EVERYTHING YOU NEED TO KNOW ABOUT LIGHTING AND THE STUDIO BY LUCY BARTLETT

Transcription

1 EVERYTHING YOU NEED TO KNOW ABOUT LIGHTING AND THE STUDIO BY LUCY BARTLETT

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5 CONTENTS Top Tips and Info: 4-5 How To: Use a Light Meter 6-7 Making Lighting Diagrams 8-9 Make a Pinhole Camera Getting To Grips With: Studio Equipment Understanding Power Lighting: Basic Effects Working with the Backdrop Backlighting Hair Working Outside Notes: 42-45

6 TOP TIPS AND INFO SHUTTER SPEED Shutter speed is the speed at which you take the photograph. You can think of each increase or decrease in stops of light. For example, 1/30s lets in twice as much light as 1/60s which lets in half as much light as 1/120s as the shutter speed is increasing each time. APERTURE Just like the zone system which is explained on the opposite page, these numbers represent stops of light. An aperture of f4 lets in twice as much light as f5.6, which lets in twice as much light as f8. The higher the number is, the bigger size the aperture will be. 4 ISO The ISO is how sensitive to light the film or image sensor is. The higher the ISO number, the grainier the photograph.

7 The Zone System The zone system can be employed to pre-visualize the images you make. A light meter will always give you an exposure for zone 5 (V) as this is mid-grey, the perfect exposure. Remember that each zone also represents one stop of light, so that zone 4 (IV) is half as much light as zone 5 (V) which is half as much light as zone 6 (VI). 5

8 HOW TO: 6 A light meter is an indispensible tool for any photographer. If used correctly, the light meter gives the photographer the correct exposure, and once you ve mastered the basics of it, you can work out how you want a photograph to work out. The light meter will give you the reading for zone 5 (refer back to the previous page to understand the zone system) as this is mid-grey, the perfect exposure. On the light meter opposite, you ll notice there is it reads 125 with a T for time above it. This is the shutter speed you should shoot at. The 16 with the F above it is the aperture you should shoot at. The ISO on the image opposite reads 100. It is important that you set the ISO that matches the ISO on your camera or you will not get the correct exposure. If the meter reads E.u, it means that there is not enough light. If it blinks, you need to add more light. If solid, the aperture/shutter needs changing.

9 USE A LIGHT METER Turn on/ off Mode - This changes the mode the meter is set on. Modes: ambient, flash, flash connected to via sync ISO button - Used to change the ISO Dome - Reads the light Flash sync socket Exposed button - Once you re reading to get your reading, simply press this button Up and Down Arrows - How to adjust aperture 7

10 HOW TO: As a photographer, it is useful to write down or make note of lighting set-ups. Although you could draw your set ups, it is easier and neater to use software that helps you create lighting diagrams. One example is This is what it looks like, simply click on Creator on the online site. 8 All tools on the right are labelled and you simple click then move around on the grid.

11 MAKE LIGHTING DIAGRAMS Once you ve exported your diagram, it should look a little like this: You may also decide to write over the diagram with the equipment used, the setting of the equipment and the distance between each item should you require it for future reference. The easiest way to do this is by adding text to the diagram on Photoshop. 9

12 HOW TO: What you will need: 500ml Can Can Opener Scissors Duct tape/gaffer tape Double sided sticky tape Masking tape Sheet of black paper Needle/pin 1. With the can opener, cut the top of the 500ml lid off. 10

13 MAKE A PINHOLE CAMERA 2. Once you have cut the lid off you should have something like this. Keep sure it is smooth so you do not cut your self. 3. Using the scissors, cut the black paper into a long rectanglur shape. 11

14 HOW TO: 4. Once you have a rectangular shape piece of paper, cut several slits into the whole length of paper like so. 5. Using the left over paper, use your can to draw a circular shape on the paper. 12

15 PINHOLE CONT. 6. Once you have drawn your circle from the can, cut out the circle. 7. With the rectangular piece of paper, fold over the sides so the paper is more flimsy and can be folded in. 13

16 HOW TO: 8. Wrap the rectangular piece of paper around the can and use double sided sticky tape to hold the paper in place, keeping sure the side with the slits can fold over the can. 9. Using the double sided sticky tape, put some onto the circular paper. 14

17 PINHOLE CONT. 10. Firmly place and hold down the circular piece of paper on top of the folded over paper with the slits on it. 11. You should now have a lid for yout camera which can easily pop on and off over the can. 15

18 HOW TO: 12. Using the duct tape or gaffer tape, begin to cover the lid to make it as light proof as possible. 13. Keep covering the lid until no paper shows. 16

19 PINHOLE CONT. 14. You should now have something like this. It should be able to come away from the can with ease. 15. Using the needle or pin, pierce into the can like so. You now have an aperture. 17

20 HOW TO: 16. To make a stopper to stop light entering the pinhole camera, tape some of the black paper over the aperture with masking tape. Alternatively, use blu-tac. And there you have it! Just insert photosensitive paper into your camera by removing the lid. Your pinhole camera is now ready to go! 18

21 PINHOLE CONT. Top tips: The bigger the hole, the more light is let in. For sharpe images, make the hole as small as possible. For a soft focus, make the hole slightly bigger. Ensure the camera is lightproof to stop unwanted light effecting the paper. Avoid camera shake as it will result in very blurred images. Don t use very thick material for your camera so your camera so that the light is not restricted Ensure paper is inserted correctly 19

22 GETTING TO GRIPS WITH: A photography studio, or any other studio for that matter, is an ideal space for photographers to work in. There is a great deal of control over the lighting than if you were working outside. Spill Kill: This head comes in a range of sizes. A very basic head which gives a hard light on the subject. 20

23 STUDIO EQUIPMENT Beauty Dish: This head is ideal for portraits where you want soft light on model. Honeycomb can be inserted inside. Snoot: This head gives a spotlight effect, so will look circular on whatever you project it on to. Perfect for dramatic lighting and if you want to highlight something. Umbrella: This can be used with the silver lining with black back which should be aimed facing away from the subject as it reflects the light. Without it, it should be aime towards the subject as the light will disfuse through the white of the umbrella. Flash Gun: A flash gun is easily portable for on location shooting. It is possible to match 2 up; 1 the master the other the slave. 21

24 GETTING TO GRIPS WITH: Battery pack: The battery pack can be used to power upto 2 lights at once. 500W and 750W Travel Kit: A range of kits are available, but the picture on the left features 2 500W flash head with 2 stands, 2 umbrellas, 2 mains lead and a synch lead. Ideal for both studio work and on location. 22 Transmitters: One is connected to light and the other one on the hot shoe of the camera. Working wirelessly without the need for sync cables, this sends the signal to the flash so when you press the shutter, the flash goes off. They have channels so you can set certain lights off.

25 STUDIO EQUIPMENT Soft box: This light softens the subject hence the name. The main sheet is velcroed onto the head with another small sheet underneath which can also come off if you want a harsher light. Soft-boxes come in large and small sizes. Poly boards/reflectors: Also known as Flags, these can reflect or block light from the subject you are photographing. One side is typically white and the other is black. They can be easily moved around the studio. 23

26 GETTING TO GRIPS WITH: Before using any equipment in the studio, it is important to under how to operate the lighting units and how you can change the power to desired effect. This section looks at understanding how to power the lights. In a perment studio, it is likely the mains will need to be switched on. As the image on the left shows, you simply twist the red holder from left to right. If you are changing one of the light bulbs, it is vital to switch the mains off so you don t electrocute yourself. 24

27 UNDERSTANDING POWER May also say Stops instead of Power. Increase the power and the flash will be brighter. May also read as Tenths instead of Lamp. Lower this to make the light dimmer. TIP: Flash to release the power if you are decreasing the power to reduce the chances of damaging the power unit. The higher the number, the brighter the light. The lowest is f5.0 with f10 the highest. Press the arrows beneath it to go up/down a stop. Press this green button to flash. If it flashes, it means power needs to be discharged. 25

28 STUDIO: When it comes to working in the studio, experimenting is key. Although, the speed of the lights is 1/125, so shoot at this shutter speed. Here are some examples of what lighting set up achieves what sort of effect: By placing the light on the left side of the model, you see that only half of the face is lit and the other half in darkness as there is no light coming from theat direction. 26 The light is placed about 1 metre away from the model and the camera also about the same distance.

29 BASIC EFFECTS If you add a black reflector directly opposite from where the light is coming from about 1 metre away from the model, it will bounce and light this side of the face. As it is black, which absorbs light, it won t reflect too much back. TIP: When lighting skin, it is better to go 1 stop higher to over expose it slightly or the skin can look a little dark. 27

30 STUDIO: If you change the black reflector for a white reflector, the model will appear more lit. This is because white reflects light. The closer you move the white reflector, the better lit the model will be. With this shot, the softbox and white reflector were about 1 metre away from the model, with the camera also about 1 metre away from the model. 28

31 BASIC EFFECTS If you don t want a dramatic effect with many shadows, place the light directly in front of the model and by adding a white reflector underneath, the light should also bounce onto the model. A white poly board was used underneath and below the model to bring in more light to her light her with. This was about 2 feet away from her. The soft box was on f/2 29

32 LIGHTING: Backdrops can dramatically change how we see a photograph. The studio typically has a white or black backdrop. To create this, a black poly board was positioned behind the model. Two soft boxes were placed diagonally facing the model at f/1 about 1 metre away. Camera on ISO 200, aperture f/8 and shutter on 1/125 secs. 30

33 WORKING WITH THE BACKDROP With the previous photographs, it appears the backdrop is grey as it is not being directly lit. However, there is a method to stop this. Use a Bowen 500W soft box above the camera set on f/3. Using a Bowen 500W light with a spill kill head set on f/5.5 facing the backdrop. Place a black reflector in front of this light to block light bouncing back to the model. Place a white reflector next to the model as it will help bounce light back to the wall. Each reflector should be about 1.5 metres from the model. 31

34 LIGHTING: Backlighting is most often used for beauty and fashion shoots as it creates a more dramatic shot. Back lighting hair that is blonde or very light tends to be more effective over darker hair, as the two on the right show. This set up was created with a Bowen 500W Honeycomb head at f/2 placed behind at one side of the model. A beauty dish placed above the camera at f/1 to give the main light source for the face. 32

35 BACK LIGHTING HAIR Blonde Hair Darker Hair 33

36 LIGHTING: Of course, using lights are not soley used in an indoor environement. This section looks at how to use the travel kits outside where the lighting is more difficult to control in comparison to the studio. You will need: A camera that allows sync Sync cable for flash/ Wireless flash trigger 500w or 750w lights Battery pack (to power the light) Light meter You may also add: Snoot/beauty dish/honeycomb Power cables White/silver/gold reflector 34

37 WORKING OUTSIDE This photograph was created using an aperture of f/6.3, shutter speed of 1/125 seconds and and ISO of 200. The Bowen 500W travel kit was used with the light unit set on f5. This photograph was taken in an alley way where there was not much light. It was intentional to have the railings appearing dark with the scene behind it being fairly lit. The model was about 4 metres from the camera and light, which was up high. 35

38 LIGHTING: This was created using the Bowen 500W at f/2. The light directly bounced off the reflector opposite to light this photograph. The aperture was on f/16 which helped make the background darker. 36

39 WORKING OUTSIDE CONT. The aim with this was to light the background evenly with the model. The Bowen 500W at f/2 light the was placed at the model at angle so it could hit the reflector and light the wall at the same time. 37

40 LIGHTING: 38 With this one, the soft box was placed closely to the model with the gold reflector at the opposite end to reflect the light. The backdrop is dark as the aperture is around f/16 with the light set on f/5. Proves a dramatic set up.

41 WORKING OUTSIDE CONT. This was created using 1 light but a gold reflector was placed down below near the model so the light could be reflected. The Bowen 500W, on f/1, had an umbrella with no silver casing facing towards the model to give a fair but dramatic lighting. 39

42 LIGHTING: 40 These photographs were taken using the Canon Speedlite 580ex ii. Two were used with 1 as the Master and the other as the slave. With this set-up, the flash was on full power, hence the dramatic lighing but the flash was positioned upwards. The slave flash is what creates the majority of the light as it is at head level to the model at the side.

43 WORKING OUTSIDE CONT. Here, the model moved closer to the slave flash which was set on full power once again. The master was not on hence why the only light source in the photograph is coming in directly onto the model. Makes for an unusual set-up and for a dramatic effect. 41

44 42 NOTES

45 NOTES 43

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47 NOTES 45

48 THIS GUIDE TO LIGHTING COVERS EVERTHING YOU NEED TO KNOW ABOUT THE BASICS OF A PHOTOGRAPHIC STUDIO. FROM UNDERSTANDING LIGHTING EQUIPMENT TO ACHEIVING DESIRED RESULTS FROM CERTAIN TECHNIQUES, THIS GUIDE GIVES A SIMPLE EXPLAINATION TO ASSIST YOU. LUCY BARTLETT IS STUDYING BA (HONS) PHOTOGRAPHY AT COVENTRY UNIVERSITY. THIS MANUAL WAS PRO- DUCED AS PART OF THE WORKING WITH LIGHT MODULE. Prepared by MagCloud for Lucy Bartlett. Get more at lucybartlettphotography.magcloud.com.