Interesting to see different techniques

[Nikonfreak]

It's good to see different techniques.

I'm getting ready to purchase a set of AB 800's and a AB 400 with honeycombs and some barn doors...maybe a snoot (background light, hair light, etc for the smaller unit)

What I'd really like to see more of is if you guys are posting an image and showing results, I'd love to know what the lights metered out to individually and collectively...settings for strobes, etc.

Some of what we see here is personal preference and the photographer's own style; however, it'd be good to also know the distance from the light / reflector to the subject that was used in the creation of the image as well as the height of the light source. This especially when using strobes and showing diagrams....

I also like to see the effects of whether or not shadowing plays a part of the image...where it's thrown, in or out...etc. Why...

In the thread of the "building light" setup, I was curious as to why the preference for the rim lights vs just putting a light on the backdrop to create the separation of the model's hair rather than creating hot spots on the hair. For shots like this I have a preference for a softer look and avoidance of too much light to create a sexier look to the image.

This sometimes helps understand what the photographer is thinking and gives a vision of the intent of the shot is or what mood the photographer is trying to create and communicate.

Thoughts?

Julio

[Blinky]

Originally Posted by Nikonfreak

What I'd really like to see more of is if you guys are posting an image and showing results, I'd love to know what the lights metered out to individually and collectively...settings for strobes, etc.

Some of what we see here is personal preference and the photographer's own style; however, it'd be good to also know the distance from the light / reflector to the subject that was used in the creation of the image as well as the height of the light source. This especially when using strobes and showing diagrams....

I'll try and remember to include some set info every now and then, Your right, it's really helpful to see how different shooters solve problems and achieve results. With respect to ratios and distances, I don't really measure them on the actual takes. I check them as I prepare the set to get in the ballpark and then move, flag, scrim and feather the lights to get the light and shadow play I want.

Originally Posted by Nikonfreak

I also like to see the effects of whether or not shadowing plays a part of the image...where it's thrown, in or out...etc. Why...

Duuuuude! For my money, shadow is as important as light. One of the things that makes us photographers is the ability to see and anticipate the effects of shadow on a subject. I'm preaching to the choir though aren't I... I've seen your web portfolio, you understand the value of shadow as well as anybody. I think your statement/question is rhetorical rather than interrogative.

Originally Posted by Nikonfreak

In the thread of the "building light" setup, I was curious as to why the preference for the rim lights vs just putting a light on the backdrop to create the separation of the model's hair rather than creating hot spots on the hair. For shots like this I have a preference for a softer look and avoidance of too much light to create a sexier look to the image.

In that thread, I think he was going for a technically inclusive shot to illustrate some concepts. Rim lighting seems to be a popular technique with glamor, not so much for the background separation as for the interesting highlights it adds to the shadow side. I see it as a trick in the bag to get a more professional looking image... like a hairlight. It does make images all look the same though if it's overused.

I've been wanting to try some softer, actually, very soft looks on head shots to get that exquisite look you see from some of the really great beauty photographers. I like soft too.

One of the best things about forums like this is learning how other photographers translate the visions in their heads to recorded images ... there seems to be no limit on creative lighting and photography. The more we share, the more we advance technique and ultimately elevate photography as art.

Chip

[Nikonfreak]

Ya got me. I was being rhetorical with the shadow question, but I don't think I phrased it quite right in the way I meant it.

I meant it in the way of communicating the message of the image and how effective the shadowing becomes and to what degree (mood creation).

You really must have read my mind on the other... I was thinking that very thing with softer looks specifically on head shots... Some of those glamour mags are really incredible the way they create that softer look, but maintain a soft, beautiful light

Julio

[J.A.F. Doorhof]

The soft beauty light can be achieved with a very large softbox, I use the elinchrom Octa (1.90mtr) for a little bit of bite (like this shot) I remove the front panel.


The closer you place a softbox the softer the light.

[Nikonfreak]

Nice shot.

I believe the effect we're talking about is probably done with a dome or very large softbox from above the model with fill lights either at 90 degrees or 45 degrees to create almost an even light across the face of the subject with a hint of falloff to one side or the other, creating the illusion of a single light source, but very delicately.

The fills are either behind white /translucent scrims or panels....

This is something I've been meaning to try, especially to really accent the eyes in certain models. I know one with very vivid blue eyes that are striking. I've really got to give it a shot with her and see the results against a blue mulsin.

Julio

[J.A.F. Doorhof]

You can achieve it with many ways.
One to use a VERY large softbox like this one but for example from the front with the photographer standing in front of it.
Or a ringflash.
You can ofcourse also bounce and reflect but I think the big softbox is much easier.