Low Key "How I Did It" Shoot

[PetersenPhotography]

Originally Posted by Benji

Nic,

I was taught to do it this way. Set up the fill light and meter it. Then set up the main light where you want it and meter it by leaving the fill light ON, aim the dome of the meter at the main light (don't stand in between the fill and the subject or between the main and the subject) and meter both lights. If the fill and main are at the subject's left, I stand to the subject's right to take my meter reading. Power the main light only up or down until you have it at one to two stops MORE than the fill light. All the other lights will then be set at the same reading as the fill. The shutter speed in inconsequential when using flash in the camera room (for the most part.) I usually shoot at 100 or 125. I usually have the main and fill on the SAME side of the subject, but the fill is only off axis in relation to the subject by a foot or so. Both lights are feathered so they don't blast the subject, rather they kiss the subject.

Benji

Thanks Benji - one more question. What do you mean when you say "both lights are feathered"? From what I've read it means that the shadows have a noticeable gradation rather than a "on/off" or harsh edge. Is my understanding correct?

Ok - I lied one more question. What are ways to achieve a feathered lighting?

[Benji]

Nic,

When someone says they feathered the light it means they didn't point the light directly at the subject. All lights have a hot spot in the center, then just outside of that bright hot spot there is an area that is softer. Master photographer Frank Cricchio calls the hot spot the "umbra" and the softer area around it the "penumbra." You want to use the penumbra as your light source, but to do so it means you can't point the light directly at the subject, so you aim the light just ahead (or just behind) the subject thereby incorporating the soft penumbra.

Ben

[PetersenPhotography]

Ben - I remember umbra and penumbra from high school science as it relates to solar eclipses, so I understand that terminology and that REALLY helped me understand what you were saying. Thanks for taking the time to explain it to me.

Not knowing about the hot spots would probably explain why the shots that I have shot with studio lights (one session) look very washed out. Next time.....next time....

[jfrancho]

Ben's tips on feathering brought about a huge improvement in my lighting schemes, and not just for portraits either.

[Benji]

Originally Posted by jfrancho

Ben's tips on feathering brought about a huge improvement in my lighting schemes, and not just for portraits either.

JF,

Man oh man I'm going to start feathering my fishing lures!!!

Ben

[jfrancho]

Northcountry Roundup 2008 - Page 9 - The New York Bass Forums.

[Austen]

Originally Posted by Benji

...... Set up the fill light and meter it. Then set up the main light where you want it and meter it by leaving the fill light ON.........and meter both lights.........Power the main light only up or down until you have it at one to two stops MORE than the fill light. All the other lights will then be set at the same reading as the fill......

So, if I understand this correctly, firstly position the fill light (say 12 inches off-axis) and the power level it is set at is actually not at all important.

Then, set the main light (at say 45° ) to the subject and then adjust it until it is one to two stops brighter, then adjust the aperture to suit ?

Many thanks,

Austen.

[Benji]

Originally Posted by Austen

So, if I understand this correctly, firstly position the fill light (say 12 inches off-axis) and the power level it is set at is actually not at all important.

Then, set the main light (at say 45° ) to the subject and then adjust it until it is one to two stops brighter, then adjust the aperture to suit ?

Many thanks,

Austen.

Austen,

Yes the power level of the fill is important. If it is too powerful your images will all be flat lit. If it is too weak you shadows will be black and look unnatural. I usually try and have the fill light about 1-1/2 to two stops less than the main light. Any more and the shadows tend to get real dark.

Ben

[Austen]

Originally Posted by Benji

Austen,

Yes the power level of the fill is important. If it is too powerful your images will all be flat lit. If it is too weak you shadows will be black and look unnatural. I usually try and have the fill light about 1-1/2 to two stops less than the main light. Any more and the shadows tend to get real dark.

Ben

Sorry Benji, but I am still missing something here ...........

You said that you set the fill light up first, which I understood, then you said that you meter the main to be one to two stops brighter, which again I understand, and then you set the aperture to suit the main, yep...understand that.

What I'm not sure of is why does it matter what level you set the first (fill) light to ?

If it's "bright"...which gives a harsh shadow, won't that shadow then be lightened when you add one to two stops of "extra" light from your main, and then the whole scene exposed correctly as you stop the aperture down ?

Conversely, if you were to set the fill light "dim", the main light would be correspondingly "not as bright as before", and once again the exposure would be taken care of by opening up the aperture ?

These two scenarios make sense (in my mind, which is frequently away in a place of its own) if you don't care about the final result of the aperture ................

But I can see the starting point of the fill light is relevant if you're aiming for a "target range" for your aperture ...............

I'm rambling now... !!!

Have I missed something ?? That's really possible......But I generally do remember to take the lens cap off now !!!

Many thanks,

Austen.

[Benji]

The fill light should not cast any shadow. It should create very flat lighting. The main is what casts a shadow thereby creating form and dimension in the image.

"Target range" for shooting in my camera room. When I bought most of my studio lights 20 odd years ago, they were (of course) made for film. My medium format camera lenses that I had at the time had a lot less DOF than does my new digital camera lenses at the identical aperture. So I actually have too much power for my digital lenses. Digital lenses have tons of DOF even at relatively wide apertures like f/2.8-f/4.0, but since I still have powerful lights, I must shoot at f/10 or thereabouts. I could stack a bunch of ND filters on the lenses to cut the power, or place NG gells across all my softboxes, but I ain't gonna! So since I know at lowest power and at about 8 to ten feet from the subject my fill light will give me f/4.5, I use that as a starting point to set the rest of the lights.

Ben

[Austen]

Originally Posted by Benji

The fill light should not cast any shadow. It should create very flat lighting. The main is what casts a shadow thereby creating form and dimension in the image....

Tinkle..tinkle.........

"What was that ?"

"I believe it was the sound of a penny dropping !!"

Thanks Benji, You really are The Man !!!!


Austen.

[HWCapps]

Hi, Benji

I looked at your DVD again today!

VERY Good
many people here need to get your DVD.

I think it was worth the $$ and a Asset to anyone's Photo Library

Harford Capps

[DD974]

Originally Posted by Benji

Nic,

I was taught to do it this way. Set up the fill light and meter it. Then set up the main light where you want it and meter it by leaving the fill light ON, aim the dome of the meter at the main light (don't stand in between the fill and the subject or between the main and the subject) and meter both lights. If the fill and main are at the subject's left, I stand to the subject's right to take my meter reading. Power the main light only up or down until you have it at one to two stops MORE than the fill light. All the other lights will then be set at the same reading as the fill. The shutter speed in inconsequential when using flash in the camera room (for the most part.) I usually shoot at 100 or 125. I usually have the main and fill on the SAME side of the subject, but the fill is only off axis in relation to the subject by a foot or so. Both lights are feathered so they don't blast the subject, rather they kiss the subject.

Benji

Awsome explanation, Benji.....Question though, if I have 3 alienbee 800 strobes, one with a brolly box, one with a shoot through or reflector umbrella and one with a 20 degree grid filter (hair light), and a background light (strobe) on a short stand about 2 feet off the floor, is it possible to achieve a beautiful portrait like you did here in this post? I know I need to get a couple softboxes but unsure of what I need, size-wise? Can you provide me any expert guidance? Thanks.

[Benji]

Originally Posted by DD974

Awsome explanation, Benji.....Question though, if I have 3 alienbee 800 strobes, one with a brolly box, one with a shoot through or reflector umbrella and one with a 20 degree grid filter (hair light), and a background light (strobe) on a short stand about 2 feet off the floor, is it possible to achieve a beautiful portrait like you did here in this post? I know I need to get a couple softboxes but unsure of what I need, size-wise? Can you provide me any expert guidance? Thanks.

The short answer is, experience is what is needed to get the shot, not equipment.

I like softboxes for my main light because they limit the spread of light, unlike umbrellas that spread it everywhere. Softboxes can be fitted with louvers, barndoors, and other light modifying attachments to make them do what you want them to do.

Ben

[Ellbee99]

Originally Posted by joedave

Benji - Thanks again! I would love to be an apprentice, just shadow and learn.

I retire in 10 years, you have some time?


JD

Originally Posted by Benji

JD,

I retire in 5!

Ben

What's retirement?

[spystyle]

Thanks Benji, I find your posts very informative

[brunski]

awesome explanation!! thanks Benji

[julieharnage]

Nice job.... I love the setup shot... always appreciate those.

[Sparc]

This is a very informative thread. Thanks Benji