10 One Light Set-ups: 6 to 10
Silver reflector four room light for definition ok, number six so this was we kind of did before rembrandt light, but this time the white reflector to fill in so I'll grab a shot of that just for the pdf purposes it's like that? Perfect. Great! So all this will do is she still has the shape on her face, but it softens up the shadows of it. Okay, that's a pop up the closer I bring bring the reflector in the more it fills in the shadows further back that I have that reflector, the more the shadows air still defined. So it's still rembrandt like you just don't remember it doesn't have to be solid dark shadows and this is what I was talking about before with the ratios if anyone's ever taken a class before, I used to have to know like this was it was a one to three ratio in the shadows, like if I wanted to be filled in more, I move the reflector and more switching to silver and if I want less shadows are more shadows. I just don't use a reflector or I back it away. That's all you really ne...
ed to do is go for what looks right all right, so now I'm going to go on to number seven, all right, so dr box short light position to know we're going to create some a little bit more drama on her face in the beginning everything was centered it was kind of flat that would be your glowing beauty light your normal portrait this would be remember if you want a little bit more drama a little bit more separation now we're going like dramatic so you turned to your if you can move this over if you want way heard many concerns for her cold feet yeah this is I did not force her to have no socks on okay not me in okay, perfect so look this way have three quarters great so right now she has like a loop ah long shadow it looks very beautiful but shadow is toward me so it makes that short like so I did not mean to this but it should be the same because the distance of the light to the subject didn't move if I move the light way back it would change but it didn't so notice everything gets more dramatic and the same thing is before just because it's short light doesn't mean it has to be a dramatic photo can have a little bit of white phil this is how I like subjects that are heavier or have around just really round face and doesn't mean I like all of them this is a tool that I will try if I want I'll just give it a try and see if it helps because what I'm doing is instead of straight on round face lighting everything filling in every shadow what I did is I took the area of her face that was lit from being this large to now being all morning more narrow, slender illumination so it it mimics the idea of slender rising or face I don't have to have dark shadows and heavy still in with white so I can soften it up a little bit and so it still has that shape but the shadows aren't is dark and in my opinion we'll back it up a little bit what I'm noticing is I think this got too bright that's just like this is just a personal opinion I think it looks a little bit right there I just wanted like a little bit of phil so what he does backs to light up a little bit back so reflect her up a little bit it'll be weaker and I'll just be a tiny bit of phil so I mean distance makes all the difference so now it's just like a tiny bits not as dark with this shadow still there so that is number seven short light shadows towards the camera I was looking for loop just a little bit of a loop shadow from her nose all right, we're going to go to eight off the box short light rum brand so I'm moving around and where you ours get just a little bit uh a little it's tiny but the reason he's asking me a little higher I'm assuming we're good work, we're on the same wavelength what happens is it's harder to connect that no shadow if the shadows like short because it's lower what did when you raise it up it's giving me a longer shadow and so it gives me even like a longer rembrandt instead of it being cross ways. So I get, like, a longer highlight, so you raise it up a little bit for me to do that you have just a tiny that that we get perfect in with the same ok, perfect seem area so this would be and I'll leave it like this for a second, okay, so you'll see she gets remember it's like that little bit of a move, but what I can do even more if I want even more dramatically turn ahead with me, they are not moving anything perfect, okay? And look your eyes that way so I can shrink the size of that rembrandt just the it is moving ahead and it would just give me like, even a little bit more drama or to your head wouldn't even more good, perfect and so I could make it like a a tiny bit of the highlight like almost nothing under her eye and this would be if I were I don't I feel like you could do something really dramatic it could be an athlete and they're looking off to the future I don't know but more shadow is more drama but all I did was move her head so I were I'd want her head would be right there yeah wants to wants to know what john is doing with that little pink device hold a rico feed a camera and it takes a three hundred sixty degree picture so what do we do that diagrams later I'll be able to look at and see where the lights are in relationship to in other words he that smarty very smart we're over here john trying to figure out like how is it that you're taking a picture of this set up when you're just going like I'm going to be in everyone the picture I like that that is the answer everyone to john's little pink camera thank you um okay so going back to where we all it's where we started in the beginning as well if I'm looking at this and you know I like it but I wish there was more drama I want the background to be darker, okay? So the things I can dio if I bring this like closer to her relative to the background now the background is going to be further from her compared to that light, so it'll be darker, so I'm going to bring it in a little closer. And then the other thing is right now, his book at a water you can see it it's hitting that background a little bit so I can feather it off. And if donald the cameras can see this too much, but it makes a big difference there. It's hitting the background here, it's not okay. And then I can bring this in just a little bit and I'm gonna lower just a bit. One other thing I can do to make the background really dark is something called a flag. Sounds fancy. It could be a piece of black cardboard. It doesn't need to be anything. It could be the side of this reflector. Ideally, it won't be a reflector. Reflective will kick light, but whatever. Yeah, black. A piece. A piece of black foam core. Anything that's black. It was still one more time. Exactly what he did with something black. You just put it on a stand. You clamp it and put it right next. That like to appear in a small space. And I'm trying to make sure that backgrounds dark but it's a white background I've done everything I could. I've moved the like closer to the subject and move the subject as far as possible from the background I feathered it off but it's still heading there if you just take a piece of black phone port, it just acts like a little wall. It doesn't affect her at all. It just blocks the lead out from the background. So we tried without anything, I think meeting again with that. So you notice I'm able to just buy all I just was, like, closer and angle it a little bit like that was a tiny bit of movement moved closer to her. The late on her is going to be brighter compared to the background close down, everything gets darker and feather it off. And so if he if we had the black piece of foam core, you could make it go completely black. All right, so let me add in that last part, you want to give me a little bit of phil light and I want rembrandt here. So I'm gonna have you turn your head towards me a little bit of film, get his take in the violence, and then can you pull it back just a little bit more tiny butterfield and not where my angle is this is a totally different discussion this's more of a lighting shooting nerve posing an angle discussion but for portrait's I try not to shoot too high up on a subject because they lose their neck so if you notice in a lot of these shots I just crouched down just a little bit because if I were a tall person which I'm not and I were shooting up really high she and it's not it's not wrong it's just a different look but she just kind of loses their necks they're so I've been to shooting a little bit lower for that definition so I got that all right, so we're going toe pop on now to number nine on the next one. All right, so octo box as a room light okay, so this is one do we have any flags sticking around? Wait, we can cut it to make it smaller question from david burch could you use the black side of a fiveone one reflector to five? Absolutely. Totally. You could definitely do that and I thought it was funny at all I was impressed with I looked online and they have flag and gobo kits expensive those are so I mean they will come with a little diffusion panels like black flags and it was like a like eleven hundred bucks just use a piece of black foam core they could be totally fine. Ok, so I'm going to pull that back that way. So what I'm doing is what I want is just a slice of light under face, so I'm gonna be totally that way good. And I have you bring back even further, okay? So, like, right there, turn your head a little bit more to your right. All right, so what I'm doing, hopefully you can see this is I'm split lighting her in short light, but what that means is all I see is just just the outline of her face just a little bit of her profile and so this is his dramatic as it gets, so yeah, yeah, he moved toward the sled psa and points was light for me, perfect and with the same perfect. All right, so now this would be just the outline of her profile, and this is as dramatic as much shattered towards the camera as possible, just tracing the outside. So what I would use this for this would be great for, like a musician or a new athlete, you know, musician holding their guitar or the athlete holding, you know, if it's their basketball and just the outline of their profile with a soft box from behind, if it's full length and you need a bigger soft box but for a portrait that'll be perfect and I could even turn her turn even more profile keep going I mean I could dio and I want to bring it back just a little bit more pushing it right there so now it'll just be yelling or faith so what I was looking for us he's moving in is when I had her turn more to profile all of a sudden it caught a little bit of light on her cheek so I had him move it back because it's that same thing is where I had her moving in the soft box front to back the light will wrap differently so in that case I moved it back so wouldn't rather just have a slice so this would be just a room light on her face you can do that with a soft box what you want to be careful of is what we're talking about before if you have a lens hood I would wear I would use it at this point because look I'm basically shooting back towards that light that light is definitely hitting my lens I mean I can look at it and see the reflection on my lens even so what a lens hood would do is it block out some of that extra light give me a better contrast in my image and also helped me avoid lens flare but I'm just kind of without it kind of was watching my angles you have a pretty profile and a pretty front file okay all right perfect so this is the last set up kind of funky but it's going to lead into what we do can you put this like right up against her head okay, so is the lesson we're going to do this tomorrow for two lights set up this is one of my favorite things I'm using a three foot octo box so it's not as applicable but you can actually put a light source directly behind your subject and what it does is it wraps around them now in this instance with one light you would not have them face towards camera and said you have them face towards profile and it lights the profile of their face and of their head and so um can you put it right up to her so like I actually like put it up against my subject shoulders and is there any way that can go lower ok just a little bit so what I'm going to do is I'm going to surround her in that octo box and I'm going to turn her profile and the cameras can see this not sure if you guys and see that from this angle but when the the soft boxes right up against her it wraps around her clavicles it wraps around the side of her face that wraps around her shoulders and so it kind of lights her in silhouette I would shoot this perhaps in black and white and my favorite thing to shoot this for I love this set up for maternity and fine art nudes for an octo box this small you really can only get a head shot but if even with a three by four foot soft box or something bigger if I stand a pregnant mother in front of the soft box like this the light just wraps around and it's dramatic and I shoot it in high contrast black and white and I love the results so you kind of limited with the small soft box here media ring is not is more of an art than a science in this one because it's chassis rip against it so you put it back up then I'll test it I doubt and turn it towards light I doubt it it was what to do but we'll try so since she's right up against it it's going to be very bright but I do want it right so I'm gonna cut the difference we're going to try like oh like ten or eleven exactly so I'm going towards what looks nice that was pretty good okay it's chasing right here in this next one ok, so what I'm getting and I like I said I'd put this in black and white for example, but I'm getting kind of this dramatic sidelight with a lot of drama it's hi key, because of the background, but it's low key, because the showers so she's got this cool. Look to it so boudoir, beinart, nudes, maternity. This would be really, really good for and tomorrow we add another light in in case you wanted to actually illuminate your subject, and you had that way, way look repressions into one more, had a little bit more towards the light, just a little bit good. Looks cool when I like your clavicles and get our love so it's, just something different that you could do.
AFTER THIS CLASS YOU’LL BE ABLE TO:
- Expertly light a portrait using just one light and one modifier
- Work with more complex two and three light set-ups
- Create light for portraits, beauty, or drama
- Light a group photograph
- Learn to troubleshoot the most common lighting questions
- Confidently purchase the right lighting equipment for your work
ABOUT LINDSAY’S CLASS:
Intimidated by studio lights? In Studio Lighting 101, fashion photographer Lindsay Adler deciphers the complexities of studio light, breaking it down into simple concepts for beginners. In this class, you'll learn everything from basic lighting terminology to creating multiple light set-ups. Start with the basics like how to adjust your digital camera settings for studio strobes and layer in the details you'll need to light your first photo studio portrait.
Photographers on a budget will learn how to light a portrait using a single light, modifier, and photography light stand. Then, learn to work with two and three light kits to create drama, background separation, and more. You'll see dozens of studio lighting set-ups, from start-to-finish, behind the scenes in this live recorded class. Develop the skills to troubleshoot several common photography studio lighting problems, like lighting large groups and correcting reflections on glasses.
By the end of this class, you'll know how to buy your first studio lighting kit and how to shoot that first in-studio portrait. This class is ideal both for beginning photographers that don't understand much beyond the exposure triangle and experienced natural light photographers ready to try a studio setting.
WHO THIS CLASS IS FOR:
- Beginners with a grasp of the exposure triangle
- Intermediate and advanced natural light photographers new to studio lighting
ABOUT YOUR INSTRUCTOR:
Fashion photographer Lindsay Adler is one of the most well-known in her field, noted for her style, posing and mastery of the studio lighting system. Along with working as a photographer, she's also a respected educator, a Canon Explorer of Light, and author of three instructional photography books. Her work has appeared in publications such as Marie Claire, Elle, InStyle, Noise, Essence, Zink Magazine, Rangefinder, Professional Photographer and dozens more. Lindsay is a sought after speaker for her experience and straightforward, easy-to-follow teaching style.