Lighting & Design for Portrait Photography: Direction & Quality of Light

AbouttheAuthor

NeilvanNiekerk,basedinNewJersey,specializesinportrait,wedding,andboudoirphotography.HealsomaintainsTangents(www.neilvn.com/tangents),anactivewebsiteforphotographers.Heteachesworkshopsandseminarsonphotography,andhaswrittenthreeotherpopularbooksonlightingforphotography,whichhavebeentranslatedintoPolish,Portuguese,andChinese.OriginallyfromSouthAfrica,Neilworkedasatelevisionbroadcastengineerthereuntil2000,whenheemigratedwithhisfamilytotheUnitedStates.Hehaspursuedphotographyasafull-timecareereversince.

ToseemoreofNeilvanNiekerk’swork,visit:www.neilvn.com/tangentswww.oneperfectmoment.comwww.facebook.com/neilvn.photography

Publishedby:AmherstMedia,Inc.P.O.Box586Buffalo,N.Y.14226Fax:716-874-4508www.AmherstMedia.com

Publisher:CraigAlesseSeniorEditor/ProductionManager:Michelle PerkinsEditors:BarbaraA.Lynch-Johnt,HarveyGoldstein,BethAlesseAssociatePublisher:KateNeaverthEditorialAssistancefrom:CareyA. Miller, Sally Jarzab, John S. Loder Business Manager: Adam Richards Warehouse and FulfillmentManager:RogerSingoISBN-13:978-1-60895-817-7LibraryofCongressControlNumber:201494459510 9 8 7 6 5 4 3 2 1

No part of this publication may be reproduced, stored, or transmitted in any form or by any means,electronic, mechanical, photocopied, recorded or otherwise, without prior written consent from thepublisher.

Notice of Disclaimer: The information contained in this book is based on the authors’ experience andopinions.Theauthorsandpublisherwillnotbeheldliablefortheuseormisuseoftheinformationinthisbook.

CheckoutAmherstMedia’sblogsat:http://portrait-photographer.blogspot.com/http://weddingphotographer-amherstmedia.blogspot.com/

TABLEOFCONTENTS

Foreword,byJenRozenbaum

Introduction

GreatPortraitsin“Nowhere”Locations1.Simplify,Simplify,Simplify2.AvailableLightandComposition3.TheGame-Changing85mmLens4.FindingtheLight5.NaturalRimLight6.SelectiveComposition7.LensCompression8.Off-CameraFlashforExtraDrama

LightandLighting9.ElegantlySimpleOn-Location10.IntentionalUseofFlare11.AddRimLighting12.Backlighting13.ASun-DrenchedBackground14.LensFlareandPostproduction15.StriveforVariety,Part116.StriveforVariety,Part217.DramaticLight18.GelledFlashatSunset

IndoorLocations19.BounceFlashintheNightclub20.BounceFlashforKidsPortraits21.BounceFlashwithaGel

22.SpeedlightswithGrids23.FresnelLights24.WindowLightBabyPortraits25.AvailableLightEnvironmental26.VideoLightforLow-LightDrama27.WeddingswithVideoLight

Posing,Directing,andComposition28.PosingEngagementPortraits29.CompositionandFocalLength30.GestureandConnection31.DramaticStylewithLEDFresnels32.SeizetheOpportunity33.Finesse34.ABetterPerspective35.RulesofComposition

StudioPortraits36.The85mmf/1.4Lens37.AHome-StudioSetup38.StudioHeadshots39.Low-KeyVintagePortrait40.ContinuousLights

ImprovisingonIdeas

41.DeconstructingaPortrait42.UrbanBallerina43.RegalPortraitwithaFerret44.WorkingTowardtheFinalImage45.WorktheScene

46.FindtheOtherAngles47.PlayfulPortraits,Part148.PlayfulPortraits,Part249.FilmNoir50.PunchingUpPlainWhiteWalls51.ClassicStyling

On-LocationwithBigLights52.PromotionalPortraits53.AVintageMotorbike54.SpeedwayRacer55.BestOn-LocationLightModifier56.NewYorkCityRooftop

57.Decisions,Decisions,Decisions58.CosplayPortrait59.Steampunk/FuturistPortrait60.DepthofFieldControl

FOREWORDbyJenRozenbaum

ImetNeilmanyyearsagoatadinnerfollowingalocalphotographyevent.Aswewaitedforourtabletobeready,wespentsometimeinacrampedbar.Althoughwewerebothhungry(andthewaitwaslong),westartedchattingaboutphotographyandaboutlife.IhadnoideathatNeilwasabrilliantphotographer—orthathisknowledgeaboutlightingwasfarbroaderthanmineormostothers.Wewerejusttwohungrypeoplelookingforabitetoeat.

WhenIgothome,mystomachachedfromallthelaughterwesharedthatnight—butIstartedGooglingNeil.That’swhentheimagesstartedpoppingup.Then,Ifoundhis“Tangents”blog.Instantly,IknewthathewassomeoneIneededtolearnfromifIwasgoingtobeasuccessfulphotographermyself.

IamthankfulthatNeilhastakentimetohelpmelearn.WhileIamfortunateenoughtolivecloseenoughtohimforface-to-faceeducation,thisbookwillbejoiningmycollectionofNeil’sotherworksforeasyreferencewheneverIneedit.

Asphotographers,weneedatoolbox—onethatisfullofbothtangibleitems(likecameras,lights,andlenses)aswellasmanyintangibleskills.Themostimportanttoolinthisboxisourbrain,whichenablesustomakegooddecisionsinallthedifferentscenariosweencounter.Ourbrainsalsoallowustoplan.Tobepreparedistobesuccessful—andNeilisalwaysprepared.Hemakesdecisionsthoughtfullyandwithcarefulcalculation.

Whatagiftitistogetaglimpseintohowhisbrainworksandhowhehascreatedhissuccess.Withoutquestion,itwillleadtoyoursuccess,too.Congratulations,Neil,onanotherbeautifuljobwelldone.Thankyouforsharingyourself—andyourbeautifulart—withusall.

INTRODUCTION

Don’tBeIntimidatedWhenIfirstimmersedmyselfinphotography,ittookmeawhiletorealizethattheincrediblephotosIsawinbooksandmagazinesweren’tnecessarilythefirstimage—orthewholestory.Mostoften,Iwasseeingtheonephotographthatstoodoutinaseries,orwheretheelementswereperfectlycontrolledbythephotographer.

Withthatrealization,Ifeltlessintimidatedbygreatphotos;theybecamemoreaccessible—andmoreattainabletomeasanewphotographer.Photographswithimpactorappealcouldhappenbecauseofserendipityorforesightandcarefulplanningbythephotographer.Quiteoften,theyresultfromrecognizingthepotentialofasceneandworkingwithittofinessethecomposition,lighting,orpose.

AboutMyWorkandThisBookAphotographeroncetoldmemyphotographyseemedtobeallovertheplace—thatitwasunfocusedandthatitwasn’tclearpreciselywhatIofferclients.Ishouldconcentrateonjustonethingandmakethatspecificthingmyown.

Well,thatdoesmakesense.Whilemostofmyworkisrelatedtopeople,thereisacertaineclecticapproach.PerhapsthatisbestexplainedbywhereIcomefrominmyphotography.Attheheartofitall,Istillhavemyamateurinterestinallofphotography—allofit.Istillgetexcitedatnewdiscoveries,techniques,andgear.Iamstillthatguywithmynosepressedagainstthecamerastorewindow,dreamingofdoingthingsyouonlyreallyreadaboutinmagazines.Istillcraveitall.

Thatalsoexplainsthemotifofthisbook,whichcontainsexamplesofallkindsofideasandtechniquesaswellasthethoughtprocessesbehindthem.

Overtime,myportraitstylehasgravitatedtowardalookinwhicheverythingisquitesimplified—thelighting,thebackground,andtheframing.WhetherIusetheavailablelight,videolight,off-cameraflash,orevenon-camerabounceflash,there’sanuncomplicatedlook.I’dliketothinkofitaselegant,unfussy

simplicity.

Thechallengeistomixitupandimprovisetoreachforbetterimageseverytime.

Inthisbook,Iwillanalyzemyeclecticstyleandshowthatthere’susuallyaspecificunderlyingmethodandfamiliarrhythmthatgivesmea“can’tfail”baseline—apointwhere,ataminimum,theimageslookreallygood.Fromthere,thechallengeistomixitupandimprovisetoreachforbetterimageseverytime.

AboutthePeopleSomeshootswereproducedforthisbook.OthersweredonewithmodelsfromworkshopsorwhowereoriginallyphotographedfortheTangentsblog.Someareclients,somearefriends.

AbouttheGearForweddingphotography,Ineedfastlenses(f/1.4,f/2.8)andresponsivecameras.ImostlyusetheNikonD4currently,butthatwillchangeasIinevitablyupgrade.Thatsaid,themajorityofwhatisinthisbookisaccessibletoanyonewithaDSLR.

Anumberoftheimagesusestudiolighting.Still,Iwouldsaymostofwhatispresentedisaccessibletophotographerswithspeedlights.Youshouldbeabletousetheideasandtechniquesherewithabasichomesetup.

Whatisimportantisthattherearevarioustidbitsandideasineverychapterforeveryonetolearnfrom.

GreatPortraitsin“Nowhere”Locations

1.SIMPLIFY,SIMPLIFY,SIMPLIFY

neconsistentthemeyouwillnoticeinthisbookishowtopullamazingportraitsoutof“nowhere”scenarios.Thefinalphotographwilllook

stunning—butwhenthewiderpull-backshotisseen,itisamess.Withselectivecomposition,wecandecidenotonlywhatwewanttoincludeintheframebut,justasimportantly,whatweneedtoexcludefromtheframe.

Notethewordthere:exclude.Weneedtoexcludefromtheframeanythingthatdoesn’tenhancetheimage,butinsteadwilldetractfromthefinalphotograph.Soaneasymantraistosimplify,simplify,simplify.

LightingThetwomainimagesofElle(belowandfacingpagetop)weretakeninthelateafternoon,aboutanhourbeforethesunwentdown.Shootingtowardthesun,Ispottedthislovelyopenavailablelight.Therewasreallynoneedforadditionallightingatthispoint.

Ifyoucancreateagoodphotographoutofseemingly“nowhere,”thenyoucanbringavarietytoyourimagesthatisoutoftheleagueofphotographerswhofeeltheyhavetorelyonpicture-perfectscenery.

LensSelectionThechoiceoflensherewasimportant.The70–200mmlens(afasttelephotozoomwithstabilization)isanessentiallensforme.Itallowsmetoshootinlowlightwithrelativelylesschanceofcamerashake.Theshallowdepthoffieldalsoaddsitsowncharacteristictotheimage.

TECHSPECS:

1/200second,f/2.8,400ISO

NikonDfNikon70–200mmf/2.8VRII

Availablelight

Moreimportantlyhere,thelongerfocallengthallowedmetopickoutthespecificbackgroundthatIwanted.Withthislens,Icanchoosemybackground—andevenasidewaysmovementofafewinchescancompletelychangethebackgroundoftheportrait.

ThePull-BackShotAndhereisthepull-backshot(right)!Treesandacar-parkandaroad.Itreallydoesn’tlooklikemuch.Butbyusingthetightcompressionofa70–200mmlensatthe200mmfocallength,youcanbeveryselectiveaboutthebackground.

Inthiscase,Iwasabletoshiftmyownpositionslightlyandchangethelightingbylettingthesunjustbarelypeekpastmysubject,togiveabitofflarethatwarmsuptheimage.

So,really,Iwouldhighlyrecommendalensinthisrangeforanyportraitphotographerwhoregularlyshootsonlocation.

2.AVAILABLELIGHTANDCOMPOSITION

ntheintroduction,Imentionedthatveryoftenyoucandistillatechniqueintoafamiliarpattern—acustomarywayofworkingwhereyoucangetgreat

portraitsinaveryshorttimeandunderpressure.WiththisphotosessionwithChristy,crazypeak-timetrafficdelayedthestart

oftheshoot.Whenwefinallygotunderway,fallingbackintoafamiliarrhythmofshootingportraitsallowedmetogetimagesthatworked—veryquickly.

There’samethodthathelps,especiallywhenyou’reunderpressure.Thestartingpointisfindingthatintersectbetweengoodlightandagoodbackground.Andifyoudon’thavegreatavailablelight,thenyouneedtocreateitwithadditionallighting.Fromthere,itisamatterofposingthesubjectandcomposingtheframe.

Thefadinglightdidn’tproduceenoughrimlight,andthebackgroundwasn’tespeciallyinteresting.

Thelongerlensallowedmetoeasilyfinessemycompositioninrelationtothebackground.

TheStartingPointWiththesunsettingoverthehorizon,therewasagoldenglowtothelight.IaskedChristytoturnherbacktothat,hopingforsomeofthatrim-lighttoperhapsworkitsmagic.Unfortunately,itwasn’tstrongenoughfortheeffectIwanted—thelightwasalreadyfading(left).Also,shootinginthisdirectiondidn’tlooklikeitwouldleadtomuchintermsofaninterestingbackground.

ABetterOptionTurningaround,Isawthepatchofbrighterskybetweenthetrees;Iknewthiswouldmakeagreatnaturalframe.This,then,iswhereIshotthemainimage(facingpage,top).

WhatItLookedLikeThepull-backshot(facingpage,bottom)showsexactlywhereIphotographedChristy.It’sjustagrassystretchnexttothesideoftheroad—nothingmuchthere.Themainimagewasshotat180mm,whichagainistowardthelongerendofmy70–200mmf/2.8zoom.

Shootingfromalowerangle,IframedChristyagainstthebrighterbackgroundwiththatnaturalvignetteofout-of-focustrees.Noneofthisisrandom;itrequiresmakingspecificdecisions.Thelongerlensallowedmetoeasilyfinessemycompositioninrelationtothebackground.

TECHSPECS:

1/160second,f/2.8,1250ISONikonD4Nikon70–200mmf/2.8VRII

Availablelightonly

AnotherOptionThissamesceneandlightingworkedforfull-lengthimages.

Turingaround,IfoundabetterbackgroundandbetterlightingformyportraitsofChristy.

3.THEGAME-CHANGING85MMLENS

hilea70–200mmf/2.8lenscanbeevenmoreeffectiveincontrollingthebackground,theshorterfocallengthofan85mmlenscanmakethis

somewhateasier.Specifically,it’sasmallerlensandthereforelessintrusivewhenyouphotographportraits.It’sless“threatening”tothepersonyou’rephotographing—andit’seasiertocarryaround.Withafast85mmlens,youcanprettymuchshootanywhereandmakethebackgroundlookgood.

TECHSPECS:

NikonDfNikon85mmf/1.4G

Availablelight

StreetSceneJusthowwellcanyoublurthebackgroundwhenshootingwideopenwithan85mmprimelens?Comparethefirstphoto(below)withthepull-backshot(right)thatwastakenwithaniPhonejustforreference.Thisshouldtellyoutheentirestoryofjusthowthe85mmlensworksitsmagic!Ishotitfromthesamecamerapositionasthefinalimage.

Byshootingwideopenwiththe85mmlens,Iusedthetrafficlightsaslargesplashesofmutedcolorinthebackground.Yes,youreallycanshootprettymuchanywherewhenyouuseawideopenaperture,whetherf/1.8orf/1.4orf/1.2

Ijustusedavailablelighthere—noflash.Withtheslowlysettingsun,Ihad

lovelysoftlightfallingonElle.

OrangeSafetyNettingTheimageaboveisanotherexamplewherethewideapertureonthe85mmcreatedabackgroundthatdidn’tquiteseempossible.

TECHSPECS:

NikonDfNikon85mmf/1.4GAF-5

Availablelight

Thepull-backshot(right)revealsthebackgroundhere—thatorangesafetynetting.Withthesuper-shallowdepthoffield,thenettingmerelybecameaninterestingbackgroundandnotanugly,intrusiveeyesore.

P4.FINDINGTHELIGHT

hotographingAngelicainlowerManhattanonasemi-cloudydayintheshadowsofthetallbuildings,Iwantedlightthathadabitofpoptoit—not

justflatandtop-heavylighting.Forafewminutes,thesunpoppedout,andIsawasplashoflightonthe

sidewalk.Thiswaswhereweheadedfortheportraits.Ilookedforbackgroundsalongthesidewalksandstorefrontsthatwould

workwellwiththecolorsAngelicahadchosenforherhatandmakeup.Thebeautyofthe85mmlensisthatyoucanjustmeltyourbackgroundandhaveitbecomplementarytoyoursubject.

The85mmprimemightseemlikeanoverlaplensifyoualreadyhavea70–200mmzoom,andtoanextentitis—butthe85mmissomucheasiertoworkwith.Itislighterandsmaller.The85mmalsoallowsamoredirectwayofworkingwithyoursubject,withoutthemassivelensgettingbetweenyouandyoursubject.Youcanalsohavesuchshallowdepthoffieldthatjusteyelashesareinfocus.

TECHSPECS:

1/500second,f/1.4,100ISONikonD4Nikon85mmf/1.4GAF-S

Availablelight

Recommended85mmLensesThefasterlensesareabitmoreexpensivethanthef/1.8optics,butthechangeindepthoffieldisincremental.You’dgetaverysimilareffectatf/1.8;therefore,ifyourbudgetislimited,thef/1.8opticsareexcellentchoices.Infact,I’dsaytheCanonEF85mmf/1.8USMisarguablytheirbestlensintermsofopticalperformancevs.price.Similarly,theNikonAF-S85mmf/1.8Glensisanopticalgematanaffordableprice.

Photographerswithcrop-sensorcameraswillofcoursewonderifa50mmf/1.4willgivesimilarresults.Sincethecropwillforceadifferentperspectiveforthesamecomposition,effectivelygivingthatlongerfocallength’sfieldofview,you’dgetasimilareffectwithshallowdepthoffield.WhileIthinkeveryphotographershouldhavea50mmlensintheirbagsomewhere,the85mmonacrop-sensorcamerawillbeevenmoreawesomeingivingthatshallowdepthoffield.

5.NATURALRIMLIGHT

SubjectPositionWiththisstraightforwardportrait(below)ofIrene,aphotographerfriendofmine,Iwanttoshowaneatlittletrickforhelpingyoursubjectunderstandwhereyouwantthemtostand.

Here,wehadrandomreflectionsofglassstructuresinManhattan,givingrandomspotlights(right).IwantedtouseoneofthesespotsoflightasnaturallyfoundlightforIrene,andanothersplashoflighttogiveahighlightbehindher,asIframedheragainstit.

Insteadofgivingyoursubjectincrementalinstructions(“alittletotheleft,alittletotheleft—no,comeback...”)thesimpletrickistopointoutthishighlighttoyoursubjectandhavethemmoveuntiltheyseetheirownshadowinthesplashoflight.Then,theyjustturnaroundandtheyareperfectlyplaced!

Positioningthesubjectaccordingtohershadow.

Atthesametime,takecareinlookingathowthelightfallsonyoursubject’sface.Aimtohaveclean,openlightwithnoshadowsundertheeyes.

RimLightThisexactsameideacanbeusedinanotherway.Forthenextimage(facingpage),Ihadasimilarspotofreflectedlightfrombehindmysubject,givingmeabitofnaturalrimlight.Irene,facingthecamera,nowjusthadtokeepaneyeonwheretheshadowofherheadfell.Aslongasthetopofherheadstayedwithinthespotofreflectedlight,shewasabletoseeherheadintheshadowontheground.Bywatchingthisasshesteppedtothesideorforwardandback,shecouldimmediatelyplaceherselfcorrectly—withoutmegivingcontinual(andpossiblyconfusing)instructionsastoexactlywheresheshouldstand.

Bywatchingthisasshesteppedtothesideorforwardandback,shecouldimmediatelyplaceherselfcorrectly...

Youcandothesamewithsomeonejuststeppingoutfromunderacanopyorveranda,withthesunfrombehind.Bywatchingtheirownshadow,theycanpositionthemselvessothatthesunfrombehindjustgivesalickofcolortotheirhair.Again,itisasimpletechniquethatmakesanon-locationphotosessioneasier.

6.SELECTIVECOMPOSITION

ramingveryselectivelyin-camera,youcanveryoftenpullquiteasurprisingimageoutof“nowhere.”

WithJuliaandLuis’swedding,Iroamedaroundthereceptionvenue,abed-and-breakfastontheJerseyshore,forinterestingspots.Therewereappealingnooksandcranniesthatwouldworkfortheromanticportraitsession,butIalsolikeaddingvariety—especiallyunexpectedvariety.

AGoodFindIwentthroughabackgate,andintoaparkinglotbehindthevenue.Thisgatewasatthedeliveryentranceforthevenue’skitchen—andtheparkinglotwas,well,justaparkinglot.But,Ilovedthetextureofthewoodenfenceandgate,andthelateafternoonsunreallybroughtoutthetexture.IhurriedbackinsideandaskedJuliaandLuistojoinme,saying,“IthinkImayhaveagreatidea!”

Youreallyhavetocomparethefinalimages(rightandfacingpage,top)withthepull-backshot(facingpage,bottom)toseewhatwas“rescued”froma“nowhere”location.Thetightcompositioneliminatedalltheclutter.Juliawasstandingonarampforthedeliveries.ThishelpedbringheruptoLuis’sheightandmadeiteasiertohavehersnuggleinclosebehindhim.

SubjectToneAninterestingobservationherewiththepositioningofthesubjects:ifJuliahadbeeninfrontofLuis,herdresswouldhavebeenverywhiteandhissuitwouldhaveblendedintotheshadowareasbehindhim.Bypositioningthemlikethis,thewhitedresswas“sandwiched”betweenthedarkersuitandtheshadows.Thisbalancedtheimagebetteranddrewmoreattentiontotheirfaces.

TECHSPECS:

1/250second,f/5.6,200ISONikonD4Nikon24–70mmf/2.8

T7.LENSCOMPRESSION

hesettingforphotographingWillandIanwasacarpark,butIknewthatthesunontheautumncolorswouldbeafantasticbackground.Thelight

fromthefrontontheboyswasjusttheopensky—softandeven.Therewasreallynoneedforadditionallight.

Imageshotat135mm.

Imageshotat200mm.

Thepull-back(above)showstheapproximatepositionIshotfrom.And,again,youcanseethisisa“nowhere”location.Asidefromthegloriouscolorsinthebackground,thereisn’tanythingelsetoworkwithhere.

PerspectiveandCompressionWhencompressingtheperspective,thetechniqueissimple.Usingthelongestfocallengthyoucan(ifyouhaveazoom,youzoomtothelongestlength)andthenstepbacktoframetheshotproperly.Don’tzoomin—stepbackuntilyouhaveyourframing.Thiswillgiveyouthemaximumamountofcompression.

Withtheinitialphotos(lefttopandbottom),Istartedat135mmandprogressedtothe200mmendofmy70–200mmlens.ButIfelttherewasstilltoomuchoftheparkinglot’srailingsinthephoto.Ineededtighterframing.SoIaddeda1.4xteleconverter.Withthis,the200mmfocallengthsettingbecameaneffective280mmlength(facingpage)!

Comparingtheimageshotat280mmtotheoneshotat200mm,youcanseetheboysareaboutthesamesizeintheframingofthephoto.BysteppingbackuntilIgottheframingIwantedofthetwoboys,thebackgroundbecame“enlarged”withthelongerfocallength.

TECHSPECS:

1/400second,f/4,800ISONikonD4Nikon70–200mmf/2.8VRII,1.4xteleconverter

Availablelight

PackaTeleconverterWithallthisinmind,Idokeepa1.4xteleconverterinmycamerabag.Itissosmallthatitbarelytakesupanyspace.ButwhenIneedthatextrabitofreachwithmylongestlens,itisjusttheticket.

Byusingthistighterframing,Iwasabletoeliminatemoreclutterfromthebackgroundandhavejustthetwoboysagainstthisgoldensplashofcolor.

Withthistighterframing,Iwasabletoeliminateevenmoreclutterfromthebackground...

Imageshotat280mmbyaddinga1.4xteleconverter.

8.OFF-CAMERAFLASHFOREXTRADRAMA

likedthewaythedotsinthisbackgroundwererepeatedinOlena’sdress,butinreverse—whitedotsonblack,insteadofblackdotsonsilver.Ialsoasked

OlenatoreallyexaggeratethecurveofherbodytocreateanS-shapethatcontrastedboldlywiththerigidpatternofthebackground.

AmbientExposureThefirststepwasdeterminingtheambient-onlyexposure,whichwas secondandf/4at200ISO.Theavailablelightwasprettysweet—softandflattering(below)—butitlackedpunchandlookedjustabittoobland.Itneededalittledrama.

Off-CameraLightingtotheRescue!Toallowtheflashtohaveimpact,Ichosetounderexposetheambientlight.Therefore,Ipulledthisexposuredown2stops(to secondandf/7.1at200ISO)fortheTTLflashexposure.Icouldhavepulleddowntheambientexposureby1stop,or2stops,or3stops—oranywhereinbetween.ThemoreIunderexposetheambientlight,themorecontrastythefinalimagewillappear—and,hence,themoredramatic.

Withnoaddedlighting.

Closer=MorePowerWehadtoholdthesoftboxfairlyclosetohertostillgetcorrectflashexposureaswechangedtheaperturetopulldowntheambientlightbyupto3stops.Themoredominantflashallowedhershadowtobecomeasubtleelementofthecomposition.

Thereissometimesakindofsnobberywherephotographersinsistthat

availablelightisbetter.Thisclearlyshowsthat,withadditionallighting,Ihavemuchmorecontroloverthefinalimage.

ThefinalimagewithTTLflashandtheambientlightunderexposedby2stops.

LightandLighting

9.ELEGANTLYSIMPLEON-LOCATION

ormostofmyon-locationportraits,Iliketotravel(fairly)light,andmylightingofchoiceisaspeedlightwithwirelesstransmittersandasoftbox.

Thesoftboxiseitherheldupbyalightstand(whichIweighdownwithmycamerabag)orbyanassistant(holdingthesoftboxonamonopod).

Withnoaddedlighting.

Apull-backshotoftheoverallscene.

AmbientLightPlusFlashLet’slookattheprogression.Thefirstimage(topleft)isthephotowithouttheadditionallight.Mybasicexposurewaschosensothatthebackgroundwouldn’tblowoutinoverexposure.

Then,flashwasadded(facingpage).IlikeTTLflash—itoftengetsustherefasterthanmanualflash.Butforconsistency,especiallywhenphotographingsomeoneinastaticpositionrelativetothelight,manualflashistheonlywaytogo.Atthisdistanceandaperture,andusingthesoftbox(whichcutsdownontheflash’slight),Iwasclosetofullmanualoutputontheflash.ButthisiswhereIdecidedIwantedtobeintermsofbalancingtheflashexposurewiththebackground.

Iliketotravel(fairly)light,andmylightingofchoiceisaspeedlightwithwirelesstransmittersandasoftbox.

Thissimplelightingsetupworksforsomanyon-locationportraits,andismostoftenmystartingpoint.Itjustworks.

ConceptandPosingBeforewegotunderway,ItalkedwithAllisonandScottabouttheideaandfeelforthisphotosession:glamorous—a“nightonthetown”kindofglamorous.ForthisNewYorkrooftoplocationandthatdress,averticalphotowouldn’thavemademuchsense.Toomuchwouldhavebeen“lost”againstthedrabbrickwallasthebackground.

Theposewasacompromisebetweensomethingsexy/glamorousandthepracticalneedtohaveAllisonnotfeelunsteadyonthe(wide)ledgethere.ScotthadhisarmaroundherandIalsoaskedAllisontodrapeanarmoverScott’sshoulder.Inthisway,theposedevelopedoutoftheenvironmentandbackground.

TECHSPECS:

1/250second,f/5.6,100ISONikonD4Nikon70–200mmf/2.8VRIIManualoff-cameraspeedlightinasoftbox

ForthisNewYorkrooftoplocationandthatdress,averticalphotowouldn’thavemademuchsense.Too

muchwouldhavebeen“lost”againstthedrabbrickwall.

F10.INTENTIONALUSEOFFLARE

orthesepromotionalphotosofaspiringmodeltwins,CarinaandCarolina,wewenttoapark.TherearecertainthingsIlookforwhenworkingon-

locationthatIknowwillimmediatelygivemeabetterchanceatsuccessfulportraits.Themethodhereshouldbequiteobviousbynow.

1. Alonglens(a70–200mmusedclosertothelongerend)tocompressthe

perspective.

2. Shootingwiththebackgroundfurtheraway,todefocusitasmuchaspossible.

3. Havingthesubject(s)withtheirback(s)tothesunorstronglight,whichalsocreatesrimlighting.Thishelpswiththeseparationofthesubject(s)fromthebackground.

4. Theuseofoff-cameraflash(withasoftbox)togiveflatteringlightasthemainlight.Thislightissettoenhancetheavailablelight,ortobalancetheexposureforthesubjectwiththatofthebackground.

It’sarecipethateasilygivesyousolidresultsinmostcases.

LensFlareShootingtowardthesettingsun,thelensstartedflaring.Icouldhaveminimizedthisbyblockingthelightwithmyhand(oragobo),orIcouldhavemovedthesetupsothatIhadtreesblockingthedirect,stronglighthittingthefrontofmylens.

TECHSPECS:1/250second,f/4.0,640ISO

NikonD4Nikon70–200mmf/2.8VRIIManualoff-cameraspeedlightinasoftbox

BeingThemselvesLetyoursubjectsbethemselves—especiallyiftheyareasnaturallyphotogenicandspiritedasthesetwogirls.Thisisanimportantpartofbeingsuccessfulwithportraits:allowingyoursubjectstobethemselvesandthenguidingthemtoshowsomeaspectoftheirpersonalities.Or,itmightjustbeyourjobasthephotographertopresentthemattheirbest.

WithCarinaandCarolina,Ispentafairamountoftimejustphotographingthemdancingandlaughing.Thiswasverymuchpartoftheprocesstoeffortlesslygetimagesthattheylike.Aftershootingafewsequenceslikethis,Ishowedthemtheimagesandtheylovedthem.Havingtheirconfidence,itwaseasiertoguidetheirnaturalposesabitintothefinalimages,whichwereultimatelywhatwewereafterallalong.

Inthiscase(facingpage),however,Ilikedthelookoftheflare—Ifeltitaddedwarmth.Bymovingmyownpositionaround,Icouldcontroltheflaresothatitgaveanaturalvignettetothebottompartoftheimage,neatlymirroringthewarmer,brightertoppartofthephoto.

O11.ADDRIMLIGHTING

nceyou’recomfortableusingasingleoff-cameralightsource,suchasasoftbox(orundiffusedflash),there’saneasynextsteptogivealittlebit

ofzingtotheimage:addrimlighting!

AddaSecondLightSourceImostoftenworkwithjustasinglesoftboxwhenphotographingportraitsonlocation.Asshowninsection10,havingthesunbehindyoursubjectcreatesnaturalrimlighting.Thishelpsseparateyoursubjectfromthebackground.It’snotjusttheshallowdepthoffieldthathelpscreatethatnearlythree-dimensionaleffectwhereyoursubjectsjustpopoutfromthebackground—rimlightingfrombehindalsohelpsbringmoreattentiontoyoursubjects.

Addingabitofrimlightwasessentialandgavejustenoughofahighlighttodefinetheiroutlines.

Usingadditionallighting,suchasasecondflash,isthewaytocreatethesameeffectwhenthereisnonaturalrimlighting.Thebestpartisthatitisreallysimpletosetupanduse.

TECHSPECS:

1/125second,f/8,800ISOCanonEOS6-DCanon24–70mmf/2.8LIITwomanualflashes,oneina1x3-footgridded

softbox

Whenworkinginadarkerenvironment,likethisurbanscene(StapleStreetinNewYorkCity),twinsCarinaandCarolina’sdarktopsanddarkhairwouldjusthaveblendedinwiththebackground.Addingabitofrimlight(createdbyasecondlightsourcebehindthem)wasessentialandgavejustenoughofahighlighttodefinetheiroutlines.

Thedelightfultwinsarealwaysenergeticandfuntoshoot—butonthiscolddayitwasimperativetosetupfastandshootquickly.Forthefirstimage(facingpage),IusedabareProfotoB1portablestudiounitbehindthemforrimlight.Themainlightonthemwasa1x3-footgriddedstripbox.

ASecondSetupThenextsetup(right),wasverysimilar.Ialsowantedsomerimlightbehindthem,soIplacedaB1flashontheground,proppedupbyalenscasetoanglethelightupwards.

Thistechniqueofusingasofterlightsourceasthemainlightonmysubject(s)withaflashfrombehindthemforrimlightingisastandardsetupthatalwaysgivesmereallygoodresultswhenIneedtoseparatemysubject(s)fromadarkerbackground.

T12.BACKLIGHTING

wospeedlightswereusedhereforthelighting.Onewasinadouble-baffledsoftboxasamainlightfromthefront.Thesecondlightwasabare

speedlightplacedbehindthemodeltoproducetherimlightingandhelpcreatesomeseparation.BothlightsweresettomanualoutputandcontrolledwirelesslybyPocketWizardTT5triggers.

ExposureMeteringforManualFlashUsingadouble-baffledsoftboxmeansthatwecan’tjustusetheguidenumberoftheflash.Wehavetousesomeothermethodtodeterminetheexposure.Whileusingalightmeteristhemostaccuratewaytogettocorrectexposureforflash,itbecomesrelativelyeasy(withexperience)toaccurately“guess”theexposure.Butreally,thereisn’tthatmuchguessinginvolved.

Withmanualflashexposure,fourfactorsareinvolved:distance,power,aperture,andISO.Thebafflesinthesoftboxobviouslyaffectthepoweroftheflash.

Therefore,it’shelpfultobecomefamiliarwithhowmuchlightyourspecificoff-cameraflashsetupdelivers.Again,thiscomeswithexperience.Let’ssaythatyouknowthatforXdistance,youcangetf/5.6at400ISOwhenyousetyourflashtoYpower.Then,youknowifyoumeterfortheambientlight,youcanadjustyourpowersetting,and/ortheaperture,and/ortheISO.

Themodelphotographedwithoutaddedbacklighting.Comparethistothefinalimageonthefacingpage.

Thepull-backshotgivesasenseofplacementofthelights.

TECHSPECS:

1/200second,f/4,100ISONikonD4Nikon70–200mmf/2.8VRIITwoflashes,oneinasoftbox

Let’sworkthroughthisspecificexample.Forthefinalimage(right),Ihadmycamerasetto secondatf/4and100ISO.Thosesettingswerechosensothatmyambientexposureforthemodel,Anelisa,wasunderby1stoporso—justenoughsothatwiththeflashI’dbeabletocontrolthequalityofthelight.

Thatwasmystartingpoint:Iwantedf/4at100ISO.Formyspecificsetup,IknowfromexperiencethatIwillgetcorrectexposureatXdistancewhenIsetmycameratof/5.6at400ISO,foraspeedlightinthissoftbox,whenIsetitto⅛fullpower.

Thebacklightdoesn’taddtotheactualexposure,soIconcentratedmostlyon

adjustingtheoutputofmymainflash.Icancountthe⅓stopindentsinpowerasIchangemyapertureandISOaccordingly—and,inthatway,set(closeto)thecorrectexposuresimplybyfrequentexperienceinworkingwithonespecificsetup.

13.ASUN-DRENCHEDBACKGROUND

nmanyofthepreviousportraits(seesection10,forexample),wereliedonthesuntogiveusbacklighting.Thisalsomakesiteasytogetthatwarm,

slightlysun-drenchedlook.Butwhenshootingon-location,itissometimesuptoyoutocreatetheillusionofsunlight—justtosparkuptheimageabit.Ifyouareworkinginanareawheretherearetreesandleavesthatwillcatchthelightfromyourbackgroundlight,itisrelativelyeasy.

SettingCaraLeeisaphotographerinupstateNewYork.MeetingupataPoughkeepsiecampus,itwasabitofastruggleonthislateafternoontofindsettingswherethelighthadsomesnaptoit.Oneofthespotsthatweshotinwasthispathway.Ithadpotentialasasetting.Thesunwasalreadygettingclosertothehorizon,butthetreesinthislocationwereblockingmostofthesunlightatthistimeofday.Itlookedatouchtoodrab.Off-cameraflashtotherescue!

LightingThesequenceoftestshotsbelowshowhowIbuiltupthefinallook(facingpage)withtwospeedlights.Theavailable-lightonlyshot(belowleft)showswhattheportraitwouldhavelookedlikewithoutanyadditionallighting.

Forthesecondimage(belowright),Iaddedaspeedlightpointedupintothetreesintheimmediatebackground.Thiscreatedtheimpressionofsunshiningthroughtheleaves.Thefinalstepwasaddingaspeedlightinasoftboxfortheflatteringmainlightonmysubject(right).Thewidershot(below)showstherelativeplacementofthetwolights.Myownpositionforthefinalimagewasclosertothemainlight.

Thesceneandsubjectwithavailablelightonly.

Backlightaddedtocreatethelookofsunthroughthetrees.

TECHSPECS:

1/200second,f/4,800ISONikonD4

Nikon24–70mmf/2.8Twoflashes,oneinasoftbox

Theflashesweresettomanualandadjustedtoanapproximateoutputbasedonexperience.(Thethoughtprocessherewasexplainedinsection12.)Withthat,wehaveasimpleconfigurationthatwillhelpinmanysimilarsituations—abacklighttogivesomerimlight(andevensimulatesunshiningdown)plusamainlighttogivegreatportraitlighting.It’ssimplebuteffective.

Thefinalimage.

Thetwolightsinplace.

14.LENSFLAREANDPOSTPRODUCTION

hootingtowardandevenintothesunforstronglybacklitimagescangiveuslensflare.Somephotographersembracethis;othersinsistthatthisis

somethingthatmodernlenstechnologytriestoavoid.Personally,Ilikeit—itcanaddvarietytoyourimages.

Themainimage(above)hadthesunbehindEricandPeiwen.Exposingforthecouple,theimage(straightoutofthecamera)lookeddesaturated,butthiswaseasilycorrectedbyadjustingtheRAW(orJPG)fileforacinematiclookthatappearssun-drenchedandnatural.

AnExtremeCaseLet’slookathowtocorrectforanextremeversionwherethebacklighting

completelydesaturatedthecapture.Withafeweasyadjustments,thebasicfilewilllookprettygood!

Withthefirstimage(facingpage,topleft),thelensflarewasreallyoutofcontrol—tothepointthatthephotoonthecamera’sLCDshowedmostlyaswhite,asiftherewerenoimage.(Ishootinmanualexposuremode,sowhenthesunreallyhitsthefrontelementfromaspecificangle,theimagewashesoutlikethat.)

Inthiscapture,thelensflareisoutofcontrol.

However,lookingattheblinkinghighlightsonthecameraorinPhotoshop(above),youcanseethatnotmuchofthesceneisactuallygrosslyoverexposedtothepointwherethereisnodetail.Sothereisdetailthatwecanpullback!

LookingattheRAWfile’shistogram(topright),youwillseethatthetonesarereallycompressed.WecanstartreturningthisimagetosomethingmoreaestheticallypleasingbypullingdowntheBlackPointslider,spreadingthetonalrangebetweenblackandwhite.Thenwecanadjusttheothersliders—Exposure,Contrast,etc.—totaste(right).

Inthiswaywefinallyhaveanimagethatisinterestinglysun-drenchedandhasacertainflavor(bottom).Note:Thedarkerareaatthebottomisthevideographer’shair.Ipurposelyheldmycameralowerforafewshotstoincludesomethingasanout-of-focusborder.Thishelpedanchortheradiantflareinthetopoftheimage.

Thehistogramshowsdetailthatcanbepulledback.

AdjustingtheslidersinCameraRaw.

Thefinalimage.

T15.STRIVEFORVARIETY,PART1

atianaDaubekisaBaroqueviolinistandaMasterofMusicinHistoricalPerformancefromtheJulliardSchool.ThephotosessionwithTatianawas

oneofthoseinstanceswhere,oncethelightingandsubjectpositionwereworkedout,Iletmymodelbeherselfwithlittledirection.

LightingLookingatthetestshot(topleft),youwillseetherewasalotofavailablelightstreaminginfromcameraright,buttherewasalsosomelightreflectedoffthewall.Thiscanbeseenmoreclearlyinthecomparisonphoto(bottomleft).WhilethetestshothasunevenlightonTatiana’sface,posingTatianatowardtheclifffaceletmeuseitasamassivereflectorforbeautiful,softlight.Fromthere,itwasjustamatterofpositioninghersothattherewerenohot-spotsfromthedappledlightstreaminginfromcameraright.Minuteadjustmentsintheposehelpedmegetthisright(facingpage,topright).

Thetestshotshowstheavailablelight.

Pullingback,youcanseethelightbouncingoffthewall.

CarefuladjustmentstoTatiana’spositionallowedmetogetnicelightingonherface.

DiverseApproachesInthisandthenextsection,Iwanttoemphasizethediverseapproachesonecantakeduringasinglesession,adaptingtowhatisavailableinthelocationandlighting—smalladjustmentsthathelpgivevarietytothefinalselectionofimages.

Especiallywhendoingasessiononlocation,theidealistogetasmuchvarietyaspossibleintermsofposing,angles,andcomposition.Shootdetails.Shootverticalandhorizontals;shootwideandtight.Don’tstayfixedinonespot.Evenaslightshiftinyourpositioncandramaticallychangethebackgroundandthebalanceofelementsintheframe(aboveandnextpage).

TECHSPECS(FACINGPAGE):

1/100second,f/4,500ISONikonD4Nikon24–70mmf/2.8

Availablelight

TECHSPECS(ABOVE):

Availablelight

LocationSelectionIntermsofthelocation,Iwantedabackgroundthatseemedfitting—noturban,butalsosomethingthatwouldnotbeatoddswithaBaroquelook.FortTryonParkhadsomestructuresandarchesthatIfeltwouldwork.Forthissequence,Ichosethesearchesasanaturalframe.Shootingwithalongerlens,asIoftendotocompresstheperspective,Ijustmadesuretoframeheragainsttherowofarchesrecedinginthebackground.

16.STRIVEFORVARIETY,PART2

TheSameSetting—ButwithFlashIntheprevioussection,featuringthesamesessionwithTatianaDaubek(moreonheratwww.tatianadaubek.com),Iwasabletousejustavailablelightbycarefullypositioningher.WhenIstartedthephotosession,however,Iusedoff-cameraflash.

TECHSPECS:

1/200second,f/3.2,200ISONikonD4Nikon24–70mmf/2.8TTLflashmainlight;manualflashrimlight

Thiskindofflexibilityintheuseoflight,andintheuseofoff-cameraflash,isnecessaryifwewanttousethefullrangeofourlightingabilities—fromtheverysubtleuseoflighttoblastingasmuchlightasthesun.

TheFirstLookWhenyouaddflash,itismucheasiertogetperfectlightinginrelationtoaninterestingbackground.Thefirstimage(bottomleft)istypicaloftheinitialsequencesweshot.

MixItUpAsalways,itisimportanttogetdifferentanglesanddifferentcompositions—vertical/horizontalandwide/tight.Thisimagewascreatedwiththesame“kissoflight”setupseenonthefacingpage.

AKissofLightLateron,workinginthesameareawheretheavailablelightseries(insection15)wasshot,Iusedoff-cameraflashinamoresubtlewaytoenhancetheimage.

Thesecondimage(above)showsthatproverbialkissoflightfromanoff-cameraflashinasoftbox.Itwasusedjusttosweetenthelight.Italsoensuredthatnomatterhowshemovedaroundinthatspot,thattherewouldbecleanlightonher.Sincetheavailablelightwasprettygood,Iwasabletoaddatouchofflashsodelicatethat,hopefully,itisn’tobviousthatoff-cameralightingwasusedatall.

Thepull-backshot(below)showsthattherewasasecondflashtoaddabitofrimlightforseparation.

S17.DRAMATICLIGHT

arahandMarkwereinNewYork,dressedtothenines,toattendaRockettesshow.Whiletheyweredressedup,andwithsometimebefore

theshowtheywereattending,wedidaphotosession.TheNewYorkskylineatduskworkedasaperfectbackdropfortheirstylishattire.(IaskedMarkifhefeltlikeJamesBond,allsuiteduplikethatinhistux.)

LightingThelightingsetupforthisphotosessionwasquitestraightforward.ThemainlightwasaspeedlightintheLastoliteHotShoeEZYBOXSoftboxKit(24x24inches).Therimlightwasanotherspeedlightbehindthem,withtheplasticdiffusercupon.

YoucanseefromthephotobelowthatIangledthesoftboxupward,forcingthelighttofallofftowardthebottomoftheframe.Ididn’twanttolightuptheground.Ialsodidn’treallyneedtheirlegsandlowerbodiestobelitupaswellastheirfaces.Anglingthemainlighthelpedmetoaccentuatetheirupperbodiesandfaces.

Experiencehasgivenmeagoodideaofwhatthespeedlight’soutputwillbewhenusedinthatspecificsoftbox.

Thespeedlightswerecontrolledmanually.TTLflashwouldjusthavebeenhardworkhere.Iwouldhaveconstantlyneededtocontroltheflashexposurecompensationforeachshotbecauseofthelargeareasofdarktones.Somanualflashithadtobe.

TECHSPECS:

1/60second,f/5.6,800ISO(above)1/50second,f/5.6,800ISO(right)NikonD4Nikon24–70mmf/2.8Manualflashinsoftbox(mainlight)andwithdiffusercup(rimlight)

Ididn’tmeterfortheflash.Asexplainedinsection12,experiencehasgivenmeagoodideaofwhatthespeedlight’soutputwillbewhenusedinthatspecificsoftbox.Therimlightwasalsoadjustedbyeye.

Imanuallycontrolledthespeedlights’outputfrommycamerausingaPocketWizardAC3ZoneControllerontopofaPocketWizardFlexTT5transceiver.EachspeedlighthaditsownPocketWizardFlexTT5transceiver.

Aswewereshooting,theambientlightwasfading.Therefore,IadjustedmyshutterspeedalittlebitasIcontinuedshootingthesequence,butstillwiththeintentofkeepingtheNewYorkskylineasubduedbackground.

L18.GELLEDFLASHATSUNSET

aurenandChriswereposedatabreathtakingvantagepointoverlookingManhattan.Thesettingsunpouredgorgeouswarmtonesonthescene.

Sincethecouplewasinashadedspot,Ihadtoaddlighting—butIwantedtomakeitappearasiftheywerebathedinthesamewarmlightasthescene.

ColorTemperatureThelightfromspeedlightshasarelativelycoldcolortemperature(bluish),soitcancreateanunpleasantcolorcastwhenpairedwithwarmambientlight.Atypicalproblemsituationwouldbeintheincandescentenvironmentwhereweoftenfindourselvesworkingatnight.Butthereareothertimes,suchasthis,whenthewhitebalancefromourspeedlights(around5400K)isalsotoocold(blue)comparedtotheexistinglight.Then,gellingtheflashistheanswer.

GellingtheFlashIfrequentlyusegelstoturnthewhitebalanceofmyflashwarmer,usuallytobalanceitwithincandescentlight.Icutoutapieceofgelandtapeittothetopofmyspeedlight’shead.Oneinexpensivesheetwillgiveyouahugesupplyofthesegels.Inormallykeepa½CTSgeltapedtomylenshoodforreadyaccess.

TECHSPECS:

1/250second,f/3.5,100ISONikonD4Nikon24–70mmf/2.8Off-cameraTTLflash

Inthiscase,mygoalwastohavethesamewarmlightonthecoupleastherewasonthecity.The½CTS,measuredfor3700K,wouldhavebeentoowarmforthis.Soinsteadofcoveringtheentirefaceoftheflashwiththegel,Ionlypartiallycoveredit,lettingsomeoftheflashnotbegelled.Thiswasjustenough.

AfullCTSwillbringyourflashwhitebalancedowntoaround2900K,moreorlessneutralizingthelookoftungstenlight.A½CTSwillbringyourflashwhitebalancetoaround3800K,whichwillleaveyourbackgroundswithatouchofthewarmthoftungstenlighting.

IndoorLocations

19.BOUNCEFLASHINTHENIGHTCLUB

evinisajazztrumpetplayer,andhewasphotographedduringasessioninaclub.Iwasinvitedbythebandtophotographthemastheyplayed

oneafternoon.

ALightingChallengeSincethelightingintheclubwaschallenging,Iresortedtoon-camerabounceflash.It’saperfectexampleofhowIuseon-camerabounceflashsothatitlooksnothinglikeon-cameraflash.Thelightinthisimageisnearlyallfrommyflash.Theredhueinthebackground,andspillingontopartofthetrumpetandhisskin,

wasfromthestrongredlightsinthenightclub.Tominimizethis,Iunderexposedtheambientlight,lettingtheflashbecomethemainsourceoflight.Doingthisallowedmetocontrolthequalityoflight.

TECHSPECS:1/250second,f/4.0,800ISO

CanonEOS-1DMarkIINCanon70–200mmf/2.8ISOn-cameraTTLflashat+1FEC

Justtoshowwhattheavailablelightlevelswerelike,hereisanout-of-cameraimageshotat secondandf/1.8at1600ISO.Asyoucansee,theimageisunderexposedevenatthosesettings.

HowtoBounceFlashHerearethekeypointsthatrevealhowIachievequalitylightwithon-camerabounceflash.

1. IbouncetheflashintothedirectionIwantedmylighttocomefrom—nottowardmysubject.Thisisacrucialelement.

2. Idon’tbouncemyflashoffaspecificsurfacebut,rather,inaspecificdirection—thedirectionIwantmylighttocomefrom.Eventhoughthelightlevelswerelowhere,Iwasbouncingflashofftheceilingandbrickwork(infact,offanythingtomyrightandbehindme).

3. Topreventanydirectlightfromtheflashspillingonmysubject,Iuseapiece

ofblackfoamtoflagthelightfrommyflash.Sincethereisnolightcomingfromthecamera’sviewpoint,theresultinglightonthesubjectisdirectional.

Thisisn’tanefficientwayofusingflash,butthelightthatreturnsissweetindeed.Yousimplycannotgetthiskindoflightfromyouron-cameraflashifyouuseaplasticdiffusercuporothersuchdevice.Thisisbecauseitwillthrowlightforwardontoyoursubject,andyouwilllosethatdirectionalquality.

WhatIf...?Ofcourse,theinevitablequestionisthis:whatifthereisnothingtobounceyourflashoff?Well,thenyouadaptanddosomethingelse.Butwhentherearesurfacestobounceflashoff,thistechniqueisrepeatableandcangiveremarkablygoodresults—resultsthatlooknothinglikeon-cameraflash.

Theblackfoamiethingusedtoflagaflash.

20.BOUNCEFLASHFORKIDSPORTRAITS

ext,letmeshowyoumyfavoritelightingsetuptophotographkidsindoors—withbounceflash!

AtHomeMeetJack.He’soneyearold.WhenAmyandNickaskedmetodoaportraitsessionwithhim,westartedoffattheirhouse.IwantedtograbafewcandidphotosofJackhappilyplayingbeforewesetofftoanearbypark.Sincekidsscootaroundallovertheplace,itmadethemostsensejusttouseon-camerabounceflash.Itrequiresveryminimalgear—onlythespeedlightonmycamera.

TECHSPECS:

1/250second,f/4.0,800ISONikonD470–200mmf/2.8VRIIOn-cameraTTLbounceflash

OneofthefinalimagesfromJack’ssession.

ShootinginTTLmodemeanttheflashexposurewasprettymuchspotoneverytime,regardlessofwhereJackzippedaround.Ihadmyblackfoamiething(seeprevioussection)handyincaseIneededtoflagmyflash.

Forme,thiswayoflightingisthemosteffectiveandsimpleapproachtouseinthisenvironment.Bestofall,thistechniqueisaccessibletoanyphotographerworkingwithatop-of-the-rangespeedlight.

Theambient-onlyexposure,forcomparison.

TheBackgroundIwantedthebackgroundtoblowout,givingalight,airyfeeltothephotos.Andofcourse,sinceIwasusing(bounce)flashagainstamuchbrighter(availablelight)background,shootingatthemaximumflashsyncspeedmadethemostsense.

IfIhadchangedmyexposuresettingssothatmoreofthebackgroundshowed(asshownintheimagetotheleft,whichwasshotatf/11),thebackgroundwouldhavebeenbetterexposed.Withthechangeinaperture,theincreaseddepthoffieldwouldalsohavemadeitmorevisible.However,sinceIdidn’twantthebackgroundtoshow,awide-ishaperturemadesense.Theout-of-focus,overexposedhazeisexactlywhatIwanted.

Stoppingdowndidn’tproducethebackgroundlookIwanted.

W21.BOUNCEFLASHWITHAGEL

henphotographinglocationportraits,achallengethatIhavewithmyselfistolookforoptionswherethereappeartobenone—towork

withwhatappeartobelimitedlocationsandthenpulloutsomethingthatis,hopefully,surprising.

Theexistinglightatthesameexposure.Youcanseehowmuchdifferencethebounceflashmade.

Thelobbybeforewe“decluttered”it.

TECHSPECS:

1/250second,f/1.4,800ISONikonD485mmf/1.4GAF-SOn-cameraTTLbounceflash

LocationandLensSelectionBeforeIwentuptomeetthefamily,IscoutedthelobbyoftheapartmentbuildingwherePenelope,averycutetwo-year-old,liveswithherparents.Ilikedtheretro-cooldecorofthehugelobbyandthoughtitmightmakeaninterestingbackdrop.Mostpeoplewalkingpastwouldn’thaveglancedtwice—butwithalittletidyingupandtherightchoicesoflens,aperture,andlighting,Ifelttherewasgreatpotential.

LensSelectionWithasuper-fast(short)telephoto,likethe85mmf/1.4,Iknewthedistractingbackgroundelementswouldmeltaway.Transformingthebackgroundintoacomplementarymushofcolorsandshapesmakesitpossibletoshootinsurprisingplaces.

LightingTocleanupthelightonPenelope,Iusedon-camerabounceflash(seesection19).Sincethelighttherewasawarmcolorbecauseofthefluorescentlighting,similarinlooktoincandescentlighting,Ifittedmyflashwitha½CTSgel.Thisbroughtmyflash’scolorbalanceinlinewiththatexistingambientlight(seesection18).

F22.SPEEDLIGHTSWITHGRIDS

lashdiffusedwithanumbrella,orflashwhenbounced,spreadsoutandtendstolighttheentirescenewithafloodoflight.Evenwithasoftbox,the

lightisn’tcontrolledinhowitspills.DuringthisphotosessionwithAustin,Iwantedtogetaspotlighteffect,similartothatofavideolight.

ADramaticLookFordramaticlighting,Ireallylikethelookofavideolight,whichproduceswell-definedshadowsandnicefalloffasthelightspreadsawayfromthesubject.

Gridsarelightmodifiersthatalsocontrolthespreadofalight’sbeam;often,however,thiseffectistoohardandconcentrated.OneofthespeedlightmodifiersIuse,theSpinlight360,hastwogrids—whiteandblack.Insteadofavideolight,Itriedthewhitegridtoseeifitwouldsufficientlyscatterthelightto“defocus”thelightbeamfromthespeedlight,whilethegriditselfcontainedthelight.Andhere’stheresult(facingpage)—alooksimilartothatofvideolight,butwithmorepower.

MoreinfoabouttheSpinlight360at:neilvn.com/tangents/about/spinlight-360

Thepull-backshotshowshowtheflashwaspositioned.Withoutanassistantthere,Isimplyfastenedthemonopodtotherailwithgafferstape.

Theambientlightlevelswithoutflash.

UsingthePocketWizardTT5wirelessflashtriggeronmycamera,Icouldcontroltheoutput.Forthisphotograph,Ialsogelledtheflashwitha½CTSgeltobringtheflash’scolorbalanceclosertothatoftheambientlight.

Theresultlooksdramaticbecauseofthatcentralhotspot,butitwasstill

flatteringenoughbecauseofthepositionofthelightandhowhisfacewasturnedtowardthelight.

TECHSPECS:

1/60second,f/4,800ISONikonD4Nikon24–70mmf/2.8Manualoff-cameraflash

F23.FRESNELLIGHTS

ormyportraitsofboudoirphotographersJenniferRozenbaum,Iwantedtoshowherinthestudiowheresheworks—the“office,”asitwere,ofthe

boudoirphotographer.WhileIdidn’twanttophotographJenniferinaboudoirstyle,Iwantedtheimagestobesexy(evenalittleferal)butalsosweet—andverymuchher.

TheLocationOurfirstimage(topleft)showsthedaylightstudiowhereJenniferphotographs

herclients.Itisfloodedwithlight.Whilethisflatteringlysoft,low-contrastlightisgreatforboudoirimages,itjustdidn’thaveenoughdramaformytaste.

LightingIdecidedtousecontinuouslights—inthiscase,theSola4LEDFresnellightsbyLitepanels.TheseFresnellightsallowyoutogetthesamekindofdramaticlightastheoldHollywoodmasters(suchasGeorgeHurrell,C.S.Bull,andLaszloWillinger)withspecificuseoflightandshade.

IwantedahotspotbehindJennifertohelpseparateherfromwhatwouldhavebeenadarkerbackground.

Abenefitofshootingwithvideolights,andothercontinuouslightsources,isthattheyareWYSIWYG(whatyouseeiswhatyouget).Thismeansyoucanseetheeffectofthelightonyoursubjectasyouadjustitspositionandyourmodel’spose.Youcancloselyobserveexactlyhowthelightfallsacrossyourmodel’sfeaturesandmakefineadjustments.Thenit’samatterofadjustingthelightlevels,thefocusofthelightbeams,andthepositionofyourmodeltogettheexacteffectyouwant.

Fortheportraitsonthefacingpage,thetwoFresnellightsweresetupasshowninthepull-backshot(facingpage,bottomleft).IwantedahotspotbehindJennifertohelpseparateherfromwhatwouldhavebecomeadarkerbackground.ThissplashoflightinthebackgroundalsoimpliesaspotlightonJennifer.

ThemainlightwasthenfocusedonJennifer,tolightherfacemore.

PosingWeshotextendedsequences,includingimageswhereJenniferflippedherhair.Thisledtoalotoflaughterbutfewusableimages.

Theportraitaboveismyfavorite.Ithasadynamiccomposition;theanglesofherarmsandlegsformapyramidwithJennifer’sspotlitfaceattheapex.I

alsolikedherslightlyhaughtyexpressionintheimagetotheright,butthecompositionwasn’tquiteasdynamic.

TECHSPECS:

1/200second,f/3.5,800ISONikonD424–70mmf/2.8

TwoFresnelLEDlights

24.WINDOWLIGHTBABYPORTRAITS

nyparentwilltellyouthateachkiddohasadistinctpersonalityfromthemomentitisborn.Forthephotographer,then,theidealistocapturesome

ofthispersonalityinthechild’sportraits.Inthiscase,Liam’sindomitablespiritashetriedtositupmadeforhilariousexpressions.

ASimplifiedLookMyowntakeonphotographingbabiesisthatIforgoallthepropsandaccoutrementsyouoftenseeassociatedwithbabyphotography—thehatsandsuch.Whileusingtoysaspropsisoftennecessarytokeepthechild’sattention,Istillprefertophotographjustthebaby.

TECHSPECS:

1/500second,f/1.6,1250ISONikonD485mmf/1.4GAF-S

Availablelight

DirectingtheGazeLiam’sparentswerecloseby,gettinghisattention.Ifanyoneisgoingtocalltothechild,Ipreferthattheydoitfromrightovermyshoulder—nearlybreathingdownmyneck.(Snappingfingersandpointingwherethechildshouldlookneverworks.)Iwantthebabytolookmoreorlesstowardsthecamera,sothe“attentiongetting”personneedstobehoveringrightbehindme.Ofcourse,ababy’sattentionspanisstillveryshort,soyoualsohavetoworkquicklyandmakethemostofthebaby’speakattentiveness.

LightingandPerspectiveThepull-backshot(topright)showswhereweworked—inLiam’sparents’bedroom,whichhasahugewindow.Theseimageswereshotwithonlytheavailablelight.Imadesurethatthechild’sfacewasturnedtowardthelightforclean,openlightingwithouthardshadows.

Ialsochosetoshootfromalowerviewpoint,kneelingattheedgeofthebed.Thiswasanimportantfactorinmakingthistinybabydominantintheframe.

AnotherwayIkepttheviewer’sattentionfocusedonjustthechildwasbyworkingwithan85mmf/1.4lens.Anf/1.8aperturewouldgiveyouaverysimilarlook.Thisshallowdepthoffieldmakesitchallengingtogetthefocusexactlyright.Ideally,theeyeclosertothecameraneedstobepinsharp.(But,ofcourse,theemotionalcontentoverridesspecifictechnicalperfectionsometimes.)

25.AVAILABLELIGHTENVIRONMENTAL

hesubjectofthisportrait,John,collectsvintage...oh,everything.Hisentirehouseisfilledwithcollectibles—itislikesteppingoutofatime-

machineintoadifferentera.Ijokedwithhimthattheonlytwothingsinhishousefromthe21stcenturywerehisfridgeandhisdog!

InHisWorkshopMostimpressive,inaway,isJohn’sworkshopwherehemaintainshistwovintagemotorbikesandaModelAFord.Thetoolsinhisworkshopareallauthentictotheera—andtheywork.ThewayJohndescribesit,itactuallymakessenseinthewayhemaintainseverythingwithhandtoolsandlathesandsuch.

Iwantedtoportrayhimamidstalltheitems.Ialsowantedtostaytruetothespiritofwhatwaspresented,soIjustusedtheavailablelight.Sweepingthegaragedoorsopenproducedafloodofsoft,directionallight—perfect.

TECHSPECS:

Availablelight

Shootingatanangletotheopengaragedoorproducedadynamicinterplaybetweenlightandshade.Justwonderful.

DeeperIntotheWorkshop

Ialsowantedtoshootdeeperintotheworkshop(above).Here’saninterestingtrick—orobservation,ifyouwill.

Checkoutthetwophotostotheright.Theyarequitesimilar,exceptthatinthefirstone(topright),Johnwasfurtherbackintotheworkshop.Thereforeaboutthesameamountoflightreachedhimasthatwhichfellonthetoolsandworkbenchesbehindhim.

Forthesecondimage(bottomright),hesteppedforwardtohelpmedemonstrateapoint.Hewasnowmuchclosertotheopengaragedoor.Gettingacorrectexposureforhimnow(morebrightlylitbytheavailablelight)meantthebackgroundwascomparativelymuchdarker.Iwouldhaveneededtoaddedlightingonittopickthatareauptotheproperexposurelevelagain.

Whileaddingalightbehindhimasbacklightingwouldhaveworked,Iwantedtokeepitnatural.Sowiththisinmind,Ichosespecificplacestoshootandspecificshootingtechniques—alwaysawareofthelightfallingonmysubjectandthescene.

Asanaside,notethatJohnalsoaffecteda“strongman”pose,whichwasperfectlyreminiscentofapreviousera.

Ichosespecificplacestoshootandspecificshootingtechniques—alwaysawareofthelightfallingonmysubjectandthescene.

26.VIDEOLIGHTFORLOW-LIGHTDRAMA

henworkingatalow-lightlocationwheretheatmosphereoftheplaceisimportant,Ioftenusevideolighting.Unlessyou’reworkingwitha

smallgriddedsoftbox,flashtendstoopenupthebackgroundtoomuch.WhenphotographingmodelMeganDanielataSt.LouisphotographyconventionheldintheUnionStationHotel,Iwantedtokeepthatlate-night,cavernousfeel.

LightingVideolighttendstohaverapidlightfalloffbecausethelightismorecontainedandalsobecauseyoutendtoworkclosertoyoursubjectwiththelight.ThatdramaticqualityofvideolightiswhatIusetoenhancethelookofportraitsinlow-lightenvironments.

WithsomeLEDvideolightsyou’reabletocontinuouslychangethecolorbalancefromincandescenttodaylight.Thisisareallynicefeaturebecauseyoucannowmorecloselymatchtheadditionallighttotheexistingambientlight.

TECHSPECS:

1/30second,f/4,1600ISONikonD424–120mmf/4GVR

LEDvideolight

Thelightinghereinthishotellobbywasincandescent—orcloseenough.Byusingmyvideolightatawhitebalancetomatchthis,Iwasabletomakeallthecolorsappear“normal,”soIdidn’thavetodealwithskintonesthatweretooblueortooyellow.

Thepull-backshot(above)showsthepositionofthevideolight,helduponamonopodbyanassistant.Iusedavibration-reduction(imagestabilization)lensforthisshot,whichhelpedoffsettheslowshutterspeed.

T27.WEDDINGSWITHVIDEOLIGHT

heimagebelowisoneofmyfavoritephotosofJuliaandLuis’swedding.Whycan’tweddingportraitsofthebrideandgroombealittlebitsexy?

VideoLightsVideolightis,forme,anessentialpartofmylightingarsenalwhenIphotographweddings.Theharderlightanditsrapidfallofflendacertaindramaticqualitytomyimages.

AvideolightliketheLowelID-Light,whichwasusedhere,isbalancedfortheincandescentlightingfoundinmostindoorlocations.Thecolorbalanceisusuallyeasilymatched.AnLEDvideolightsuchastheLitepanelsCromamakesiteveneasierbyallowingyoutochangethecolorbalancetoyourownintent.

TECHSPECS:

LEDvideolight

Youhavetobequiteparticularabouthowyoupositionthevideolightinrelationtoyoursubject’sface.

PositioningtheLightAvideolightissoeasytouseinonesensebuttoughinanother.TheWYSIWYGnatureofvideolightmeansyoucaneasilyadjustitspowerandposition.However,sinceitisasmalllightsource,youhavetobequiteparticularabouthowyoupositionthevideolightinrelationtoyoursubject’sface.Checkforweirdandunflatteringshadows.Inparticular,studyhowtheshadowofthenosefallsandiftheeyesareshroudedinshadow.Thepull-backshot(above)showstheplacementofthelightforthiscouple.

PostproductionForbothoftheseimages,IliftedtheshadowareasduringthepostproductionoftheRAWfile.IusedthelocalcorrectionsbrushinLightroomtobringupsomeadditionaldetailinthesepartsoftheportraits.

Posing,Directing,andComposition

28.POSINGENGAGEMENTPORTRAITS

Ilovedoingengagementphotosessionsbecausetheyallowmetheopportunitytoconnectwithmyclientsbeforetheirbigday.Evenmoreso,Ilovethat

there’smuchlesspressureandhasteduringthisphotosessionthanduringtheweddingday.

TheEssenceofTheirRelationshipAlthoughIoftenposeanddirectthecoupleduringtheirengagementphotosession,itisstillimperativetocapturetheirrealrelationship.Itreallyisallaboutthemandhowtheyarewitheachother.Trytophotographtheessenceofthat—thespark,thewaytheyinteract.

KeepItLooseMostoften,Istarttheposingvery“loosely.”Idon’ttrytoforceanythingthatwouldmakeanyonephysicallyuncomfortable.Myadviceisthis:ifitfeelsuncomfortable,itusuallylooksuncomfortable.Imightgetthecoupleintoabasicpose,thenaskthemtotalktoeachother,givegentlekisses(nopouty-lipkisses!),orexchangegentlenuzzling.Talkingtoeachotherisagoodplacetostart.They’llusuallytakeitfromthere,andthenyoujusthavetoguidethemalittlebit(“Don’ttiltyourheadtoomuch,”etc.).

Itreallyisallaboutthemandhowtheyarewitheachother.Trytophotographtheessenceofthat—thespark,thewaytheyinteract.

StartwithOnePersonWhiletheposeshowninthemainphoto(below)neededMelissaandDennistogetintopositionsimultaneously,mygeneraladviceforposingtwopeopleistostartbyposingjustoneperson.Havethatpersonanchorthepose,thenaddthesecondperson.

Thisisasimplearrangement,butitworks—andtheposecanalwaysbeadjustedintermsofhowtheirhandsareplacedoneachother’sarms.Letthemenjoyeachother’scompanyasyouphotographtheirrelationship.

KeeptheEnergyUpChatwithyourclients.Don’tbetooinvolvedwiththecameragearandlighting.Itisimperativethatyoukeeptheenergygoingandkeeptheirinterest.Themostobviouspointofconnection?Talkabouttheirweddingday.Askhowtheirplansarecomingalong.Askaboutthedetails.Keepitchatty.Bepersonable.Theirexperienceofthephotosessionwithyouwillbeasimportantastheactualphotos.Keepitfun.

TECHSPECS:

1/100second,f/5.6,800ISONikonD3Nikon24–70mmf/2.8Late-afternoonavailablelightunderatree

29.COMPOSITIONANDFOCALLENGTH

ere’satechniquethatIstronglyrecommend:whenshootingportraitswithazoomlens,stepbackinsteadofjustzoomingwider.Theperspective

distortionthatawide-anglelenswillcauseisnotallthatflatteringtoyoursubject.

ACloseViewForthisstraight-forwardportraitofAnelisa(below),Iwasshootingwiththe24–70mmlens(onafull-framecamera)zoomedto70mm.Iwasn’tsupertightinmycomposition,soIwasshootingatadistancewherethereisnoperspectivedistortionintroducedonherface.(Forexample,a50mmlensusedasacloseportraitlensonafull-framecamerawillbringunfortunatedistortiontoyoursubject’sface.)

AcloseviewofAnelisaphotographedat70mmshowsnodistortion.

GoingtoFullLengthIfIwantedtoshootafull-lengthportraitnow,Ihavetwooptions:

1. Icanzoomwider(withoutchangingmycameraposition)togetallofAnelisainmyframe,or

2. Icankeepmylensat70mmandstepbackuntilIhaveherfull-lengthfigureinmyframe.

Zoomingwiderandtiltingthelensslightlydownproducesthekindofbobble-headdistortionseeninourfirstfull-lengthimage(facingpage,bottomleft),whereherheadismuchlargerandherlegsaremuchshorter.Thisisdefinitelynotaflatteringlook.Steppingback(facingpage,bottomright)forcesamorepleasantperspective.

Sowhenphotographingsomeone,Ifighttheimmediateurgetobelazyand

justzoom.Instead,Ikeeptothelongestfocallength(asmuchasIcan)andstepbackuntilIgettheframingIwant.Invariably,thislongerfocallengthgivesthemoreflatteringperspective.

OnlywhenIcan’tsafelyorcomfortablystepbackanymorewillIzoomwider.ButmyfocallengththenwillstillbemoreappropriatethanifIhadimmediatelyrackedmyzoomaswideasIcouldfromthestart.Togiveyouanideaoftherelativedistances,seetheimagesbelow.

Simplyzoomingwider(top)togotoafull-lengthviewresultsinunflatteringdistortion(bottom).

Steppingbackforthesamecompositionatalongerfocallength(top)yieldsbetterresults(bottom).

AreThereExceptions?Obviouslytherewillbetimeswhenyouwantamoredynamiccomposition,oryoumaywanttogoforthecrazywide-angleshot.Butforarepresentativeportrait,itisalwaysthebetterdecisiontostepbackratherthanbeinglazyandjustzoomingwider.

W30.GESTUREANDCONNECTION

ithportraitsofacouple,thewaytheyconnectwitheachotherisoftenthedeterminingfactorinwhethertheimageiscompelling.This

connectioncouldbethroughgestureandtouch.Thegesturemightevenbesubtle.Ifacouplesnugglesin,theydon’thavetolookateachother;it’sentirelypossibletogivethatsenseofconnectednesswithevenadownwardglance.Aslongaitlooksliketheyareconcentratingoneachotherorrespondingtoeachother,itworks.

Withportraitsofacouple,thewaytheyconnectwitheachotherisoftenthedeterminingfactorinwhethertheimageiscompelling.

OlenaandAustinaredirectlylookingateachother,handsintertwinedandlegstouching.Theconnectionisclearlythere.Here,thecouplewasphotographedusingwindowlightonly.

TECHSPECS:

Windowlight

ForthethreeimageswithOlenaleaningintoAustin,Iaddedaspeedlightinagriddedsoftbox.

“DropYourGaze”Comparethethreeimagestotheright.There’sadefinitesexinessthatexudesfromthecouple,butonlyinthetopimage(whereAustin’schintouchesOlena’shead)doestheconnectionbetweenthemreallykickin.Hedoesn’tneedtolookdirectlyatherforhimtoappearattentive—butwhenhisgazebecomestotallydistant,asinthemiddleimage,theconnectionislost.Itjustlookslikehewantstobeelsewhere.Inthebottomimage,theconnectionwassomewhatregained.Ihadaskedhimtodrophisgazesohedidn’tappeartobelookingaway.

Thisinstruction(“Justdropyourgaze.”)isonethatIfrequentlyuse.Itissomehowmorecleartopeoplethantellingthemto“lookaway”or“lookdown.”Theinstructiontolooksomewhereistoospecific,buttellingthemtochangethedirectionoftheirgazeseemstobeeasilyunderstood.

31.DRAMATICSTYLEWITHLEDFRESNELS

vivaandBrianbroughtsomespy-moviestyletothisphotosession.Thelocationwasahotellobbywithhugedisplaysthatareconstantly

changingcolors.Thechallengewastoretainthiscertain“noir”moodandaddatouchofsexiness.

LightingIusedLEDFresnellights,amodernversionofthehotlightsusedforclassicHollywoodglamorlighting.ThespecificmakewastheLitepanelsSola4.The4-inchdiameterFresnelgivesafairlyconcentratedbeamthatcanbefocused,dimmed,andofcourseflagged.IaddedonelightonAvivaandanotheronBrian,butmoreassidelight/backlight.Bothwereflaggedtocontrolthespreadofthelight.Thepull-backshot(above)showsthesetup.

Whenlightingacouple,Itendtofavorflatteringlightonthewoman.Thisisanimportantconsiderationwhenposing—andwhenadjustingthelightastheposeschange.

BackgroundSelectionWhendecidingonthisparticularbackground,Isatdownineachspottofeeliftheposemadesenseandtofigureoutthelights.Ididallofthisbefore

positioningthecouple.Then,whenitseemedtheideawouldworkandthelightsweresetup,Iaddedthecoupleandfinessedtheposeandthelighting.

WhileIgenerallytendtolooselyposepeople(asmentionedinsection28),inthiscaseIhadtobemoremeticulouswithwatchinghowAvivaplacedherhands.Brian’shandonherlegalsohadtobepurposefullypositioned;Ididn’twantittolooklikeacasualafterthought.

Thereasonforthisextraposingprecisionwas,inpart,thelighting.WithsmallerlightsourcesliketheseFresnellights,thelighttendstobeharderandmorecontrasty.Slightchangesinhowsomeoneholdstheirheadcanmakeorbreaktheimage.Thenose’sshadowdescendingdownoverthetoplip,ortheeyesdeeplyshroudedinshade,caneasilymakeanimagefail.

Ihadtobequitespecificwitheverygestureofposingmysubjects.Whenpositioningsomeone’shead,Imostoftenuselarge,slowgestureswithmyhandstoindicatewhatIwant.IalsousemyownbodytomirrorwhatIwantthemtodo.

TECHSPECS:

TwoLEDFresnellights

W32.SEIZETHEOPPORTUNITY

henwediscoveralocationthatisintriguingandlookslikeitmightoffermoreopportunities,itmakessensetorevisititandseewhatother

inspirationmightstrike.Thechallengeisnotjustre-creatingourpastwaysofshootingtherebutfindingsomethingnewandfresh.

ThislargesundialinJerseyCityjustdrawsyouclosertohavealook—andevenclamberoverit.I’vebeenherebefore(andIusedthisimageinmybookonoff-cameraflash),butthiswasadifferentday,withadifferentmodel,differentequipment,anddifferentlighting.Soitcametogetherinadifferentway.

LightingandExposureThelightonNicoleisfromthemetallicsundialbelowher,reflectinglightupward.Withthecurveofthesundial,thelighthitsherfromeverydirection.Thisphotographwasshotatf/1.4inverybrightlight.Theshutterspeedhadtobe second(at100ISO)toallowsuchshallowdepthoffield.IreallywantedattentionfocusedonNicole.

Adifferentimageconceptcreatedduringanothersessionatthesamesite.

DifferentSensorSize,DifferentLookInterestinglyenough,thisimagewasshotwiththeFujiX100s,whichhasanequivalentfocallengthof35mm.Withthesmallersensorandamaximumapertureoff/2,thedepthoffieldlooksquitedifferentfromthatintheimage(shotwiththeNikonD4)onthefacingpage.

CompositionThestrongdiagonalsarewhatmakethecompositionofthisimagesostriking.Withthesundial’sedgesandtheneedleattheseangles,IaskedNicoletohangfromtheneedlewithheronearm.(Theneedleiswhatcaststheshadowbywhichtimeisindicatedonthesundial.)Ithendirectedherposesothatherarmswereparalleltotheneedle,alltoaccentuatethelines.Agustofwindcaughtherhairandcompletedtheseriesoftriangleshere.

TECHSPECS:

1/8000second,f/1.4,100ISONikonD4Nikon35mmf/1.4

Availablelight

33.FINESSE

It’swonderfulkeepingintouchwithpreviousweddingclientslikeReneeandDavid.Overtheyears,it’sgreatseeingthemforphotosessions—thistime

withtheirdaughters,OliviaandJulia.

FlashPlusAmbientLookingattheimagestotheleftandthesetupshotbelow,thetechniqueshouldbeeasytodecipher.Iusedoff-cameraflashinasoftboxandshotwithalongerlenstocompresstheperspective.Iposedthefamily(andthetwokids,inthelowerimage)withthesunbehindthemtogivesomerimlighting.Theflashwassettomanualexposuremode,sincemysubjectsweregoingtoremainataspecificdistancefromthelight.

TECHSPECS:

1/250second,f/3.2,200ISONikonD4Nikon70–200mmf/2.8VRIIOnemanualflashinasoftbox

AmbientOnlyTheimagestotherightwereshotasIwasstillsettingup.IhadDavidgetinpositionwithOliviasoIcoulddeterminemycameraandflashsettings.Atthispoint,Iwasstillgettingmyambientexposureandhadn’tenabledtheflashyet.Buttherewasthismagicalmomentbetweenadadanddaughter,soIkeptshooting.IntheimageofOliviaalone,Ilovethetouchoflensflarethatcreatesavignetteofcoloraroundher.

LensSelectionAnotherwonderfulthingaboutusingalonglensisthatyou’reatadistance,whichmakesitmucheasiertogetthesenaturalmoments.Worktooclosetothekidsandyoucaneasilybecomeadistraction.Ofcourse,dependingonhowyouworkwithkids,andyourownpersonality,itmightbetoyouradvantagetointeractwiththem.Personally,Iprefertobefurtherback—abigguywithabiglensisn’teasytoignorecloseup!

TECHSPECS:

Availablelight

I34.ABETTERPERSPECTIVE

t’sabitofacliché,perhaps,seeingaphotographerlyingonhissideorsprawledontheground.However,whatmightlooklikeastrangeformof

attention-seekingisactuallyaverysolidwayofimprovingyourcompositionwithfull-lengthportraits.

AvoidDistortionThelazytemptationistojuststandthere,cameratotheeye,andtakethephoto.Whathappensthen(usually)isthatthephotographerisshootingdownonthesubject.Thebestadvice,generally,istostepbackforfull-lengthcompositions(asdescribedinsection29).Whenyoushootdownonsomeone,especiallywithawideranglelens,theperspectivedistortioncausesthefeettoappearmuchsmallerandyoursubject’sheadtoappeardisproportionatelylarge.

Cameraatstandingheight.

ABetterViewoftheBackgroundWithalongerfocallength,suchaswasusedinthisoutdoorportraitofElle,perspectivedistortionislessofaconcern.Thelenswaszoomedtoaround135mmsoherheadandfeetwereequidistanttothecamera—meaningnodistortion.However,ifyoutakethephotojuststandingatyourfullheight,thenyouarestillshootingdownandyou’regettingfartoomuchofthegroundintheimage.ThepathherebehindElleisn’tawful,anddoesn’tdistract.Butit’sthecolorsbehindherthathelpmakethisimagepop,complementingthecolorsofherclothing.

Cameraatkneelingheight.

Belowisaseriesofthreeimages,shotwhileIwasstandingup,kneelingdown,andfinally,lyingflatontheground.Noticehowthebackgroundchangesasmyperspectivechanges.Eliminatingmuchofthegroundgavethisstraight-forwardportraitofEllemoreimpact.

ThisissomethingIalwayscheckforwhenphotographingsomeone—

whetherIcantightenthecompositionbyshootingfromalowerangle.Evenaslightlylowerangleeliminatedmostofthepathwayhere.

LightingToaugmentthelight,Iaddedjustatouchoffillflashwithaspeedlightinasoftboxtogiveflatteringlightonher.Noticethatshadedareaonthegroundnearherfeet?Ispecificallyposedhertheresothattherewouldbenodappledlightonher.Decisionsliketheseareverymuchpartofthelightingtechniqueinvolvedinlocationphotosessions.Youhavetopickyourbattles!

Cameraatlying-downheight.

Anotherposeshotfromalowangle.

TECHSPECS:

1/250second,f/3.5,200ISONikonD4Nikon70–200mmf/2.8Manualoff-camerafillflash

I35.RULESOFCOMPOSITION

faphotographisintendedforanaudience,notjustmyownrecordsandmemories,Ithinkitssuccesshingesonimpact.Doesthephotomakeyou

stopforatleastafewsecondstotakeitin?Ifitdoes,you’reatleastpartlysuccessfulalready.Withportraits,somanyelementskickintogiveaphotographimpact—themoment,theexpression,thegesture,themovement,theposeandposition,thelighting,andmore.

AnInstinctiveApproachIntermsofcomposition,Istronglyfeelthatphotographersshouldreactinaninstinctiveway.Lookatthesubjectandsceneandrespondwithoutthemechanicaldecision-makingthatalltherulesofcomposition(theRuleofThirds,diagonals,mathematicalformulae,theGoldenMean,etc.)bringintoplay.

Theambientlightwasabout2stopsunderexposed.

“Therearenorulesforgoodphotographs,thereareonlygoodphotographs.”

—AnselAdams

Instead,takeyourtimetolookatwhatisactuallypresentedintheviewfinder.Scanthewholeframe;lookatthesidesandcorners.Iseverythingthatyouseeeverythingthatyouwant?Isthisthebestwaythatthesubjectcanberepresented?Doyouneedtore-frameormovetoanotherposition?

Intermsofcomposition,Istronglyfeelthatphotographersshouldreactinaninstinctiveway.

LookingatThisImageThecompositionofthisphotographofAnelisa(facingpage)canbeanalyzedin

termsoftheusualguidelines:

Thenegativespaceaboveher,Thediagonallineimpliedbyherarms,ThesenseofbalanceproducedbytheS-curveinherpose,andTheverticallinecreatedbyherbodybeingoff-centerintheframe.

Thepull-backshot,showingtheProfotoD1Air500Wsmonolight.TheProfotobeautydishwasthemainlightonAnelisa.

Thefinalimage.

TECHSPECS:

1/250second,f/5.6,200ISONikonD4Nikon24–70mmf/2.8Off-cameraflashwithabeautydish

Thereisalsothestrongvisualdynamiccreatedbyherfacebeingmoreorlesscentraltotheframe—aswellasthecurveofthisindustrialchimneystructure,whichpullsyoureyetowardthecenter.

Allthesethingsdoappearwhenyoubeginanalyzingtheimageafterthefact.Butduringthetimeoftakingasequenceofimageshere,thedecisionwasn’tstep-by-steplikethat.Itwasmuchmorethatinstinctiverecognitionthat,“Hey—thislooksgood!”

StudioPortraits

36.THE85MMF/1.4LENS

TooMuchLightThesuper-wideapertureofthe85mmf/1.4lenspresentsafewchallenges—theobviousonebeingthattheshallowdepthoffieldisn’tforgivingofeventheslightestmovement.Workingwithstudiolights,though,anotherchallengeisthatsometimesthere’sjusttoomuchlight.Inthenextexample(section37)whereIshotwithasimilarlyshallowdepthoffieldina(home)studiosetup,itwaswithspeedlights.Thatmadeiteasiertogettothef/1.4aperture.

LightingSetupFortheseimages,themainlightwasaProfoto5OctaSoftbox.Thishugelightsourcemakesiteasytogetflatteringlight.Bymovingitinasemi-arcaroundyoursubjectyoucancontrolthecontrastandhowmuchlightfallsontheshadowsideofyoursubject’sface.Thismakesitquiteflexibleforasinglelightsource.

TherimlightwasaProfoto1x3-footsoftboxwithasoftgridtocontrolthelight.Thisrimlighthelpedcreatesomeseparationfromthebackground.

Thelightonthewallusedasthebackgroundwasgriddedtogiveaslighthotspotbehindher.Ididn’twantanevenlylitbackground.

ReducingtheLightWiththe500Wsmonolights,therewasjusttoomuchlight—butIwantedtousethathugeProfoto5.0OctaSoftboxbecauseofhoweasyitistocontrol.SoIhadtousea3stopneutraldensityfiltertobringthelightdown.Thisproducedanotherproblem:thecamerajustdidn’twanttograbfocusinsuchlowlightwhilea3-stopNDfilterwasonthelens.

TheissueofeyeglassreflectionwashandledsimplybyadjustingOktavia’spose,asshownintheseimages.

TECHSPECS:

1/160second,f/1.4,100ISONikonD4Nikon85mmf/1.4GAF-SB+W77mm0.9(3stop)NDMRC110Mfilter

Iendeduphavingthemakeupartistholdavideolightclosertothemodelsothecamerahadenoughlighttofocus.ThenI’dtakeasequenceofphotoswhilethevideolightwaspulledaway.It’snotanidealwayofworking.Thislookisactuallymucheasiertopulloffwithspeedlightsorsmallerflashes,aswe’llseeinsection37.

37.AHOME-STUDIOSETUP

ShallowDepthofFieldInastudio,weusuallyworkwithaperturesintherangeoff/8orf/11forgreatdepthoffieldandsuperbimagesharpness.However,shootingportraitswithfastlensesforthatdistinctiveshallowdepth-of-fieldlookalsoworksinthestudio—infact,itworksexceptionallywell.Thatsuper-fast-apertureportraitlensreallyfocusestheattentionexactlywhereyouwantit.Withportraits,that’salmostalwaysyoursubject’seyethatisclosertothecamera.

StudioLightsvs.SpeedlightsUnfortunately,aswesawinsection36,higher-poweredstudiolightscanproducetoomuchlight.Thisiswhereworkingwithlower-poweredspeedlightsisanadvantage.Withspeedlights,thatsuper-thindepthoffieldismoreeasilyattained—withouthavingtodealwithneutraldensityfilters.

TECHSPECS:

1/200second,f/1.4,100ISONikonD700Nikon85mmf/1.4GAF-STwoQuantumT2units,oneNikonSB-800

InMyDiningRoomThephotosofKaylexwereshotwithafairlysimplelightingsetupinmydiningroomarea—amakeshifthomestudio.Thepull-back(facingpage,top)showsyoujusthowunglamorousandcrampeditactuallywas.Yetthefinalportraitslookedgreat.

Themainlighttocameraleftwasan18x42-inchstripbank.TheflashgunwasaQuantumT2,butaspeedlightwouldhaveworkedjustaswell.Inthissmallspace,youdon’tneedhugeamountsoflight.

IusedanotherQuantumT2tolightupthegrayseamlessbackground.Ihada12×12-inchsoftboxonthisoneandfeatheredittogivemeunevenlightingonthebackdrop.IalsohadasnootedNikonSB-800asahairlightinmostshots.

Fortheimageshotatf/1.4(facingpage,bottom),thepowerontheQ-flashwasturneddownto or ,forjustatouchoflight.

DifferentLens,DifferentLookFortheimagesonthispage,Iuseda70–200mmf/2.8lens(ontheCanon1DMarkII)atmoreusualaperturesrangingfromf/5.6tof/8withthesamelightingsetup.Asyoucansee,studiolightingcanbedone(oratleastapproximated)inahomestudio.

M38.STUDIOHEADSHOTS

ikeisanactor/musicianfriendofminewhoneededhisportfolioupdated.Westartedoffwithheadshotsinthestudio.BecauseMikeisa

characteractor,wetookmanyphotosinwhichtheexpressionswerequitegoofyandstrange.Here’sasmallselectionofhisheadshots,whichshowsomecharacterandexpression.

BackgroundThebackgroundwasthebackwallofmystudio,whichispaintedalightgray.Becauseoflightfalloff,thebackgroundappearsdarkgrayinthefinalimages.

LightingThelightingsetupfortheseimageswasfairlysimple.Iwantedclean,openlightonhimsoyoucouldclearlyseehisexpressions.Ialsowantedalargelightsourcesowehadsomefreedomwithhismovement.However,Istillwantedsomecontrasttotheshadowside—butnottoodark.

ThisrelativelysimplesetupgavemetheresultsIwantedfortheseheadshots—butIdochangeitup...

IusedtwoProfotoD1Air500Wsmonolightsformylights,butthesamelightingcouldbeveryeasilyapproximatedwithspeedlightsandthenecessarylightmodifiers.

ThemainlightonhimwasdiffusedwithalargeProfoto5OctaSoftbox.Thismassiveoctaboxgivesbeautiful,softlight.Ihaditsettoanangle,soitwasfeatheredawayfromhimabit.There’sareasonforthat.Ifyoufeatheralargelightsource,youcanhaveyoursubjectstepforwardforamorecontrastylook.Ifyouhavethemstepback,thenyougetmoreofasoftwraparoundeffecttothelight.

TECHSPECS:

1/160second,f/11,200ISONikonD4Nikon70–200mmf/2.8VRIITwoProfotoD1Airmonolights,V-flat

ThefilllightwasviaawhiteV-flat,whichactedasareflector.TheV-flatconsistsoftwowhitefoam-coreboardsthataretapedtogetherwithgafferstapetoformaVsoitcanstandupright.Isetitupsothatitreflectedlightfromthefrontandsideofmysubject,andalittlebitfrombehind.JustenoughfilllightforwhatIwanted.There’snoexactsciencetoit.

ThehairlightwasviathesecondProfotoD1Air500Wsmonolight,supportedonaboom.Thelightbeamwasnarrowedbyagrid.

ThisrelativelysimplesetupgavemetheresultsIwantedfortheseheadshots—butIdochangeitupattimes,alwaysexploring.

R39.LOW-KEYVINTAGEPORTRAIT

andyhasalookreminiscentofAvaGardner,soIwantedtocreateaportraitofherusingtheclassicHollywoodglamourstyleoflighting.

LightingForthissetup,IusedaProfotobeautydishasthesinglemainlightsource.Abeautydishisbestusedwithagridtocontainthelightspill,makingthelightquitedirectional.Thismeansthatyouhavetoposeyoursubjectprecisely.Whenusingabeautydishasthesinglemainlight,there’snoneofthefreemovementyouhavewhenusinglargelightsourcesandmultiplelightsinthestudio.Eventheslightestmovementofyoursubject’sfacemakesabigdifferenceinhowtheshadowsappear.

Withoutadditionallightfromothersourcestogivefilllight,abeautydishcanbefairlychallengingasasinglelightsource.

BackgroundIwantedalow-keylook,soIusedadarkgraybackdropandworkedwellawayfromitsothatthemainlighthadverylittleeffectonit.TheInverseSquareLawhelpsherewiththenon-linearlightfallofftothebackground.Inotherwords,thefurtherthebackgroundisfromyoursubjectandlight,thedarkeritwillappear.

SeparationTopreventRandy’sdarkhairfrommeltingawayintoablackbackground,Ineededahairlightofsomekind.IsetupagriddedProfoto1x3-footsoftboxbehindandaboveher.

Thepull-backshot(left)showswherethegriddedbeautydishwasplaced,aswellasthepositionofthegridded1x3-footsoftboxbehindRandy.KeepinmindthatIpulleduptheshadowdetailforthisphoto,sothatyoucouldactuallyseethelightinggearhere.

TECHSPECS:

1/200second,f/8,100ISONikonD4Nikon70–200mmf/2.8VRIIBeautydishwithgrid,softboxwithgrid

T40.CONTINUOUSLIGHTS

hisstrikingportraitofLauraineshowshersparklingmischievousness—and,onthetechieside,theselectivefocusofafastlenspairedwiththe

flexibilityofcontinuouslighting.Thedeliciousnessofthe85mmf/1.4lensreallybringshereyestoattention.

KeepItRelaxed

Duringpartofthephotosessioninthestudio,Idecidedtousecontinuouslighting.Lauraineisnewtomodelingforthecameraandworkinginthestudio,sothelackofflashespoppinghelpedkeeptheatmosphererelaxed.Theshortertelephotolengthofan85mmlensalsomeantIcouldworkcloseandgiveinstructiononposing.Slightadjustmentstoherhandorthetiltofherheadcouldbemoreeasilyrelayedatthisdistance.

Thecontinuouslightmakesitsoeasytoadjustthelightingandthepose—Ifinditeveneasierthanwiththemodelinglightsofstudiostrobes,sincewhatyouseeistrulywhatyouget.

BackgroundThebackgroundwasafour-panelroomdividerscreen.Spillingabitoflightonit,andanglingitproperly,addedahintofcolorandtextureinthebackground.Thismadethefinalsettingfortheportraitseriesalittlemorenuanced.

TECHSPECS:

1/500second,f/1.4,500ISONikonD4Nikon85mmf/1.4GAF-S

WestcottSpiderlites

LightingForLauraine’sportraits,IusedtwoWestcottSpiderlites:aTD6witha3x4-footsoftboxandaTD5witha1x3-footsoftbox.Thelargersoftboxwasthemainlight.Thesmallersoftboxfunctionedasahairlightandspilledalittlebitoflightonthebackground.Thepull-backshot(right)showstheplacementofthelights.

IntheTD6(mainlight),Iusedfivebulbsthatweredaylight-balanced,plusoneincandescentbulbsothatthelightwentalittlewarmer.TheTD5(backgroundlight)onlyhaddaylightbulbsinit,sointhefinalediting,wherethecolorbalanceoftheimageisadjusted,thehairlightandbackgroundlightwentatouchcolder.

ImprovisingonIdeas

41.DECONSTRUCTINGAPORTRAIT

SubjectandConceptChuckArlundisanexceptionalphotographerwhomIgreatlyadmire—sowhenheandhisson,Lachlann,visitedNewYork,Iwantedsomethingalittleoutoftheordinaryformyportraitofthetwoofthem.TheideaIhadinmindwasawideshot,withasweepingviewofastreetscene.Iwantedtoshowmovementallaroundthem,whiletheyremainedstill.Inthatsense,theywouldbeisolatedevenamongallthemovement.

TimesSquareimmediatelycametomindasaplacewherethere’dbeahordeofpeoplemillingaround—butalsoawideenoughplacetoshootthis.Still,thedirectionwecouldshootinwaslimitedbythepedestrianflow,barriers,aswellasapolicemanwhoaskedmetohurryup.Sothepressurewasontomaketheideaworkquickly.

LightingandShootingToaddenoughlightonthematf/22(allowingfora1secondshutterspeed),Ibroughtina600WsProfotoAcuteB2powerpackandaProfotobeautydish.Withthisinplace,itwasjustamatterofbalancingtheflashandthedaylight(ataslowshutterspeed).

Ihadtoshootatanangleheretogetaclearviewofthestreetwithoutbarricadesintheway.Itwasalsoabusyintersection,sopeopleweremorelikelytobemovingalong.Whathappenedthough,wasthatpeopleinthedistanceappearedsharper,becausetheirmovementswere“smaller”frommycamera’sperspective.

ACompositeBackgroundtoSimplifySomepeoplewouldlingerandappeartoosharp.Asaresult,thebackgroundintheoriginalversion(above)wastoocomplex.Tocreatethefinalimage(left)Ipulledfiveshotstogethertomakethebackgroundmoresimple.Thishelpedmekeeptheemphasisonthedadandhisson.

Intheend,Ithinktheportraitisevocativeandslightlymysterious,showingatender,emotionalbondthatremainspermanentamidstthecrazinessoftheworld.Ihopeitwilldrawtheviewerinforawhile,withthisstillnessjuxtaposedagainstmotion—although,inthebreakdownofthebehind-the-scenesdecisions,someofthemysteryisperhapsinevitablylost.

TECHSPECS:

1second,f/22,500ISO*

NikonD485mmf/1.4Beautydish,Profotoportablestudiolight

*Thistranslatestoamoreusualequivalentexposureof1/125second,f/2.8,100ISO.

42.URBANBALLERINA

Thereis,ofcourse,acertainincongruityinposingaballerinaagainstacityscape.Yet,thereisabeautyinthemomentarystillnessinViktoria’s

peakmovement,versusthebustlingstreetdownbelow.HerelegantmovementsomehowjustlooksreallygreatagainstthebackdropofManhattan’sskyscrapers.

TravelingLightForthelightinginthisphotosession,Idecidedtotravellight.TheCanon600EX-RT,withitsbuilt-inwirelesscontrol,offersthesweetestintersectionofpower,versatility,andcontrol.Theflash’soutput(andmode)areeasilycontrolledfromthecamera’sposition.

TheFirstLookTheimageandpull-backshottotheleftshowonewayIpositionedmyspeedlightrelativetothesceneandsubject.Youcanalsoseemyownposition,lowdownontheground,togetthedesiredperspective.

TheSecondLookWewereworkinginthelateafternooninNewYork,withthesunlightglintingofftheglassbuildings.Thislookeddramatic,butthesunlightthatwasreflectingoffthebuildingswasn’tconsistentanddidn’tnecessarilyfallinaplacewherewecoulduseit.Fortheimagetotheright,Icreatedmyownlightwithanoff-cameraspeedlight.ThiswasplacedjustoutoftheframesothatitintentionallyflaredbutalsogavebeautifulrimlightonViktoria.

TECHSPECS:

1/250second,f/4.0,100ISOCanon6D24–70mmf/2.8LIIat24mmCanon600EX-RTSpeedlite,manual

TECHSPECS:

1/250second,f/5.6,400ISOCanon6D24–70mmf/2.8LIIat24mmCanon600EX-RTSpeedlite,manual

CameraSettingsTheexactpointwhereViktoriasteppedwouldchangeeversoslightlybetweenshotsandhermovementswerequick,soIhadtopre-focus.Giventheslightchangesinherposition,asuper-wideaperturewouldjusthavemeantmoremissedshots.SoIsettledonanapertureoff/5.6fortheimagetotheright.

Atherpeakmovement,shewasquitestillforhalfasecond,soIdidn’tneedaction-stoppingshutterspeeds.Settingmycameraat secondworkedfine.EventhoughthisishigherthanthemaximumflashsyncoftheCanon6D,andtherewassomelossofflashpower,therewasenoughheadroombecausewewereworkingatfairlyclosedistanceswithbareflash.

43.REGALPORTRAITWITHAFERRET

ynnClarkisanaccomplishedboudoirphotographer—butIdidn’twanttogowiththeobviousideaofdoingaboudoirphotosessionwithher.

LocationSelectionLynn’sboudoirstudioishome-based,andIspentsometimelookingaroundfiguringoutanglesandlightingandbackgrounds.Ifiguredoutwherewecouldshootafewbasicportraitsaroundherstudio.Theywouldbegoodportraits,butnothingextremelyengaging—yet.

InspirationStrikesLynnandherfamilykeepsixferretsaspets.Theyalsorunaferretbed-and-breakfastinDenver,wheretheytakecareofferretswhoseownersareonvacation.Sothereareferretsaround—andtheyareadorable.InchattingwithLynn,shementionedLeonardoDaVinci’sportraitofawomanwithanermine—aswellasaportraitofQueenElizabethwithaferret.(Googletoseethesemasterworksforyourself.)That’sthemomentwhentheideaclicked!

ExecutingtheConceptThrowingthechandelierinherstudiooutoffocusandkeepingitinframe,we’dhaveaglowinghalooflightaboveLynn.Theregalreddrapesworked,too.Tofinishthelook,weneededacostume.Wedidn’thaveanythingnearlyasostentatiousasacrown,sowewentforatiaraandsome“bling”jewelry.Areddressstoodinforaredcloak.Finally,weaddedElliott,theenergeticallycuriousferretyouseeinthephoto.

TECHSPECS:

NikonD4Nikon70–200mmf/2.8VRII

LitepanelsChromavideolight

ThefinalportraitofLynnisawhimsicalhomagetotheportraitofroyaltywithapetferret.There’sanabsurdityaboutit.Hopefully,theportraitisalsoquitecuteandamusing.IdothinkitshowsthatplayfulaspectofLynn—eventhoughsheinsistsshe’sactuallyaseriousperson.

LightingIlitthisportraitwiththeLitepanelsCromaLEDvideolight,whichishandyinthatyoucancontinuouslychangethecolortemperaturetomatchthatoftheavailablelight.IwantedabitofaspotlightonLynn,butwiththelightfeathereduptohighlightherfaceandtheferret.Thepull-backshotbelowshowsthesetup.

44.WORKINGTOWARDTHEFINALIMAGE

ThesephotographsofJessicaweretakenjustbeforeaphotoshoot.Wecreatedaseriesofimagesasweworkedtowardafewportraitsthatwould

work,improvingoneachcompositionandpose,stepbystep.

EvolutionThisprocessofrefiningeachaspectoftheshotrelatesdirectlytoanideapresentedintheforewordtothisbook—thatthefinalimagewearepresentedwithisusuallynotfullyformedasafirstimage.Itis,almostinvariably,thelaststepinaprogressionthatworkedtowardit.

Thefinalresultshownhere(facingpage)isalittlebitofeverything—awonderfulsubject,anopportunity,andthen(overthecourseofseveralphotographs)finessingtheimage.

Wecaneasilyfinesseanimagejustlikethisuntilwehavesomethingthatreallyworks.Justdon’tgiveuptooearly.

StepbyStepThefirstimage(1)showswherewestarted.Inthedressingareaofthestudio,therewasamirrorwithlightbulbsaroundit.IaskedJessicatoturntohersidesoIcouldseeherprofile.

Itwasastart,butthejacketwastoobulkyandtoonoticeable.Iwantedtheportraittobeabouther,soIaskedhertoremoveit—whichgaveusoursecondimage(2).Iliketheresult,butIcanseeherbrightlylitarm(andmyself)reflectedinthemirror.

Movingtomyleftwouldhavesolvedthereflectionissue—buttherewassomethingelsemissing.Thephotolackedasenseofmystery.Forthethirdimage(3),IaskedJessicatoturnaroundandlooktoherleft.Ihadherbringherhandintotheframe,toaddmoreofthatsensualitytotheimage.However,herreflectioninthemirrorwastoodistracting.

Throughaseriesofimages,Itriedtohideherreflection,whichcreateddistractinghot-spotsinthemirror.IneededtomovesubtlytothesideandhaveJessicarotateeversoslightlytowardthecamera—we’renearlythere(4)!

Thephotostillhadthatslightlydistractingreflectionofherhandinthemirror.However,aslightchangeinherposehidthatandgotustothefinalimage,shownabove.

TECHSPECS:

Availablelight(lightbulbsaroundmirror)

Oftenenough,wecaneasilyfinesseanimagejustlikethisuntilwehavesomethingthatreallyworks.Justdon’tgiveuptooearly.

A45.WORKTHESCENE

spartofmydestinationweddingphotographycoverage,Iofferanextendedphotosessionaroundtheexoticlocaleafter(orbefore)the

weddingdate.Whilewe’rethere,wemayaswellmakethemostoftheopportunity.

ThedayafterDeshaandKyle’sweddinginAruba,wedrovearoundthearidareasoftheisland—awayfromthetouristyparts.Therewasashortrainstormwhileweweredriving,andthelandscapelookedreallycrisp.Offsettingthecoupleagainstthisstarklandscapejustseemedlikeagreatidea.

DesertSceneForourfirstlook(below),Iposedthecoupleintothelight.Workingwithawide-anglelenstogivemeasweepingview,Iexperimentedwithvariouscompositionsofthisscene,butlikedtheoff-centerversionthemost.

TECHSPECS(FACINGPAGE):1/250second,f/9.0,100ISO

Canon1DMarkIInCanon16–35mmf/2.8L

Availablelight

TECHSPECS(RIGHT):

1/1000second,f/5.6,100ISOCanon1DMarkIInCanon70–200mmf/2.8LIS

Availablelight

Foranygivenportraitsetup,Ialwaysshootwideandtight,verticalandhorizontal,andhighandlowviewpoints.ThiswayIgetavarietyofimages.Inthecullingprocesslateron,Icanthenpicktheonesthatworkbestformeandformyclients.

Ofcourse,there’susuallymorethanjustonephotograph...

IntheRoadIwasinspiredtocreateasecondlookforDeshaandKylewhenIsawtheroadsurfaceglisteningwiththerain(right).Istoodintheroadandaskedthecoupletoslowlymeanderdownthestreet.Itwasperfect.IinstantlylikedwhatIsawinmyviewfinder.Averticalcompositionlikethisjustmadethemostsenseforthescene.Ishotitwiththe70–200mmlensat175mmforacompressedperspective.

SmallChanges,BigDifferenceJustaminuteandahalfpassedbetweenthesetwoimages—andthecloudscameover,softeningthelightabit.Thatdidn’treallymatter,though;thesecondimagewouldhaveworkedwithsunlightaswell.

Thekeyideahereisthatchangingyourpositionandmovingaroundcanoftenproduceimagesthatlookhugelydifferent,because:1. You’rechangingyourbackground,and2. You’rechangingyourpositioninrelationtothelight.

W46.FINDTHEOTHERANGLES

orkingwithafilmnoirtheme,agroupofphotographersinmyareaarrangedashoot-out.Thesearetwoofmyimagesfromthatsession.

LightingandPosingJillSusie,oneofthemodelsattheshoot-out,hadahairstyleanddressthatwerestronglyreminiscentoftheflapperera.Thisreallysuitedasexyposeandstyling.

Keepingwiththetheme,thelightinginthephotosneededtobesubduedandmysterious.Withthat,Ididn’tuseflashatallbutdecidedtouseonlyavideolight.SinceIknewImightwantsomethingstrongerthanmyusualLEDvideolight,IdecidedonthemoreflexibleandpowerfulLowelID-Light.

Forbothimageshere,theLowelID-Lightwasheldaloftbysomeoneelse.Thepositionofthelightshouldbediscerniblebyhowthelightfallsonherandhowtheshadowpatternappearsunderhernose.

TECHSPECS:

1/500second,f/1.4,1600ISONikonD3SNikon85mmf/1.4GAF-SLowellID-Light

WorkingtheAnglesTheimageaboveisthephotographthatwaseasiertoenvision.Thepatternofthetilesinthelobbyimmediatelydrewmyattentionasapossibleidea.Thewaythetilepatternrecedeshelpsdrawyoureyetoourmodel,asdoesthespotlighteffectofthevideolight.Istoodonashortledgeandshotdowntocreatethisimage.

TheimageonthefacingpageshowsadifferentanglethatmyfriendPeterSalofound.TheironyhereisthatthefirsttimePeterandImetwasatanotherphotoshoot-out—andIwasinsistenthefindadifferentangle,ratherthanjustshootingfromeye-height.Ievenpushedhimdownonthegroundtoconvincehim.Andhereweare,afewyearslater,withhimfindingthealternateanglethatIdidn’timmediatelysee.Usingthe85mmf/1.4lenswideopengavethatshallowdepthoffield.

TECHSPECS:

1/80second,f/5,1600ISONikonD3SNikon24–70mmf/2.8AF-SLowellID-Light

Thepositionofthelightshouldbediscerniblebyhowthelightfallsonherandhowtheshadowpatternappearsunderhernose.

47.PLAYFULPORTRAITS,PART1

IImagesfromprevioussessionswiththeModernGypsies—infullcostumesandmakeup.

reneFongandMichaelSaabareatthecoreoftheBrooklyn-basedperformancegroupcalledtheModernGypsies.Overthepastfewyears,I

havephotographedtheModernGypsiesseveraltimesfortheirownpromotion.

ConceptSincetheyarealwaysinoutlandishcostumes,Ialsowantedtophotographthemasthemselves—sanscostumesandstagemakeup.However,totallystraight-forwardportraitswouldn’thavebeentruetowhotheyare.Istillwantedtogivetheportraitssomeoftheircrazyinventiveness.

TheideaIcameupwithwastohaveIrene’sportraitbeslightlysurreal.Alongwithhertrademarksee-throughviolin,IwantedtoincludeMichael,butasasecondarysubject.Someofhisactshavehimbouncingaroundonstiltswhileincostume,sothat’showIdecidedtoshowhiminthebackground.Byusinga

wideaperture(f/2),IwasabletothrowhimoutoffocusandkeepthisportraitaboutIrene.

High-SpeedFlashSyncIusedtwolightshere—aspeedlightinasoftboxonIreneandadirect,unmodifiedspeedlightonMichael.Shootingoutdoors,thef/2apertureimpliedafastshutterspeed,puttingmeinhigh-speedflashsyncterritory.Withtheavailablelightasthedominantlightsource,theflashwouldn’tbeabletofreezetheactiononitsown,soIneededa secondshutterspeed.

Twofinallooksfromthesession.

Thepositioningofthetwolights,withMichaelshownstandingwhereIrenewouldbeinthefinalsequenceofimages.

F48.PLAYFULPORTRAITS,PART2

ormyportraitofMichael(oftheModernGypsies),Iwantedsomethingthatshowedsomeofhisfreespiritandcreativity.ShootinginBrooklyn,we

stoppedatoneofthenumerousgraffitimuralsthatspeckletheurbanlandscapeofthisboroughofNewYorkCity.

APreliminaryLookWestartedoffwithabasicportraitwithhimagainstthecolorfulgraffiti(below)—butIwantedmorethanjustsomeoneposinginfrontofamural.Iwantedtoshowmoreofhisenergyandplayfulness.

AMoreEnergeticLookAwonderfulthingaboutphotographingcreativepeopleandentertainersisthatthebestofthemcanjustturnitonprettymuchanytime.SoMichaeleasilystartedtogoofaroundwithhisbowlerhat,whirlingitaround.

Shootingnatural-lightportraitsofMichaelagainstagraffiti-coveredwall.

Ishotalongsequenceofimages,buttheoneIlikedthemostwaswhenheattemptedtobalancethehatontheedgeofhisnose(above).Withoutmirroringthegraffitimuralinpose,thereisstillakindofsymmetryintermsofthegesture;thewingsspreadandMichael’shandsextendoutashebalancesthehat.

ThissimpleportraitofMichaelagainstacolorfulbackgroundwasnice—butitdidn’tquitecapturethecreativityandenergyIwantedtoshow.

It’sanincongruousimageperhaps,someonerandomlybalancinghishatonhisnose.But,forme,itcapturespartoftheessenceofsomeonewhoisconstantlyinventiveandplayful.

Lighting

Thetechnicaldetailsaresimplicityitself.Thelightingwasallnatural;theovercastweathermadeforsoftlight.Ialsousedawideaperturetocreateseparationbetweenmysubjectandthebackground.

TECHSPECS:

1/500second,f/2,200ISONikonD435mmf/1.4

Availablelight

W49.FILMNOIR

orkingonimagesforcharacteractorMikeLarose’sportfolio,wedecidedonafilmnoirthemethatwoulddepicthimasacharacterfrom

aHitchcockmovie,butincolor.Hedressedthepart.ShootingaroundNewYork’sCityHall,theimposingarchitecturesuitedthisthemewell.

CameraandCompositionItraveledlightonthisday,usingtheFujiX100scamera,whichissmallerthanmyusualDSLRs.TheFujiX100shasafixed35mm-equivalentlens,sothereisaspecificfieldofviewthatyouhavetoworkwith.Anycompositionshavetoworkwiththislens—orelseyouhavetocropinpostproduction.Idon’tlikeheavycroppingbecauseyouloserealestate;themoreyoucrop,themoreresolutionanddetailyoulose.

Oneofmyinitialtestshots.Ilikedthependulousshadowofoneofthelightsthere.

Scene-SettersTakingascene-setterimagelikethisgivesmeabettersenseofwhetherthereissomethingtoworkwithinalocation.Veryoften,eventhoughwecanvisualizewhatwewantinanimage,itsomehowcomestogetherbetterwhenweseeitintheconfinesoftheframe—evenifjustonthebackofthecamera.

SoIreallypreferworkingwithintheconfinesofthespecificlenstofindthecompositionthatworkswell.Inthiscase,however,lookingattheoriginalout-of-cameraimage(below),theblueskyontheleft-handsideseemedsuperfluous.SoIcroppedittothisfinalimage(left)forsimplicity.Thisleftuswithonlythecharacter,thelinesofthepillar,andhisshadow.

Themoodisnowmoreominousperhaps.Withhimlookingathiswatch,there’salsoasenseofurgency.Thatsimplegestureaddedatouchofextradramatotheimage.

50.PUNCHINGUPPLAINWHITEWALLS

hilephotographerslikeIrvingPennhavemadebeautifuluseofplainwhitewallsasportraitbackgrounds,sometimesweneedsomething

moretotelloursubject’sstory.Thatwasmychallengeforthisportraitsession.

SubjectandConceptMichaelDowney,aNewJerseyphotographer,shouldbewellknowntovisitorsatUniquePhoto.He’sasuperniceguy,butIdidn’tthinkwildandcrazyposingwouldsuithim.Instead,thisfairlysimplelightingsetupletmeaddsomeflavortotheportrait.Withthistechnique,astraightforwardportraitagainstawhitewallbecameakaleidoscopicadventureincolor.

MoreThanaShadowOneofthecommonapproachestopunchingupplainwhitewallsistousetheperson’sshadowagainstthewallaspartoftheoveralldesignoftheimage.Here,Itookitastepfartherbyaddingthreegelledflashes(red,green,andblue)tocausethreeshadowsindifferentcolors.

Thethreebarespeedlights,eachwithagelovertheflash.

Notethatthosethreecolorsaretheprimaryadditivecolors,sowhereallthreelightsoverlappedtherewaswhitelight—givingmenaturalskintones.(ShootinginRAWhelpswithcorrectinganyshiftincolorifthegelsareofunequalstrength.)Whereonlytwolightsoverlapped,you’llseetheshadowshiftedincoloraccordingly.Forexample,wheretheredandblueoverlapbutgreenisblocked,yougetamagentacolor.

TECHSPECS:

1/160second,f/8,200ISONikonD4Nikon70–200mmf/2.8VRII

threebarespeedlightswithgels

H51.CLASSICSTYLING

avingsomekindofideawhatyouwanttodoatthestartofaphotosessionisalwayshelpful,buttheultimatesuccessofanyphotographis

mostoftentheresultofavarietyofchoicesallcomingtogether—posing,composition,lighting,andmore.

SettingandClothingTheimposingpillarsandleadinglinesofthecourthouseinDenver,Colorado,madeforastrong,unclutteredbackground.Themodel,ElizabethHaynes,hadthissimplebutelegantblackdressaspartofherwardrobe;itwasaperfectcomplementtothesetting.

LightingIntheimageonthefacingpage,hershadowhelpedpulltheshottogether.Itlooksliketherewasabitofsunshinesneakingthroughathinlayerofclouds—andtheimagepops!

Togetthatdramaticlightonher,Iusedundiffusedoff-cameraflash.Sincethisisasmallsource,youhavetobeveryspecificinposingyoursubjecttoensurethelightingremainsflattering.Posing“intothelight”usuallyworksbest.Thewaytheshadowfellbehindherwasanaccidentallittlebonus.I’lltakeitwhenitcomes.

Theimagephotographedwithavailablelightonly.(1/250second,f/4,100ISO)

Theimagewiththeadditionofoff-cameraTTLflash.(1/250second,f/4,100ISO)

TECHSPECS:

1/250second,f/5.6,100ISONikonD4Nikon24–70mmf/2.8Undiffusedoff-cameraflashinTTLmode

AnApertureChangeWhileshooting,Idecidedtochangefromf/4(belowright)tof/5.6(facingpage)topulltheambientlightlowerandmakethelightfromtheoff-cameraflashmoredramatic.ThisdecisionhingedonhowdarkIwantedtheambientlightto

appear.Thiswasanartisticdecision.Ihadothergoodchoices,butIfindthemoredramaticeffectisusuallythemoreinterestingone.

CameraHeightIshotslightlyupwardtoaccentuateherlegs.Shootingdownwouldhavecreatedastrangeforeshorteningeffect.Whenphotographingpeoplewithawidelens(here,about38mm),itisbesttoshootfrombelly-buttonheight—exactlywhereanoldtwin-lensreflexcamerawouldhavebeenheld.Thiswayyou’renotshootingdownorup,soanyspatialdistortionisminimized.

OnLocationwithBigLights

52.PROMOTIONALPORTRAITS

yfriendMikeLaroseisaNewYorkactorandmusician.Youmightrememberseeinghimelsewhereinthisbookincompletelydifferent

guises(sections38and49).

ASolidStartFortheseportraits,weworkedoutsidealongapathwayinawoodedarea.IknewIwantedtoshoottightwitha70–200mmlensatthelongerendofthezoom.ThiswouldcompresstheperspectiveandisolateexactlywhatIwantedasabackground.Thischoicegoeshand-in-handwithcarefullypositioningmyselfandmysubjectinrelationtothebackground.It’snotaccidental.

IframedMikeagainstthehighlightsinthebackgroundtocreateanaturalvignette.ThisiscommonlyhowIworkwhendoingportraitsonlocation(seesection2foranotherexample).It’saspecificwayofshootingthatgivesconsistentresultsasabaseline—inotherwords,theminimumherealreadylooksverygood.

TECHSPECS:

1/200second,f/4,400ISONikonD4Nikon70–200mmf/2.8VRIITwooff-cameraflashes;mainlightingriddedstripbox,rimlightinreflectorwith10degreegrid

MakingItBetterTocontrolthelight,IaddedstudiolightingwiththeProfotoB1,abattery-poweredflashunitthatdelivers500Ws.(Ofcourse,thiscouldalsohavebeenshotwithspeedlightsandsimilarlightmodifiers.)AgriddedstripboxonMikelithimselectively,whilea10degreegridonareflectorfrombehindgavetherimlight.

TwoCompositionsTheverticalversionwasshotat200mm,whilethetighterhorizontalportraitwasshotat190mm—therewasnobigchangeinthefocallength.Ikeptmyzoomrackedtothemax(orclose)andthenmovedaroundtokeepthatcompression.

Asnotedinsection29,Iresistedthetemptationtojustzoomwider.Usingaconsistentapproachlikethishelpsguaranteereallygoodphotographs.Itprovidesasolidfoundation.Fromthere,wecanimprovise,lookingforwaystorefinetheapproachandcreateimagesthattrulystandout.

B53.AVINTAGEMOTORBIKE

ackinsection25,wesawJohninhisworkshop.Johnalsohastwovintagemotorbikes;oneisfromtheWWIeraandtheotheristhis1928German-

builtTriumph.ThesidecarwasmadebyHindenburgMetalworks—yup,thezeppelinguys.John’sfriend,Barbara,frequentlyaccompanieshimtoshowsandrallies,soshealsocamealongforthisphotoshoot.Afterall,thereisasidecar!

ImageConceptsUsingdifferentsetups,IphotographedafewsequencesofJohnandBarbarawiththemotorbikeonlocation.Ilikedthisdramaticseriesthemost,withthelightfrombehindcastingashadowinfrontofthem.Iwantedthelighttoetchtheframeofthemotorbikeandsidecar,withoutrevealingtoomuchdetail—afterall,thiswastobeaportraitofJohnandBarbara.However,Ialsotookanumberofotherimageswherethemotorbikewasbetterlit,justtohavethevariety.

LightingIworkedwithtwoProfotomonolights.ThelightfrombehindwasfromaProfoto50degreeMagnumReflector,becauseIneededabiglightbehindthem.Thelightstandneededtobeoutsidetheframebutstillcastenoughlightonthemtocreatethatshadowinthefront.TheProfotoMagnumReflectorconcentratedthebeam.

TECHSPECS:

1/250second,f/14,200ISONikonD4Nikon24–70mmf/2.8Twooff-cameraflashes;mainlightinsoftbox,backlightinProfotoMagnumReflector

Apull-backshotshowingthelightingsetup.

ThelightinthefrontofthemwasaProfotoD1Air500Wsmonolight,usedwithaProfoto3x4-footsoftbox.Thiscreatedlarge,softlightingonJohnandBarbara.Themainlightwasplacedtocameraright—noton-axiswiththecamera.Thishelpedmaintainthedramaticqualityofthelight,soitdidn’tflattenoutthesubjects.

ALittleFlareForafewimages,Iallowedthelenstoflare.Becausethelightinthebackgroundwassostrong,Ihadtousemyhandontheedgeofthelenstocontroltheamountofflare.Ishotandcheckedanumberoftimes,untilIhadafewimageswheretheflarewasn’ttoooverpowering.

P54.SPEEDWAYRACER

hotographingspeedwayracer,CourtneyLefcourtattheBethelMotorSpeedwaywasatwo-parttechnicalchallenge.

ChallengesWhileCourtneyisundoubtedlyphotogenic—andspeedwayracingisexcitingtowatch—theracetrackitselfwasn’texactlyavisualfeast.Itwasabarrenovalstripoftarmacatanangle.Thatwasthefirstchallenge.Tomakethesceneworkasabackground,IhadtoaccentuateCourtneymoreandtheracetrackless—whilestillkeepingitrelevantasanenvironmentalportrait.Thesecondpartofthechallengewasthattheoverheadsunwasverybright.

SolutionsForthetighterportraits,Icouldeliminatethedistractingbackground—thecrashbarrierandtrees—byshootingfromanelevatedviewpoint(below,facingpagetop).Standingonasmallstepladder,Icouldexcludeanyoftheedgesoftheracetrack.Thatway,Iachievedvisualsimplicitybyeliminatingclutter.

Whileahigherviewpointhelpedaccentuateher,workingunderthebrightsunmeantshootingatsmallapertureswhenIwouldhavepreferredawidersetting.Addinga3-stopneutraldensityfilterbroughtmyaperturetof/4.5,givingmejustenoughdepthoffield.

Thelightingsetup,withaProfotoAcuteB2600WspowerpackandaProfotobeautydishwithasock.

TECHSPECS:

1/250second,f/5.6,100ISONikonD4Nikon70–200mmf/2.8Undiffusedoff-cameraflashinTTLmodeB+W77mm0.9(3stop)NDfilter

Tocreateevenmoreseparation,Isetupaspeedlightbehindheratfullmanualoutput.ItgavethatbitofrimlightthatmakesCourtneyreallypopoutfromthatneutral,out-of-focusbackground.

ThelastpieceofthepuzzlewastheadditionofaProfotolightwithabeautifydish;likethespeedlightbehindher,thiswassetatfullpower.Thespeedlightjusthadtoaddthatbitofrimlightfrombehind.TheProfotohadtodotheheavyliftingbymorethanjustmatchingthebrightsunlight,therebyopeninguptheshadowsandgivingflatteringlightonCourtney.

Bykeepingtoaspecificthoughtprocessinaddingoff-cameralighttostrong

sunlight,thephotosessionwasmadeeasier—andthechancesforsuccessweresignificantlybetter.

Thewidershotsweredonewithoutaneutraldensityfilter,sinceIdidn’tsospecificallyneedashallowerdepthoffield.

55.BESTON-LOCATIONLIGHTMODIFIER

orthissession,ImetupwithmyfriendMikeAllebach,aweddingphotographerbasedinPhiladelphia(www.mikeallebach.com).Weselected

anintriguingvenue,TattooedMom’s,whichwasidealforportraitswithamoregrittylook.

SceneandCompositionOfthevarioussetupsweshot,Imostlikedtheoneabove.Thesemicircularpatterntothegraffitiartworkandthesymmetryofthefurnituredrovemetoward

keepingthisaverycentralcomposition.EverythingintheframepullsyouintowardMike’sintenseexpression.

ControlledFalloffThelightlevelsinsidewerelowandIwantedtoretaintheatmosphereoftheplace.Icouldn’tuseanumbrella,sincethatwouldjustblastlightallaround.Instead,Ioptedfora1x3-footgriddedsoftbox—myfavoritelightmodifierforlocationshootslikethisone.Shootingat secondandf/4at400ISOretainedenoughoftheambianceoftheplace,butitalsoallowedmetospotlightMike.Thepull-back(above)showshowwellthegriddednarrowsoftboxcontainedthelight.Thecontrolledfallofffromthislightwasinstrumentalintheseportraits.

ThecompactProfotoRFi1x3-footsoftbox(alongwiththe50degree1x3-footsoftgrid)iseasytocarryaround,soIkeepitpermanentlysetupasaportablelightmodifierwhenworkingwiththestudio-typeProfotolights.

TTLExposureShootinginside,Ididn’tneedfull-blast,matching-the-sunkindofpowerbutamoredelicatetouchoflight.IstartedoffshootinginTTLmodeontheProfotoB1portablestudioflash.TheTTLmodeoftheseunitsissurprisinglyaccurateforsuchpowerfullights.

TECHSPECS:

1/50second,f/4,400ISOCanonEOS5DMarkIII24–70mmf/2.8IIUSM

Profotoflashwith1x3-footgriddedsoftbox

However,withever-changingcompositions,shootingwideandtight,theTTLexposuredidvary.Toensureconsistentresults,Ipickedoneoftheexposuresthatlookedcorrectonthebackofmycamera,thensimplysettheAirRemoteTTLcontrollertomanualmode.Thatlockedthedesiredexposure.

F56.NEWYORKCITYROOFTOP

orthisphotosessionwithHeather(www.heatherberman.com),aNewYorkactoranddancer—andformerRockette—wehadaccesstotherooftopof

herNewYorkCityapartment.

ConceptIwantedtousethedramaticsunandskytoshowcaseHeather’svividdressandelegantmoves.Therewasnoneedtoposesomeonewhoworksasaprofessionaldancer.Shehadit!SoitwasjustuptometofigureoutwhereexactlyIwantedtoposeherandhowtolighther.

LightingandExposureTocreatetheseimages,Ishotinmanualmode,atfullpower.ThelightonHeatherwassoftened(andcontrolled)withagriddedProfoto1x3-footsoftbox.Inthiscase,theuseofthegriddedsoftboxwaslessbasedontheneedtocontrolthespilloflight(asinsection55).Instead,theappealwasthatit’safairlycompactsoftboxthatiseasytocarryaroundinNewYork—andeasytomaneuverthroughwindows,ontofireescapes,anduptotherooftop.Oftentimes,thechoiceofequipmentislessexactlybasedonwhatisidealintermsoflighting,butratheronwhatisphysicallypracticalandonhand.

TECHSPECS:

1/160second,f/14,100ISOCanon6DCanon24–70mmf/2.8IIProfotoflashwith1x3-footgriddedsoftbox

DepthofFieldIneededtomatchtheexposureforthebrightsky.Unfortunately,Ihadforgottenmyneutraldensityfilter,soIhadtoshootatf/14—butthelackofcontroloverthedepthoffielddoesn’tbothermehere,sinceitreallyisaboutHeather,herdressandthebluesky.Theneutraldensityfilterwouldhavebroughttheexposuredownby3stops,turningthef/14intoanf/5forthesameambientandflashexposure.(Checksections54and36forotherexamplesoftheuseofaneutraldensityfilter.)

57.DECISIONS,DECISIONS,DECISIONS

ASpiritedSubjectJaleelKingisacolorfulcharacter.Whatmakeshimunusualishisspiritandmotivation.Ashotgunblastbyanangryneighborlefthimparaplegicsincetheageofeight.Heismostlyconfinedtoawheelchair,buthisdesiretobeaphotographermadehimadapt—andhiswheelsarenowarollingstudio,completewithabeautydishonamovableboomarm.ThebatteryforthisAlienBeesflashismountedonthebackofhiswheelchair.Thiskindofdeterminationandirrepressiblespiritjusthastoearnrespect.Visitwww.jaleelking.comtolearnmore.

CapturingTheirCharacterWhenphotographingsomeone,youhavetoconsiderthetreatmentonnumerouslevels.Composition—wild,crazyanglesormorestraightforward?Howareyougoingtoframethem?Lighting—dramaticormoretraditional?Whatwillthebackgroundandsettingbe?Allofthesethingsneedtobebalanced.Sometimes,thedecisionsaremadebeforehand;othertimes,therightchoicesflowoutoftheselectedlocation.

TECHSPECS:

1/160second,f/5.6,400ISOCanon6DCanon24–70mmf/2.8IIProfotoflashwith1x3-footgriddedsoftbox

LocationSelection

WhenIcontactedJaleelaboutphotographinghimandhiswheels,hesuggestedtheincrediblysurrealMagicGardensinPhiladelphia.Thecrazycolorsandpatternsinthislocationsareabitofavisualoverload,soIdecidedtoplayitquitestraightwiththeseportraits.Amidsttheshiftingpatternsthatdon’tallowyoureyesaplacetorest,yourattentionnaturallygoestooursubject.Repetitivepatternsusuallycreatesimplicityinacomposition;here,wehadavisualmess,andyetthatiswhathelpsdrawyourattentiontoJaleel.

LensandLightingIchosealongerlenstocompresstheperspectiveandplacedJaleelinfrontofatallmuralthatprovidedenoughspacetoincludehisbeautydish(whichIfired,too)intheframe.

Thelightingwasfairlysimpleaswell.Iplacedagridded1x3-footsoftboxasthemainlightonJaleelandhiswheelchair-mountedlightingsetup.Iaddedasecondlightwitha10degreegridonareflectorforagentlespotlightonhim.

A58.COSPLAYPORTRAIT

rtistGerTyskcreatesfantasticoutfitsandhaspublishedabookoncosplay.Forthisportrait,GerdressedasSayakaMiki,amagicalgirlfrom

PuellaMagiMadokaMagicawhousesherswordtoprotectpeoplefromevil.

LocationTocomplementtheanime/comic-bookboldnessofhercharacteranddress,wewenttothe5Pointz,abuildingthatwascoveredwithgraffitiartfromendtoend.Shortlyafteroursession,thebuildingwaswhite-washedtosomeblandcolor,soIamgladwewereabletouseitasabackdrop.Evenifinasmallway,thesephotographsarearecordoftheplace.

LightingSinceanimehasaspecificflatlook,itwouldn’thavemadesensetolightthisportraitwiththemoodinessof,say,aMarvelcomic-bookcharacter.Itneededfairlyevenlighting.

Themainlightwasa3x4-footProfotosoftboxforsoftlightonGer.A1x3-footgriddedProfotosoftboxwasaddedbehindherasarim-lightandtoputalittlebitoflightonthewallinthebackground.Tocontrol(andevenminimize)theamountoflightfallingonthewall,Ifeatheredthemainlightawayfromthewall.

ThisretainedtheTTLexposure,butasafixedmanualsettingthatwouldn’tchangeastheposeorcompositionwasaltered.

TECHSPECS:

1/180second,f/5.6,100ISOCanon6D24–70mmf/2.8IIProfotoB1flasheswithsoftboxes

ThelightsweretwoProfotoB1unitssettomanual.InmadeaninitialexposureviaTTLmode;whenIcheckedandsawthetestexposurelookedgood,IflippedtomanualexposuremodeviatheAirRemoteTTLcontroller.ThisretainedtheTTLexposure,butasafixedmanualsettingthatwouldn’tchangeastheposeorcompositionwasaltered.

Ofalltheincrediblegraffitithatadornedthe5PointzBuilding,IfeltthatthissectionbestfitthestylingofGer’scharacter.Itisdynamicandhasnocartoonfacesorfiguresbehindhertodistractattention.

59.STEAMPUNK/FUTURISTPORTRAIT

erriClaire’sstoryisaboutempowerment;hertattoos,dress,andpersonalstyleareanaffirmationofherindependence.Terriisateacher,holdinga

degreefromColumbiaUniversity.Withnumeroustattoos,adaringstyleofdressthatborrowsfromcosplay,steampunk,andfuturistthemes,shehopesherworkasamodelwillhelptoerasenegativestereotypesaboutwomenwithtattoos.

LocationandCompositionWithallthatinmind,wehadtothinkofalocationthatwouldbecomplementary.Ididn’twanttheimagestobecometoomuchaboutthelocationitself.IjustwantedthescenetoenhancemyportraitsofTerri.

Meetingupinacemetery,Ilookedforabackgroundthatwouldprovideasenseofwherewewere,butnotbeimmediatelyrecognizableasacemetery.Ididn’twanttohaveTerriposewithheadstonesoranythingsoblatantlyassociatedwiththelocation.

Roamingaround,Inoticedaseriesoftallmonuments—likearowofchessfigures.Fromacertainangle,theywerestaggeredinthebackground.IdecidedtohaveTerriposeinfrontofthem.Thisrepetitioninthebackgroundbroughtacertainsimplicitytothecomposition.

Ipositionedmyselfatananglethatletmeincludeatree(withsomelatefallcolors)intheframe.Fromthe“other”side,Iwouldhavehadjustablankskyinthebackground.Ilikedthewaytheout-of-focustreehelpedfilltheframe.Shootingwiththe70–200mmcompressedtheperspectiveandallowedmetobemoreselectiveaboutwhatIincludedinthefinalphotograph.

LightingandExposureThelightonTerriwasfromaProfoto600Rwitha1x3-footgriddedsoftbox.Theimagesonthefacingpagewereshotatf/2.8witha70–200mmlens.Fortheimageabove,Iwantedashallowerdepthoffield,soIswitchedtomy85mmf/1.4lensandshotwideopen.Iaddedaneutraldensityfiltertocuttheambientandflashlight,sotheshutterspeedandISOsettingremainedunchanged.

TECHSPECS(FACINGPAGE):

1/250second,f/2.8,50ISONikonD4Nikon70–200mmf/2.8VRIIProfoto600Rwithgridded1x3-footsoftboxTECHSPECS(ABOVE):

1/250second,f/1.4,50ISONikonD4Nikon85mmf/1.4GAF-SProfoto600Rwithgridded1x3-footsoftboxB+W77mm0.9(3stop)NDfilter

60.DEPTHOFFIELDCONTROL

FlashSyncSpeedandApertureWhenworkingwithlargerflashunitsandstudio-typeflashunitsoutonlocation,you’relimitedtoyourcamera’smaximumflashsyncspeed.Ifyougooverit,you’llgetthatblackbandacrosspartofyourframe.Thatceilinginshutterspeedchoicealsolimitsyourchoiceofaperturewhenshootinginbrightlight.

ForthisseriesofphotosofSeanNowell,aNewYork–basedsaxophonist,weshotontheBrooklynwaterfronttogettheNewYorkskylineinthebackground.At second(themaximumflashsyncspeedoftheNikonD4),theresultantaperturewasf/8forthelightoftheday.Iaddedlightfromasoftboxtobalancetheexposureformysubjectagainstthatofthecity.

Theimageshotatf/8(left)andf/2.8(below).

ABetterChoiceWhileshootingatf/8didn’tlooksobad(left),thebackgroundjustreallymeltedawayatf/2.8withalongfocallength(below).

TECHSPECS:

1/250second,f/2.8,100ISONikonD4Nikon70–200mmf/2.8Profoto6009RflashwithsoftboxB+W77mm0.9(3stop)NDfilter

Topulltheexposuredowntothepointwheref/2.8wasausefulandusableaperture,Iaddeda3-stopneutraldensityfilter.(YoucangetNDfiltersinanentirerangeofstrengths.)Addingthisfiltermeant3stopslessambientlightand3stopslessflash.However,thelossinflashexposuredidn’tconcernme,sincethebalancebetweentheflashandambientexposureremained.Whatmatteredwasthatf/2.8goodness!

Thescenewithjusttheavailablelight.

Apull-backshotshowingthesoftboxinposition.

PerspectiveMattersThisimagewasshotatf/14—butthemassiveamountofdepthoffielddidn’tdetractfromtheimage.Seanremaineddominantintheframeduetotheperspective.

LocationIreallylikedthisspotwiththewords“stand”and“beautiful”(partofaWaltWhitmanpoemaboutBrooklyn)visibleontherailing.Itjustseemedappropriateforamusician’sportrait—standbeautiful.

AdobeCameraRaw,32–33,58–59AdobeLightroom,58–59AdobePhotoshop,32–33Aperture,10–11,28–29,45,46–47,52–53,68–69,78–79,96–97,98–99,100–

101,106–7,112–13,114–15,116–17,122–23,124–25.SeealsoDepthoffield

Backlighting,28–29,30–31,32–33,66–67,92–93,110–11.SeealsoRimlight

Backgroundselection,6–11,12–13,16–17,18–19,20–21,22–23,30–31,34–35,46–47,50–51,66–67,68–69,72–73,74–75,80–81,84–85,90–91,100–101,102–3,104–5,106–7,108–9,110–11,112–13,114–15,118–19,120–21,122–23,124–25

Beautydishes,74–75,82–83,86–87,112–13,118–19Blackfoamiething,42–43,44–45Booms,80–81Bounceflash.SeeFlash,bounceBruceDorn,78–79

Cameraangle,9,35,52–53,62–63,72–73,96–97,106–7,112–13,122–23Canon,12,26,42,79,88–89,95,115,116,118,121Children’sportraits,18–19,44–45,46–47,52–53,70–71

Clothingselection,11–12,22–23,90–91,102–3,106–7,110–11,122–23Colorgels,104–5Colortemperature,40–41,46–47,48–49,56–57,58–59Composition,6,8–9,12–13,16–17,34–35,36–37,50–51,62–63,68–69,74–75,

102–3,108–9,114–15,118–19,124–25Cropping,102–3CTSgels,40–41,46–47,48–49

Depthoffield,6,9,10–11,12–13,26–27,45,46–47,52–53,68–69,76–77,78–79,96–97,98–99,100–101,112–13,116–17,122–23,124–25

Diffusercup,flash,38–39,42–43Distortion,minimizing,62–63Distractions,minimizing,6,11,16–17,18–19,46–47,72–73,106–7,112–13

Edgelight.SeeRimlightEyeglasses,76–77

Featheringthelight,78–79,80–81,90–91Fileformat,32–33,58–59,104–5Filllight,72–73,80–81,82–83,112–13Finesse,92–93Flags,42–43,44–45Flash,20–21,22–23,24–25,26–27,28–29,30–31,36–37,38–39,40–41,42–43,

44–45,46–47,48–49,68–69,72–73,74–75,76–78,78–79,80–81,82–83,86–87,88–89,98–99,104–5,106–7,108–9,110–11,112–13,114–15,116–17,118–19,120–21,122–23,124–25

bounce,42–43,44–45,46–47colortemperature,40–41,46–47,48–49

distance,28–29,68–69,82–83exposurecompensation,38–39,42–43fill,72–73,112–13high-speedsync,98–99manual,22–23,30–31,36–37,38–39,72–73,88–89,114–15,120–21monolights,74–75,76–77,80–81,86–87,108–9,110–11,114–15,116–17,118–19,120–21,122–23

power,28–29,38–39,78–79,112–13syncspeed,45,98–99,124–25TTL,20–21,22–23,36–37,38–39,42–43,44–45,114–15,120–21

Flare.SeeLensflareFluorescentlighting,46–47,84–85Focallength.SeeLensselectionFocusing,52–53,76–77,84–85,88–89Fresnellights,50–51,66–67Fuji,102–3

Gels.SeeColorgels,CTSgels,orNDgelsGobos,24–25GoldenMean,74–75Grids,76–77,80–81,82–83,108–9,114–15,116–17,118–19,120–21,122–23Groupportraits,16–17,22–23,24–25,26–27,32–33,38–39,40–41,58–59,60–

61,64–65,66–67,68–69,94–95,110–11

Hairlights,78–79,82–83,84–85Histograms,32–33

Incandescentlight.

SeeTungstenlightInverseSquareLaw,82–83ISOsetting,28–29,114–15,122–23

LEDlights,50–51,56–57,58–59,66–67,90–91Lensflare,7,24–25,32–33,68–69,88–89,110–11Lensselection,6–7,8–9,10–11,12–13,18–19,24–25,35,46–47,52–53,56–57,

62–63,70–71,72–73,78–79,84–85,94–95,96–97,102–3,108–9,118–19,122–23,124–25

Lightmeters,28–29Litepanels,58–59,66–67,90–91Location.SeeBackgroundselectionLowel,58–59,96–97Low-lightportraits,26–27,38–39,42–43,48–49,56–57,58–59,66–67

Manualflash.SeeFlash,manualMonolights,74–75,76–77,86–87Monopod,48–49,56–57

NDgels,76–77,78–79,112–13,116–17,122–23,124–25Nightportraits.

SeeLow-lightportraitsNikon,5,7,9,10–11,12,17,19,23,24,29,31,35,36,39,41,44,46,48,51–

52,54,56,58,61,64,67,69,70,73,75,77,78–79,80,82,84,87,90–91,96–97,101,104,106,108,110,113,123,124

Overexposure,32–33,45

PocketWizard,38–39,48–49Posing,8,14–15,16–17,20–21,22–23,24–25,50–51,52–53,60–61,64–65,

66–67,68–69,74–75,80–81,84–85,88–89,92–93,96–97,100–101,102–3,118–19,122–23

Postproduction,32–33,58–59,84–85,86–87,102–3Profoto,80–81,82–83,86–87,108–9,110–11,112–13,114–15,116–17,120–

21,122–23Props,11–12,32,34–37,42–43,52–53,90–91,108–9,110–11,112–13

Quantum,78–79

Reflectors,34–35Rimlight,8,14–15,24–25,26–27,28–29,30–31,36–37,38–39,88–89,92–93,

112–13,120–21.SeealsoBacklighting

RuleofThirds,74–75

Scene-setters,102–3Shutterspeed,38–39,45,56–57,86–87,88–89,98–99,114–15Sidelight,66–67Snoots,78–79Softboxes,20–21,22–23,24–25,28–29,30–31,38–39,48–49,68–69,76–77,

78–79,80–81,82–83,84–85,98–99,108–9,110–11,114–15,116–17,118–

19,120–21,122–23Spinlight360;48–49Spotlights,14,48–49Striplights,26–27,78–79,108–9Studioportraits,76–77,78–79,80–81,82–83,84–85Subjecttone,16–17

Teleconverters,18–19Timeofday,6,8–9,11,30–31,40–41,112–13TTLflash.SeeFlash,TTLTungstenlight,40–41,56–57,84–85,90–91,92–93

Variety,increasing,34–35,36–37,68–69,94–95,96–97V-flats,80–81Videolights,48–49,50–51,56–57,58–59,76–77,90–91,96–97Vignettes,9,68–69,108–9

Weddingportraits,16–17,32–33,58–59,94–95Westcott,84–85Windowlight,52–53,54–55,64–65

OTHERBOOKSFROM

AmherstMedia®

AlsobyNeilvanNiekerk...

On-CameraFlashTECHNIQUESFORDIGITALWEDDINGANDPORTRAIT

PHOTOGRAPHY

Mastertheusedofon-cameraflashtocreateflatteringportraitlightinganywhere.$34.95list,8.5x11,128p,190colorimages,index,orderno.1888.

Off-CameraFlash

TECHNIQUESFORDIGITAL

PHOTOGRAPHERS

Learnhowtosetyourcamera,choosetherightsettings,andpositionyouroff-cameraflashforexceptionalresults.$34.95list,8.5x11,128p,235colorimages,index,orderno.1935.

Direction&QualityoflightShowsyouhowconsciouslycontrollingthedirectionandqualityoflightinyourportraitscantakeyourworktoawholenewlevel.$29.95list,7.5x10,160p,194colorimages,orderno.1982.

PhotographtheFace

Acclaimedphotographerandphoto-educatorJeffSmithcutstothecoreofgreatportraits:makingthesubject’sfacelookitsverybest.$27.95list,7.5x10,128p,275colorimages,orderno.2019.

ShoottoThrill

AcclaimedphotographerMichaelMow-brayshowshowspeedlightscanrisetoanyphotographicchallenge—inthestudiooronlocation.$27.95list,7.5x10,128p,220colorimages,orderno.2011.

DreamWeddings

CelebratedweddingphotographerNealUrbanshowsyouhowtocapturemorepowerfulanddramaticimagesateveryphaseoftheweddingphotographyprocess.$27.95list,7.5x10,128p,190colorimages,orderno.1996.

OneWedding

BrettFlorenstakesyou,hourbyhour,throughthephotographyprocessforone

entirewedding—fromtheengagementportraits,tothereception,andbeyond!$27.95list,7.5x10,128p,375colorimages,orderno.2015.

We’reEngaged!AcclaimedphotographersandphotoinstructorsBobandDawnDavisrevealtheirsecretsforcreatingvibrantandjoyfulportraitsofthehappycouple.$27.95list,7.5x10,128p,180colorimages,orderno.2024.

HowtoPhotographWeddings

Twenty-fiveindustryleaderstakeyoubehindthescenestolearnthelighting,posing,design,andbusinesstechniquesthathavemadethemsosuccessful.$27.95list,7.5x10,128p,240colorimages,orderno.2035.

MOREPHOTOBOOKSAVAILABLE

AmherstMedia®POBOX586

BUFFALO,NY14226USAIndividuals:Ifpossible,purchasebooksfromanAmherstMediaretailer.To

orderdirectly,visitourwebsite,orcallthetoll-freenumberlistedbelowtoplaceyourorder.Allmajorcreditcardsareaccepted.Dealers,distributors& colleges: Write, call, or fax to place orders. For price information,contactAmherstMediaoranAmherstMedia sales representative.Net30days.

(800)622-3278or(716)874-4450Fax:(716)874-4508

Allprices,publicationdates,andspecificationsaresubjecttochangewithoutnotice.

PricesareinU.S.dollars.PaymentinU.S.fundsonly.

WWW.AMHERSTMEDIA.COMFORACOMPLETELISTOFBOOKSANDADDITIONAL

INFORMATION

Lighting & Design for Portrait Photography: Direction & Quality of Light

Documents

Transcript of Lighting & Design for Portrait Photography: Direction & Quality of Light

Maui Maka Photography Couples Portrait Photography

Rebecca Belcher Photography Portrait Photography

Best Portrait Photography

C:\Fakepath\Photography Studio Portrait Photography

Portrait Photography Portfolio

Fashion | Portrait Photography

Portrait Photography Jacksonville

Photography - Lighting in portrait photography

Direction & Quality of Light: Your Key to Better Portrait Photography Anywhere

Ifocusu Portrait Photography

Effie Pappas Photography Portrait Photography

Portrait Photography & Lighting

Schindler Photography portrait

Portrait Photography Sally Mann Portrait Photography.

Portrait Photography Somerset - Corporate Photography Somerset

Portrait Photography Essay

Portrait Photography lighting

Direction and Quality of Light. Your Key to Better Portrait Photography Anywhere. 2013

Neil van niekerk direction and quality of light your key to better portrait photography anywhere 201

Portrait Photography by Rebecca Belcher Photography