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

263

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

Page 1: Lighting & Design for Portrait Photography: Direction & Quality of Light
Page 2: Lighting & Design for Portrait Photography: Direction & Quality of Light
Page 3: Lighting & Design for Portrait Photography: Direction & Quality of Light
Page 4: 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

Page 5: Lighting & Design for Portrait Photography: Direction & Quality of Light

Copyright©2015byNeilvanNiekerk.Allrightsreserved.Allphotographsbytheauthor.

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/

Page 6: Lighting & Design for Portrait Photography: Direction & Quality of Light

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

Page 7: Lighting & Design for Portrait Photography: Direction & Quality of Light

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

Page 8: Lighting & Design for Portrait Photography: Direction & Quality of Light

41.DeconstructingaPortrait42.UrbanBallerina43.RegalPortraitwithaFerret44.WorkingTowardtheFinalImage45.WorktheScene

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

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

Page 9: Lighting & Design for Portrait Photography: Direction & Quality of Light

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

Index

Page 10: Lighting & Design for Portrait Photography: Direction & Quality of Light

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.

Page 11: Lighting & Design for Portrait Photography: Direction & Quality of Light

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

Page 12: Lighting & Design for Portrait Photography: Direction & Quality of Light

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.

Page 13: Lighting & Design for Portrait Photography: Direction & Quality of Light

O

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.

Page 14: Lighting & Design for Portrait Photography: Direction & Quality of Light

TECHSPECS:

1/200second,f/2.8,400ISO

Page 15: Lighting & Design for Portrait Photography: Direction & Quality of Light

NikonDfNikon70–200mmf/2.8VRII

Page 16: Lighting & Design for Portrait Photography: Direction & Quality of Light

Availablelight

Moreimportantlyhere,thelongerfocallengthallowedmetopickoutthespecificbackgroundthatIwanted.Withthislens,Icanchoosemybackground—andevenasidewaysmovementofafewinchescancompletelychangethebackgroundoftheportrait.

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

Inthiscase,Iwasabletoshiftmyownpositionslightlyandchangethelightingbylettingthesunjustbarelypeekpastmysubject,togiveabitofflarethatwarmsuptheimage.

So,really,Iwouldhighlyrecommendalensinthisrangeforanyportraitphotographerwhoregularlyshootsonlocation.

Page 17: Lighting & Design for Portrait Photography: Direction & Quality of Light

I

2.AVAILABLELIGHTANDCOMPOSITION

ntheintroduction,Imentionedthatveryoftenyoucandistillatechniqueintoafamiliarpattern—acustomarywayofworkingwhereyoucangetgreat

portraitsinaveryshorttimeandunderpressure.WiththisphotosessionwithChristy,crazypeak-timetrafficdelayedthestart

oftheshoot.Whenwefinallygotunderway,fallingbackintoafamiliarrhythmofshootingportraitsallowedmetogetimagesthatworked—veryquickly.

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

Page 18: Lighting & Design for Portrait Photography: Direction & Quality of Light

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).

Page 19: Lighting & Design for Portrait Photography: Direction & Quality of Light

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

Page 20: Lighting & Design for Portrait Photography: Direction & Quality of Light

Availablelightonly

AnotherOptionThissamesceneandlightingworkedforfull-lengthimages.

Page 21: Lighting & Design for Portrait Photography: Direction & Quality of Light

Turingaround,IfoundabetterbackgroundandbetterlightingformyportraitsofChristy.

Page 22: Lighting & Design for Portrait Photography: Direction & Quality of Light
Page 23: Lighting & Design for Portrait Photography: Direction & Quality of Light

W

3.THEGAME-CHANGING85MMLENS

hilea70–200mmf/2.8lenscanbeevenmoreeffectiveincontrollingthebackground,theshorterfocallengthofan85mmlenscanmakethis

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

TECHSPECS:

1/400second,f/1.4,400ISO

Page 24: Lighting & Design for Portrait Photography: Direction & Quality of Light

NikonDfNikon85mmf/1.4G

Page 25: Lighting & Design for Portrait Photography: Direction & Quality of Light

Availablelight

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

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

Page 26: Lighting & Design for Portrait Photography: Direction & Quality of Light

Ijustusedavailablelighthere—noflash.Withtheslowlysettingsun,Ihad

Page 27: Lighting & Design for Portrait Photography: Direction & Quality of Light

lovelysoftlightfallingonElle.

OrangeSafetyNettingTheimageaboveisanotherexamplewherethewideapertureonthe85mmcreatedabackgroundthatdidn’tquiteseempossible.

TECHSPECS:

1/500second,f/1.4,400ISO

Page 28: Lighting & Design for Portrait Photography: Direction & Quality of Light

NikonDfNikon85mmf/1.4GAF-5

Page 29: Lighting & Design for Portrait Photography: Direction & Quality of Light

Availablelight

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

Page 30: Lighting & Design for Portrait Photography: Direction & Quality of Light

P4.FINDINGTHELIGHT

hotographingAngelicainlowerManhattanonasemi-cloudydayintheshadowsofthetallbuildings,Iwantedlightthathadabitofpoptoit—not

justflatandtop-heavylighting.Forafewminutes,thesunpoppedout,andIsawasplashoflightonthe

sidewalk.Thiswaswhereweheadedfortheportraits.Ilookedforbackgroundsalongthesidewalksandstorefrontsthatwould

workwellwiththecolorsAngelicahadchosenforherhatandmakeup.Thebeautyofthe85mmlensisthatyoucanjustmeltyourbackgroundandhaveitbecomplementarytoyoursubject.

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

Page 31: Lighting & Design for Portrait Photography: Direction & Quality of Light

TECHSPECS:

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

Page 32: Lighting & Design for Portrait Photography: Direction & Quality of Light

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.

Page 33: Lighting & Design for Portrait Photography: Direction & Quality of Light
Page 34: Lighting & Design for Portrait Photography: Direction & Quality of Light

5.NATURALRIMLIGHT

SubjectPositionWiththisstraightforwardportrait(below)ofIrene,aphotographerfriendofmine,Iwanttoshowaneatlittletrickforhelpingyoursubjectunderstandwhereyouwantthemtostand.

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

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

Page 35: Lighting & Design for Portrait Photography: Direction & Quality of Light

Positioningthesubjectaccordingtohershadow.

Atthesametime,takecareinlookingathowthelightfallsonyoursubject’sface.Aimtohaveclean,openlightwithnoshadowsundertheeyes.

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

Bywatchingthisasshesteppedtothesideorforwardandback,shecouldimmediatelyplaceherselfcorrectly...

Page 36: Lighting & Design for Portrait Photography: Direction & Quality of Light

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

Page 37: Lighting & Design for Portrait Photography: Direction & Quality of Light

F

6.SELECTIVECOMPOSITION

ramingveryselectivelyin-camera,youcanveryoftenpullquiteasurprisingimageoutof“nowhere.”

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

Page 38: Lighting & Design for Portrait Photography: Direction & Quality of Light

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

Page 39: Lighting & Design for Portrait Photography: Direction & Quality of Light
Page 40: Lighting & Design for Portrait Photography: Direction & Quality of Light

T7.LENSCOMPRESSION

hesettingforphotographingWillandIanwasacarpark,butIknewthatthesunontheautumncolorswouldbeafantasticbackground.Thelight

fromthefrontontheboyswasjusttheopensky—softandeven.Therewasreallynoneedforadditionallight.

Imageshotat135mm.

Imageshotat200mm.

Page 41: Lighting & Design for Portrait Photography: Direction & Quality of Light

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

Page 42: Lighting & Design for Portrait Photography: Direction & Quality of Light

Availablelight

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

Byusingthistighterframing,Iwasabletoeliminatemoreclutterfromthebackgroundandhavejustthetwoboysagainstthisgoldensplashofcolor.

Withthistighterframing,Iwasabletoeliminateevenmoreclutterfromthebackground...

Page 43: Lighting & Design for Portrait Photography: Direction & Quality of Light

Imageshotat280mmbyaddinga1.4xteleconverter.

Page 44: Lighting & Design for Portrait Photography: Direction & Quality of Light

I

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.

Page 45: Lighting & Design for Portrait Photography: Direction & Quality of Light

Withnoaddedlighting.

Closer=MorePowerWehadtoholdthesoftboxfairlyclosetohertostillgetcorrectflashexposureaswechangedtheaperturetopulldowntheambientlightbyupto3stops.Themoredominantflashallowedhershadowtobecomeasubtleelementofthecomposition.

Thereissometimesakindofsnobberywherephotographersinsistthat

Page 46: Lighting & Design for Portrait Photography: Direction & Quality of Light

availablelightisbetter.Thisclearlyshowsthat,withadditionallighting,Ihavemuchmorecontroloverthefinalimage.

ThefinalimagewithTTLflashandtheambientlightunderexposedby2stops.

Page 47: Lighting & Design for Portrait Photography: Direction & Quality of Light

F

LightandLighting

9.ELEGANTLYSIMPLEON-LOCATION

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

Thesoftboxiseitherheldupbyalightstand(whichIweighdownwithmycamerabag)orbyanassistant(holdingthesoftboxonamonopod).

Withnoaddedlighting.

Apull-backshotoftheoverallscene.

Page 48: Lighting & Design for Portrait Photography: Direction & Quality of Light

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.

Page 49: Lighting & Design for Portrait Photography: Direction & Quality of Light

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

TECHSPECS:

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

ForthisNewYorkrooftoplocationandthatdress,averticalphotowouldn’thavemademuchsense.Too

Page 50: Lighting & Design for Portrait Photography: Direction & Quality of Light

muchwouldhavebeen“lost”againstthedrabbrickwall.

Page 51: Lighting & Design for Portrait Photography: Direction & Quality of Light

F10.INTENTIONALUSEOFFLARE

orthesepromotionalphotosofaspiringmodeltwins,CarinaandCarolina,wewenttoapark.TherearecertainthingsIlookforwhenworkingon-

locationthatIknowwillimmediatelygivemeabetterchanceatsuccessfulportraits.Themethodhereshouldbequiteobviousbynow.

1. Alonglens(a70–200mmusedclosertothelongerend)tocompressthe

Page 52: Lighting & Design for Portrait Photography: Direction & Quality of Light

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

Page 53: Lighting & Design for Portrait Photography: Direction & Quality of Light

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

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

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

Page 54: Lighting & Design for Portrait Photography: Direction & Quality of Light
Page 55: Lighting & Design for Portrait Photography: Direction & Quality of Light
Page 56: Lighting & Design for Portrait Photography: Direction & Quality of Light

O11.ADDRIMLIGHTING

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

ofzingtotheimage:addrimlighting!

Page 57: Lighting & Design for Portrait Photography: Direction & Quality of Light

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

Page 58: Lighting & Design for Portrait Photography: Direction & Quality of Light

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.

Page 59: Lighting & Design for Portrait Photography: Direction & Quality of Light
Page 60: Lighting & Design for Portrait Photography: Direction & Quality of Light

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.

Page 61: Lighting & Design for Portrait Photography: Direction & Quality of Light

Themodelphotographedwithoutaddedbacklighting.Comparethistothefinalimageonthefacingpage.

Page 62: Lighting & Design for Portrait Photography: Direction & Quality of Light

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

Page 63: Lighting & Design for Portrait Photography: Direction & Quality of Light

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

Page 64: Lighting & Design for Portrait Photography: Direction & Quality of Light

I

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.

Page 65: Lighting & Design for Portrait Photography: Direction & Quality of Light

Thesceneandsubjectwithavailablelightonly.

Backlightaddedtocreatethelookofsunthroughthetrees.

TECHSPECS:

1/200second,f/4,800ISONikonD4

Page 66: Lighting & Design for Portrait Photography: Direction & Quality of Light

Nikon24–70mmf/2.8Twoflashes,oneinasoftbox

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

Thefinalimage.

Page 67: Lighting & Design for Portrait Photography: Direction & Quality of Light

Thetwolightsinplace.

Page 68: Lighting & Design for Portrait Photography: Direction & Quality of Light

S

14.LENSFLAREANDPOSTPRODUCTION

hootingtowardandevenintothesunforstronglybacklitimagescangiveuslensflare.Somephotographersembracethis;othersinsistthatthisis

somethingthatmodernlenstechnologytriestoavoid.Personally,Ilikeit—itcanaddvarietytoyourimages.

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

AnExtremeCaseLet’slookathowtocorrectforanextremeversionwherethebacklighting

Page 69: Lighting & Design for Portrait Photography: Direction & Quality of Light

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.

Page 70: Lighting & Design for Portrait Photography: Direction & Quality of Light

Thehistogramshowsdetailthatcanbepulledback.

AdjustingtheslidersinCameraRaw.

Thefinalimage.

Page 71: Lighting & Design for Portrait Photography: Direction & Quality of Light

T15.STRIVEFORVARIETY,PART1

atianaDaubekisaBaroqueviolinistandaMasterofMusicinHistoricalPerformancefromtheJulliardSchool.ThephotosessionwithTatianawas

oneofthoseinstanceswhere,oncethelightingandsubjectpositionwereworkedout,Iletmymodelbeherselfwithlittledirection.

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

Page 72: Lighting & Design for Portrait Photography: Direction & Quality of Light

Thetestshotshowstheavailablelight.

Pullingback,youcanseethelightbouncingoffthewall.

Page 73: Lighting & Design for Portrait Photography: Direction & Quality of Light

CarefuladjustmentstoTatiana’spositionallowedmetogetnicelightingonherface.

Page 74: Lighting & Design for Portrait Photography: Direction & Quality of Light

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

Page 75: Lighting & Design for Portrait Photography: Direction & Quality of Light

Availablelight

TECHSPECS(ABOVE):

1/200second,f/3.2,400ISONikonD4Nikon70–200mmf/2.8VRII

Page 76: Lighting & Design for Portrait Photography: Direction & Quality of Light

Availablelight

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

Page 77: Lighting & Design for Portrait Photography: Direction & Quality of Light

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

Page 78: Lighting & Design for Portrait Photography: Direction & Quality of Light

Thiskindofflexibilityintheuseoflight,andintheuseofoff-cameraflash,isnecessaryifwewanttousethefullrangeofourlightingabilities—fromtheverysubtleuseoflighttoblastingasmuchlightasthesun.

TheFirstLookWhenyouaddflash,itismucheasiertogetperfectlightinginrelationtoaninterestingbackground.Thefirstimage(bottomleft)istypicaloftheinitialsequencesweshot.

Page 79: Lighting & Design for Portrait Photography: Direction & Quality of Light

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

Page 80: Lighting & Design for Portrait Photography: Direction & Quality of Light

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

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

Thepull-backshot(below)showsthattherewasasecondflashtoaddabitofrimlightforseparation.

Page 81: Lighting & Design for Portrait Photography: Direction & Quality of Light
Page 82: Lighting & Design for Portrait Photography: Direction & Quality of Light

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.

Page 83: Lighting & Design for Portrait Photography: Direction & Quality of Light

TECHSPECS:

Page 84: Lighting & Design for Portrait Photography: Direction & Quality of Light

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.

Page 85: Lighting & Design for Portrait Photography: Direction & Quality of Light

L18.GELLEDFLASHATSUNSET

aurenandChriswereposedatabreathtakingvantagepointoverlookingManhattan.Thesettingsunpouredgorgeouswarmtonesonthescene.

Sincethecouplewasinashadedspot,Ihadtoaddlighting—butIwantedtomakeitappearasiftheywerebathedinthesamewarmlightasthescene.

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

Page 86: Lighting & Design for Portrait Photography: Direction & Quality of Light

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

Page 87: Lighting & Design for Portrait Photography: Direction & Quality of Light

TECHSPECS:

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

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

AfullCTSwillbringyourflashwhitebalancedowntoaround2900K,moreorlessneutralizingthelookoftungstenlight.A½CTSwillbringyourflashwhitebalancetoaround3800K,whichwillleaveyourbackgroundswithatouchofthewarmthoftungstenlighting.

Page 88: Lighting & Design for Portrait Photography: Direction & Quality of Light

K

IndoorLocations

19.BOUNCEFLASHINTHENIGHTCLUB

evinisajazztrumpetplayer,andhewasphotographedduringasessioninaclub.Iwasinvitedbythebandtophotographthemastheyplayed

oneafternoon.

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

Page 89: Lighting & Design for Portrait Photography: Direction & Quality of Light

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

Page 90: Lighting & Design for Portrait Photography: Direction & Quality of Light

ofblackfoamtoflagthelightfrommyflash.Sincethereisnolightcomingfromthecamera’sviewpoint,theresultinglightonthesubjectisdirectional.

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

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

Theblackfoamiethingusedtoflagaflash.

Page 91: Lighting & Design for Portrait Photography: Direction & Quality of Light

N

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

Page 92: Lighting & Design for Portrait Photography: Direction & Quality of Light

OneofthefinalimagesfromJack’ssession.

ShootinginTTLmodemeanttheflashexposurewasprettymuchspotoneverytime,regardlessofwhereJackzippedaround.Ihadmyblackfoamiething(seeprevioussection)handyincaseIneededtoflagmyflash.

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

Page 93: Lighting & Design for Portrait Photography: Direction & Quality of Light

Theambient-onlyexposure,forcomparison.

Page 94: Lighting & Design for Portrait Photography: Direction & Quality of Light

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.

Page 95: Lighting & Design for Portrait Photography: Direction & Quality of Light

W21.BOUNCEFLASHWITHAGEL

henphotographinglocationportraits,achallengethatIhavewithmyselfistolookforoptionswherethereappeartobenone—towork

withwhatappeartobelimitedlocationsandthenpulloutsomethingthatis,hopefully,surprising.

Theexistinglightatthesameexposure.Youcanseehowmuchdifferencethebounceflashmade.

Page 96: Lighting & Design for Portrait Photography: Direction & Quality of Light

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).

Page 97: Lighting & Design for Portrait Photography: Direction & Quality of Light
Page 98: Lighting & Design for Portrait Photography: Direction & Quality of Light

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

Page 99: Lighting & Design for Portrait Photography: Direction & Quality of Light

Thepull-backshotshowshowtheflashwaspositioned.Withoutanassistantthere,Isimplyfastenedthemonopodtotherailwithgafferstape.

Theambientlightlevelswithoutflash.

UsingthePocketWizardTT5wirelessflashtriggeronmycamera,Icouldcontroltheoutput.Forthisphotograph,Ialsogelledtheflashwitha½CTSgeltobringtheflash’scolorbalanceclosertothatoftheambientlight.

Theresultlooksdramaticbecauseofthatcentralhotspot,butitwasstill

Page 100: Lighting & Design for Portrait Photography: Direction & Quality of Light

flatteringenoughbecauseofthepositionofthelightandhowhisfacewasturnedtowardthelight.

TECHSPECS:

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

Page 101: Lighting & Design for Portrait Photography: Direction & Quality of Light

F23.FRESNELLIGHTS

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

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

TheLocationOurfirstimage(topleft)showsthedaylightstudiowhereJenniferphotographs

Page 102: Lighting & Design for Portrait Photography: Direction & Quality of Light

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.

Page 103: Lighting & Design for Portrait Photography: Direction & Quality of Light

ThemainlightwasthenfocusedonJennifer,tolightherfacemore.

PosingWeshotextendedsequences,includingimageswhereJenniferflippedherhair.Thisledtoalotoflaughterbutfewusableimages.

Theportraitaboveismyfavorite.Ithasadynamiccomposition;theanglesofherarmsandlegsformapyramidwithJennifer’sspotlitfaceattheapex.I

Page 104: Lighting & Design for Portrait Photography: Direction & Quality of Light

alsolikedherslightlyhaughtyexpressionintheimagetotheright,butthecompositionwasn’tquiteasdynamic.

TECHSPECS:

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

Page 105: Lighting & Design for Portrait Photography: Direction & Quality of Light

TwoFresnelLEDlights

Page 106: Lighting & Design for Portrait Photography: Direction & Quality of Light

A

24.WINDOWLIGHTBABYPORTRAITS

nyparentwilltellyouthateachkiddohasadistinctpersonalityfromthemomentitisborn.Forthephotographer,then,theidealistocapturesome

ofthispersonalityinthechild’sportraits.Inthiscase,Liam’sindomitablespiritashetriedtositupmadeforhilariousexpressions.

ASimplifiedLookMyowntakeonphotographingbabiesisthatIforgoallthepropsandaccoutrementsyouoftenseeassociatedwithbabyphotography—thehatsandsuch.Whileusingtoysaspropsisoftennecessarytokeepthechild’sattention,Istillprefertophotographjustthebaby.

Page 107: Lighting & Design for Portrait Photography: Direction & Quality of Light

TECHSPECS:

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

Page 108: Lighting & Design for Portrait Photography: Direction & Quality of Light

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.)

Page 109: Lighting & Design for Portrait Photography: Direction & Quality of Light
Page 110: Lighting & Design for Portrait Photography: Direction & Quality of Light

T

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:

1/160second,f/2.0,800ISONikonD435mmf/1.4GAF-S

Page 111: Lighting & Design for Portrait Photography: Direction & Quality of Light

Availablelight

Shootingatanangletotheopengaragedoorproducedadynamicinterplaybetweenlightandshade.Justwonderful.

DeeperIntotheWorkshop

Page 112: Lighting & Design for Portrait Photography: Direction & Quality of Light

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.

Page 113: Lighting & Design for Portrait Photography: Direction & Quality of Light
Page 114: Lighting & Design for Portrait Photography: Direction & Quality of Light

W

26.VIDEOLIGHTFORLOW-LIGHTDRAMA

henworkingatalow-lightlocationwheretheatmosphereoftheplaceisimportant,Ioftenusevideolighting.Unlessyou’reworkingwitha

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

LightingVideolighttendstohaverapidlightfalloffbecausethelightismorecontainedandalsobecauseyoutendtoworkclosertoyoursubjectwiththelight.ThatdramaticqualityofvideolightiswhatIusetoenhancethelookofportraitsinlow-lightenvironments.

WithsomeLEDvideolightsyou’reabletocontinuouslychangethecolorbalancefromincandescenttodaylight.Thisisareallynicefeaturebecauseyoucannowmorecloselymatchtheadditionallighttotheexistingambientlight.

Page 115: Lighting & Design for Portrait Photography: Direction & Quality of Light

TECHSPECS:

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

Page 116: Lighting & Design for Portrait Photography: Direction & Quality of Light

LEDvideolight

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

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

Page 117: Lighting & Design for Portrait Photography: Direction & Quality of Light

T27.WEDDINGSWITHVIDEOLIGHT

heimagebelowisoneofmyfavoritephotosofJuliaandLuis’swedding.Whycan’tweddingportraitsofthebrideandgroombealittlebitsexy?

VideoLightsVideolightis,forme,anessentialpartofmylightingarsenalwhenIphotographweddings.Theharderlightanditsrapidfallofflendacertaindramaticqualitytomyimages.

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

TECHSPECS:

1/100second,f/4,1600ISONikonD4Nikon24–70mmf/2.8

Page 118: Lighting & Design for Portrait Photography: Direction & Quality of Light

LEDvideolight

Youhavetobequiteparticularabouthowyoupositionthevideolightinrelationtoyoursubject’sface.

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

Page 119: Lighting & Design for Portrait Photography: Direction & Quality of Light

PostproductionForbothoftheseimages,IliftedtheshadowareasduringthepostproductionoftheRAWfile.IusedthelocalcorrectionsbrushinLightroomtobringupsomeadditionaldetailinthesepartsoftheportraits.

Page 120: Lighting & Design for Portrait Photography: Direction & Quality of Light

Posing,Directing,andComposition

28.POSINGENGAGEMENTPORTRAITS

Page 121: Lighting & Design for Portrait Photography: Direction & Quality of Light

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.

Page 122: Lighting & Design for Portrait Photography: Direction & Quality of Light

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

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

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

Page 123: Lighting & Design for Portrait Photography: Direction & Quality of Light

TECHSPECS:

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

Page 124: Lighting & Design for Portrait Photography: Direction & Quality of Light

H

29.COMPOSITIONANDFOCALLENGTH

ere’satechniquethatIstronglyrecommend:whenshootingportraitswithazoomlens,stepbackinsteadofjustzoomingwider.Theperspective

distortionthatawide-anglelenswillcauseisnotallthatflatteringtoyoursubject.

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

Page 125: Lighting & Design for Portrait Photography: Direction & Quality of Light

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

Page 126: Lighting & Design for Portrait Photography: Direction & Quality of Light

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

OnlywhenIcan’tsafelyorcomfortablystepbackanymorewillIzoomwider.ButmyfocallengththenwillstillbemoreappropriatethanifIhadimmediatelyrackedmyzoomaswideasIcouldfromthestart.Togiveyouanideaoftherelativedistances,seetheimagesbelow.

Page 127: Lighting & Design for Portrait Photography: Direction & Quality of Light

Simplyzoomingwider(top)togotoafull-lengthviewresultsinunflatteringdistortion(bottom).

Page 128: Lighting & Design for Portrait Photography: Direction & Quality of Light

Steppingbackforthesamecompositionatalongerfocallength(top)yieldsbetterresults(bottom).

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

Page 129: Lighting & Design for Portrait Photography: Direction & Quality of Light

W30.GESTUREANDCONNECTION

ithportraitsofacouple,thewaytheyconnectwitheachotherisoftenthedeterminingfactorinwhethertheimageiscompelling.This

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

Withportraitsofacouple,thewaytheyconnectwitheachotherisoftenthedeterminingfactorinwhethertheimageiscompelling.

Page 130: Lighting & Design for Portrait Photography: Direction & Quality of Light

OlenaandAustinaredirectlylookingateachother,handsintertwinedandlegstouching.Theconnectionisclearlythere.Here,thecouplewasphotographedusingwindowlightonly.

TECHSPECS:

1/160second,f/4,800ISONikonD4Nikon24–70mmf/2.8

Page 131: Lighting & Design for Portrait Photography: Direction & Quality of Light

Windowlight

Page 132: Lighting & Design for Portrait Photography: Direction & Quality of Light

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.

Page 133: Lighting & Design for Portrait Photography: Direction & Quality of Light

A

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

Page 134: Lighting & Design for Portrait Photography: Direction & Quality of Light

positioningthecouple.Then,whenitseemedtheideawouldworkandthelightsweresetup,Iaddedthecoupleandfinessedtheposeandthelighting.

Page 135: Lighting & Design for Portrait Photography: Direction & Quality of Light

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

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

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

Page 136: Lighting & Design for Portrait Photography: Direction & Quality of Light

TECHSPECS:

1/100second,f/4,1000ISONikonD4Nikon24–70mmf/2.8

Page 137: Lighting & Design for Portrait Photography: Direction & Quality of Light

TwoLEDFresnellights

Page 138: Lighting & Design for Portrait Photography: Direction & Quality of Light

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.

Page 139: Lighting & Design for Portrait Photography: Direction & Quality of Light

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

Page 140: Lighting & Design for Portrait Photography: Direction & Quality of Light

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

TECHSPECS:

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

Page 141: Lighting & Design for Portrait Photography: Direction & Quality of Light

Availablelight

Page 142: Lighting & Design for Portrait Photography: Direction & Quality of Light

33.FINESSE

Page 143: Lighting & Design for Portrait Photography: Direction & Quality of Light

It’swonderfulkeepingintouchwithpreviousweddingclientslikeReneeandDavid.Overtheyears,it’sgreatseeingthemforphotosessions—thistime

withtheirdaughters,OliviaandJulia.

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

TECHSPECS:

Page 144: Lighting & Design for Portrait Photography: Direction & Quality of Light

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!

Page 145: Lighting & Design for Portrait Photography: Direction & Quality of Light

TECHSPECS:

1/500second,f/3.2,800ISONikonD4Nikon70–200mmf/2.8VRII

Page 146: Lighting & Design for Portrait Photography: Direction & Quality of Light

Availablelight

Page 147: Lighting & Design for Portrait Photography: Direction & Quality of Light
Page 148: Lighting & Design for Portrait Photography: Direction & Quality of Light

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.

Page 149: Lighting & Design for Portrait Photography: Direction & Quality of Light

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—

Page 150: Lighting & Design for Portrait Photography: Direction & Quality of Light

whetherIcantightenthecompositionbyshootingfromalowerangle.Evenaslightlylowerangleeliminatedmostofthepathwayhere.

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

Cameraatlying-downheight.

Page 151: Lighting & Design for Portrait Photography: Direction & Quality of Light

Anotherposeshotfromalowangle.

TECHSPECS:

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

Page 152: Lighting & Design for Portrait Photography: Direction & Quality of Light

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.

Page 153: Lighting & Design for Portrait Photography: Direction & Quality of Light

Theambientlightwasabout2stopsunderexposed.

“Therearenorulesforgoodphotographs,thereareonlygoodphotographs.”

—AnselAdams

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

Intermsofcomposition,Istronglyfeelthatphotographersshouldreactinaninstinctiveway.

LookingatThisImageThecompositionofthisphotographofAnelisa(facingpage)canbeanalyzedin

Page 154: Lighting & Design for Portrait Photography: Direction & Quality of Light

termsoftheusualguidelines:

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

Thepull-backshot,showingtheProfotoD1Air500Wsmonolight.TheProfotobeautydishwasthemainlightonAnelisa.

Page 155: Lighting & Design for Portrait Photography: Direction & Quality of Light

Thefinalimage.

TECHSPECS:

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

Thereisalsothestrongvisualdynamiccreatedbyherfacebeingmoreorlesscentraltotheframe—aswellasthecurveofthisindustrialchimneystructure,whichpullsyoureyetowardthecenter.

Page 156: Lighting & Design for Portrait Photography: Direction & Quality of Light

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

Page 157: Lighting & Design for Portrait Photography: Direction & Quality of Light

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.

Page 158: Lighting & Design for Portrait Photography: Direction & Quality of Light

TheissueofeyeglassreflectionwashandledsimplybyadjustingOktavia’spose,asshownintheseimages.

TECHSPECS:

Page 159: Lighting & Design for Portrait Photography: Direction & Quality of Light

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

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

Page 160: Lighting & Design for Portrait Photography: Direction & Quality of Light

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

Page 161: Lighting & Design for Portrait Photography: Direction & Quality of Light

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.

Page 162: Lighting & Design for Portrait Photography: Direction & Quality of Light
Page 163: Lighting & Design for Portrait Photography: Direction & Quality of Light
Page 164: Lighting & Design for Portrait Photography: Direction & Quality of Light

M38.STUDIOHEADSHOTS

ikeisanactor/musicianfriendofminewhoneededhisportfolioupdated.Westartedoffwithheadshotsinthestudio.BecauseMikeisa

characteractor,wetookmanyphotosinwhichtheexpressionswerequitegoofyandstrange.Here’sasmallselectionofhisheadshots,whichshowsomecharacterandexpression.

BackgroundThebackgroundwasthebackwallofmystudio,whichispaintedalightgray.Becauseoflightfalloff,thebackgroundappearsdarkgrayinthefinalimages.

Page 165: Lighting & Design for Portrait Photography: Direction & Quality of Light

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

Page 166: Lighting & Design for Portrait Photography: Direction & Quality of Light
Page 167: Lighting & Design for Portrait Photography: Direction & Quality of Light

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

ThehairlightwasviathesecondProfotoD1Air500Wsmonolight,supportedonaboom.Thelightbeamwasnarrowedbyagrid.

ThisrelativelysimplesetupgavemetheresultsIwantedfortheseheadshots—butIdochangeitupattimes,alwaysexploring.

Page 168: Lighting & Design for Portrait Photography: Direction & Quality of Light
Page 169: Lighting & Design for Portrait Photography: Direction & Quality of Light

R39.LOW-KEYVINTAGEPORTRAIT

andyhasalookreminiscentofAvaGardner,soIwantedtocreateaportraitofherusingtheclassicHollywoodglamourstyleoflighting.

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

Page 170: Lighting & Design for Portrait Photography: Direction & Quality of Light

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

Page 171: Lighting & Design for Portrait Photography: Direction & Quality of Light
Page 172: Lighting & Design for Portrait Photography: Direction & Quality of Light

T40.CONTINUOUSLIGHTS

hisstrikingportraitofLauraineshowshersparklingmischievousness—and,onthetechieside,theselectivefocusofafastlenspairedwiththe

flexibilityofcontinuouslighting.Thedeliciousnessofthe85mmf/1.4lensreallybringshereyestoattention.

KeepItRelaxed

Page 173: Lighting & Design for Portrait Photography: Direction & Quality of Light

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

Page 174: Lighting & Design for Portrait Photography: Direction & Quality of Light

WestcottSpiderlites

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

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

Page 175: Lighting & Design for Portrait Photography: Direction & Quality of Light
Page 176: Lighting & Design for Portrait Photography: Direction & Quality of Light

ImprovisingonIdeas

41.DECONSTRUCTINGAPORTRAIT

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

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

Page 177: Lighting & Design for Portrait Photography: Direction & Quality of Light

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*

Page 178: Lighting & Design for Portrait Photography: Direction & Quality of Light

NikonD485mmf/1.4Beautydish,Profotoportablestudiolight

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

Page 179: Lighting & Design for Portrait Photography: Direction & Quality of Light

42.URBANBALLERINA

Page 180: Lighting & Design for Portrait Photography: Direction & Quality of Light

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.

Page 181: Lighting & Design for Portrait Photography: Direction & Quality of Light

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.

Page 182: Lighting & Design for Portrait Photography: Direction & Quality of Light
Page 183: Lighting & Design for Portrait Photography: Direction & Quality of Light

L

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:

1/200second,f/4.0,1600ISO

Page 184: Lighting & Design for Portrait Photography: Direction & Quality of Light

NikonD4Nikon70–200mmf/2.8VRII

Page 185: Lighting & Design for Portrait Photography: Direction & Quality of Light

LitepanelsChromavideolight

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

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

Page 186: Lighting & Design for Portrait Photography: Direction & Quality of Light
Page 187: Lighting & Design for Portrait Photography: Direction & Quality of Light

44.WORKINGTOWARDTHEFINALIMAGE

Page 188: Lighting & Design for Portrait Photography: Direction & Quality of Light

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.

Page 189: Lighting & Design for Portrait Photography: Direction & Quality of Light

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

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

Thephotostillhadthatslightlydistractingreflectionofherhandinthemirror.However,aslightchangeinherposehidthatandgotustothefinalimage,shownabove.

TECHSPECS:

1/200second,f/1.8,1600ISONikonD485mmf/1.4GAF-S

Page 190: Lighting & Design for Portrait Photography: Direction & Quality of Light

Availablelight(lightbulbsaroundmirror)

Oftenenough,wecaneasilyfinesseanimagejustlikethisuntilwehavesomethingthatreallyworks.Justdon’tgiveuptooearly.

Page 191: Lighting & Design for Portrait Photography: Direction & Quality of Light

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.

Page 192: Lighting & Design for Portrait Photography: Direction & Quality of Light

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

Canon1DMarkIInCanon16–35mmf/2.8L

Page 193: Lighting & Design for Portrait Photography: Direction & Quality of Light

Availablelight

TECHSPECS(RIGHT):

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

Page 194: Lighting & Design for Portrait Photography: Direction & Quality of Light

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.

Page 195: Lighting & Design for Portrait Photography: Direction & Quality of Light

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

Page 196: Lighting & Design for Portrait Photography: Direction & Quality of Light

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

Page 197: Lighting & Design for Portrait Photography: Direction & Quality of Light
Page 198: Lighting & Design for Portrait Photography: Direction & Quality of 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.

Page 199: Lighting & Design for Portrait Photography: Direction & Quality of Light

47.PLAYFULPORTRAITS,PART1

Page 200: Lighting & Design for Portrait Photography: Direction & Quality of Light

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

Page 201: Lighting & Design for Portrait Photography: Direction & Quality of Light

wideaperture(f/2),IwasabletothrowhimoutoffocusandkeepthisportraitaboutIrene.

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

Twofinallooksfromthesession.

Page 202: Lighting & Design for Portrait Photography: Direction & Quality of Light

Thepositioningofthetwolights,withMichaelshownstandingwhereIrenewouldbeinthefinalsequenceofimages.

Page 203: Lighting & Design for Portrait Photography: Direction & Quality of Light

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.

Page 204: Lighting & Design for Portrait Photography: Direction & Quality of Light

ThissimpleportraitofMichaelagainstacolorfulbackgroundwasnice—butitdidn’tquitecapturethecreativityandenergyIwantedtoshow.

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

Lighting

Page 205: Lighting & Design for Portrait Photography: Direction & Quality of Light

Thetechnicaldetailsaresimplicityitself.Thelightingwasallnatural;theovercastweathermadeforsoftlight.Ialsousedawideaperturetocreateseparationbetweenmysubjectandthebackground.

TECHSPECS:

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

Page 206: Lighting & Design for Portrait Photography: Direction & Quality of Light

Availablelight

Page 207: Lighting & Design for Portrait Photography: Direction & Quality of Light

W49.FILMNOIR

orkingonimagesforcharacteractorMikeLarose’sportfolio,wedecidedonafilmnoirthemethatwoulddepicthimasacharacterfrom

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

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

Page 208: Lighting & Design for Portrait Photography: Direction & Quality of Light

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.

Page 209: Lighting & Design for Portrait Photography: Direction & Quality of Light
Page 210: Lighting & Design for Portrait Photography: Direction & Quality of Light

W

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.

Page 211: Lighting & Design for Portrait Photography: Direction & Quality of Light

Thethreebarespeedlights,eachwithagelovertheflash.

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

TECHSPECS:

Page 212: Lighting & Design for Portrait Photography: Direction & Quality of Light

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

Page 213: Lighting & Design for Portrait Photography: Direction & Quality of Light

threebarespeedlightswithgels

Page 214: Lighting & Design for Portrait Photography: Direction & Quality of Light
Page 215: Lighting & Design for Portrait Photography: Direction & Quality of Light

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.

Page 216: Lighting & Design for Portrait Photography: Direction & Quality of Light

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

Page 217: Lighting & Design for Portrait Photography: Direction & Quality of Light

appear.Thiswasanartisticdecision.Ihadothergoodchoices,butIfindthemoredramaticeffectisusuallythemoreinterestingone.

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

Page 218: Lighting & Design for Portrait Photography: Direction & Quality of Light
Page 219: Lighting & Design for Portrait Photography: Direction & Quality of Light

M

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

Page 220: Lighting & Design for Portrait Photography: Direction & Quality of Light
Page 221: Lighting & Design for Portrait Photography: Direction & Quality of Light

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

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

Page 222: Lighting & Design for Portrait Photography: Direction & Quality of Light

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

Page 223: Lighting & Design for Portrait Photography: Direction & Quality of Light

B53.AVINTAGEMOTORBIKE

ackinsection25,wesawJohninhisworkshop.Johnalsohastwovintagemotorbikes;oneisfromtheWWIeraandtheotheristhis1928German-

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

Page 224: Lighting & Design for Portrait Photography: Direction & Quality of Light

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.

Page 225: Lighting & Design for Portrait Photography: Direction & Quality of Light

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

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

Page 226: Lighting & Design for Portrait Photography: Direction & Quality of Light
Page 227: Lighting & Design for Portrait Photography: Direction & Quality of Light

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.

Page 228: Lighting & Design for Portrait Photography: Direction & Quality of Light

Thelightingsetup,withaProfotoAcuteB2600WspowerpackandaProfotobeautydishwithasock.

Page 229: Lighting & Design for Portrait Photography: Direction & Quality of Light

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

Page 230: Lighting & Design for Portrait Photography: Direction & Quality of Light

sunlight,thephotosessionwasmadeeasier—andthechancesforsuccessweresignificantlybetter.

Thewidershotsweredonewithoutaneutraldensityfilter,sinceIdidn’tsospecificallyneedashallowerdepthoffield.

Page 231: Lighting & Design for Portrait Photography: Direction & Quality of Light

F

55.BESTON-LOCATIONLIGHTMODIFIER

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

anintriguingvenue,TattooedMom’s,whichwasidealforportraitswithamoregrittylook.

SceneandCompositionOfthevarioussetupsweshot,Imostlikedtheoneabove.Thesemicircularpatterntothegraffitiartworkandthesymmetryofthefurnituredrovemetoward

Page 232: Lighting & Design for Portrait Photography: Direction & Quality of Light

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

Page 233: Lighting & Design for Portrait Photography: Direction & Quality of Light

Profotoflashwith1x3-footgriddedsoftbox

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

Page 234: Lighting & Design for Portrait Photography: Direction & Quality of Light

F56.NEWYORKCITYROOFTOP

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

herNewYorkCityapartment.

ConceptIwantedtousethedramaticsunandskytoshowcaseHeather’svividdressandelegantmoves.Therewasnoneedtoposesomeonewhoworksasaprofessionaldancer.Shehadit!SoitwasjustuptometofigureoutwhereexactlyIwantedtoposeherandhowtolighther.

Page 235: Lighting & Design for Portrait Photography: Direction & Quality of Light

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

Page 236: Lighting & Design for Portrait Photography: Direction & Quality of Light

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

Page 237: Lighting & Design for Portrait Photography: Direction & Quality of Light

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

Page 238: Lighting & Design for Portrait Photography: Direction & Quality of Light

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

LensandLightingIchosealongerlenstocompresstheperspectiveandplacedJaleelinfrontofatallmuralthatprovidedenoughspacetoincludehisbeautydish(whichIfired,too)intheframe.

Thelightingwasfairlysimpleaswell.Iplacedagridded1x3-footsoftboxasthemainlightonJaleelandhiswheelchair-mountedlightingsetup.Iaddedasecondlightwitha10degreegridonareflectorforagentlespotlightonhim.

Page 239: Lighting & Design for Portrait Photography: Direction & Quality of Light
Page 240: Lighting & Design for Portrait Photography: Direction & Quality of Light
Page 241: Lighting & Design for Portrait Photography: Direction & Quality of Light

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.

Page 242: Lighting & Design for Portrait Photography: Direction & Quality of Light
Page 243: Lighting & Design for Portrait Photography: Direction & Quality of Light

TECHSPECS:

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

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

Ofalltheincrediblegraffitithatadornedthe5PointzBuilding,IfeltthatthissectionbestfitthestylingofGer’scharacter.Itisdynamicandhasnocartoonfacesorfiguresbehindhertodistractattention.

Page 244: Lighting & Design for Portrait Photography: Direction & Quality of Light
Page 245: Lighting & Design for Portrait Photography: Direction & Quality of Light

T

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.

Page 246: Lighting & Design for Portrait Photography: Direction & Quality of Light
Page 247: Lighting & Design for Portrait Photography: Direction & Quality of Light

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

Page 248: Lighting & Design for Portrait Photography: Direction & Quality of Light
Page 249: Lighting & Design for Portrait Photography: Direction & Quality of Light

60.DEPTHOFFIELDCONTROL

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

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

Page 250: Lighting & Design for Portrait Photography: Direction & Quality of Light

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!

Page 251: Lighting & Design for Portrait Photography: Direction & Quality of Light

Thescenewithjusttheavailablelight.

Apull-backshotshowingthesoftboxinposition.

Page 252: Lighting & Design for Portrait Photography: Direction & Quality of Light

PerspectiveMattersThisimagewasshotatf/14—butthemassiveamountofdepthoffielddidn’tdetractfromtheimage.Seanremaineddominantintheframeduetotheperspective.

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

Page 253: Lighting & Design for Portrait Photography: Direction & Quality of Light

INDEX

A

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

B

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

C

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

Page 254: Lighting & Design for Portrait Photography: Direction & Quality of Light

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

D

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

E

Edgelight.SeeRimlightEyeglasses,76–77

F

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

Page 255: Lighting & Design for Portrait Photography: Direction & Quality of Light

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

G

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

H

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

I

Incandescentlight.

Page 256: Lighting & Design for Portrait Photography: Direction & Quality of Light

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

L

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

M

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

N

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

O

Page 257: Lighting & Design for Portrait Photography: Direction & Quality of Light

Overexposure,32–33,45

P

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

Q

Quantum,78–79

R

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

S

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–

Page 258: Lighting & Design for Portrait Photography: Direction & Quality of Light

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

T

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

V

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

W

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

Page 259: Lighting & Design for Portrait Photography: Direction & Quality of Light

OTHERBOOKSFROM

AmherstMedia®

AlsobyNeilvanNiekerk...

On-CameraFlashTECHNIQUESFORDIGITALWEDDINGANDPORTRAIT

PHOTOGRAPHY

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

Off-CameraFlash

TECHNIQUESFORDIGITAL

Page 260: Lighting & Design for Portrait Photography: Direction & Quality of Light

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.

Page 261: Lighting & Design for Portrait Photography: Direction & Quality of Light

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

Page 262: Lighting & Design for Portrait Photography: Direction & Quality of Light

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

Page 263: Lighting & Design for Portrait Photography: Direction & Quality of Light

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