We need all the tools, techniques and creativity we can muster to tackle whatever situations we encounter when we’re crafting killer images on location. Sometimes available light and a reflector, scrim or both get the job done. Other times, Mother Nature needs a helping hand from a flash. Balancing ambient and flash doesn’t mean each source contributes the same amount of light. In most cases, ambient light is the dominant source providing the majority of the illumination in a scene, while flash adds additional light where needed. You may need very little light from your flash to get the job done, while other more dramatic looks call for more flash and less ambient light. Having these creative options makes incorporating flash into your ambient shoots so compelling.
Creating lighting styles is a lot like cooking. You start with an idea of what you want and season to taste, adding what you need as you go. Each step taken on the path to achieving the look you’ve visualized is a series of building blocks with an eventual whole that’s greater than the sum of its parts. Readers of this column know I’m a big fan of working with one light, but there are times when additional lights are called for. This month, I turn up the heat and show you what’s possible with four lights.
Finding the right light indoors can be just as difficult as on location. This article looks at a few setups for studio-lighting seniors. Each image has a pullback showing how the lights were arranged, the equipment used and the setting for camera and lights.
There are multiple ways to utilize color gels in your creative process. In this article, our goal is to create colored shadows on the background without painting the models’ face in different colors. To achieve this, we need to first know some basics about color models and color theory, so let’s start from there and work through the making of the image.
Catchlights are the lights reflected in a subject’s eyes. I normally use strobes to capture them. Catchlights add life and sparkle, while their absence can result in dull, lifeless images. There are no hard and fast rules, and sometimes you may want dead and lifeless. It’s all about knowing what you want, why you want it and how to create it. But portraits are almost always better with catchlights.
Lighting geeks like me love nothing more than watching the way sunlight behaves as it streams through a narrow opening, moves across the sky or scatters into beams of light as it breaks through clouds or strikes the leaves of a tree overhead. It results in unique shapes and patterns. These magic lighting moments give me pause and remind me how powerful light and shadow can be in creating mood and atmosphere.
You can never have enough background colors to choose from in the studio. The background color that performs perfectly for one outfit, complexion, hair color, makeup style or concept will likely fall flat for another. You can invest in an endless assortment of colored rolls of seamless paper, but at anywhere from $50 to $100 each, this rainbow requires a pot of gold. This month, I show you how to create virtually any color you want without the cost or clutter of seamless paper.
These two portrait sessions were all about breaking my f16 habit in studio, going in the opposite direction and using extremely low-powered strobe and wide apertures to recapture some of that vintage portrait magic. I used the widest aperture available, f3.5, on my Schneider Kreuznach 150mm LS lens. On a medium-format DSLR, this is equivalent to approximately f1.4. Both subjects were photographed using the same two lighting setups, one with strobe only and one with strobe and constant lights. In each case, the strobe served as the keylight.
I covered the basics of beauty lighting several months ago. This month I take you on a deeper dive into beauty lighting. We’ll look at a more advanced setup I used recently to produce two killer looks for the same model. There are constants in beauty lighting: a strobe with a beauty dish acting as the keylight, a reflector or second strobe to fill in the shadows from the keylight, and classic clamshell lighting. Add a stellar creative team, additional accent lights to amp up the look and maybe some colored gels for that extra wow factor.
It never ceases to amaze me what’s possible with just one light, whether it’s a strobe or constant, plus a little know-how and creativity. A recent assignment I shot for one of Orlando’s top modeling agencies is a perfect example of the magic you can create with one light. I’d been asked to shoot promotional images of Kino, a newly signed model. The agency wanted dramatic edgy shots that highlighted his chiseled features and ripped physique. It was the perfect assignment for a couple of cool one-light setups.