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Ed Veroskys
Lighting Guide For Portrait Photography
Lighting Guide
For Portrait Photography
ED VEROSKY
(Previously Titled: Basic Lighting)
Ed Veroskys
Lighting Guide For Portrait Photography
Contents
Introduction................................................................................5
Light Sources and Gear ...........................................................7
Dramatic Portraits....................................................................60
Everything Starts with One Light............................................................................ 61
Adding Fill Light..................................................................................................... 65
Adding Hair Light................................................................................................... 66
Adding Background Light....................................................................................... 67
Side Lighting.............................................................................68
Single Side Light Profile......................................................................................... 69
Split Light............................................................................................................... 72
Two Side Lights...................................................................................................... 73
Adding Fill Light..................................................................................................... 75
Halo/Hair Rim Light................................................................................................ 75
Full-Length Lighting.................................................................78
One Light From Above........................................................................................... 79
Two Lights for More Coverage............................................................................... 82
Big Softbox without the Box................................................................................... 84
Wall Bounce for Bigger Light.................................................................................. 85
Another Solution: Move The Light Farther Away................................................... 86
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Lighting Guide For Portrait Photography
Contents continued...
Lighting For Headshots...........................................................88
Freestyle Lighting....................................................................113
Conclusion...............................................................................116
Additional Resources ........................................................................................... 116
Ed Veroskys
Lighting Guide For Portrait Photography Introduction
Introduction
Lighting can be one of the most
challenging aspects of photography, but something every photographer should strive to learn
more about, no matter what their
skill level. Ive written other books
to address the desire to learn
lighting theory and the technical
aspects of lighting and exposure,
and I feel that a solid understanding of lighting and exposure is
crucial to being a well-rounded
photographer. However, I also
think theres much to be gained
from just jumping in and creating
good lighting from wherever you
are in the learning curve. Producing great portraits is the goal after
all, but getting somewhere with your work right now is also encouraging.
Knowing that you have it in you to create good images will only make you
want to improve your technique and understanding as you move forward.
This book is designed to lead you on a path of learning by doing. The examples I ask you to follow are organized so that you can create great images right away, and its my hope that youll gain some important insight as
you move through them. Every step of the way, youll pick up a new technique or principle, possibly use it in another example, and before you know
it, youll be applying these techniques to your own lighting combinations!
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Lighting Guide For Portrait Photography Introduction
Theres a tendency to want to fill up a book like this with some of my favorite
stylized examples for each lighting setup, but I went the other way this time.
Instead, I made the decision to stick with basic, no-frills images that would
serve as instructive templates to work from. The images showing some of
the lighting setups and gear, and the perspective diagrams were also considered carefully. For the sake of uniformity and simplicity, the illustrations
mostly feature main and fill lighting represented by small flash units modified
with shoot-through umbrellas. However, any of the light sources can be replaced by other types of lighting and modifiers to suit your particular needs.
I think Ive struck a good balance with all of the visuals in order to communicate the concepts Im trying to teach. Hopefully, youll agree and find the
presentation easy to follow and straight to the point.
Finally, I recommend you not only use these examples to learn where to
place your lights, but also how to control their output manually, as opposed
to limiting yourself to using automatic technologies like E-TTL II or i-TTL as
they are available with small flash units. This isnt to say I dont want you to
use TTL at all, I just want you to learn how to mange your lights and cameras manual features, too. These are going to be very important later.
Well get started first with some basics about the type of lighting you can
use, the portraiture lighting patterns you should be familiar with, and then
move on to the examples you can follow to create your own impressive
portraits!
Ed Veroskys
Lighting Guide For Portrait Photography Light Sources & Gear
CHAPTER 1
Figure 1.2. A room filled with window light is great for natural light
portraits.
So, if all you have to work with are household lamps and/or natural light (Figure 1.2),
use your creativity to direct your light where
its needed to approximate the examples in
this book. By doing so, youll improve your
portraiture as you learn the principles that will
guide you should you eventually choose to
include flash/strobe lighting in your work.
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Lighting Guide For Portrait Photography Light Sources & Gear
Constant Lighting
Constant (or continuous) light is artificial light that is produced for a duration
that lasts much longer than the average exposure. Examples of this type
of light source are household light bulbs, compact fluorescent lights (CFLs),
flashlights, video lights, street lights, car headlights, any neon or electronic
screen illumination, candle light or light coming from a bonfire. Constant
lighting is generally less powerful than strobe, but arguably easier to control
than natural light. As with natural light, one of the great advantages to working with constant light sources is that you can see and somewhat control the
effect of the lighting on your subject in real-time.
Natural Lighting
When we talk about natural light, were usually referring to the light produced by the Sun. Natural light is the constant ambient light that surrounds
us outdoors and makes its way indoors via windows and skylights. Sunlight
can be harsh when striking your subject directly, or beautifully diffuse (e.g.
on cloudy days). Lets not forget the Golden Hour, that time just before
the sun dips below the horizon, or just after it rises in the morning, when the
sunlight passes through the atmosphere in such a way as to create a less
intense, warm glow.
Many photographers think of natural light as the easiest type to work with
and it can definitely seem that way. As with other types of constant lighting,
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Lighting Guide For Portrait Photography Light Sources & Gear
natural light allows you to see where the light and shadows fall across your
subject in real-time, giving you a pretty good idea of how theyll appear in
your images. But much of the perceived simplicity of working with natural
light has to do with our limited ability to actually control it; its not like you
can alter the Suns output or move and position it around your subject the
way that you can with lamps, flashes, and studio lights, so when working
exclusively with natural light, there are fewer settings and pieces of gear to
concern yourself with.
Of course, having less control over your lighting can also be limiting, but
under the right conditions natural light can be a pleasure to work with for
creating beautiful portraiture.
Ed Veroskys
Lighting Guide For Portrait Photography Light Sources & Gear
strobe lighting is easier than working natural light. Fortunately, you can
learn to create beautiful portraits with strobe even before mastering (or completely understanding) how flash works. Automatic flash exposure systems
like Canons E-TTL II and Nikons i-TTL can do much of the complicated
work for you, allowing you to concentrate more on the position of your lights
than on their power settings and metering. As you progress in your understanding of flash and its more advanced techniques and uses, youll likely
want to control the light output manually for most portrait work.
Ed Veroskys
Lighting Guide For Portrait Photography Light Sources & Gear
Ed Veroskys
Lighting Guide For Portrait Photography Light Sources & Gear
Ed Veroskys
Lighting Guide For Portrait Photography Light Sources & Gear
Ed Veroskys
Lighting Guide For Portrait Photography Light Sources & Gear
3500K-4100K for
whiter color, and
5000K-6500K for daylight-balanced color.
Dimmable and threeway units are also
available but not
recommended for
standard clamp light
applications.
You should discard old CFLs responsibly because they contain a small
amount of mercury.
Whether you decide to use regular incandescent bulbs or CFLs, make sure
to use the same type and brand throughout in order to keep the lighting
color consistent between sources. Cost per light, including CFL bulb, can be
under $10, making this an extremely affordable solution. A clamp light kit,
just like any continuous lighting does have its drawbacks: bright, continuous
(and often hot) lights can make a subject uncomfortable and create some
degree of eye squinting and the look of constricted (small) pupils. And, without modifiers, the light can appear rather harsh. Commercial continuous
lighting kits that use CFLs are also available.
Studio Strobes
If youre willing to invest a little more, you might consider a basic studio
strobe kit. It might surprise you to know that top-of-the-line small flash units
made by the likes of Canon and Nikon can be much more expensive than
their budget studio strobe counterparts. This isnt to say you shouldnt use
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Lighting Guide For Portrait Photography Light Sources & Gear
shoe-mount flashes--they offer lots of advantages over studio strobe lighting--but if budget is an issue studio strobes might be a better option for your
portraiture.
There are several reasonably priced studio strobes that offer good, consistent performance. While not all of these will necessarily fit into everyones
idea of budget-priced, many of the photographers I know have been very
happy with the performance of these products despite the fact that these
arent high-end solutions. If youre interested in investing in pricier gear and
prestige brands, I have listed a few at the end of this section.
Here are some of the brands and models that many new, as well as some
seasoned pro photographers swear by:
Alien Bees. Paul C. Bluff has designed and manufactured several reasonably-priced lighting solutions including the White Lighting, Einstein,
and Zeus lines and their respective
accessories and modifiers. Buffs
Alien Bees line of monolights has
become especially popular over the
years (see Figure 1.7). These units
are easy to use, dependable, and
relatively inexpensive. Alien Bees
come in several colors and three
basic versions: the B400, B800, and
the B1600. More info: http://www.
alienbees.com
Novatron. For some seasoned
professionals, units like the Novatron
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Lighting Guide For Portrait Photography Light Sources & Gear
M500 (see Figure 1.8) and M300 make for solid workhorses without the
weight and hassle of larger lights. More info: http://www.novatron.com/
RiME Lite. These are available in most areas under the name RiME
Lite (see Figure 1.9), and in Canada as Lightrein brand strobes and accessories. These units can handle 300 watt modeling lamps and some
models boast impressive digital features. (http://www.rimeliteusa.com &
http://www.lightrein.ca)
Other Brands. The following brands are also favorites with many of the
photographers I know: Calumet Genesis (http://www.calumetphoto.
com), Photoflex StarFlash (http://www.photoflex.com), Photogenic
(http://www.photogenic.com), and Elinchrom D-Lite RX4, which is an
entry-level Elinchrom unit that packs lots of features including EL-Skyport functionality. (http://www.elinchrom.com)
Prestige and High-End Brands. Some brands like Elinchrom have entry-level products as well as higher-end models. Along with Elinchrom,
professional photographers also use Profoto, Bowens, Broncolor, and
Hensel among others.
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Lighting Guide For Portrait Photography Light Sources & Gear
When shopping for a studio strobe kit, Id suggest sticking to the brands and
models that are equipped with modeling lamps. Modeling lamps are essentially continuous light sources provided as a useful feature on some strobe
units. These modeling lights provide two advantages: they help you visualize lighting ratios and where shadows will fall, and they can serve as lighting
sources all on their own, for continuous light photography.
Keep in mind that some studio strobes are flash heads that need to be
powered by external power packs, while others are self-contained units.
Either way, these lighting kits will require an AC power source or limited
capacity battery pack to function.
Figure 1.10. Canon Speedlite 600EXRT. Small flash units like these are very
portable and pack great lighting power for
their size.
Ed Veroskys
Lighting Guide For Portrait Photography Light Sources & Gear
prefer them for their size and portability. There are also many light modifiers
and other accessories for these types of strobes making them very suited to
portrait work.
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Lighting Guide For Portrait Photography Light Sources & Gear
Whats great about these systems is that some of the flash units can, aside
from their ability to fire a preflash, also send E-TTL II or i-TTL control signals
to remote flash units via flash pulses. This means that higher-end flash
units and some built-in (pop-up) flash units can serve as master flash
controllers to remote slave flash units. These systems can work great in
normal shooting situations, especially indoors, but can suffer from spotty
signal reception where there are line-of-sight obstructions or very bright daylight conditions to compete with the signals. Whats also interesting to note,
is that even though these systems were designed to make automatic flash
output control possible with remote units, they can also be used to trigger
flash units set to manual mode giving the photographer more precise, direct
control over flash output. I recommend that you use your flash units and
camera in manual mode as you progress through this book.
Canon and Nikon have other ways to control remote units using their proprietary flash systems, including dedicated sync cords, special transmitter
units (see Figure 1.11) and Canons new radio transmitter/receiver capabilities of the Speedlite 600EX-RT and the ST-E3-RT unit. Radio options
eliminate the line-of-sight limitations of the standard E-TTL II and i-TTL light
pulse communications
between master and
slave units. Although at
the time of this writing,
Nikon does not have an
integrated radio option,
as youll see later, other
companies have provided
work-around solutions to
the problems associated
with native optical transmission. More on Canon
Figure 1.11. Canon ST-E2. Speedlite Transmitter unit capable
of sending E-TTL II signals to Speedlite slave units.
and Nikon later in this
section.
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Lighting Guide For Portrait Photography Light Sources & Gear
PC Cords
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Ed Veroskys
Lighting Guide For Portrait Photography Light Sources & Gear
unit located somewhere away from the shooting position. If your camera
has a PC connector terminal or a hot shoe adapter that provides this type
of connection, you can plug a PC cord into it, and plug the other end into
a flash with a similar connector or adapter. PC cords with the screw lock
feature are less prone to accidentally detaching from their terminals than
their more basic counterparts, but they still have a reputation of being unreliable. This, and fact that theyre a wired solution, makes them more prone to
accidents and failure and somewhat restricts the photographers movement
during shooting. Also, its not always possible to reliably hook up more than
one flash unit at a time using PC cords. The one advantage a PC cord (or
any simple cord connector) has over optical wireless transmission is that
there is no line-of-sight signal problem to contend with.
Optical Slaves
If youre looking for a very simple low-budget wireless solution for syncing
any number of manually controlled flash units, optical slaves might be a
good option. These are typically small units that connect to your flash (See
Figure 1.14), either
directly or via a hot
shoe adapter. An
optical slave flash
trigger is essentially
an electronic eye
that responds to
the flash burst from
a master flash or
other flash in your
setup by sending an
electric signal to the
Figure 1.14. Sonia brand optical slave attached to Canon Speedlite.
This model is specially designed for use with Canon EX-series flashes.
flash its connected
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Lighting Guide For Portrait Photography Light Sources & Gear
to, causing that flash to also fire. So, when you take a picture and the flash
connected to your camera fires (or any flash fires), each remotely positioned
flash, equipped with an optical slave, will also fire. This happens instantaneously so all flash units contribute to the exposure. There are a couple of
important things to be aware of when using optical slaves:
1. Do not use E-TTL II/i-TTL or any automatic feature that creates a
preflash or otherwise uses a connected flash for anything but the actual
exposure. Since any flash-type pulse of light will trigger a standard optical slave, the remote flash will likely fire during the first pulse it sees. In
the case of preflash, the optical slave will react to the preflash, causing
the remote flash to fire and end before the shutter opens. Of course,
this means the remote flash wont have enough time to recycle and fire
during, or contribute to, the actual exposure. Some optical slaves are
designed to take preflash into account, ignoring a first pulse, and triggering on the second pulse (presumably the flash of the actual exposure).
These however, have received mixed reviews from users. Its just best
to set the camera for manual flash when using optical slave triggers.
2. Make sure you use an optical slave that is compatible with your specific type and/or brand of flash unit. When using Canon Speedlites, for
example, its recommended that you attach optical slaves that are explicitly compatible with the EX series of flashes.
Of course, there will still be a line-of-sight limitation, as with any optical wireless transmission/reception solution, but, again, you wont have a problem
with most close-quarters indoor shooting because even if your optical slaves
arent directly in-line with your master flash, theyll likely pick up the light
pulse as it bounces off other surfaces (i.e. walls) and fire at the appropriate
time. Outdoors in bright daylight, might be more of a challenge.
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Lighting Guide For Portrait Photography Light Sources & Gear
Radio Triggers
Although Canon
now has a radio
transmission
solution to the lineof-sight problem
associated with
the optical wireless
transmission of
E-TTL II signals,
third-party radio
solutions have been
available for quite
Figure 1.15. PocketWizard Plus X and Plus II transciever units.
some time. RadioPopper, PocketWizard and others have come up with ways to capture and relay the proprietary
optical signals from Canon and Nikon cameras to their Speedlite/Speedlight
units.
There are many basic radio triggering solutions available for non-TTL applications, including the PocketWizard X, PockeWizard Plus II (see Figure
1.15), and other PocketWizard models, and many low-cost triggers from
other manufacturers. One note of caution: before investing in a set of radio
triggers, make sure you do your research and look for models with good
reviews. A lower-priced set of radio triggers might sound like a bargain until
youre having to deal with frustratingly unreliable flash syncing.
Next, well talk about the flash units available from Canon and Nikon. There
are other viable flash units available from manufacturers such as Sigma,
Bower, Metz, and Yongnuo that you might also want to consider.
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Lighting Guide For Portrait Photography Light Sources & Gear
Canon Lineup
Canon has several quality flash units perfect for small studio work and outdoor shooting. Off-camera units can be mounted to light stands and positioned anywhere around the scene and controlled with E-TTL II, Canons
version of through-the-lens automatic flash metering and output control.
Of the models listed below, the Canon Speedlite 580EX II (as well as its predecessor the 580EX) and the 600EX-RT, can be mounted onto your camera
and serve as master controllers for any of the units listed here when those
units are set to slave mode.
Here is a list of some of models you might find useful:
270EX II. While this models flash head doesnt rotate (it only tilts vertically), that becomes much less of a limitation when remotely mounted to
a light stand and/or swivel adapter; in that case, the flash head can be
positioned as needed to point light in any direction. The settings for this
unit are limited and can only be adjusted via a direct camera connection
or E-TTL II optical wireless master. Unfortunately, it has limited use in
multiple light setups where youd want to control it as part of a designated group; it only operates as a member of E-TTL II Group A and will
fire regardless of the channel setting on the master controller. This unit
is the smallest and least powerful in this group, but it can still serve as
a good secondary light. Ive found it especially useful as a hair light or
rim light. This Speedlite is best used as part of an E-TTL II configuration
and not a fully manual setup.
320EX. This is an interesting model that boasts a built-in LED light
which can be useful for some DSLR video recording when better light
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Lighting Guide For Portrait Photography Light Sources & Gear
is not available. The LED can also serve as modeling lamp and focus
assist. As an off-camera slave unit, it allows you to manually adjust
the Speedlite group and channel you wish it to operate on. As with the
270EX II, its great for use in an E-TTL II setup, but it will be of limited
use in a fully manual setup.
430EX II. For more serious off-camera shooting, Id recommend going
with no less than the 430EX II. Unlike the 270EX II and 320EX, the
430EX II will allow you to make important settings adjustments directly
on the unit, including manual output control. Its easy to navigate its
menu with the LCD monitor and a few simple buttons. The only major
things setting this unit apart from the big players listed next are the fact
that it is not as powerful and cannot serve as a master controller.
580EX II. The 580EX II (discontinued) can remotely control all other
units in this lineup via optical wireless transmission using E-TTL II.
When connected directly to your camera, the 580EX II can be setup
as the single master controller to any number of remote slave units.
These units can all be set to fire off of one of four selected channels (1,
2, 3, or 4) and can split into three groups (Groups A, B or C) with each
group being controlled as a single unit. This setup allows you to control
the ratio of light output between Groups A and B, with Group C firing
independently, with its output controlled via Flash Exposure Compensation (FEC) for that group, for example.
600EX-RT. This is the first Canon Speedlite capable of radio wireless
transmission to slave units as a built-in feature. Of course, this requires
the use of slave units capable of receiving radio transmission from the
master unit, and as of now, the 600EX-RT is the only Speedlite with this
ability. So, if you want to use the 600EX-RT for radio wireless control of
slave units, those slave units must also be 600EX-RTs. You also should
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Lighting Guide For Portrait Photography Light Sources & Gear
be aware of the fact that some of the more advanced features of this
unit cannot be used with Canon DSLR models introduced prior to 2012.
If you do have a 600EX-RT you can still take full advantage of Canons
standard optical wireless system, because this unit can do everything
the 580EX II does in that regard.
The 580EX II and 600EX-RT (see Figure 1.16) can be set to operate as
on-camera master units without emitting flash that contributes to the actual exposure. This is helpful if you dont want part of the lighting on your
subject coming in from the camera position. Two special master control
units that dont actually produce flash and offer a much lower profile than
the 580EX II or 600EX-RT are the ST-E2, which provides optical wireless
control of all Speedlite models, and the ST-E3-RT, which only provides radio
control when used with 600EX-RT slaves.
Finally, Canon DSLRs with built-in (pop-up) flashes, beginning with the
introduction of the 7D, are equipped with integrated Speedlite transmitters,
meaning those cameras and their built-in flashes can control remote/slave
Speedlite units. Ratios and other settings are controlled
via the cameras
menu system in this
case. This feature
is similar to Nikons
Commander mode
which has been
available for several
years.
Figure 1.16. Speedlites 580EX II and 600EX-RT.
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Lighting Guide For Portrait Photography Light Sources & Gear
Nikon Lineup
Just as with Canon Speedlites, Nikons Speedlights (note the subtle difference in spelling) also give you the advantage of automatic flash exposure
through the i-TTL/CLS system. Speedlights are controlled via optical
transmission much the same as Canons. Here are a few Nikon models of
interest, excluding the ones that cannot reliably be used as wireless slaves.
Note that the first three listed here (models SB-600, SB-800 and SB-900)
have been discontinued but are still available as used items through various
retailers and on-line sellers and auctions:
SB-600. The Speedlight SB-600 (discontinued) has a flash head that
tilts but does not rotate, however that is not a limitation when its attached to a light stand with a swivel/umbrella adapter. This unit can
controlled by i-TTL/CLS remotely, operating on any of the four channels
(1,2,3 or 4) and three groups (A, B, or C). To use the flash in manual
mode using Nikons SU-4 mode, an SU-4 mode adapter must be used.
Of course, a compatible basic radio or optical slave trigger will also
work.
SB-800. This unit (discontinued) can operate
as a master in wireless
Commander mode
when mounted onto
a compatible Nikon
DSLR. It can also
serve as a remote slave
in i-TTL and fully manual modes using a radio
trigger or SU-4 mode
(adapter not required
as an optical slave is
built-in).
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Lighting Guide For Portrait Photography Light Sources & Gear
SB-700, SB-900 (discontinued), and SB-910. Increasingly sophisticated, these are the latest Speedlights in the Nikon line (see Figure 1.17)
which can perform master and remote/slave functions while taking full
advantage of the latest CLS features.
Even with all the great on-going improvements in through-the-lens automatic flash metering and output control technologies, it should be noted that
any good flash unit capable of being set to manual mode and triggered via
optical or radio sync will do the job. As a matter of fact, for any shooting
situation where your light and subject placement will remain fairly static for
several shots, manual camera and flash settings will often give you the most
predictable, consistent results. So, you dont need to use the features of
E-TTL II or i-TTL to get great portrait lighting. However, those automatic
features can be useful when you are going to be moving lights around frequently, or in fast moving shooting conditions (like event photography).
Light Stands
Whether youre using clamp lights,
strobes, or small flash units youll need
a convenient way to vary the height and
position of your lights in order to take full
advantage of your setup. Not only are
light stands (see Figure 1.18) a good
place to mount your lights, but they also
make it easy to use light modifiers in
various configurations.
I suggest you have a light stand and the
necessary adapters and attachments for
each light in your setup. If youre just
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Lighting Guide For Portrait Photography Light Sources & Gear
using clamp lights, this isnt as important, but where strobes and flash units
are concerned, these additional attachments come in very handy. On the
low end, you can look to spend about $40 per stand and basic swivel adapter for umbrellas and similarly attached modifiers, with better combinations
running over $100 per stand setup.
As I like to travel light, Ive used various low-budget stands and can recommend Impact brand and the light stands sold by Paul C. Buff, Inc. for their
quality at reasonable price points.
Other lighting accessories include umbrella adapters, shoe adapters, and
adapters for syncing and securing your lights to stands and modifiers. See
my book, Ed Veroskys Mini-Guide to Off-Camera Flash for quick and easy
details and specific items you can use to put your own off-camera flash
stands together.
Lighting Modifiers
The look of your portraits is affected not only by the type and intensity of
your light sources, but also by the quality of the light they produce. Think
about a lamp with a bare bulb versus one with a lampshade attached; without the lampshade, the light produced is harsh and direct, whereas with the
shade, its softer and more pleasing. Light modifiers for the light sources
in your photography work to produce more pleasing light in much the same
way.
Most of the modifiers used are of the diffusion type; fabric panels often
made of translucent nylon are commonly used for softboxes and photographic umbrellas to transform the illumination from a small flash or strobe
into a much larger light source relative to the subject. There are modifiers
that can bounce, focus, block, color, and shape light to your needs. In this
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Lighting Guide For Portrait Photography Light Sources & Gear
Figure 1.19. Foam bounce card. Positions shown for use with
both horizontal and vertical shooting.
These are almost exclusively for use with shoe-mount flash units (as a matter of fact, Ive never heard of bounce cards like this being used with any
other type of photographic lighting). The idea behind this ingenious little
DIY crafting foam attachment (see Figure 1.19) is that you can secure it to
your flash head when its pointed straight up in the 90 degree position and it
will reflect light off of the card and onto the subject.
The advantage here is that the surface of the bounce card (essentially a
mini-reflector) is larger than the surface of the flash head lens. When your
flash fires this makes the effective relative size of your light source larger
than it would have been, and larger light is often better light. Further adding
to the overall size of your light source is the way that your flash is pointed
toward the ceiling when using this modifier. As you might know, bouncing
that additional light off the ceiling creates yet another light reflector situation
where the ceiling and subsequent scattering of light around the room can
make for beautiful soft and even lighting.
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Since most of the setups discussed in this book are going to be about setting up light sources rather than using on-camera flash, we wont cover the
use of this type of modifier in any more detail, but you should get familiar
with it as a great way to create better light when you have minimal time and
gear to work with.
Diffusion Attachments
Plastic diffusion attachments, such as the STO-FEN brand shown in Figure
1.20, can also be handy for throwing light from the flash head around the
room. These translucent plastic caps work by sending light into many directions so that it strikes walls and the ceiling, thus making the light scatter and
more diffuse so that your subject is being illuminated more evenly. These
are not useful outdoors if there are no surfaces to bounce the flashs light off
of. Again, this type of modifier is included here for completeness and because of its wide use and effectiveness
in fluid indoor shooting scenarios (e.g.
wedding and event photography).
Bounce Panels
& Reflectors
Reflectors are one of the true secret
weapons of photographic lighting. With
them, you can create and direct nice
light anywhere you want it. White, silver, and gold surfaced reflectors are the
most commonly available. I sometimes
think of reflective surfaces as virtual light
sources because they can provide additional illumination for your subject.
Figure 1.20. STO-FEN Omni-Bounce
for a diffused bare-bulb effect.
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Umbrellas
Standard and shoot-through photographic
umbrellas are an affordable solution that
can give you the benefits of reflectors and
diffusers (for softer main lighting and/or
fill lighting), but in a more controlled and
focused way. Using an umbrella in the
traditional way, a strobe is pointed away
from the subject and into the umbrella.
The light from the strobe is reflected off
the inside surface of the umbrella creating a larger light source, relative to the
subject, so that the subject benefits from
a nice, wide circle of illumination.
Ed Veroskys
Lighting Guide For Portrait Photography Light Sources & Gear
Softboxes
Some photographers consider the softbox (see Figure 1.23) an indispensable
studio item. They come in all sizes and
dimensions, but one things for sure,
people love the light they produce and
the control they offer. They are so popular that when working with small flashes
for serious portraiture hit its stride a few
years ago, manufacturers scrambled to
produce everything from mini-softbox
attachments to full-out softbox solutions
for them. Softboxes dont tend to run
cheap, but theyre well worth the money
if you like the look of the light you can get
from them.
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Keep in mind that just because a particular modifier might technically qualify
as a softbox, the very small ones (namely the type designed for use with a
flash unit mounted to a camera) arent likely to produce the quality of light
one might expect. This is because, as a light source, those types of modifiers arent very big; its the larger light sources that will give you softer light
after all. If youre looking for ways to get that softbox look, Id suggest going
with an off-camera softbox that is no less than 2 x 2 for a single subject.
And even with a softbox that size, youll need to move it in very close to your
subject to take full advantage of its effect.
Gels
Finally, there are
ways to use your
lights with gels or
color filters to create
color effects, or to
balance the color of
one light source with
another. For example, its common
to stick an orange
gel over a flash,
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as shown in Figure
1.25, so that the
light it produces will
be in the same color
temperature range
as the surrounding
ambient light (where
the ambient light is
mostly incandescent). Gels of other
colors can be used
for background color Figure 1.25. Gels are used for color balancing flash to other light
sources and for background and special effects.
effects and for any
creative uses you can come up with.
Starting Points
I highly recommend that you find and use some simple starting points for
your current lighting setup; some initial setup configuration and camera
settings that you know will work from the moment you start shooting. From
there, of course, youll find that making adjustments is easier than if you had
started off from no real reference point. I often refer to this as standardization: your personal, predetermined system of default settings and lighting
configurations. This topic is covered extensively in my book, 100% Reliable
Flash Photography.
Here are some examples of lighting setups to get you started. For each that
you plan to use, position the lights, do some tests until you find a combination of light positions, power settings, and camera settings that produces
results that youre happy with, and write these down for future reference.
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Clamp Lights:
Two-Light Setup
As noted earlier, putting a clamp light kit
together (see Figure 1.26) is probably
Figure 1.26. Clamp light on a stand.
the most economical way to go, but it
can also be somewhat limiting in terms of
output power and making adjustments to achieve desired lighting ratios and
other effects. However, knowing the limitations of your gear can help you
make good creative decisions and allow you to use them to your advantage.
I often use clamp lights to produce harsher lighting for dramatic effects
because the quality of this type of light and reflector are suitable for such
looks. This isnt to say you cant use clamp lights for traditional portraiture,
which is what the following example configuration might be useful for. Note
that extension cords will probably be necessary.
Two Clamp Lights. Bare bulb (no reflector), CFL equivalent to 100 watt
incandescent bulb.
Two Light Stands. Capable of at least 8 height.
Camera Settings. ISO 1600, f/4.0, shutter speed 1/100 sec.
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Hang the clamp lights on each stand, and turn on only the first light. This
will be your main light and will be positioned approximately 1.5 from the
subject, 45 degrees to the subjects right or left as shes facing the camera,
and approximately 45 degrees above her head.
The second light will serve as the fill light and it will be positioned directly
opposite of the main in front of the subject. This light however will be 3
from the subject so that it will provide less illumination than the main (remember, as distance from the light source to the subject increases, the
lights intensity on that subject decreases).
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the umbrellas which can give you some added fill and pleasing background
illumination. Again this setup is covered extensively in some of my other
books, but generally, heres what I use:
Two Flash Units. 580EX II units. I set these to a power of 1/8 initially
and approximately 3 from the subject.
Two PocketWizard Radio Trigger Receivers. These are the basic
versions, not the E-TTL II or i-TTL type. Since this setup uses manual
flash and camera settings, I wont be using any automatic flash output
features. PocketWizard Plus X models are combination transmitter/receiver units that will automatically switch to receiver mode when another
PocketWizard Plus X is acting as transmitter.
One PocketWizard Radio Transmitter. This slips onto the cameras
hot shoe. Again, a PocketWizard Plus X unit will automatically assume
the role of transmitter when used as such.
Two Light Stands. Impact brand light stands capable of at least 8
height.
Swivel/Umbrella Adapters. Manfrotto brand, coupled with cold shoe
mounts to attach the flash units.
Two Translucent Shoot-Through Umbrellas. These will be attached
to the swivel umbrella adapters and will modify the light emitted by the
flash, effectively making the light source much larger in proportion to the
subject at closer distances.
Camera Settings. With a Canon 7D, my settings are Manual, ISO 100,
f/4.0, shutter speed 1/250 sec.
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For a similar setup that takes advantage of automatic flash (E-TTL II), I use
the following:
Two Flash Units. 580EX II units. Set to E-TTL II (reads ETTL on the
flash menu).
One ST-E2. This is Canons optical master transmitter that controls remote slave units. It allows you to make simple lighting ratio adjustments
between Groups A and B via buttons located on the unit itself. Note that
the 7D Im using can control remote slaves with its integrated Speedlite
transmitter (via pop-up flash), so the ST-E2 isnt necessary for that. But
Id rather not have the 7Ds built-in flash firing during a portrait shoot so
I prefer to use the ST-E2 and its infrared-filtered flash to communicate
with the slave units.
Two Light Stands. Impact brand light stands capable of at least 8
height.
Swivel/Umbrella Adapters. Manfrotto brand, coupled with cold shoe
mounts to attach the flash units.
Two Translucent Shoot-Through Umbrellas. These will be attached
to the swivel umbrella adapters and will modify the light emitted by the
flash, effectively making the light source much larger in proportion to the
subject at closer distances.
Camera Settings. With a Canon 7D, my settings are Manual, ISO 100,
f/4.0, shutter speed 1/250 sec. Yes, even though your camera is set to
manual mode, giving you full control over your ISO, f-stop, and shutter
speed, E-TTL II (or in the case with Nikon, i-TTL) can still handle your
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Ed Veroskys
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optical slaves, so they can be triggered without the radio triggers listed
below. However, the radio triggers will offer more reliable triggering,
especially in cases where a strobe units optical slave is somewhat obstructed from detecting the main triggering flash.
Two PocketWizard Radio Trigger Receivers. These are the basic
versions, not the E-TTL II or i-TTL type. Since this setup uses manual
flash and camera settings, I wont be using any automatic flash output
features. PocketWizard Plus X models are combination transmitter/receiver units that will automatically switch to receiver mode when another
PocketWizard Plus X is acting as transmitter.
One PocketWizard Radio Transmitter. This slips onto the cameras
hot shoe. Again, a PocketWizard Plus X unit will automatically assume
the role of transmitter when used as such.
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Two Light Stands. Impact brand light stands. Alien Bees arent designed to fit on a swivel umbrella adapter, and one is not needed; the
Alien Bee has a built-in swivel mechanism and an umbrella shaft holder.
One Translucent Shoot-Through Umbrella. This will be attached to
the umbrella slot on the B800, and it will modify the light output, effectively making the light source much larger in proportion to the subject at
closer distances.
One Photoflex LiteDome Q39 Medium Softbox. This attaches to the
B800 via a Photoflex Speed Ring adapter.
Camera Settings. With a Canon 7D, my settings are Manual, ISO 100,
f/8.0, shutter speed 1/250 sec.
Backgrounds
While not part of the lighting gear,
free-standing and other placed backgrounds are often an integral part of the
portrait setup. Well refer to seamless
backgrounds later in the book, but in
case youre not familiar with what that
is, Ill go over it now. Seamless backgrounds are essentially large paper rolls
which are available in different colors
and sizes (see Figure 1.30). These
are distributed by companies such as
Savage. A pole or background cross42
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bar is inserted through the cardboard tube or spool of the paper roll and
placed between two background stands. Its then raised and the paper is
unspooled to the floor, or even farther so that it covers an area of the floor
toward the camera. This creates a nice floor/background surface with minimal shadows and distractions. Cloth and vinyl backgrounds are also available from various suppliers. They do have a tendency to wrinkle but theyre
reusable, unlike paper which is easily soiled and needs to be frequently
replaced.
Light Meters
Hand-held light meters like the one shown in Figure 1.31 are not relied on
as much as they were in the days of film photography. Digital photography
and the LCD preview monitor on
most cameras have made it easy
to quickly evaluate the effects of
lighting, and changes in lighting, in
a scene without the use of an external light meter. However, a light
meter can still be a valuable tool
for certain types of photography,
including studio work with strobes
where it can help maintain lighting
consistency and aid in determining
specific lighting ratios (see Are
Lighting Ratios Important? below).
Even where off-camera metering
isnt technically necessary, some
photographers prefer to use a light
meter according to their working
style.
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Ed Veroskys
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average reading. By placing the meter closer to smaller areas of the scene,
the meter will measure those smaller areas individually giving you similar
functionality to a cameras spot metering.
I personally dont use an external light meter for reflected metering when
shooting with a camera with a built-in meter as I find it redundant.
Incident: This mode of metering is not available in the camera. With incident metering, youre using the light meter to measure the light that is
striking the subject, not the light that is being reflected off the subject. In
other words, it measures the light coming from the light source directly. This
is useful for flash/strobe photography. It allows you to measure the light
coming from individual light sources, or the combination of more than one
light source. When using a light meter in Incident mode, a white dome-like
surface is used over the meters lens (electronic eye). This allows the meter
to read light coming in from a wide angle.
Ed Veroskys
Lighting Guide For Portrait Photography Light Sources & Gear
Ed Veroskys
Lighting Guide For Portrait Photography Light Sources & Gear
Assuming a portrait setup with a key light, a fill light, a hair light, and one
additional light on the background, we might observe a photographer using
a light meter in the studio in the following sequence. It should be noted that
turning all lights off, except the current light being metered, will give you
more accurate results:
1) The photographer places the meter near the subjects face, pointing the
light dome in the direction of the key light and triggers the flash. The meter
reads 8.0 for an ISO of 100 (shutter speed is not really an issue here, but
will generally be set to the cameras x-sync). However, the photographer
wants to use an aperture of f/5.6, so he dials the key lights power down one
stop (say from 1/4 power to 1/8 power), takes another reading which does
say, 5.6 this time.
2) Since the photographer is looking for the fill light to be one stop less than
the key light, the meter, still at the subjects position, is now aimed toward
the fill light when the strobes are fired. The combination of distance from
subject to light source, and the power setting on the light source is giving a
reading of 4.0 on the meter (f/4.0), which is right on the money. No changes are necessary.
3) The hair light, which should be a little hotter than the main light is measured next giving a reading of 16 which is three stops higher than the main
light. The photographer wants good highlights in the hair, but this is probably too much. The hair lights power is adjusted down to give a reading of
9 (f/9.0) on the meter which will give some nice bright highlights in the hair
(technically a small overexposed area of the image).
4) Finally, the photographer holds the meter against the background at an
area where the background light strikes the backdrop to take a reading.
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With any final adjustments, the photographer now knows the relationship
between all the lights and can use this knowledge to avoid spending a lot of
time with trial-and-error testing.
You can see how this can be helpful with maintaining a consistent look or
quickly achieving a desired, predetermined lighting ratio. For photographers
who need to get their portrait lighting setup quickly, a light meter may be
indispensable. I should note that some photographers prefer not to point
the meter directly at the light source to take measurements, and methods
exist that involve taking readings off of the main and fill at the same time, so
use whatever method works best for you.
Of course, a light meter isnt always necessary, even when using strobes on
manual settings. For example, my usual setup is so simple and standardized that I usually only need to take a couple of test shots to know I have it
all working. If my setup is more involved, I might use a light meter, especially if I dont have time to shoot and evaluate several test shots.
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Lighting Guide For Portrait Photography Portrait Lighting Basics
CHAPTER 2
Ed Veroskys
Lighting Guide For Portrait Photography Portrait Lighting Basics
the potential of light in a whole new way. Youll learn to change the angle
of your subjects head for the best look given the light youre working with.
And in situations where you have some control over the lighting and its
position (for example when working with studio strobes or small flash units)
youll be able to apply basic portraiture lighting principles to create outstanding images.
Ed Veroskys
Lighting Guide For Portrait Photography Portrait Lighting Basics
from the cameras perspective. Another way to think about this is that
when the subject has her head turned
to one side, you are lighting the side
of the face that is farthest from the
camera.
When viewing a portrait, our attention
is first given to the details we can
see and to the brightest parts of the
picture. Shadows recede and brighter
areas are predominant. On a two-dimensional plane, there is actually less
surface area visible on the side of the
face turned away from the camera.
With short lighting, this is the area that
is highlighted with illumination from
the main light. Since more attention
is given to the narrower surface area,
a visual illusion is created that makes
the subjects face look thinner.
Pattern #2:
Broad Lighting
Here the main light illuminates the
subject on the broadest area of the
face, from the cameras perspective.
When the subject has her head turned
to one side, you are lighting the side of
the face that is closest to the camera
as shown in Figure 2.2.
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This lighting pattern simply places visual emphasis on the area of the face
turned toward the camera--the area more in-line with the camera axis. On a
two-dimensional plane, there is more surface area visible on the side of the
face turned toward the camera, as opposed to away from the camera. With
broad lighting, this is the area that is highlighted with illumination from the
main light. Since more attention is given to the larger surface area than the
narrower one on the side of the face turned away from the camera, a visual
illusion is created that makes the subjects face look wider. Broad lighting is
sometimes used on subjects with narrower or thinner faces as a corrective
technique.
Ed Veroskys
Lighting Guide For Portrait Photography Portrait Lighting Basics
ation on this pattern wherein the triangle of light is broken, or opened up.
In this case the shadow of the nose is
shortened so it does not extend into
the main shadow on the side of the
face opposite the light. Rembrandt
and loop lighting create a very classical, often dramatic look which is very
dependent on the quality and size of
the light source, and the use of fill and
background lighting.
Ed Veroskys
Lighting Guide For Portrait Photography Portrait Lighting Basics
ure 2.5). Its reminiscent of Old Hollywood glamour photos and can be very
dramatic. The main light is placed in
front of, and somewhat above the subject in order to create this look. This
type of lighting is sometimes referred
to as Hollywood or Paramount lighting
because it has similarities to some of
the glamour lighting styles perfected
by Hollywood movie star photographers. This technique is especially
effective and dramatic on subjects
with pronounced cheekbones. Since
the light is coming in from high and
in front of the face, shadows drop in
Figure 2.5. Butterfly lighting.
under the cheekbones and the chin.
This also tends to visually bring the front of the face forward, set the neck
into shadow, and cause other areas of the visual space to be downplayed.
Ed Veroskys
Lighting Guide For Portrait Photography Portrait Lighting Basics
a desired effect, but it can also result in uninteresting portraits. On the flipside, Figures 2.8 and 2.9 show how light and shadow can work together to
create sharp, defining contrast as well as convey visual information about
the shape of your subjects face.
Ed Veroskys
Lighting Guide For Portrait Photography Portrait Lighting Basics
create a reference point so that your subject wont just appear to be floating
in an empty space. As much background information as you want can be
included in order to ground the subject visually in an atmosphere or identifiable environment. Background can help tell the story by framing the subject
in context.
The main considerations when including backgrounds in your portraits are
these:
Distractions. Make sure your background provides just enough, but not
too much, visual detail and information needed to tell the story or highlight
the subject. Dont let the background become a distraction as in Figure
2.10.
Illumination. The way the background appears in your image is going to
depend largely on the lighting its receiving in the shot. If the lighting is too
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Figure 2.11. Shadows blend into the background. A rim light on the subject or illumination on the background would improve
this.
Balanced Lighting. The idea of balancing your lighting comes into play
here also. Lighting the background
is a separate issue from lighting the subject, so light them separately, but
keep things in balance. This is not only important when it comes to light
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Focus. Imagine a busy background setting, like a busy workshop environment, where the subject is in sharp focus, but so is everything else in the
shot. This is another way that the background can become a distracting
element rather than an appealing one. By adjusting your camera settings
you can insure that your subject remains in focus while the background has
just the right amount of blur (being out of focus). Larger apertures (e.g. f/1.8
or f/2.8) will narrow the depth of field in your portraits so that your subject
stands out as the clear focus and center of attention.
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A good use of depth of field, and creative lighting for both the background
and subject will give your images a better sense of place and dimension.
Figures 2.15 and 2.16 are examples of how depth of field can change the
look of the background-to-subject relationship.
Ed Veroskys
Lighting Guide For Portrait Photography Dramatic Portraits
CHAPTER 3
Dramatic Portraits
Ed Veroskys
Lighting Guide For Portrait Photography Dramatic Portraits
is downplayed and the images fall almost exclusively into the category of
low-key. This isnt to say that only one light is ever used; subtle fill and
background lighting definitely have their place here. So, in this section
well also discuss adding fill light to cut down on contrast, hair light to help
separate the subject from the background, where needed, and background
illumination. As you progress through this book, youll see how many of the
fundamental strategies presented in this chapter actually play an important
role in most every type of portraiture.
Everything
Starts with
One Light
The dramatic portrait,
as Im describing it, is
essentially a very simple, if not minimalist,
approach to classical
lighting (see Figure
3.1). We start here to
prove that a single light
source and a general
understanding of the
effect of its placement
in relation to the subject
is all you need to create
good portrait lighting.
In fact, with most portraiture, any other lighting that comes into play
will be built around the
concept and application
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of this main light. In effect, the main (or key) light is the most important and
defining illumination in any portrait. Its the light that casts the predominant
shadows across the subjects face and form while all other lights illuminating
the subject simply reduce contrast, or add highlights. Thats why this is a
good place to start; dramatic portrait lighting can be both easy to accomplish
and highly effective.
Working with a single light this way is also very instructive when youre just
beginning to work with portraiture lighting in a serious way. Rather than
dealing with a three- or four-light kit from the start, where it might be hard to
determine whats throwing off your results, you only have one light to concern yourself with here. Youll know if and why something doesnt look right
and be able to quickly make adjustments to correct it.
Start by having your subject pose as shown on the previous page (Figure
3.1). The orientation of the face in relation to the light is key to creating the
correct shadow pattern. Turning more to toward the camera, a Rembrandt
pattern becomes visible. As your subject turns more toward the light, a short
light pattern emerges. Sequence (Figure 3.2) shows the changes in the
lighting pattern as the subject turns her head increasingly toward the light.
Figure 3.2. As the subject turns toward the light source, the lighting changes from a Rembrandt to a short light
pattern. Varying the pose helps you discover the best look for the shot, and have variations to choose from.
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For this example, were using an Alien Bees B800 with a 2 x 3 softbox
attached and close to the subject, which gives us a pleasing transition from
light to shadow, despite the fact that using a single light in this way is going
to create a good degree of contrast overall. Heres how to setup this shot:
The Setup
Place the main light approximately 45 - 60 degrees to one side of the
camera-to-subject axis as shown in Figure 3.3. Adjust the height of the
B800 unit so that it is approximately 24 taller than the subject (about 2ft
higher than the subjects head). The surface of the umbrella or softbox
should be approximately 2-3 from her, angled down toward the face at
approximately a 45 degree angle. This lighting position is often referred
to as the 45/45 position for the sake of simplicity.
In this example, a darker background was produced by positioning the
subject 5ft from a Savage Thunder Gray seamless background with no
additional light sources added to the setup.
My Settings: Main light (B800) was set to 1/8 power. This gave me a
working aperture of f/8 at ISO 100. Shutter speed was set to my cameras x-sync speed of 1/250 sec.
It should be noted that while any type of light will allow you to produce good
results, it will likely need a little help in the form a modifier to keep contrast
under control. Generally speaking, larger, modified light sources positioned
closer to your subject will create softer-looking light. An unmodified clamp
light, for example, will create hard shadows, just as any flash or studio
strobe will do without some type of modifier to diffuse/spread the light over
a larger area around your subject. Where studio lighting is being used, an
umbrella or softbox is a good choice for your main (and fill lighting).
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Main Light
Figure 3.3. Main light is positioned approximately 45-60 degrees off the camera-to-subject axis
Hair Light
Background
Light
Main Light
Fill Light
(Reflector)
Figure 3.4. White foam panel added to reflect main light into shadow areas, providing fill. Background and hair
lights also shown.
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Ed Veroskys
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Figure 3.7. The amount of fill light will change as you change the distance from the subject to the reflector or
foam core panel. These examples show the panel placed 1ft, 1.5ft, and 2ft away from the subject.
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Ed Veroskys
Lighting Guide For Portrait Photography Side Lighting
CHAPTER 4
Side Lighting
ontinuing with the idea of using a single light, off to one side of the
subject, we explore the concept of side lighting. Here, we present
some examples of using light at relatively extreme angles to produce looks that one doesnt often associate with the typical modern portrait.
Lighting primarily from the side, rather than from the front, you can model
the subject in a way that brings out the shapes and details not possible with
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Lighting Guide For Portrait Photography Side Lighting
a straight-on lighting approach. You might notice in the example above that
side lighting for a subject that is facing the camera produces the split lighting
pattern detailed earlier in this book. Again, its not only the position of the
light that determines the look and lighting pattern of the image, but also the
position of the subject and the cameras perspective. As you try out these
lighting setups, experiment with variations on all three elements (lighting position, camera position, and subject pose and angle of the head/face). Also,
realize that the lighting effects youll see here can be combined with other
lighting to emphasize detail and highlight the subjects form/edges. Youll
learn that lighting from
the side and even further
behind the subject can
create interesting portraits alone, but this type
of lighting is also used
frequently as secondary
lighting for effect.
Single Side
Light Profile
Before we talk about
side lighting, I want to
discuss this variation
that essentially results in
rim lighting (see Figure
4.1). The placement of
the light and the orientation of the subject and
camera give us the effect
we see here. Although
Figure 4.1. Side light used as a rim light for this profile shot.
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this technique might at first appear to use the same placement of the main
light as we used to create the dramatic portrait (while the subject merely
faces the light giving us a profile), there is an important difference; the light
is positioned lower so as to be more even with the subjects head. This is
because the intention here is not to provide the classic portrait lighting using
the 45/45 position, the emphasis is on form, rather than face. The traditional above and to the side lighting is thought of as more naturally occurring
and tends to model the face in a way that we are wired to recognize it. With
side lighting (and rim lighting), we are more interested in detail, texture, and
outline more than natural light placement and subject modeling.
The Setup
Place the main light so that it comes in at approximately 45 degrees
from the back side of the subject (same side the subject is facing) as
shown in Figure 4.2. The camera-to-subject axis is in line with the subjects profile. Adjust the height of the light (and in this case, modifier) so
that light is centered and even with the subjects face. The surface of
the modifier should be approximately 3 - 5 from her depending on the
amount of contrast youre trying to achieve. Note that in the diagram,
the setup is not in line with the background. As with any lighting setup,
you are free to orient the entire setup in any way that makes good use of
the background and the way the light spills onto it. Paying attention to
the light cast from the modeling lights, or using test shots, youll be able
to quickly determine the best angle to use considering the background.
My Settings: Main light (Speedlite 580EX II) was set to 1/4 power. This
gave me a working aperture of f/8 at ISO 100. Shutter speed was set to
my cameras x-sync speed of 1/250 sec.
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Main Light
(Rim Light)
Main Light
(Side Light)
Camera
-Subject Axis
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As with many lighting setups involving extreme angles, slight changes in either the light position or subjects pose can create an entirely new look from
shot to shot. Its also important to note that any part of the subject that is
just a few inches closer to the surface of the light modifier will be noticeably
brighter than other areas. To avoid this you can angle the modifier to even
out the distance to all areas of the subject as much as possible. In many
cases, this might mean the modifier will need to be tilted slightly away from
the subject so the distance from her torso to the light, and her face to the
light, are approximately the same.
Split Light
If you started with the previous example for rim lighting a profile, were now
going to move the light to a basic side light position as shown in Figure 4.3.
Once its there, simply have the model turn to face the camera directly for
a classic split light. While this comes closer to a traditional classic portrait,
the light is still hard and unforgiving at this angle.
The split light has its uses, however; its very dramatic and conjures up
notions of dichotomy; part is revealed and part is hidden, light and shadow,
yin and yang, if you like. This type of light, especially when built upon with
clever background and secondary light, is perfect for Noir and cinematic
effects. Just remember that its not for everyone as lighting at this angle will
bring out every detail.
To achieve this look, simply start with the sidelight position described earlier
and have the subject face you straight-on. Move the light as needed to create the desired split, and consider whether or not youd like the background
to be affected by this light. In Figure 4.5, you can see that as the light and
subject are at enough of a distance from the background, light falloff is
enough so that it fades into darkness. Figure 4.6 shows how placing the
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light and subject closer to the background allows it to receive enough light
spill to record in the exposure. Of course, as youve seen before, you can
always add more background illumination with one or more lights if you like.
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Lighting Guide For Portrait Photography Side Lighting
Setup
Depending on the contrast youre
trying to achieve, youll have to decide
whether to use straight flash or shootthrough umbrella (or softbox) modification. Try both, and at different distances from the subject to see what works
best (see Figures 4.7 and 4.8). Less
contrast will be achieved with modified
light that is closer to the subject. Youll
see more contrast as the distance from
the light to the subject increases.
Ed Veroskys
Lighting Guide For Portrait Photography Side Lighting
Adding Fill
Light
One of the defining characteristics of this type of lighting
is how the main shadow area
appears at the center region
of the subject. Fill light, while
perfectly reasonable to use in
this situation will diminish those
defining shadows, thus lessening the contrast and overall
effect of this lighting pattern.
If you decide to add fill light,
keep this in mind.
Halo/Hair
Rim Light
Figure 4.9. A fun, if not subtle, use of halo lighting in combination with the two side light setup. When using a hidden
light stand with this technique, watch for shadows projected
off the light stand and onto the background, produced by the
main lights.
Setup
Place a flash unit on a stand just behind the subject, out of the cameras
view, and pointed straight at the back of her head. I used a Speedlite
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side of the background. Figures 4.12 and 4.13 illustrate where the flags are
placed to prevent the shadows from appearing.
Small and large flags are routinely used to block shadows, light spills, and
prevent flare effects where part of the light could reach the camera lens.
Figure 4.12. Two light setup including a halo light on a stand behind the subject. Flags are used next to each of
the side lights to prevent shadows from the light stand being cast onto the background.
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Lighting Guide For Portrait Photography Full-Length Lighting
CHAPTER 5
Full-Length Lighting
Ed Veroskys
Lighting Guide For Portrait Photography Full-Length Lighting
and in this section well present several techniques and solutions. Well begin,
as we have in previous sections, with one light to explore its effects. Then
well move on to discuss full-length coverage using additional light sources
and modifiers as well as easy ways to light a scene when you simply want to
produce a good full-length shot.
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parts of the subject. When the light is at a distance relatively close to your
subjects head, for example, her legs and feet are far enough away to receive only a fraction of the intensity of light that her upper body receives. As
the distance increases from the light source to various areas on your subject, the intensity of that light decreases rapidly.
We can use this to our advantage as we control light falloff on the subject as
well as the background. Because of the position of the light, the subjects
pose will have a great effect on which parts of the body are going to receive
any direct light at all. And as you can see in the sequence in Figure 5.3,
as the light is positioned farther away from the background, it receives less
light, a fact that easily allows us to control background illumination. We can
make the background lighter or darker without involving flags (to block part
of the light) and without bringing in additional light.
Keep in mind that this light doesnt necessarily have to come from directly
above the subject and it doesnt have to point straight down. Experiment
with the high-and-above position to create different looks. Being able to
move the light slightly to one side or directing it more or less toward the
background gives you many creative options.
The Setup
For this sequence, I mounted a Speedlite 580EX II almost directly above
and slightly in front of the subject. I modified it with a Lastolite EzyBox
Softbox (18 x 18) on a boom arm mounted to a heavy duty light stand
(see Figure 5.2). The softbox is approx 2.5ft from subjects face.
My Settings: Flash was set to 1/4 power. Aperture was f/8 at ISO 200.
Shutter speed was set to my cameras x-sync speed of 1/250 sec.
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Figure 5.2. Main light is positioned above the subject using a boom arm mounted to a heavy-duty C-stand.
Figure 5.3. As the subject and light are moved farther from the background, the background becomes darker.
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The Setup
At this point youll be using two lights and modifiers to create a small
wall of light next to your subject.
Stack two umbrellas or softboxes
(or combination of the two) to
appro imate the surface area of a
single large light.
Place the bottom light low enough
to illuminate the legs and feet, and
the top light just above it, avoiding
any large gap between the two.
My Settings: Two 580EX II units.
Upper light at 1/4 power, lower one
adjusted to taste. This gave me a
working aperture range of f8 - f/11
at ISO 100. Shutter speed was my
cameras x-sync, 1/250 sec.
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Figure 5.5. This sequence shows the effect of the lower light at the following settings (left to right, top to bottom):
1. lower light off, 2. 1/16 power, 3. 1/8 power, 4. 1/4 power, 5. 1/2 power (even), 6. full power.
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in line with her face. This will cast shadows in an upward direction, which is
often associated with horror movie lighting and not particularly flattering to
most subjects.
The Setup
I placed a white nylon shower curtain liner (70 x 72) between two Alien
Bee B800s and my subject (see Figure 5.6). You can use a shower
curtain liner like this, or a similar white transluscent material secured to
a background stand/cross bar. Place the two lights approximately 2 - 3
from the material,
side by side, or one
above the other
(stacking).
My Settings: I
started with an with
a power setting of
1/8 on each unit
and adjusted as
appropriate to match
my camera settings
of f/11 at ISO 100.
Shutter speed was
1/250 sec.
Figure X.X. Nylon shower curtain liner used as a modifier with two
Alien Bees B800 light sources.
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Figure 5.8. Use wall bounce lighting for full-length shots--or any shots--when you need a large area of soft even
lighting but dont have the time or gear necessary for a more involved lighting setup. Here, I used one light aimed
at the front area of my studio. For the actual shot, I positioned myself near the end of the black bench on the right.
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The Setup
For this shot I place a single Alien Bee B800 modified with a 42 shootthrough umbrella 7ft from the subject. Additional lights can be added to
enhance the shot as shown in Figure 5.10.
My Settings: The light was set to full power giving me an aperture of f/11
at ISO 100. Shutter speed was my standard 1/250 sec.
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CHAPTER 6
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Naturally, this means that everything from the position of the light in relation
to your subject, the relative size of the light, and your subjects orientation
(pose) to the light all have a direct effect on the modeling of the subjects
face and form.
Looking in on an experienced photographer, one might think that all the
lights in a headshot setup are placed and up and running at the same time.
In fact, this is probably the case, but usually only if that photographer has
been using that particular setup for awhile, and has already worked out the
steps of building the setup light-by-light (see sequence Figure 6.2). Even
then, adjustments often have to be made as no two individual subjects are
alike. Those with lighter hair may require the hair light to be set to a lower
output. Those with narrower faces might benefit from a pose or light position change that creates a broad light instead of a short light pattern.
But no matter how a photographer seems to be setting up their lighting,
the principles are the same: you start with the main light (see Figure 6.3)
to make sure you have the foundation of your portrait lighting set, then you
build on it, as youll see in the sections on fill, hair, and background lighting
that follow.
Figure 6.2. This sequence (from left to right) shows: 1. Main light, 2. Main and fill, 3. Main, fill, and hair light.
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The Setup
Well break down the setup into individual lighting elements, starting here
with the main light:
Place the main light with modifier approximately 45 degrees to one side
of the camera-to-subject axis as shown in Figure 6.4. Adjust the height
of the light so that it is slightly higher than the subjects head. The surface of the umbrella or softbox modifier should be approximately 2-3
from her, angled down toward the face.
My Settings: Main light is an Alien Bees B800 set to 1/4 power. This
gave me a working aperture of f/11 at ISO 200. Shutter speed was set
to my cameras x-sync speed of 1/250 sec.
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Figure 6.5. The main light in the same short light position and distance from the subject (approximately 2ft) with:
1. No modifier, 2. Shoot-through umbrella, 3. Softbox.
The amount of contrast produced by the main light will vary with the type
and relative size of the light source modifier used (see Figure 6.5). In the
case of an umbrella or softbox, the closer the surface of the light modifier to
the subject, the softer the contrast will be. It should be noted that despite
the modifier used, contrast will still increase as you move the light farther
from the subject.
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Lighting Guide For Portrait Photography Lighting For Headshots
Figure 6.6. Shown here from left to right: 1. No fill light, 2. Fill light modified with shoot-through umbrella at one
stop under main, 3. Fill light at two stops under main.
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Lighting Guide For Portrait Photography Lighting For Headshots
but on the front opposite side of the subject. Placement and power
output for this light is lower than the main. Youll determine whats best,
but in the example here, Im placing the surface of the umbrella approximately 3ft from my subject, in line with her face, and at most 1/2 the
power of the main light (see Figure 6.6 examples).
Figure 6.8. Hair light mounted to boom. A softbox is positioned above and slightly behind the subjects position.
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Figure 6.9. Hair light at various intensities. In this case, (from left to right) the 580EX II used was at 1/8 power,
1/14 power, 1/2 power.
The Background
Moving beyond the basic three-point lighting mix of main, fill, and hair light,
we can consider the background illumination, too. In all honesty, there are
times when the background seems to just take care of itself. If your subject is sitting or standing just a couple of feet from the background the light
spilling off of the main and/or other lights may be all you need for a pleasing
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background illumination (see Figure 6.10), and you can always add more
light if necessary (see Figure 6.11).
However, as shown in the illustration and sequence in Figure 6.12, using
another light to throw a pattern or splash of illumination onto the background
can be a very effective way to enhance a headshot portrait when properly
controlled.
I like to think of this type of background lighting as separate from the rest
of the lighting setup. In fact, I treat the background as its own subject, with
its own lighting. Backgrounds, whether flat seamless, walls, or three-di-
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Figure 6.12. Various background light placements and the result. From left to right: 580EX II placed on floor behind subject and angled correctly produces gradient effect. Next, a small softbox positioned on a boom creates a
light-to-dark graduated circle of light. Finally, a 580EX II is positioned on a stand with its light zoomed and aimed
through a cookie (panel with cut-outs/holes) to produce a pattern against the background.
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Figure 6.13. The background benefiting from light spill off the main lighting
setup.
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Background Light
Hair Light
(softbox on boom)
Main Light
Fill Light
Figure 6.16. Basic headshot setup featuring main, fill, hair, and background lights.
Again, for simplicity our diagram (see Figure 6.16) represents the light
sources as basic shoe-mount flash units with the main and fill lights modified with standard shoot-through umbrellas. The main light is on the right
and together with our subjects head turn gives us a short light portrait
pattern (when the camera is positioned front and center of the setup). The
fill light, shown here on the left, is usually going to be set to throw no more
than half the amount of light on the subject as the main light. Its job is to
simply fill in the shadows just enough to cut down on the contrast. The
hair light can be placed on a boom arm which allows you to raise it directly
above the subjects head without having to worry about a light stand getting
in your shot. Of course, this can be achieved any number of ways, but a
boom arm can make things easier. Finally, a simple flash can throw some
extra light onto any part of the background; just zoom or narrow the beam
and direct it as you wish.
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Clamshell Lighting
For many types of portraiture and headshots, placing the main light to one
side of the subject and the fill on the other is standard practice. The lighting
pattern youll get tends to mimic what we generally accept as naturally occurring light; the main light is up and to one side and the fill light comes in
from another angle, just as it would be under sunlight with natural ambient
light bouncing around. This notion is reasserted by the main lights reflection in the eyes where we usually aim for a 11 oclock or 1 oclock position.
But another lighting setup is also very popular, especially where the look
desired is along the lines of beauty, glamour, or an obvious commercial
application. We call this clamshell lighting because the orientation of the
lights looks somewhat like an open clam shell (see Figure 6.17 and the result,
Figure 6.18).
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This setup essentially turns standard main/fill lighting on its side. This can
produce a very even, almost shadowless pattern that is great for minimizing
details (like bumps and what some would consider feature flaws). The overall look is luminous and acceptably, if not expectedly, artificial.
The Setup
To create the classic clamshell look as shown in Figure 6.19 the main
light, often modified with a shoot-through umbrella or softbox, is positioned above and to the front of the subject as if the intention was to
create a butterfly lighting pattern, but it can be placed a little lower, too
(see Figure 6.20).
The fill light is positioned below the subject and angled up toward her. A
matching modified light, other light, or even a simple reflector can work.
But using a light with variable output control will give you more options.
Figure 6.20. Softbox as upper light, shootthrough umbrella as lower in this clamshell setup.
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Figure 6.23. (Top left to bottom right): 1) Top light 1//4 power, bottom light off. 2) Top light 1/4, bottom
light 1/8 power. 3) Top light 1/4 power, bottom light 1/4 power (even). 4) Top light 1/4 power, bottom light
full power.
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Lighting Guide For Portrait Photography The White Background
CHAPTER 7
Ed Veroskys
Lighting Guide For Portrait Photography The White Background
Figure 7.1. Basic white background. Note in this sitting position, we allow
the floor to retain detail. This keeps the subject grounded and avoids the
artificial floating in white space look.
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A White Background
Isnt Always White
If youve ever wanted to duplicate the look of a solid white background in an
image youve seen elsewhere, and thought all youd need was a clean white
roll of seamless background paper, you were probably surprised at your
initial attempts to recreate the look. More often than not, first tries at this
result in dull gray backgrounds or uneven hot spots. Perhaps you remedied
this in Photoshop, but still wished you could capture an even, clean white
area across the entire background.
Reasons why white doesnt always show up as white have to do with simple
exposure. As stated earlier, a lack of detail in white can easily be accomplished with overexposure. It makes sense then that as we move away from
settings that produce overexposure into settings that start to reveal some
sense of detail, we lose pure white and get something just a little less white
(and quite often, this is best). Continuing on this trend our white background
will begin to look light gray, then darker gray, and eventually we would make
our way to the other side of the exposure scale and end up with a completely
dark background. Thats right, your bright white background can reproduce
as pure white, pure black, or any shade of gray, even all within the same
image; it all depends on light coverage and exposure.
Ed Veroskys
Lighting Guide For Portrait Photography The White Background
But even when you dont, youll be able to take these principles and make due
with what you have to get the best possible outcome.
Well start with a basic white background lighting setup as shown in Figure
7.2. The idea here is to cover the background evenly with enough light to
overexpose the background (should we choose to go that far with it) using
camera exposure settings that would be standard for our usual portrait photography (regardless of the background).
The Setup
Place two lights out of frame, on either side of the background, preferably a few feet behind the subject to help avoid light spill onto her. The
lights should be pointed toward the background at approximately 45
degree angles. The idea is to spread and feather the light evenly across
the width of the background.
You may want to flag the lights to prevent light spill and possible flare
into the camera, depending on the angle and position of the lights.
Place your main light (and fill) as needed for the angle of coverage
youre shooting for on your subject. For full length shots, this will likely
be several feet in front of the subject, producing a result similar to Figure
7.3. For headshots, you might want to bring the lights in closer (see
Figure 7.4). Remember, these are the lights you are most concerned
with as they relate to your camera settings, because these are the lights
that pertain to your subject.
My Settings: f/11 at 1/250 second at ISO 160. These settings are
based on the main lighting for my subject (they do not take the background into consideration at all). The background lights should then be
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Background Light
Background Light
Flags
Main Light
Figure 7.2. White background setup using two lights, flags, and a main light.
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Wrap-Around Lighting
The basic white background provides us with a clean, crisp way to present
our subject. As youve
seen, as long as the background lighting is even and
just crosses into the overexposure zone, youll have
a true white background.
Go much beyond that, and
youll get something a little
less crisp and a little more
ethereal (see Figures 7.5
and 7.6).
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Wrap-around lighting gets its name from the way light seems to reach
around from behind the subject to wrap itself around her. This effect becomes visible as your exposure settings allow more light to bleed around
the edges of your subject in an overexposed, back-lighting scenario. This
is a mood effect, and can be accomplished with or without the use of main
light on the subject.
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One Light
Can Work
If you have only one light to work
with (see Figure 7.9), you can still
produce interesting white background
portraits, especially in smaller rooms
with light-colored walls where reflected light (bounce) can be used to an
advantage. By simply blasting the
background behind your subject (from
either side), and adjusting your exposure settings as shown in Figure 7.11,
you can overexpose the background
and bring out your subject at the same
time. Alternatively, a main light can be
used (see Figure 7.10).
Figure 7.10. lnstead of adjusting overall exposure using ISO, a main light is brought in for
subject.
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Lighting Guide For Portrait Photography Freestyle Lighting
CHAPTER 8
Freestyle Lighting
ighting for photography, as you can probably tell after working your
way through the examples in this book, is much less about obeying
specific lighting rules as it is about making creative choices that
work. Variations on the classic lighting patterns presented in Chapter 2
can certainly be identified in many of the images youll find in commercial
portraiture, fashion, and advertising. But what about all of the great images
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should be deliberate. As you continue to learn more about lighting, and gain
more experience with it, youll find that youre applying the basics of lighting
even when youre not thinking about them. Youll develop and eye for good
lighting and eventually see a personal style emerge. Theres always more to
learn and more to experiment with. So, take what youve learned so far, and
have fun!
Figure 8.3. Household lamp lighting was all that was used for back lighting/rim lighting and the main light in
standard position for this character-driven shot.
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Conclusion
Id like to thank you so much for choosing Lighting Guide For Portrait Photography. Its my sincere wish that it has helped you gain more confidence with your
photography, no matter what level you are at in your career. Im a firm believer
that learning anything from more than one source is the best way to acquire
knowledge that will sink in and stay with you. So, I ask you to read this book, as
well as others on the subject, and keep learning.
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Thanks to Paul C. Buff, Inc. for images provided (Alien Bees and related products). POCKETWIZARD is a
trademark or registered trademark of Lab Partners Associates, Inc. d/b/a LPADesign. Adobe, Acrobat, Photoshop, Lightroom and Reader are either registered trademarks or trademarks of Adobe Systems Incorporated in
the United States and/or other countries. Canon and Canon product and services names are the Trademark or
Registered Trademark of Canon Inc. Nikon name/symbol is a registered trademark of Nikon Corporation in Japan
and the USA. Clients and friends have graciously given us permission to use the photos shown. Some photos
may not have been created using the exact method shown, but they were chosen as good representations for the
techniques they illustrate.
COPYRIGHT NOTICE
Unless supplied as stated above, text and Images Copyright 2013-2014 Ed Verosky
Do not duplicate, or make this copy available on file sharing services.
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