The Evolution of a Portrait Shoot

[Benji]

Someone emailed me a couple of weeks ago (but I can't remember who) and asked for a tutorial showing the positions of the lights, how I get inspiration for poses and how I do a shoot. So here it is.

When the client calls for an appointment I ask them to bring in a favorite photograph they have seen, (or tear one out of a magazine that they like) and we will attempt to duplicate it. The first image below was torn from this month's edition of Glamour magazine.

Benji

[Benji]

The first thing I do is shoot a zebra card. This will give me the correct white balance for the lights I'm using. I will only need to do this once unless I change my main or fill lights during the shoot.

My assistant held the card for me. I could have also placed it up against a posing stool and stepped back and made the capture or by using a wide angle lens, you can hold it yourself. Make sure you are not getting any glare from the lights.

Benji

[Benji]

Next I studied the tear sheet so I could determine where the original photographer set up his lights. I also will at this time study the lighting and posing and decide if could be "Benjized". Some fashion photographers are usually not as particular about lighting and posing as some portrait photographers are. Once this is done, I set up my lights.

The image below shows the exact position of all the lights I used in the making of the first image below, except for the fill light. I moved the fill light off to camera right several feet so it would not obstruct the ability to see the position of the other lights. All meter readings were taken with a Sekonic L-358 with the white dome extended. The dome was held at the subject's face nearly touching her cheek. The meter readings were as follows:
Fill, a large square softbox, was metered at F 4. Dome aimed at the light. The main light was switched off for this reading.
Main, 24 x 32 softbox with louvers was metered at F 9. Fill light was on, but the dome was pointed directly at the main light.
Kicker, a 12 x 16 softbox was metered at F 5.
Hair, snooted (meter held on top of her hair) was metered at F 6.3.
Background a 16 inch parabolic with a diffuser and barn doors above and aimed down F 4.5. The meter was held in the area between her head and shoulders.

Benji

[Benji]

Then I attempted to duplicate the pose. The original photographer lit his subject from above the camera and to camera left, but that left shadows in her right eye due to her hair. Bree's hair style is different so I will try one from the light at camera left and on from camera right and see which one I like better. After I shoot this one I will begin experimenting with slightly different poses. The reason for this is because the original photographer most likely has shot this image numerous times and has already made all the mistakes one can make, so why should I attempt to make them also.

Benji

[Benji]

Then I changed her right hand and I moved the main light and the fill light to the opposite side. All the rest of the lights stayed in the same positions as before.

Benji

[Benji]

I think I like the lighting and the elevated camera position in the first image, but I like the pose in the second image. I will try several other positions of the right hand and arm/elbow when I do this pose again. I don't care for the position of her right hand in image # 4 above. Her hand appears to be amputated. This is because it is cut off at the wrist, BUT when it is moved further over to camera right (so it isn't cropped at the wrist) it pulls the arm over (like in the tear sheet) and I think that looks bad also.

I'm wondering if I placed a folded up blanket under her tummy if that might raise her torso up. I think by raising her torso it would lengthen the distance between the floor and her elbow which would drop her shoulders and that would allow her to tilt her head. I think Bree's arms are not long enough to allow her to place her hand under her chin and tilt her head at the same time with her torso, and elbow both on the floor. But I could be wrong. I've been wrong millions of times before!

Benji

[geedee]

Benji
I notice that when you meter your lights you aim the bulb of your meter at the light your metering.
I have seen in some publications when metering Main and Fill lights they say point the bulb of the meter in the direction of camera lense axis. Thinking about this method if the model moved slightly forward or back, it would harder to maintain good light readings as apposed to your method.
Also thankyou for another great tutorial
Regards
GeeDee

[Benji]

geedee,

Since digital has such a narrow overexposure latitude, I want to be assured I'm not overexposing my images from the git go. By pointing the dome directly at the main light and setting the aperture at that setting I will not have an overexposed image (unless I forget to reset the aperture!)

Ben

[harryd]

Great tutorial, my Evolution is much different and not for the better . If you keep teaching me maybe someday I will figure out what I am doing. Thanks for all you do here!

[Benji]

Harry,

Unlike the other evolution this one actually works. A good photograph is created by an intelligent creator. It is not the result of luck, or happenstance or by dropping your camera millions of times all the while hoping the shutter will fire at the exact instant that will capture the subject perfectly lit, properly exposed and well posed. It just doesn't happen.

Ben

[Paul Shields]

Benji, another excellent example of your workflow. I find these deeply interesting.

I'm interested in how you expose here. You say that digital has narrow latitude, with which I agree. In that case, do you ever bracket exposures or rely on the metering and your experience with your equipment?

[harryd]

Originally Posted by Benji

Harry,

Unlike the other evolution this one actually works. A good photograph is created by an intelligent creator. It is not the result of luck, or happenstance or by dropping your camera millions of times all the while hoping the shutter will fire at the exact instant that will capture the subject perfectly lit, properly exposed and well posed. It just doesn't happen.

Ben

Well I am not up to a million yet but unless I change my ways I will be. I am going to keep trying to to follow your suggestions. This and the other tutorial are a big help. I wish I could come watch you shoot for a day, I know I would learn so much my brain would be full.

[KellyL]

Benji:

Very interesting and informative. I am interested to see why you chose to model your senior in a 1-2-2 pose as opposed to the 1-3-2 pose of the original tear sheet.

[angelsfort]

thanks for this Benji! I just have one comment, why didn't you pose your model in the same "flirty" manner that the original torn out sheet?? In the torn out sheet, the models right arm is pushed further under her left (giving her arms an almost triangle shape, her elbows look like they are at the same spot) and the tilt of her head, where she is facing off to the camera right side and just bringing her eyes back to the camera...
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