first test shot. The light from the flash flattened everything out dimensionally (compare to previous set-up shot with no flash activated) and created a distracting shadow of Kaela s head on the back wall. Even the tulips look dismal in this shot (figure 3). 76

77 Adding an Umbrella Light Next, Rohan decided to use a strobe with an umbrella to improve the quality of the lighting. After syncing the strobe to the camera via a wireless transmitter and receiver, he placed the unit off to the side, about 5 feet high, and took another shot (figures 4 and 5). The result shows that the lighting is much more natural looking. Note the improved sense of overall dimension in Ruby and Kaela, the chair, and the tulips. Figure 3 Figure 4 Figure 5 77

78 Adding Fill to the Shadows After reviewing the result, however, Rohan decided that the right side of the frame was a little too dark and thought that a reflector might help to bounce light from the umbrella into the shadows. So next, he attached the 42 reflector disc to the light stand and set it off to the right of the chair with the soft gold side reflecting. Once the disc was positioned where he wanted it, he took another shot (figures 6 & 7). Figure 6 Reviewing the result on the back of the camera, Rohan saw that the LiteDisc created a nice, subtle fill that was most noticeable in the right side of the chair, and was now happy with the overall light levels and ratios in this room. Lighting up the Back Room The only distracting part of the shot for Rohan now was the back room, which seemed a little too dark for a Mother s Day portrait. So to balance out the light in that room, he set up another strobe with umbrella and positioned it to throw light from the left side of the room, and synced it to the camera (figures 8 & 9). Figure 7 Figure 9 78 Figure 8

79 Once everything was in position, Rohan was ready to take a series of shots. He zoomed in a little tighter on the lens, made jokes with Ruby to get her attention, and started shooting. This one ended up being one of their favorites (figure 10). Figure 10 The two umbrella lights and the reflector blended seamlessly with the daylight coming through the windows to create a beautiful Mother s Day portrait for Kaela. Comparisons Below, you can compare the result shots as Rohan developed the lighting (figure 11). Figure 11 79

80 Coming in Tighter Surprisingly, after these shots, Ruby was not quite ready to be finished reading. So Kaela selected another of Ruby s favorite books and started reading aloud. With the lights all ready to go, Rohan moved in even tighter and took another series of shots. Here is another favorite (figure 12). Figure 12 One for the Grandmothers Afterward, they all took a break from taking pictures, and Ruby decided she wanted to wear a different shirt for the next portrait. Ruby is such a professional (figure 13). Figure 13 After Ruby let everyone know it was time for the next portrait, which would go to both of Ruby s grandmothers, Rohan decided to get himself in the shot as well. In order to do this, he mounted the camera to a sturdy tripod, activated the self-timer, walked over to Kaela and Ruby, and readied himself for the shot (figure 14). 80 Figure 14

81 With the lights in the same position as the previous shot, the results looked as well lit as before (figure 15). Ruby, at this point, was reaching her limit with portrait patience, and started to climb all over Kaela and the chair. Rohan decided to go with it and initiated another self-timed shot. This next shot caught Ruby and her parents in much more playful, relaxed poses (figure 16). Figure 15 Figure 16 An Outtake After the shoot, when Rohan was reviewing all of the images on his computer, he found one he d taken in-between portraits that he really liked. Ruby had been playing with a tulip next to the chair. Rohan caught her attention, and as she turned around to look at him, he captured this image. It almost looks as though Ruby is looking for her mother so that she can give her this beautiful Mother s Day tulip (figure 17). Figure 17 81

82 At Home Portrait 2 With some affordable, easy-to-use lighting and a little know-how, you ll be able to come away with some truly captivating home images. This lesson illustrates some basic lighting techniques you can use to capture images of loved ones that you ll treasure forever. 82

83 Topics Covered: * Coming Up with a Portrait Theme * Preparing Ahead of Time * The Main Light * The Rim/Fill Light * The Hair/Background Light * The Stand-In * Show Time * Comparisons Equipment Used: * 2 Strobes with Reflective Umbrellas. * 1 Small Strobe Light with Reflector * Camera with Infrared Slave Triggering Capabilities Coming Up with a Portrait Theme For this lesson, we decided to create a makeshift home studio for an after school portrait. Our subject was a 4-year old boy, Aidan, who s currently very interested in anything having to do with dinosaurs. In light of this little man s quest for prehistoric knowledge, we decided to create a somewhat scholarly portrait of him, sitting in a grown-up chair, perusing the pages of his favorite dinosaur book. In framing up the shot, we decided to have the living room bookshelf in the background to lend an academic mood to the scene. Preparing Ahead of Time Anyone who s ever done a child portrait before knows that it s usually best to get all of your camera and lighting gear set up beforehand in order to take advantage of that small window of opportunity called, a child s patience. And that s exactly what we did here. The Main Light After positioning the chair where we wanted it, we set up our main light (small strobe, Umbrella and light stand), positioned it to the right of the chair, plugged it into the wall, and turned it on (figures 1 & 2). Figure 1 Figure 2 83

84 The Rim/Fill Light Next, we added our rim/fill light on the opposite side of the chair, almost 180-degrees from the main light. We knew that we d be making minor positioning adjustments to these lights once Aidan was in the chair, but for the time being, this was the general placement we wanted for the portrait (figures 3 & 4). Figure 3 Figure 4 The Hair/Background Light For a final touch, we decided to use another FirstStar head as a hair light/background light. The bookshelf really came in handy here, as it was a perfect surface for this third light head. To keep the light head stable, we mounted it to a small light stand. Once the light was angled where we wanted it, we plugged it in and turned it on (figure 5). Figure 5 With all of the lights on now, our general lighting set-up was complete. We had our soft main light to the right of the chair, our soft rim/fill light opposite from the main light, and our hard hair/background light positioned on the bookshelf. In the set-up shots below, can you see the hard light effects of the hair/background light on the chair and floor? (figures 6 & 7) 84 Figure 6 Figure 7

85 The Stand-In Just after we got the lights all set up, Aidan's cat, Gulliver, strolled in from the other room to see what was going on and promptly jumped up on the chair. We saw this as the perfect opportunity to get some "stand-in" test shots before Aidan got home from school (figure 8). Figure 8 We grabbed the camera, zoomed in tight, and took a few shots while Gulliver pondered the sound of the camera shutter. Here s our favorite of the bunch (figure 9). Figure 9 Show Time Once Aidan got home from school, we had him put on a nice shirt and told him to go grab his favorite dinosaur book. Once he came back and sat down in the chair, this book kept him fairly well occupied as we took the following series of shots. We decided to first take a quick point-and-shoot snapshot with the built-in flash activated for comparison purposes. With the camera set to Auto, we took our first shot (figures 10 & 11). Figure 10 Figure 11 85

86 As you can see from the result, the lighting was less than desirable! It s a great example of how the lighting in a photograph makes all the difference! Next, we decided to use a digital SLR with the pop-up flash deactivated to try and capture a more naturallooking result, starting with just the main light. With the White Balance set to Tungsten and the aperture and shutter speed manually set, we turned on the main light and took a shot (figures 12 & 13). Figure 12 Figure 13 With just this one light, the improvement over the previous shot was tremendous. The light from the umbrella threw a soft, diffused light onto Aidan that was both directional and natural looking. The left side of Aidan and his book, however, were fairly deep in shadow. So to brighten up these areas, we decided to add the rim/fill light. We turned it on, and move it a little forward to better fill in the shadows. Once this light was in place, we took another shot (figures 14 & 15). Now the light was much more even and this second light also helped to illuminate the background somewhat. 86 Figure 14 Figure 15

87 With just this one light, the improvement over the previous shot was tremendous. The light from the umbrella threw a soft, diffused light onto Aidan that was both directional and natural looking. The left side of Aidan and his book, however, were fairly deep in shadow. So to brighten up these areas, we decided to add the rim/fill light. We turned it on, and move it a little forward to better fill in the shadows. Once this light was in place, we took another shot (figures 14 & 15). Figure 14 Figure 15 For the final step, we turned on the overhead hair light and angled it so that it would illuminate both Aidan s hair and part of the floor behind him. Once everything was in place, we took a series of shots to try and capture Aidan in the moment (figures 16, 17 & 18). Figure 16 Figure 17 Figure 18 87

88 As you can see from the results, the shots now had a real sense of dimension to them. The hair light really helped to separate Aidan from the background and added a more dynamic element to the scene. This image ended up being our favorite of the bunch, as Aidan really looked engrossed in the illustrations of the dinosaurs (figure 19). Upon reviewing the image further, however, we realized that the composition of the shot was not exactly as we would have liked. Specifically, at the bottom of the image, Aidan s feet get cut off, which makes for an awkward visual tension. In such a case, cropping the image to be perfectly square can be the perfect solution, and that s exactly what we did here. Notice how this cropped version does not have the awkward visual tension of the original (figure 20). Figure 19 Figure 20 After the shoot, it only took us a few minutes to pack up our lighting gear and set it against the wall. As you can see, you don t have to have a lot of lighting gear to create compelling indoor portraits! (figure 19) Figure 19 88

89 Capturing Your Vision Have you ever envisioned a portrait in your mind and set out to create that image and mood through photographic means? If so, you no doubt have encountered the task of negotiating the lighting of the shot. After all, the lighting directly affects the mood and feel of an image, and knowing how to capture and/or create that light is paramount to communicating your vision. The more a photographer knows about light and how to capture, control, or modify it, the more effective he or she will be in actualizing the image they envision. This lesson explores the use of some very simple, easy-to-use, inexpensive lighting tools that can have a profound effect on your portrait-making abilities. 89

90 Topics Covered: * The Pitfalls of Built-in Flash * The Reflective Umbrella * The Diffusive Umbrella * Boosting Tonal Gradations * Preventing Light Spill * Comparisons * The Background Light Equipment Used: * 2 strobes with umbrellas (both reflective and shoot through) on standard light stands. * Camera with Infrared Slave Triggering Capabilities Figure 1 For this portrait, we envisioned an intimate, soft-lit scene in which a painter is taking a break from working on her latest piece. After considering a few locations, we decided to photograph our subject in the corner of an upstairs painting studio in front of her easel. Prior to setting up our lights, we first took a shot of her for comparison purposes with the camera set to Auto and the built-in flash activated (figure 1). The Pitfalls of Built-in Flash This is precisely the moment where people new to photography get frustrated. What they ve seen through the lens is not at all what they re now seeing in the playback of their camera, and now they want to throw their arms up in the air and give up. (Or buy a more expensive camera, which still won t resolve the issue.) Most of the time, it s the built-in flash that s responsible for unnatural looking photos, and then the compulsion to say, I m just no good at taking pictures. So let s take a look at this built-in flash result. Although the resulting exposure is rendered well, the quality of light is simply unnatural. You would not experience this type of light in real life unless you had a small flashlight attached to the top of your head. And look at the quality of this light. Do you see how the built-in flash flattens out the scene with respect to dimension and casts hard, unnatural looking shadows along the wall and ceiling? The Reflective Umbrella Enough said. So to improve the light quality, we deactivated the flash, brought in a LiteStand-mounted strobe light, and attached an ADH (silver, reflective) umbrella to it. This light and umbrella work wonderfully to transform the high-contrast light from the light head into broad, soft, natural-looking light. 90

91 To improve the lighting, we deactivated the flash and brought in a LiteStand-mounted strobe with a ADH umbrella (silver, reflective). This umbrella works wonderfully to transform the high-contrast light from the light head into broad, soft light (figure 2). Figure 2 In the result shot, notice how this single light source has dramatically improved the overall lighting. The shadows cast along the walls and floor are much softer now and because the light is both larger than the flash and off to the side, the image has a much more three-dimensional quality to it (figure 3). Figure 3 The Diffusive Umbrella While the ADH umbrella is great at reflecting and softening hard light, there is another umbrella that can render even softer light -- the RUT (capable of reflecting or diffusing light). To illustrate, we removed the ADH umbrella and substituted it with an RUT umbrella. The RUT is comprised of two fabrics: a white translucent fabric that is sewn to the steel ribs, and a removable black cover that fits snugly over this diffusion material. With the black cover attached, you can use the umbrella in the traditional way of reflecting light back onto your subject. With the black cover removed, however, you can simply project the light through the diffusion material onto your subject, similar to lighting with a soft box (figure 4). Figure 4 91

92 There are two main advantages to projecting the light through the diffusion material. The first is that the light is even softer (more diffused) than it is when it s reflected, and secondly, it is more efficient with respect to light output by almost a full stop of light. In this set-up shot, you can see the coverless RUT positioned the same way a soft box would be used, with the diffusion material illuminated and facing the subject (figure 5). Figure 5 After closing down a stop on the camera to adjust for exposure, we took another shot (figure 7). Below, you can see the differences between the two umbrellas. In the RUT result (figure 7), notice how the overall contrast is lower and that the shadows cast from the chair, easel, and even the paintbrushes in the background are noticeably softer than they are in the ADH result (figure 6). Figure 6 Figure 7 92 Boosting Tonal Gradations This main light was a nice start, but now we wanted to add some mood to the shot. So we decided to add another First Studio light just beyond the main light to serve as a side/rim light. In this case, we wanted to direct the light so that it only illuminated our subject, so we opted to use the ADH umbrella, as this would be more directional than a diffused umbrella (figure 8).

93 The result shows that this second light has helped to create a nice level of wrap-around light on our subject. However, it also made the background significantly brighter as well, and seemed to adversely affect the overall mood of the shot (figure 9). Figure 8 Preventing Light Spill To prevent this second light from brightening the background, we simply angled the umbrella away from the wall and took another shot (figure 10). Figure 9 Figure 10 As you can see from the result, the lighting is much more dynamic after this subtle repositioning. Our second light does a great job of softly illuminating our subject, while keeping the background at a lower tonal level. The effect creates a sense of separation between the subject and background, adds even further depth to the shot, and enhances the mood of the shot (figure 11). Figure 11 93

94 Comparisons Since this last pose is very similar to that in the first shot with the built-in flash, we thought it would be interesting to compare the two results side-by-side. As you can see from this comparison, it s the lighting that makes a world of difference (figures 12 & 13). Figure 12 Figure 13 The Background Light Next, we decided to add another light off to the right to illuminate the lower right area of the frame. We set up another First Studio light and attached an RUT umbrella to it to maximize the level of diffused light it would throw (figure 14). Figure 14 The result shows that this area of the frame is now brighter, but it was also spilling onto our subject more than we wanted, and was doing away with the smooth gradation of light we had achieved in the previous shot. And again, it was also detracting from the mood of the shot (figure 15). 94 Figure 15

95 The Versatility of the RUT To try and cut down the amount of light somewhat from this third light and keep it off our subject, we attached the black cover to the umbrella and folded it over so that only half of the light would be transmitted. The other half, closest to our subject, would be blocked off by the black cover (figure 16). Figure 16 Figure 17 This modification helped to cut down the light and keep it off our model. Notice how the edge of the subject s arm is not as bright as it was in the previous shot (figure 17) While the shot seemed fairly balanced now with this third light, it still had the effect of flattening out the depth of the shot somewhat, and it just wasn t as compelling with respect to mood. So. we decided not to use it for the final shot and turned it off. NOTE: Had this been a darker room or had we been shooting in a larger space, this third light may well have helped to balance out the shot. But here, it seemed to be a little overkill. Each situation will require a slightly different treatment, depending on the look you re going for, and it really pays to try out some variations with your lighting before committing to one final configuration. 95

96 With our final lighting configuration in place, we then took a series of shots. About halfway through shooting, a little feline friend entered the frame and made himself comfortable behind the chair. This shot rally captured the mood we were going for and ended up being the favorite of the bunch (figure 18). Figure 18 Keep in mind when viewing any of this or other lessons that your lighting treatment may need to be modified to what s been demonstrated, depending on your subject and the scene. Different scenarios require different lighting approaches. But that s the beauty of it. Remember, there is no right way to light a portrait, and portraiture would be pretty boring if there was. As always, remember to experiment with your lights and have fun! 96

97 Two Light Portrait The basics of portrait photography could fill volumes. We have chosen to concentrate on the application of two three-foot soft box lights for this basic two-light portrait. We will also introduce the grid accessories to our lights to gain total directional control of the light. To take a simple but dramatic portrait, you could use a main light and a reflector as a fill light. However, since the reflector must be positioned to catch light from the main in order to bounce light into the shadows, you are restricted in how you can position it. Having a second light as the fill eliminates this restriction and frees you up to put the fill anywhere you want in order to light your subject. We will demonstrate this concept in this lesson. 97

98 Topics Covered: * Positioning the Key Light * Using Grids for Directional Control of Light * Introducing a Fill Reflector * Introducing a Fill Light * Expanding the Two Light Setup * Taking the Two Light Setup to the Next Level Equipment Used: * 2 Strobes with Soft Boxes on Standard or Boom Light Stands. * 1 Reflective Disc * Camera with Infrared Slave Triggering Capabilities Positioning the Key Light To get started on our lighting solution, we set up two medium strobes with soft boxes on standard light stands. We positioned the first light, which would be our key light, was set roughly to camera left. With the camera and tripod assembly set, we called out the model and positioned her about three feet away from the background so we could control the light on our subject and background separately. We then posed her and checked the light pattern. There are a number of ways that the main light can be positioned, but in the best position, the center of the main light should be at eye-level with the model, and should be as close as you can get it without it being visible in the camera frame. Common setup problems include setting up the main light too far from the model and setting the main light too low. If you set up the main light too far from the model (figure 1), the soft, wrapping quality of the soft box will be progressively diminished the farther away from the model it is set. The resulting images will have higher contrast and harder shadows (figure 2). 98 Figure 1 Figure 2

99 If the main light is set too low (figure 3), the shadow cast by the nose will fall high on the cheek, creating a distorting representation of your model. Also, when only using two lights, it is important to properly light the hair. Setting the light too low will not allow the hair to be properly highlighted (figure 4). Figure 3 Figure 4 A combination of these small oversights can make a considerable change in the result. A properly set up main light should be centered at eye level with the model, as close as you can get it without it being in the frame, and at an angle of about 45 degrees off the camera from the model (figure 5). The results will maximize the soft, wrapping quality of the light, minimizing shadows, and should also add a little highlight to the hair (figure 6). Figure 5 Figure 6 99

100 This lighting progression can be more easily understood when compared to the final result. The left result in the comparison below is the light setup too far, the center result is the light set up too low, the right result is the light positioned correctly for this lesson (Figure 7). Introducing a Fill Reflector Figure 7 Reflectors need to be positioned in such a way that they reflect the main light back at the subject as fill light. If there is not enough light from the main for the reflector to catch, the light needed to fill in your shadows on the subject won t be there. This can restrict your shots if you want to try a wider variety of lighting set-ups. To illustrate this point, we set up a 42 white/soft gold LiteDisc reflector on a LiteDisc Holder, in the normal main light, fill light position. Figure 8 shows that we positioned the reflector (white side out) to bounce the light from the main into the left side of our model s face to fill in the shadows and make the portrait look more naturally lit. We also moved the reflector in as close as possible to the model without being able to see it in the camera frame. Figure 8 Figure 9 is a result of our main and reflector fill set-up and it s great. However, we would like to make the portrait more dramatic. Taking the light off the background is an excellent way to go about this, and adding grids is an excellent way to go about that. 100 Figure 9

101 Introducing a Fill Light Now, we are going to set up a lighting progression that demonstrates the capabilities of using two light sources. We can set up these sources independently from each other and change the brightness, angle, and put the grids on or off if we want. This gives us a lot more freedom and variety to our options. As a reminder, a properly set up main light should be centered at eye level with the model, as close as you can get it without it being in the frame, and at an angle of about 45 degrees off the camera from the model (figure 10). The results will maximize the soft, wrapping quality of the light, minimizing shadows, and should also add a little highlight to the hair (figure 11). Figure 10 Figure 11 We then added a second soft box strobe as our fill light (figure 12). The second light immediately gives us back much of the control we had lost when using a LiteDisc. Figure 13 was shot with only the fill light. Figure 12 Figure

102 With our fill light on the set, we posed our model into position, fine-tuned the fill light s position and shot our next result image. The following two shots are a comparison between the first stage with only the first soft box as the main light (figure 14), and the second stage, in which we added a fill light (figure 15). Our results show the light ratio under control. We have detail on the shadow side of the subject and more sense of three dimensions. We have also gained a brightness in the eyes we were lacking. Figure 14 Figure 15 With all the elements in place, we gave the model the freedom to pose away and we shot until we got what we wanted. The following figures are a selection of the final shots (figures 16-19). Figure 16 Figure Figure 17 Figure 19

103 Expanding the Two Light Setup Now, we are going to set up a lighting progression that demonstrates even more of the capabilities of using two light sources. We can set up these sources independently from each other and change the brightness, angle, and put the grids on or off if we want. This gives us a lot more freedom and variety to our options. Below, we compared the results of the different variations to the two light set-up. 103

104 Taking the Two Light Setup to the Next Level The next lighting solution we tried is using one soft box below the subject. This will create a dramatic effect that will sometimes be appropriate. Below are some result shots using this low one light set-up. 104

105 The next lighting solution we tried is the classic clamshell portrait. The idea behind the clamshell is to set up the lights, one over the other, so that the subject is enveloped with light from both below and above. Below are some result shots using variations of the two light clam shell set-up. Like we mentioned, these two lights provide many possibilities, and we have shown you a bit of what s possible. To finish the lesson, we challenge you to go and find your own variations you can call your own. 105

106 Three Light Portrait The more lights you have in your studio, the greater the variety of lighting set-ups you can achieve. Studio lighting is often improved by subtle positional changes, as well as with additional light modifiers. Making just a small adjustment to the lights usually makes a large impact the resulting picture. The more lights you have on a set, the more changes are possible. In this lesson, we start with a traditional two-light set up and then explore a few variations with a third light head added to the mix. 106

107 Topics Covered: * Basic Strobe Use * Portrait Lighting * Positioning the Lights for Maximum Effect * Working with Power Ratios * The Final Image Equipment Used: * 2 Strobes with Soft Boxes or Umbrellas on Standard Light Stands. * 1 Strobe with a Soft Box or Umbrella on a Boom and Boom Stand. * Camera with Infrared Slave Triggering Capabilities We started with a standard approach to lighting a basic portrait. The two images below (figures 1 & 2) show two lights, a main light and a fill light, positioned on each side of the camera at about 45 degrees to the model. Both lights were set to the same power setting, giving us 1/125 as an exposure on both sides of the model s face. This type of even lighting is typically referred to as a 1:1 lighting ratio. Figure 1 Figure 2 Many photographers use this kind of set-up as a failsafe starting point and then work on lighting variations to create the specific look that they re after. The result (figure 3) shows a clean, natural looking light. This type of image could easily be acceptable as a basic portrait where the goal is simply to document a person s likeness. This type of lighting works sufficiently with just about any type of model. Figure 3 107

108 To demonstrate how we took our portrait beyond the standard, two-light set-up, we decided to go back and start with just the main light first. For our main light, we set up the first 650-watt strobe with a medium soft box and positioned the light about 3 feet away from the model (figure 4). The strobe was set to 1/4 power to maximize the recycle time. This gave us an exposure value of 1/125 of a second. We moved the soft box in so that it was about 3 feet from the subject, as opposed to the 6-foot distance in the original photo, in order to make the light broader and more natural looking. (Remember the rule: The closer the soft box is to its subject, the larger it becomes. And the larger the soft box is, the softer its quality of light will be. Soft box lighting is similar to indirect window lighting, which tends to wrap light around the subject.) Figure 4 This main light result was a great start (figure 5). By placing the light close to the model, we were able to achieve smooth highlights and soft, even shadows. Figure 5 For the fill light, we used a strobe with umbrella, which we placed 6 feet away from the subject (figure 6). We wanted a 2:1 lighting ratio, which meant that we d need to have a light meter reading of f/8 for this light. In order to get this reading, we ended up setting the strobe to half power. Figure 6 108

109 Here, we see the result of the 2:1 lighting ratio (figure 7). This ratio gave the subject very soft shadows on the nose, under the chin, and on the neck. If you wanted to have darker shadows, you could either move the fill light back to 9 feet, or reduce the light output on the strobe to 1/4 power. This would give you a 3:1 lighting ratio. Figure 7 If you didn t like the shadow on the face from the hair, you could slide the fill towards the camera and put more light into that shadow. However, this would change the shadow on the nose as well. For the next shot, we left the main light and the fill light in the same position and added a third light to illuminate the background. We placed another 650-watt strobe with softbox in the back of the set and aimed it at the background (figure 8). Figure 8 To expose your background as pure white, you need to power your background light at least 1 stop brighter than your main light. Since our main light was set to expose at f/11, this meant getting a minimum of f/16 from the background light. It s also important to make sure that the reflected light from the background does not bounce onto your model and affect the foreground lighting. In this result shot (figure 9), we set the background light to 1/4 power, which gave us a reading of f/22. We made sure that the model was far enough away from the background so as not to be affected by the reflected light. Figure 9 109

110 As you can see in the side-by-side comparison below, the light on the subject stays the same, while adding the light on the background makes a big difference in the overall feel of the shot (figures 10 & 11). Figure 10 Figure 11 Next, we moved the background light to the other side of the set and aimed it at the subject, instead of the background, to create a backlight or rim light (figure 12). We dialed down the power on this strobe until we got a reading of f/8. Figure 12 Next, we turned off the main and fill lights and checked the position of the backlight on the subject. This result shot revealed that the backlight was far enough back to prevent light hitting the nose or any other part of the face (figure 13). Taking test shots with each light individually is a good habit to get into when you re using more than one light, as it can otherwise be difficult to know which light is doing what. Next, we powered up all the lights and took another shot. Notice how the hair light helps to add a sense of dimension to the shot and separates the model from the background (figure 14). 110

111 Figure 13 Figure 14 Comparisons Here's a side-by-side look at our results so far (figure 15). Figure

112 Next, we took the 650-watt satrobe with the soft box and put it on a boom to create a combination hair/back light. Once again, we wanted the hair light to be 1 stop less than the main light, so we adjusted the power on the 650 down to get an f/8 reading on our light meter. We positioned the boom above the subject where we thought it would illuminate just the hair and shoulders (figure 16). Figure 16 Before we took the shot with all the lights powered, we decided to once again disable the main and fill lights and check the effects of just the hair light. As you can see from the result, the overhead light is a little too far forward, as it s hitting the front of the forehead and nose (figure 17). Figure 17 Next, we angled the light slightly back to prevent it from illuminating any part of the face (figure 18). Figure

113 Figure 19 Here s the result shot. Notice the overhead light is now not spilling over onto the face (figure 19). Figure 20 Once we positioned the hair light, we powered up the other lights and took a shot. The result was fantastic. A subtle hair light that helped to create a more dynamic look to the overall portrait (figure 20). Figure 21 A Different Lighting Approach For this next lighting set-up, we brought the 650- watt strobe with soft box and boom toward the front, and angled it back towards the model. We then put the other strobe and soft box on a short lite stand, which allows you to place the light very close to the floor and shoot over it. The lower light would serve as the fill light to the main light above (figure 21). Figure 22 To get the main light aimed and exposed correctly, we first turned off the bottom light and decided to measure the light output of the overhead light. We got a meter reading of f/11 with a sync speed of 125th of a second. With our strobev set at a little over 1/2 power, we took another shot (figure 22). The result reveals a nice overall light with soft shadows under the eyes, nose and chin. 113

114 Next, we turned off the top light and powered up just the fill light. We adjusted the power until it metered at the same level as the main light -- f/11 with a sync speed of 125th of a second. Then, we powered up the overhead light and took another shot, Notice how the soft shadows cast from the overhead light have been greatly minimized. (figure 23). NOTE: Once you set your main and fill in this position and get a 1:1 ratio, it s easy to modify the ratio to 2:1 or 3:1 without having to move either of the lights. Simply turn the power on the fill light to 1/4th power, and take a reading. Now your meter should read f/8, for a 2:1 ratio. If you want slightly darker shadows turn the power on the fill down even more and take a reading to get f/5.6 for a 3:1 ratio. Figure 23 Next, we set up the 300-watt strobe with umbrella as a rim light to give the subject a little more three-dimensional shape, and to bring more life to her beautiful hair. We positioned this second fill up high aiming down to light more of the top of the head (figure 24). We wanted this rim light to be a stop or so less powerful than our main, so after we positioned the light, we adjusted the power until our meter read f/8. The 300-watt strobe was set at 1/4 power. Figure 24 Once again, it s important to turn off your other lights to check the light position and exposure of any new light you add to the set. Here s what can happen if you don t (figure 25). Do you see how the rim light is slightly too far forward and is illuminating the side of the forehead above her eyebrow and the left of the nose? 114 Figure 25

115 If you re shooting with a digital camera, you may be able to notice this when you review the image on the LCD. But then again, you might not. The risk for not checking your lights individually is that you may have to spend considerable time in a photo-editing application trying to edit out these distracting highlights. And such editing will definitely take you longer to do than taking a moment to check a light with the others turned off. So the basic idea here is simple: When working with strobes, check each light individually! Here is the result shot after the rim light had been moved back. As you can see, the rim light is only illuminating the hair and not the face (figure 26). Figure 26 Here s a photo summary of our lighting set-ups in this lesson. 1. Two lights approximately 3 feet from the subject, which can give you a 1:1, 2:1, 3:1 ratio, etc. Here, we demonstrated a 2:1 ratio. 2. We substituted a third light for our front fill and moved it to the back of the set for a rim light. 3. We turned the back fill strobe towards the background to blow out the shadows, by increasing the power to give us a clean white. 4. We rearranged the lights to create a top-to-bottom position for a different look. 5. We added our third strobe to serve as a rim light in order to bring out the beauty of the hair

116 During this lesson we asked Erica, our model, to remain in the same relative position so that our viewers would be able to see the differences in the lighting configurations easier. So don t blame her if all of her poses all look the same. Also, we kept mentioning the power setting on our strobe during this lesson for two reasons. First, so that you would get the information that you have asked us to include. Second, because we recommend that you invest in a more powerful strobe system when thinking of purchases for your studio. With just one subject, as in this lesson we were mainly using around 1/4 power on our 650-watt main light. This takes the strain off the strobe by reducing the heat build-up during recharging, and therefore lengthens the life of the electronics up to 30% or more. Also, if you have more power in the beginning, then you can do more types of photos as you go. If you are using your strobe at full power when you are taking photos of just one person, what will you do when you want to take a photo of a group? 116

117 Full Length Portrait With the advent of digital cameras and their sensors with adjustable ISO settings, the need for large, powerful studio strobes is no longer an issue. Newer digital cameras can handle ISO settings greater than 100 without the risk of excessive digital noise in your pictures. This means that you can use less powerful monobloc strobes to effectively light full-length studio portraits. This lesson shows you how easy it can be to light a full-length portrait in a studio and demonstrates a simple two-light setup using shoot-through umbrellas. This lesson also examines a variety of poses, both standing and seated. 117

118 Topics Covered: * Using shoot-through umbrellas (soft boxes can be substituted) * Setting Up a Main Light * Adding a Fill Light Equipment Used: * 2 or 3 Strobes with a Shoot-Through Umbrellas or Soft Boxes on Standard Light Stands. * 1 Reflective Light Panel * Camera with Infrared Slave Triggering Capabilities The Set We started with 2 strobes, each with a 45 silver umbrella. In this first set-up, we set up a 9-foot roll of background seamless paper for our model to stand on. We then set up the two lights on either side of the model, one about 9 feet high, the other about 4 feet high. [figures 1 & 2] Figure 1 Figure 2 Once our model was on the set, we adjusted the camera settings in the camera to sync up with the power settings of the lights and took our first shot. [figure 3] 118

119 Silver-Lined vs. White Shoot- Through Upon reviewing the shot, we noticed that the model s skin had some specular highlights. This is common occurrence when using silver umbrellas, which produce light that is higher in contrast than white umbrellas. One of the main advantages to using silver umbrellas is that they reflect significantly more light than traditional white umbrellas, and allow you to use a smaller aperture setting should you need to obtain greater depth of field. For portrait work like this, however, you don t often need to have more depth of field. In fact, many portrait photographers would rather have less depth of field in order to make the background somewhat soft, or out of focus. Figure 3 Subsequently, we decided to substitute the silver umbrellas with white convertible shoot-through umbrellas [figures 4 and 5], which we ended up using for the rest of this lesson. Once the lights were set, we took another shot. [figure 6] Figure 5 Figure 4 119

120 In the result, do you see how the change in umbrellas has made a difference? Notice how the light on the model s face is not so specular and that the shadows cast on the background are somewhat softer. Below, you can compare the two results sideby-side. [figure 7] Now let s take a closer look at the positioning of the lights. Figure 6 Figure 7 120

121 One Light We decided to position our first light roughly 45 degrees to the right and about six feet high. [figures 8 & 9] The reason we chose this position was because we wanted to create flattering lighting on our model s face. With your main light positioned high and pointed downward, the face becomes the brightest lit area of the shot. Many portrait photographers like a model s face to be the brightest element since it s typically the most important element of a portrait. This type of lighting set-up tends to create what is known as a loop lighting pattern on the model s face. This is created when the lighting creates a downward diagonal shadow from the nose, angling toward the corner of the mouth. Ideally, the shadow will be halfway between the nose and the corner of the mouth. Figure 8 Figure 9 As you can see from the result, a one-light set-up is effective at creating a dramatic portrait with a high contrast ratio (a large difference between highlights and shadows), but is not typically ideal for clean portraits, which is what we set out to accomplish here. [figure 10] Another problem we had with using just one light was that the background became fairly dark and we lost light in the curve of our sweep. (Notice the bottom third of the background.) Adding a second light helps to brighten up the background, as well as the shadows on the model. Figure

122 Two Lights Next, we brought in our second fill light to lower the overall contrast and fill in the shadows. The fill light often helps to create a more flattering light, while still maintaining a sense of dimension. Notice how we placed our fill light close to camera position -- roughly chest high -- to create an even spread with the light that evenly fills in all the shadows. [figures 11 & 12] Figure 11 Figure 12 Adding this second light made a considerable difference compared to our first image. The first image has a dark, moody feeling that we didn t want for this casual portrait. Our two-light image here has a brighter, crisper feeling to it because we eliminated the dark shadows and brightened up the background. [figure 13] Figure

123 Figure 14 Next, we had a wardrobe change for the model and had her take a new position, seated on the floor and creating a horizontal full-length portrait. With our model now seated on the ground we decided to switch our main light from camera right to camera left [figure 15 & 16]. We did not need to move any lights. Instead, we just increased the power on the left. We then moved our light down to about three feet high and angled it down at about a 30 angle. Our light was roughly four feet from our model. As with our standing images, the one-light setup creates a fairly dramatic light [figure 17]. Note that it is not as dramatic as the first set-up since we have our light positioned more to the front of the model. This helped us to achieve a shorter loop pattern (same light pattern as first light setup, but with a shorter shadow.) Figure 15 Figure

124 We also now have the same issue with losing light into the curve of our sweep backdrop and having a background that is too dark for our casual portrait. One new issue we have with this setup is that we are losing all detail on our model s left shoulder because no light is hitting the shoulder. Adding our second light will help to correct this issue. One other thing to look out for is having detail in black and/or white clothing. Here we are maintaining detail in the black shorts and it is always extremely important to maintain some detail in the blacks and whites of your subject s clothes. Figure 17 With adding a second light at around 45 camera right and about two inches lower than our main light we get a more pleasing casual portrait with more even lighting and a brighter background [figures 18 and 19]. Figure 18 Figure 19 Here you can see that we now have detail on the left shoulder of our model. We have now solved the problems with the light on our model, but now we want to brighten up our background, get a nice gradient, and get rid of the dark line of lost light in the curve of our backdrop. Which we will accomplish by adding another strobe on the background with an adjustable umbrella. Figure

125 In our final setup [figures 21 & 22] we have added a strobe on the background with a white umbrella. We also setup a 39 x72 LitePanel with a black/white fabric on it in between our model and the umbrella. We have done this because we do not want light spilling on to our subject s shoulders and head from the umbrella. The easiest way to ensure that you have your LitePanel in the right place to fix this problem is to turn off your main and fill light. Then look through camera as someone else moves the LitePanel around until it is in the correct position. Figure 21 Figure 22 Figure 23 Once we had our lights set up, we took another shot and the difference is quite noticeable. [figure 23] Our background went from muddy light gray to having a nice gradient ranging from white without detail to middle gray. We have successfully eliminated the dark shadow that was getting stuck in the curve of backdrop and our model now stands out from the background more because of its brightness. One general guideline for doing horizontal gradients across your background is to have the brightest part of your background starting on the side that is the shadow side on your model. Rules are made to be broken, but this is a classic approach to balancing gradients. 125