Studio Portrait Lighting-A How To

[grsphoto]

Originally Posted by Benji

This is correct in a textbook situation with a 16 inch silver parabolic lighting modifier wiith barn doors, but according to master photographer Don Blair when using a softbox or an umbrella you will get "wrap around" lighting which tends to add some fill to the shadow side. That is why I put "approximately" in my posting.

Benji

Just so I understand what you are saying... meter readings for soft boxes are different then meter readings for relfectors. I always thought that 2 stops was 2 stops, no matter what the light source.

Anyway I have always thought that ratios were a waste of time and energy to learn...that as photographers we should think in stop.

Good tutorial BTW.

Glenn

[jgoeden]

Originally Posted by Leohr

In the paragraph about the main light, I suspect there was a typo? In the last line, "The closer the light source is to the subject the softer the light appears." Didn't you mean the further the light source, the softer the light appears?

Leohr,

No typo, he was correct.* The softness quality of light is a relative ratio between the size of the source compared with the distance of the source.* For example we know that a softbox creates "softer" light than a flash with no modifier.* This is true if both are at the same distance.* Well if you were to compare the softness or hardness of a bare bulb (using random numbers for example) at 3' from the subject with a softbox lets say 30' from the subject, you might find the both similiar.* This is because the softbox at such a long distance has turned into a "small" light source as is also the bare bulb at 3'.* I hope I explained this correctly.* If you're confused please visit the video in the link I'm providing, as this is where I learned of this "phenomenon" (for lack of better words!).

You'd be amazed at how much at how much you can learn from this <a href="http://www.sportsshooter.com/special.../index.html">8 video series</a>.* TONS of imformation packed in there!

[dean1401]

Great tutorial Benji, Thanks!
Just what I needed and all I need now is ............................. more lights! Damn!!!!

[Jess]

Hey jgoeden, that was great info. I just watched all of the videos, and that had reallly good info, thanks for posting it. you should put that in the lighting forum, so everyone can see it. I don't know how to hyperlink.

[mR_CaESaR]

I just wanted to say thank you for these tutorials, you have made it real simple to understand for people like me who know dibbly squat about studio photography.

thank you again.

[leilay]

I really needed this - thank you so much!

[Brooks]

Originally Posted by grsphoto

2 stops is a 4:1 ratio 1 1/2 stops is a 3:1 ratio
Understanding Lighting Ratios

Actually a difference in brightness of one stop between the main light and fill light (read with an incidence meter at the subject) will yield a 3:1 ratio.

If the fill light is positioned on the lens axis, above or below the lens it will place X amount of light on both the highlight AND shadow side of the face.

If the main light is one stop brighter than the fill light, then it places 2X amount of light on the highlight side of the face.

So the ratio is 2x (main light) plus 1X (fill light) which equals 3X amount of light on the highlight side of the face with 1 X (fill light) on the shadow side of the face.

The ratio is 2X+1X:1X which is a 3:1 ratio.

[tmrdesign]

Hi Benji,

I've been exploring your tutorials again and really think they're great. I do have 2 questions about the lighting setup.

1. Is the fill light in the wide angle shot to camera left due to the fact that you moved back to take the shot or are you positioning the main and fill to camera left?

2. I'm working on posing female models. Do you always position the body so it is turned away from the main light and the shoulder and profile are lit from the main light as opposed to having the subject's body facing the main light and lit head on?

[Benji]

Originally Posted by tmrdesign

Hi Benji,

I've been exploring your tutorials again and really think they're great. I do have 2 questions about the lighting setup.

1. Is the fill light in the wide angle shot to camera left due to the fact that you moved back to take the shot or are you positioning the main and fill to camera left?

2. I'm working on posing female models. Do you always position the body so it is turned away from the main light and the shoulder and profile are lit from the main light as opposed to having the subject's body facing the main light and lit head on?

TMR,

Thanks for the kind words.

1. The fill light should be behind the photographer (I moved it slightly forward and stepped behind it for the wide angle shot for illustration purposes) and it should also be on the same side as the main light is.

2. I pose nearly all of my females in the manner you described above as this will assist in getting the 1-3-2 posing technique quickly and easily.

Benji

[tmrdesign]

Hi Benji,

This is the first time I've ever heard someone saying to put the fill on the same side as the main light. I've been putting it as close to the axis of the lens as possible and most often slightly above and to the opposite side of the main if I don't have enough room to have it directly behind me.

Can you explain more about the concept of having the fill on the same side as the main? You are suggesting it should not be on the lens' axis. Is that correct?

[Benji]

Robert,

My fill is a 62 inch umbrella, and since my ceiling height is over 11 feet, I can raise it up to where the bottom of the umbrella is about 6 feet from the floor, and since it is a parabolic, it tends to produce "wrap around" lighting. This wrap around lighting is better at filling shadows than a flat light source is I believe. It is also on the same side as the main, but it is still very close to the camera. If the fill is allowed to drift too far off to the side, it will create a shadow on the background cast by the main light.

If you place the fill opposite the main it will tend to overfill the shadows. To prove this place the fill opposite the main and meter just the fill, then add the main and power it up until it is two stops more than the fill alone, then meter both lights and set your aperture at that reading and make an exposure. Then move the fill to the same side as the main (but not too far, it only needs to be 18 inches or so) meter it, then meter the main so it is again two stops more than the fill alone, then meter both and shoot at that aperture. Compare the two images. You will discover the one with the fill opposite the main will have lighter shadows.

Benji

[tmrdesign]

Hi Benji,

I did the experiment you suggested and here are my results. The main light in on camera left.The first image has the fill light on the lens' horizontal and vertical axis and I used a remote to trigger the shutter so as not to block any light returning from the umbrella to the subject.
The second set of images has the fill light on the lens' horizontal axis with the fill 18" to the right of the lens's axis and then 18" to the left of the len's axis.

I can see the difference and obviously it is most noticable between left and right but not quite as noticable when you compare to the first image with the fill centered on both axis.

So based on the results you are saying that with the fill off to the same side as the main light, that it's a more accurate representation of a 4:1 (2 stop difference) ratio?

This is a very new concept to me. Can I ask how it is that you began using this method when it seems that everyone else is placing the fill either dead center or off to the opposite side of the main by a small amount?

[Benji]

I believe the first photographer to show me this was either the late great "Big Daddy" Don Blair or Frank Chicchio. Both of these guys are (were) master photographers and both have spent (did spend) years perfecting their craft.

Ben

[tmrdesign]

Thanks Benji,

Based on the images posted do you feel that the better (or correctly) lit image is the one on the bottom right?

I'm really trying to hone my skills as a portrait photographer. So any help you can offer is much appreciated.

[tmrdesign]

Originally Posted by Benji

Then move the fill to the same side as the main (but not too far, it only needs to be 18 inches or so) meter it, then meter the main so it is again two stops more than the fill alone, then meter both and shoot at that aperture. Compare the two images. You will discover the one with the fill opposite the main will have lighter shadows.

This all makes sense Benji but don't you want that wraparound to be even? If the fill opposite the main has lighter shadows then can't you just adjust power levels to achieve the same look, and perhaps it will be 2 1/3 stops different, as opposed to 2. When I look at the shadow side of the image with the fill on the same side of the main I see some areas that really need fill and ar not getting any because of this position.

[Benji]

Robert,

I must admit to my eyes the bottom right looks good exposure wise/shadow highlight wise.

I ALWAYS shoot Raw and do a densitometer test on every portrait image I shoot. I want 236 on the brightest diffused highlight on the face (usually the forehead) and 12 on the darkest shadow I that want detail in.

Benji

[AlexisG]

Great tutorial. Is it possible to get the same wrap around effect with a 3 light set up?

[brice]

The three images with the mannequin look almost identical too me.

[Jimmyz]

Benji, any chance you would break down how you made the seat for the short ladder? maybe some measurements so I can make one?
Thanks
JimmyZ

[Benji]

Jimmy,

My seat measures 11 inches deep by 18 inches wide with 4 inch tall sides. It is made out of 3/4 inch plywood. I bolted it to the top rung of the stepladder with carriage bolts because they have round smooth heads that won't dig into sensitive butts!

Benji