Fig. 2.1 Portrait. Model: Grace Hough.
SHAPING THE FACE
Shaping the face is one of those important things that many photographers (whether amateur or professional) frequently neglect, yet it can instantly transform a photograph from an average shot into a good one. Everything revolves around the positioning of the face in relation to the light. Slight movement of the key light or the face is all that is required to shape the face. Controlling the light and the shadows in this way remains one of the underlying principles all studio-based photography.
In terms of photographing people, the four most commonly known principles are Short Lighting, Rembrandt Lighting, Broad Lighting and Butterfly Lighting. Other lighting styles that can be derived from these setups are Loop Lighting and Split Lighting. Understanding the basics requires a little practice, but will help you achieve the best possible results every time.
Fig. 2.1 Portrait. Model: Grace Hough.
Short Lighting
Short lighting lights the shortest side of the face, which is further from the camera (normally from cheek to cheek). If you examine the photograph [Fig. 2.2], you will see that the broadest side of the face nearest the camera (ear to chin) is in the shadows. Short lighting makes the face look slimmer and frequently brings out the shape of the mouth and cheeks. Quite often short lighting is the most flattering, especially when photographing people with rounder faces.
However, short lighting techniques are not always suitable for all subjects. For example, if your subject has a tall or long face, you may find that short lighting will make them look too thin. It also requires your subject to remain fairly static, because small movements of the head will change the lighting dramatically as the face moves in and out of the shadows.
Short lighting.
HOW IT’S DONE
Sit your subject in front of the camera, positioning at a slight angle, so that the ear is facing the camera and the far eye is still visible.
Now move your key light so that it is approximately 90 degrees to the camera and raise it between 50cm and one metre higher than the subject, so that the catchlight still remains in the eye. The height you position it will depend largely on the face of the subject and the size of the modifier you are using. The idea is to cast the shadows downwards, so that they shape the chin and the nose.
To fine-tune the lighting ask your subject to pose, then move the light around so that it lights the nearside cheek (cheek nearest the camera).
You will find that if your subject subsequently turns to face the camera completely, most of the front of the face will now be in the shadows, and only the ear and cheek will remain lit.
Short Rembrandt Lighting
(including Split Lighting)
Rembrandt lighting takes its name from the paintings of Rembrandt, in which he used to paint a small inverted triangle of light under-eye on the shaded side of the face. This is caused by the light passing diagonally across the face, over the top of the nose and onto the cheek, creating the inverted triangle shape. In the first image, the Rembrandt lighting is derived from a short lighting technique. When used in this way it is particularly flattering to rounder faces. However, it requires more control than standard short lighting as the small movements of the face towards the light will quickly result in a standard short lighting pattern, whilst movements away from the light will result in a split lighting effect.
Split lighting, on the other hand, is a little more dramatic and merely involves moving the light directly to the side of the subject, to light one side of the face only. This is sometimes achievable by getting the subject to directly face the camera within a short lighting setup. Its applications are somewhat limited, but it can be used to good effect on dark backgrounds, making the face disappear gradually into the shadows on the far side.
Short Rembrandt lighting.
Split lighting.
HOW IT’S DONE
To achieve the short Rembrandt lighting effect, sit your subject in front of the camera, positioning them at a slight angle, so that the ear is facing the camera and the far eye is still visible.
Now move your key light so that it is approximately 90 degrees to the camera and raise it between 50cm and 1 metre higher than the subject. The idea is that the catchlight is at the 10 or 11 o’clock position in the eye if the light is positioned to camera left (or the one or two o’clock position if the light is positioned to camera right).
This will naturally throw the light downwards and across the face. The nose should shadow the cheek, whereas the light travelling over the bridge of the nose will light the area just under the eye.
It is of course possible to retain this effect even if your subject is facing directly towards the camera, and it requires you only to move the light when your subject changes position.
Broad Lighting
(including Rembrandt Lighting)
Broad lighting is by far the most common form of lighting. It lights the broadest side of the face nearest the camera, that is, from ear to chin. Broad lighting setups are very flexible, in that they allow a subject to move more freely in front of the camera without the face being lost in the shadows. However, it is not always the most flattering of lighting and has a tendency to make people with rounder faces look much larger as it lights a greater area of the face. On the flip side, it is good for individuals that have tall or thin faces, which is why it is frequently used with professional models. You will also find it utilized in family portraits, especially with boisterous children that are difficult or impossible to keep still long enough to make use of any form of short lighting. Changes in position of the subject will easily change the broad lighting into a broad, head-on Rembrandt lighting pattern, also known as ‘loop lighting’.
HOW IT’S DONE
Broad lighting is by far the most common approach to portrait photography.
Begin by positioning the studio light approximately 45 degrees off-axis to the camera and meter to approximately ƒ11. To shape the face with more shadows, simply move the light left or right around the camera axis. The further around to the side you move the light, the further into the shadow the far side of the face will be.
It is a good idea to start with the subject facing head-on to the camera and adjusting the light until the catchlight is at the 10 or 11 o’clock position in the eye if the light is positioned to camera left (or the 1 or 2 o’clock position if the light is positioned to camera right). You will find that by doing this, the light will be flattering whether the subject is broad lit facing side-on or head-on.
By keeping the light in the same position and moving the subject, we can instantly change the shape of the face. As the subject moves and faces directly towards the camera, the shape of the face changes and the broad lighting can instantly become loop lighting, where the nose creates a looped shadow on the far side of the face.
By moving the light just a little further around the side of the subject, you can achieve a face-on Rembrandt lighting effect. The key to this remains the height and position of the key light.
Butterfly Lighting
Butterfly lighting refers to the shape of the shadow that is created under the nose. It is known for producing very dramatic lighting and is frequently used in fashion photography. It is perhaps controlling the length of shadows that will make the greatest difference to this type of lighting. You will find that as the subject moves either left or right, the butterfly lighting actually becomes a broad lighting technique, so it is more suitable to subjects with a taller and slimmer face.
Lighting takes practice, but it should be fully understood if you are to build a solid foundation for your photographic career. It is also important to work quickly and professionally so that your subject doesn’t lose interest and your shoot doesn’t lose its impetus.
Butterfly lighting.
HOW IT’S DONE
In an ideal world, using a boom arm/stand makes your life a lot easier as it allows you to place the light closer to the subject without the stand blocking the field of vision between the camera and the subject. However, it is possible to use a regular lighting stand and place it directly behind you and the camera, although you will find that you have less flexibility over controlling the light and shadows as movement of the light stand is more restricted.
The light should be placed centrally to the subject if possible, so that it will cast the shadows downwards, resulting in more symmetrical lighting.
Aim to get the catchlight just under the eyelid or on the top of the cornea. You will find that the higher and closer the light source, the longer the shadows will be and the greater the risk of losing the catchlight in the eye.
Fig. 2.2 Short lighting.
Fig. 2.3 Short Rembrandt lighting
Fig. 2.4 Split lighting
Fig. 2.5 Broad lighting
Fig. 2.6 Broad Rembrandt lighting
Fig. 2.7 Butterfly lighting
ONE HEAD LIGHTING TECHNIQUES
To illustrate the effects of shaping with light, I have used a single head fitted with a softbox, so that the light on the face may be clearly seen. It pays dividends to practise these techniques so that you are familiar with them when you are working on a commissioned shoot. You will find that friends and family will make willing subjects, and to prove that point, I have used a very fidgety five-year-old! It is one of those occasions where you have to work very quickly if you are to maximize the relatively short attention span of a young child. To help you visualize the light, I have also included a posterized image, clearly illustrating the highlights and shadows. Arrows have been added to indicate the direction of the light along with a schematic of each setup.
Using a single head can at times prove to be quite liberating for studio photographers, in as much as it affords them the ability to work simply, quickly and concentrate on the subject as opposed to the lighting. Relatively new photographers can be forgiven for thinking that working simply in this way undermines the technical prowess associated with studio lighting, yet it can achieve some stunning results.
It is the shape of the light and what you do with it that is important, and there are many different shapers and modifiers available to help you achieve different effects, from snoots to softboxes. Hard light sources will help bring out sharp angles and increase the depth of shadows, whereas softer light sources will produce a more naturally flattering image. It is all about experimentation. Using a single light can help you concentrate on what is really important; drawing out the shapes and contours of your subject from all available angles.
The light and shadows are two contrasting opposites, which become more apparent when using a single light source. It is down to the photographer to control these elements and consider the overall tonality of the photograph. Dark photographs with too many contrasting highlights can detract from subtle tones, whereas overly bright and specular photographs can lack both depth and tonality. With the help of some of the most basic pieces of equipment, such as the studio polyboard or bounce reflector, the photographer can help control the depth of the shadows and reduce the overall dynamic range of the photograph.
One Light Setup 1
The power of this photograph [Fig. 2.8] lies in the contrast and posing of the model. It is lighting at its absolute basic, yet the shot has shape, passion and an erotic feel about it. The strong shadows draw out the shape of the hair, chin and breasts, whilst the highlights bring out the gloss of the hair and lips. The lighting and shadow detail has been controlled to retain the important midrange skin tones whilst the studio wall is quite literally the prop for the model.
SETTINGS AND EQUIPMENT
Camera Settings
Lighting Equipment Required
Fig. 2.8 Image © Christian Hough. Model: Tessa Kuragi.
In this photograph a large conical reflector has been used to throw out as much light as possible and cover at least two thirds of the model and the wall behind. The reflector was positioned to allow it to cover a broad area and by placing it further away to increase the edge definition of the shadows. Although the light is not particularly precise, it has been considered. The broad light source allows enough space for the model to move and pose freely, creating different shapes and movement against the wall, without the need to continuously adjust and move the light. The shadows have been controlled, drawing out the tonal detail and adding shape to both the breast and arm of the model. The shadows have been considered, and casting them downwards under the chin allows just enough light to shape the face, neck and bust but without creating too much of a shadow on the shoulders and chest area so as to become a distraction.
Getting Started
Start by finding yourself a clean white wall. The size of the wall is not an issue here as the crop is fairly tight on the model. If you intend to shoot a full length, then you will need a much larger white wall to work with and may need to reconsider the type of reflector you are using.
Using a single light, add a medium-sized directional reflector and turn on the modelling light. Move the light back far enough to ensure that you are covering a large enough area of the model, and use the modelling light to see where the light is falling. Now move the light around the model, altering its height and direction to create different shapes and shadows. Try and consider the shadows and look where they are cast. Are they distracting or too long? Moving the light further away from the model will make the shadows harder and improve edge definition, whereas moving the light higher will throw the shadows in a more downwards direction, which will add more shape to the face. Positioning the light is important, so it is worth spending a little time to consider the face-shaping techniques covered above. In this example, the lighting leads to more of a split lighting pattern.
Once you are satisfied with the positioning of the light, adjust the power and meter to between ƒ11 and ƒ16, dial the settings into your camera and take a test shot. Firstly, check the overall exposure and the highlight detail. If you are losing the highlights on the model, then you may need to stop down to compensate or reduce the power of your light. Once you are satisfied with the exposure, pay close attention as to where the shadows are falling and how the light has shaped the body. If you are not happy with them, simply move the light and then re-meter if necessary; after all it pays to experiment! Remember, if you keep the light the same distance from the model, then there will be no need to re-meter.
If you feel that the image has too much contrast, you may wish to use a studio polyboard or bounce reflector to lift the shadow details. Think about where you want the extra light to bounce. Placing a reflector more to the front will make the image flatter and fill more shadow detail, whereas placing the reflector to the side of the model will lift the detail on the side furthest from the light, providing some shape to the body, without filling in too much of the shadow detail.
Common Issues
BLOWN HIGHLIGHTS/TOO MUCH CONTRAST
Blown highlights are a common problem, especially for those shooting digitally, as the dynamic range of many cameras resides around 9 f stops. This can often result in blown highlight detail or very dark shadows. There are, however, a few basic steps you can take to help alleviate this problem.
One Light Setup 2
Low-key baby shots can be difficult to pose and light, as children and babies traditionally suit lighter and softer photographs. The traditional child pose is eyes at camera and smiling or laughing - after all, this is the way parents prefer to remember their children. Getting a natural and more serious expression from a child or baby within a studio can be difficult, due to their natural enthusiasm and general excitement, so more considered lighting often gets forgotten in favour of something more flexible.
The choice of light modifier is what makes this photograph work. A soft broad light traditionally suits children and babies as it brings out their more rounded features and soft skin tones. The photograph below [Fig. 2.9] retains the necessary softness, but also draws out a sense of determination from the young baby. The short lighting setup and low-key background concentrates the viewer’s attention on the face, making them connect with the outward gaze of the child, whilst the sense of scale is increased by the lower angle at which the photograph has been taken.
Fig. 2.9 Image © Christian Hough. Model: Tabetha Wydymus.
Getting Started
Before we even consider lighting, one of the first things you need to deal with when photographing babies is safety. It goes without saying that babies are unaware of danger, so it is the photographer’s responsibility to ensure that there are no hot lights, cables or other hazards close at hand that may fall or be pulled over.
Small babies cannot support themselves very well and frequently topple over, which makes photographing them difficult. It is recommended that you support the baby using a baby poser, such as the one from Lastolite used in [Fig. 2.9]. The baby poser consists of several padded cushions that are secured together with Velcro, with a raised section at one end, to make the baby naturally rise up. Don’t worry if you do not have a baby poser, as several heavier cushions can also be used, but it may require more attention to keep them in place if you are photographing a particularly active baby. Once you have arranged the baby poser or cushions into position, place a black cotton or velvet sheet over the top.
Try placing the baby poser on a low and wide table (no more than 50cm high is advisable) and secure to prevent it from sliding off. This will enable you to photograph the baby from a slightly lower angle, adding to the sense of perspective. Ensure that you place plenty of cushions and padding on the floor to cushion any fall, and ensure that a parent is immediately to hand to restrict movement.
Before you place the baby in front of the camera, it is recommended that you get all of your lights and equipment set up and metered, as a baby’s attention span is very small and they quickly lose interest. For the background a black velvet sheet has been suspended from a portable background support system and placed approximately two metres behind the baby. This helps reduce the amount of light hitting the background and facilitates the movement of the parents in and out of the frame without the risk of them pulling over any equipment.
This shot makes use of the short lighting technique with a single large softbox. The short lighting concentrates the light onto the face of the baby, but does not directly light the baby’s body, so retains the overall low-key feel of the photograph. If you don’t have a large softbox, a smaller softbox or shoot- through umbrella will also suffice; however, if you are using a smaller light source, it may require you to adjust the light more frequently if the baby moves.
Start by placing the studio light to the side or slightly behind the baby and directing it back towards the baby’s face, but not directly into the lens of the camera. Meter the light between ƒ11 and ƒ16 and dial the settings into your camera. Place something light onto the baby poser and take a test shot to see where the light is falling. If you find that you are getting a lot of light falling onto the black background, then you may need to consider moving the background further back or altering the angle of the light.
Once you have set up, it’s time to get your young subject in front of the camera. Ask a parent to place the baby on the baby poser. The company of the parent will help the baby feel more secure and less likely to begin crying. Help the parent to move the baby into position and take a few test shots with the parent in situ. Now is the time to fine-tune your lighting. Use the modelling lights to see how the light falls onto the baby’s face, and don’t be afraid to move the light back and forth, until you have the effect you are after, as small movements can make a big difference. Once you are happy, it’s time to start shooting. It is possible that with a single light you find the image too dark and you may begin to lose all detail on the near side of the baby. The simple solution to this is using a bounce reflector or polyboard to lift the shadow details and soften the image. It only takes a few seconds, but can dramatically alter the dynamic of a photograph. Take the time to consider which part of the image you want to lift and ensure that the bounce reflector/polyboard is bouncing the light in that direction.
You may find that you have to shoot many frames before you get an expression that you and the parents are happy with. It is also beneficial to invite the parents to view the images while you are shooting as the feedback can be valuable to you both in achieving the right lighting, pose and expression. Work swiftly and take regular breaks, as it is not uncommon for babies to get tired very quickly.
SETTINGS AND EQUIPMENT
Camera Settings
Lighting Equipment Required
Common Issues
LIGHT FALLING ONTO BACKGROUND
If you are using a black cotton background, then it is possible that this will pick up unwanted spill light and appear as dark grey as opposed to black. There are several solutions, which will depend entirely on the modifiers you are using and the space you have available.
Move the background further back or flag the light; moving the background reduces the intensity of the light hitting the background, whilst flagging the light will also help prevent unwanted spill light.
KEEPING BABY’S ATTENTION
It is difficult at the best of times to keep a baby’s attention, let alone when you are trying to photograph one, and the last thing you need is tears, which will inevitably delay things further. Try keeping the whole atmosphere light and joyful. Some gentle background music will help the baby settle into its surroundings. The idea is to make the whole thing fun, especially the flashing and popping of the flash, so fully brief and engage the parents from the outset so they know what to expect and how they can help. It can be worthwhile investing in some toys to dangle near the camera whilst making silly noises, which will help grab and keep the baby’s attention and encourage a smile. Keep shooting and waiting time down to a minimum, and take regular breaks to prevent the baby from becoming too tired.
One Light Setup 3
Propping your photographs can really add interest to your shot, and the portrait of a saxophonist below is a [Fig. 2.10] very simple and good example. The image works, simply because the viewer’s eye is drawn immediately to the two subjects: the musician and his instrument. There is an interaction between them both, and the angle of the saxophone flows naturally with the angle of the head and body. The dark clothing enables to subject the blend into the dark background avoiding making the image too busy, and the soft, clean and simple lighting draws your attention directly to the subject. Finally, there is sufficient light to separate the hair and far side of the face from the background blackness.
A medium-sized standard softbox can work wonders for single portraits. It is versatile, portable and quick to set up, plus it can be controlled more easily in a confined space, reducing unwanted spill light, yet remains broad enough to facilitate the effective use of a bounce reflector or studio polyboard to lift the shadows. The medium-sized softbox was used to create a Rembrandt-type lighting pattern on the face, leaving a small patch of light under the eye furthest from the light.
Fig. 2.10 Image © Christian Hough. Model: Gavin Randle.
Getting Started
This shot could not be easier to set up and requires a softbox, dark background and bounce reflector only. Begin by attaching black paper, a black cotton sheet or black velvet to a background support system or wall behind the subject. In front of the background, place a stool, small step or backless chair for your subject to sit on, leaving approximately two metres of distance from the background. The exact distance from the background will depend entirely on the size of the softbox you are using and the type of background material. If you are using a paper background or larger softbox, then you may well need more distance between your subject than with a velvet background.
Meter the light to anywhere between ƒ8.0 and ƒ16, depending on the depth of field you prefer, and then get your subject to pose. Once they are in a comfortable position, move the studio light and use the modelling facility to ascertain where the light is falling on the face. To obtain a Rembrandt lighting pattern, the key light needs to be higher than the subject, so it picks up the cheek on the far side as it shines across the bridge of the nose. A good starting point would be to place the light between half and one metre higher and then make fine adjustments once your subject is comfortable and has begun posing.
Once you get started, take a couple of test photographs and examine your lighting. Check to see how the light is shaping the face. If the far side of the face is too dark, you may need to move the light further around to the front of the subject; alternatively, if the face is too light, then moving the light more towards the side of the subject will reduce the amount of light on the far side of the face.
As you keep shooting and your subject keeps moving, continue to check the light, either using the modelling light or the camera’s LCD to see if it is shaping the subject’s face in the way you intend. If you are happy with your key light then you may want to consider lifting some of the shadow detail by using a bounce reflector. This will depend entirely on the subject’s wardrobe and skin tone. If your subject is wearing light clothing and is very pale, then it may not be necessary to fill the shadows, unlike in the photograph of the saxophonist, where without a reflector, the black clothing absorb most of the light, causing him to disappear into the background.
Common Issues
PROXIMITY HOT SPOTS
Moving such a softbox or reflector into close proximity to the subject can create harsh ‘hot spots’, most commonly on the forehead of the subject, especially if they have a slightly oily complexion or shiny skin.
SETTINGS AND EQUIPMENT
Camera Settings
Lighting Equipment Required
One Light Setup 4
Not all studio photos have to be shot against a studio backdrop. Occasionally it works if you use the surroundings within the studio, such as the wall and the floor. In this shot [Fig. 2.11], the model has moved to the studio floor to create more interesting shapes and fill the frame. This has been accentuated by the use of angles from the camera, filling the frame from corner to corner as opposed to top to bottom. It’s the use of angles that make this photograph. The floorboards of the studio and the model are all travelling in the same direction, which add to the sense of perspective. The shadows are definite, but kept to a minimum. The strong eye make-up contrasts nicely against her pale skin and the white floor, whilst her gaze connects with the viewer.
The photograph is evenly lit, with no obvious sign of vignetting, which maintains the overall contrast. Using a large reflector, such as an umbrella or large softbox overhead, is a fairly indiscriminate way of lighting, but will allow you to cover a much larger area. This will afford greater flexibility and freedom of movement from both you and your model, without the need to continuously adjust your lighting.
Fig. 2.11 Image © Christian Hough. Model: Kerri Guiney-Donnelly.
Getting Started
This setup requires only a medium-sized silver umbrella, attached to a standard spill kill or umbrella reflector. The umbrella needs to be placed high and above the model, so it is literally throwing light downwards. For this shot the light and umbrella were placed on a boom arm, enabling the light to be placed overhead without the interference from the stand. Don’t worry if you don’t have a boom, as you can still achieve something similar with clever placement of the umbrella.
Set your light up over a clear area of the floor, where there is no immediate obstruction or clutter. It sounds obvious, but you will be surprised how background unwanted scenery can find its way into your photograph when you are moving around and shooting from different angles. Once you have found a suitable spot, meter your light to about ƒ16 as we are no longer working with a flat focal plane. It’s a good idea to take the meter reading to the floor, especially if it is white, as this will help you maintain the highlights and keep the tonality fairly even. Dial the settings into your camera and you are ready to go.
As you are shooting, keep an eye on the shadows. The more directly overhead the umbrella, the narrower the shadows and the flatter the light. If you want more shadow, move the light further away from the model and place it at more of an angle to create a longer shadow. The idea is to keep moving around and get your model to move too. Experiment with angles, perspectives and framing until you find something that works.
Common Issues
LIGHT TOO FLAT, NO SHADOWS
SHADOWS TOO STRONG OR TOO LONG
SHADOWS TOO DARK
Be mindful of how your model is moving and the placement of the light. If the model changes position on the floor, then you may need to consider moving the light to control the shadows.
SETTINGS AND EQUIPMENT
Camera Settings
Lighting Equipment Required
TWO HEAD LIGHTING TECHNIQUES
With two studio heads, photographers can be much more creative and have greater control over the light. The most frequent use of a second studio light is that of a ‘fill light’, which is used to control the depth of the shadows, whereas the main light or the ‘key light’ is used as the main light source and to add shape. The fill light is more cumbersome than the bounce reflector, but allows the photographer much greater control of how much shadow detail they desire. The caveat is that with greater control comes the necessity for more discipline and understanding of light and how it is used, plus the effects of the various modifiers and reflectors that are available.
There are of course many other creative ways in which to use a second light, either as a hair light, background light or even rim light. It’s where you place and use it that makes all the difference.
Two Light Setup 1
This image [Fig. 2.12] was a simple public relations shot for profile and website use. Consideration was given to the muscular build of the subject and how to best fill the frame and what lighting to use. The photograph was deliberately kept low key and the subject photographed in dark clothing, against a dark grey Colorama. This ensures that the focus is on the face and not the clothing or body.
Posing also played a key part, in that the subject wanted to appear relaxed and at ease. Most people appear at their most comfortable when they assume a position that is natural to them. Whether they are sat down or stood upright, the key is to get their body to relax naturally. Nowhere is it more obvious when a person is tense than in the shoulders, neck and face. In this shot, the subject felt at his most natural sitting down and using his hand to prop his head, which helped him to naturally relax his neck and shoulders. To facilitate the positioning, a small step was used to allow the legs to be placed at different heights, which in turn helped support the elbow and hand.
A Rembrandt lighting pattern was used to make the broad jaw line look much slimmer, casting only a small amount of light under the eye on the far cheek. This also brought out the shape of the cleft chin adding further interest to the jaw line. A second light was used as a fill light to ‘fill’ the dark shadows created by the key light, helping to soften the image and reduce the overall contrast.
The positioning of the hand was crucial. Too far forwards and it cast distracting shadows onto the face. Too far back and the pose began to look unnatural. The final positioning added more shadow to the edge of the face, making the shape appear much slimmer.
SETTINGS AND EQUIPMENT
Camera Settings
Lighting Equipment Required
Fig. 2.12 Image © Christian Hough. Model: Paul Bunker.
Getting Started
If you are looking to achieve a clean and uncluttered finish, it is ideal to use a studio backdrop of some sort. Before you choose the colour, try to consider the clothing and skin tone of the subject you are photographing. Very pale skin tones and light clothes can look very stark against brightly coloured or strong backgrounds, whereas it can be difficult to bring out a full range of skin tones with very dark skin and clothing. Every person is different, so before considering different colours and shades of background it is beneficial to think whether you would be best to go for a high-key or low-key photograph. Once you have decided on the background, get your posing stool or step and place it approximately three metres in front of the background. Positioning the stool is a useful thing to do as it can be used as a metering point without the need for your subject to be continuously sat in front of the camera.
Ideally, softboxes are a flattering and cost-effective choice for small portraits. Start by setting up two studio lights on stands and then placing two small or medium-sized softboxes (approximately 60x80cm) on each light. Move your key light to approximately 45 degrees off the camera axis and meter between ƒ11 and ƒ16. The key light ideally needs to be around one metre higher than the head of the subject, so that it casts the shadows downwards, under the chin to give the face shape. Now place the fill light close to the camera axis and at roughly the same height as the key light (or slightly higher) and meter between one and two stops less than the key light, approximately ƒ5.6 to ƒ8.0. The more light from the fill light, the more it will fill in the shadows and the flatter the image will look. Don’t worry about getting the meter readings absolutely exact, as small movement from the lights and your subject will cause the readings to fluctuate.
It is now time to get your subject to sit down and assume a comfortable pose. Use the modelling facility on the key light to shape the face, paying close attention to where the light and shadows are falling. Don’t be afraid to move the key light around the subject and alter the height until you get the desired effect. Once done, re-meter the key light and take a test shot, and examine the image, looking at the shape of the face and the depth of the shadows and adjust the light as necessary. If the shadows are too dark, simply increase the power of the fill light. If the shadows are too light and the image looks flat, reduce the power of the fill light.
Cross Lighting Woes
Depending on the light modifiers and shapers in use, then the positioning of the fill light can have a big impact on your photograph. Ill-considered placement of the fill light can occasionally cause a phenomenon known as crosslighting, which can occur when the fill light is placed off the camera axis. Cross lighting is most apparent when hard light sources are being used, creating hard and defined shadows. The result is that several distracting shadows appear on the subject, literally crossing each other. Fortunately, it can be easily remedied and the simple movement of the fill light close or onto the camera axis tends to rectify the problem. Cross lighting rarely becomes an issue when using very diffused light sources and modifiers such as softboxes.
Common Issues
CREASES IN THE PAPER AND FABRIC ARE ACCENTUATED BY THE LIGHTS
NOT ENOUGH SPACE TO MOVE THE SUBJECT FROM THE BACKGROUND
UNABLE TO UTILIZE SMALLER REFLECTOR IN A CONFINED SPACE
Two Light Setup 2
Creating separation from a dark background can help give a photograph a more three-dimensional appeal and add a little more shape to the outline. For this simple portrait [Fig. 2.13], lighter yet textured clothing has helped separate the model from the dark grey background paper. The model has been short-lit by a single key light, leaving the far side of the face and hair in the shadows, which suits the model’s slim features. Rather than using the second available light as a fill light, it has instead been utilized as a ‘hair light’, creating light on the top of the head and around the edges of the hairline. This helps lift the outline of the hair out of the shadows, detail that would have otherwise been lost against the dark background. The hair light has been controlled to prevent light spilling back into the lens of the camera, and just enough power has been used on the hair light to accentuate the detail on top of the head and the outline, without making it a distraction.
Fig. 2.13 Image © Christian Hough. Model: Freya Berry.
Getting Started
Hair lights can be used in several ways and with several modifiers, but their main purpose is to highlight the hair. There are several reasons for lighting hair, such as highlighting colour, texture or finish, drawing out shape or creating separation from the background. What it is used for is entirely down to the photographer and the subject, but it’s how it is used that is important.
Start by erecting your background support and hanging your background paper - for this shot a dark grey paper background was used. Then position a seat approximately two metres in front of the background where you wish the subject to sit, or place a marker on the floor. This will give you a rough position with which to meter, without the subject having to be there.
Attach a medium-sized softbox to your key light and place it approximately 45 degrees off-axis from the camera. Meter this between ƒ11 and ƒ16. The hair light can be positioned in several ways, depending on the modifiers you have available. For this shot a bare reflector has been fitted with a honeycomb grid to control the direction of the light. Once you have attached the honeycomb and reflector to the light, placed it on a stand and position it high up behind the background support and adjust it until it is pointing in a downwards angle towards the back of the subject’s head onto the top of the hair. The placement and angle at which the hair light is pointing is important, as it needs to be positioned directly behind the subject, so that the light is prevented from shining back into the lens of the camera. Ideally, a boom arm will offer you more flexibility when positioning the key light. If you have a boom arm, position the boom behind and above the subject, adjusting the angle until it is lighting the hair; otherwise, placing it behind the background support is a good workaround.
Once you have set up your hair light, meter around one stop lower than your key light. There is no fixed rule about metering, and to a large extent it will depend on the style and colour of the hair of your subject. For example, shiny and very light blonde hair will require much less light than dark frizzy hair. The idea is that the hair light is a subtle accent as opposed to a very bright halo, so it is paramount not to blow the highlight detail. Take a test shot and examine the image carefully, to see if the key light is shaping the face and that the hair light is not too dark or too bright and is lighting the hair. Simple adjustments to power and positioning can make a big difference.
If you have a boom stand, then you will have much greater freedom as to where you can place the hair light, without the stand intruding on the image. It will also facilitate the use of different reflectors and modifiers. Start by placing your boom stand so that the light is approximately 50cm to one metre above the subject and roughly a foot behind. Adjust your light so it is highlighting the hair the top of the head and the shoulders of the subject. It is not always necessary to use a very tight reflector or modifier, and a small softbox may suffice when placed directly overhead. Remember, the closer the light is to the subject, the smaller area it will cover.
Common Issues
LENS FLARE FROM HAIR LIGHT THAT IS POSITIONED BEHIND THE BACKGROUND
LENS FLAIR AND UNABLE TO ADJUST THE LIGHT FURTHER DOWNWARDS
LIGHT FROM THE HAIR LIGHT SPILLING ONTO THE FACE OF THE SUBJECT
BRIGHT/BLOWN HIGHLIGHTS
SETTINGS AND EQUIPMENT
Camera Settings
Lighting Equipment Required
Two Light Setup 3
In the same way in which you can use a hair light, a second light may be used to accent other parts of the subject. Here, the focal plane of the photograph [Fig. 2.14] is much deeper than a sitting portrait. The head is very close to the camera and the legs are much further away. The face and the body of the model have been lit by a single head with a small softbox. The softbox provides sufficient coverage to light the face and the torso, before becoming darker towards the legs. The second light has been used to create the highlights on the model’s skin, and the power has been increased to make the highlights more specular as opposed to subtle, giving the image a more overall glamorous overtone. Finally, the photograph has been shot at a slight angle to give the image a more editorial appeal, whilst the feeling of being low down and the flatter perspective helps the viewer engage with the model.
Fig. 2.14 Image © Christian Hough. Model: Ally Andrews.
Getting Started
Start by setting up a black fabric backdrop or Colorama, so that the train of the backdrop also runs underneath the model. Now attach one small softbox to your main studio head for the key light and a standard stripbox (100x40cm) to the second head. The second studio head with the stripbox will act as the highlight, so ideally needs to be fixed to a boom arm to allow the stripbox to be positioned directly above the subject, to ensure a continuous and balanced highlight is achieved, without the stand protruding into the frame.
Meter the key light to around ƒ16. The focal plane is much longer, due to the positioning of the subject, so you will find that you require slightly more depth of field than your normal portrait, depending on your choice of lens. Get your model into position and now manoeuvre the second head so that it is between half a metre and one metre higher than the model and approximately the same distance behind. Using the modelling light, adjust the angle of the light so that it is shining back towards the model, picking up the outline of the buttocks, outside of the legs and mid back area. Once in position, meter the light to around ƒ22 at the nearest point, in this shot the base of the spine. This will provide the highlights on the model.
Take a test shot and see how the highlights and shadows are working together; pay close attention to the highlight and ensure that none of them are blown. Depending on the width of the stripbox you are using, you may find that you need to move the position of the light more overhead to increase the amount of light or further behind to decrease the light. Changing the angle of the head so that it is pointing either towards or further away from your model will also help, but care needs to be taken to ensure that that it is not unintentionally lighting the background.
You will find that using a longer focal length of lens, such as a shot telephoto, will allow you to compress the perspectives more, making the image more flattering. Wider lenses will distort the perspectives and make the head look much larger than the legs and torso.
SETTINGS AND EQUIPMENT
Camera Settings
Lighting Equipment Required
Common Issues
HIGHLIGHTS BLOWN/TOO BRIGHT
Placing heads very close to subjects with certain softboxes often causes proximity hot spots, meaning that the light hasn’t sufficiently ‘diffused’ and is too concentrated.
POWER HAS BEEN REDUCED/MOVED HEAD, BUT HIGHLIGHTS STILL BLOWN
THE SKIN OF THE SUBJECT IS VERY FLAT
Two Light Setup 4
There are times when you may wish to lift a dark background and create some separation from your subject. Subtly lighting the background is an ideal way of adding interest to your photographs and can be a good way of controlling unwanted spill light from other lights on set.
This photograph [Fig. 2.15] is a commercial shot advertising skin products, yet was shot using very simple lighting techniques. The lighting was set up to deliberately create a lot of shadows, utilizing a butterfly lighting setup. The light was positioned high up and in front of the subject, casting all of the shadows under the brim of the hat, under the chin and below the arms, whilst still drawing out the detail of the product. The objective was to try and maintain symmetry with the light and shadows so that they all fell centrally. The dark grey paper background was subtly lit from behind, to prevent the shadow areas on the subject and the background from blending together, and thus providing an element of separation.
Fig. 2.15 Image © Christian Hough. Model: Hani Bagedo.
Getting Started
Set up your background paper or fabric on your support system. For this lighting technique, paper generally works best as it can be made to be completely smooth, whereas fabrics tend to crease easily, the creases becoming ever more visible when lit. Once the background is set up, mark a position for your subject approximately two to three metres in front of the background.
For the key light, you need a fairly small and controlled light source to prevent too much spill light falling onto the background. A small softbox (approx 60x60cm) placed on a boom arm will allow you to control the light, but maintain sufficiently soft lighting. Place your softbox on the boom and position it high up above and approximately 60cm in front of the subject. Point the softbox downwards towards the subject and check the position of the shadows. Move the light until the shadows fall centrally when the model faces directly towards the camera. Meter the light to ƒ11.
Now set up your background light. For this photograph a single head, fitted with a reflector and honeycomb grid, was attached to a floor stand and placed on the floor directly behind the subject. If you don’t have a honeycomb grid, use a directional reflector and aim it directly at the background, adjusting the upward angle so that the light falls behind the back and head of the subject. The spread of the light will depend on the size of the honeycomb grid in use and the reflector, whereas the intensity of the effect will be determined by the material and shade of the background in use, so you will have to adjust your setting accordingly. Meter the light at the background between one and two stops lower than the subject, ƒ5.6 to ƒ8.
Once you have set up, take a test shot and examine the lighting. Check the positioning and the power of the light behind the subject and adjust if necessary. It is also important to look at the light and shadows from the key light. If the shadows are too long, move the key light further away from the subject and closer to the camera, adjusting the angle of the light once you have finished. This will have the effect of throwing more light directly at the subject and shortening the shadows. If you want to achieve more shadows, then reverse the process and move the light closer to the subject. Don’t forget to re-meter once you have repositioned the light.
Common Issues
THE SKIN OF THE SUBJECT IS VERY REFLECTIVE, CAUSING BLOWN HIGHLIGHTS
Increasing the distance between the light and the subject will reduce the risk of proximity hot spots.
UNABLE TO MOVE THE LIGHT FURTHER AWAY
THE KEY LIGHT IS SPILLING UNWANTED LIGHT ONTO THE BACKGROUND
A more controlled light source will greatly reduce spill, but harder light may increase proximity hot spots.
SETTINGS AND EQUIPMENT
Camera Settings
Lighting Equipment Required
Two Light Setup 5
The high-key background has become one of the most popular lighting setups used, especially in modern portrait photography and even classic fashion photography, often favoured by photographers such as David Bailey. It is a remarkably simple yet effective technique, providing a clean background, allowing the viewer to concentrate purely on the subject. However, it can also be one of the most overused, so the flip side is to ensure that the photograph itself has something visually interesting. This shot [Fig. 2.16]has been done using only two lights - one for the background and one for the model. Traditionally, a highkey (white) background would be lit with two or more heads to ensure adequate power and even coverage. Here this single head has proved more than adequate for a single half-length beauty portrait.
Getting your subject to pose can be difficult. The model in this shot continuously changed position between each photograph to maximize shapes and poses, thus reducing time and increasing the chances of a successful shot. The end result was this natural-looking image, with a sense of movement and her gazing out of the frame. Together with the mouth remaining partially open and hair over the face and eye, it adds a sense of passion and engages the viewer.
Fig. 2.16 Image © Christian Hough. Model: Christine Hogan.
Original
Alternative
Getting Started
Start by setting up your background paper or fabric and marking a position for your model approximately two metres or more in front of the background. The more space you have between the model and the background, the more control you will have over your lighting, reducing the risk of bleed. Set up a single head on a floor stand positioned behind the subject or on a regular stand to the side and slightly behind the subject. Fit the head with a standard spill kill reflector or small softbox. The idea is to project the light forwards onto the background, directly behind the subject.
For the key light, place a reflective silver or white umbrella onto a head and position this about 45 degrees off the camera axis (either side of the camera will do). Remember, the larger the umbrella, the greater the area it will cover, which will include the background. Start by metering your key light to ƒ11. Once done, it is time to meter the background. The amount of power that you need will depend entirely on the background material you are using. Vinyl and paper backgrounds tend to be quite reflective, so will require less power than a matt fabric background. To begin with, meter the background light to between ƒ11 and ƒ16 and check your LCD. If your background is too dark, then increase the power on the background until you are just blowing the highlights on the background. Depending on the background light reflector you are using, you should find that the highlights will be brighter immediately behind the subject and gradually fall off towards the edge of the frame. The idea is to end up with a properly exposed subject and an overexposed background.
Don’t be afraid to readjust your lighting if it is not correct, as working things out so that you get the right results ‘in camera’ will increase your knowledge and skills, and will also save you hours of post-processing.
Common Issues
THE SUBJECT LOOKS WASHED OUT AND HAZY
This is generally caused by too much power from the background bleeding back into the lens of the camera, causing haze.
WHITE HIGHLIGHTS/SPILL LIGHT ON THE SIDE OF THE SUBJECT
Unwanted light on the subject can come from two places and have different terms. Bleed is light bounding back from the background, and this can be resolved by creating distance between the subject and the background. Spill is cause by unwanted light spilling from other heads onto the subject; in this case it will be the background light.
SETTINGS AND EQUIPMENT
Camera Settings
Lighting Equipment Required
Two Light Setup 6
The white highkey backgrounds and black backgrounds have their uses; however, there is more to backgrounds than meets the eye. Using a grey paper backdrop can open up a range of creative possibilities for photographers, which include the use of the gradated and gelled background. When using only two studio heads, your options can be more limited, yet with considered placement of the background light, it is possible to get a nice gradated grey background to contrast well with your subject.
This photo [Fig. 2.17] is a simple portrait, shot as a series for the actor Oreke Mosheshe. This shoot was different from your standard portrait, as it was shot from a higher angle and with a wider focal length to accentuate the perspective and bring out the shape of the face. This naturally made the subject look up towards the camera, instantly connecting with the viewer. A second light was added to light the upper half of the background paper and spill back onto the subject, which created the gradated background and the highlight on the hand. Overall, the dark shadows of the far side of the face contrast with the lighter part of the background, whilst the highlighted hand adds separation from the darker part of the background. Finally, a sepia effect was added in Photoshop.
Fig. 2.17 Image © Christian Hough. Model: Oreke Mosheshe.
Getting Started
For this type of background, you really need a thunder grey/dark grey paper background or a grey vinyl background with a matt finish. Background paper is smooth, fairly matt and allows the light to fall off evenly. If you are planning on using a fabric background, you will need to ensure that it is crease-free and positioned with an even cove where it meets the floor; however, the results may still be unpredictable and depend entirely on the type of fabric you are using.
Start by setting up your seamless paper background on the background support and marking a position for your subject to sit approximately two to three metres in front. Now fit a single flash head with a standard spill-kill reflector or small softbox and place it onto a boom arm. Using the boom, position the flash head up above the subject, moving it halfway between the subject and the background.
Once you have set up and roughly positioned the background light it is time to move onto the key light. Attach a small beauty dish or reflector to another head and position this up high close to the camera axis. Depending on the focal length of lens you are planning on using and the angle you intend shooting at, start by metering the key light to ƒ11 at the forehead of your subject. It is inevitable when shooting at more extreme angles that you will get some light fall-off, so metering the head or face is a good start and will help reduce the occurrence of proximity hot spots.
Once you have positioned the key light, use the modelling facility on the background light and adjust the boom so that the light is lighting more of the background but also spilling a little onto the back of the subject. This will help create a clean background gradient and a gentle back light to achieve some separation. The rest is now up to you! Remember to continuously adjust the angle of the lights to compensate for the angle you are shooting at. The higher the angle you are shooting in relation to the subject, the more you will need to adjust the background light to light further down the paper towards the ground.
Common Issues
UNABLE TO LIGHT BOTH BACKGROUND AND MODEL
Narrow reflectors will be more directional and therefore cover a smaller area.
GRADIENT APPEARS TOO HARSH
This can be a common issue with backgrounds within confined environments. Obtaining a smooth background relies partially on the distance of the background from the subject and depth of field.
SETTINGS AND EQUIPMENT
Camera Settings
Lighting Equipment Required
Two Light Setup 7
Getting some movement in images can really add to the overall dynamic of a shot. Not only does it change the energy of a photograph, but it can also change the expression and shape of your subject. ‘Movement’ doesn’t necessarily mean big movements such as running and jumping, but can also mean small movements, such as the slight blowing of the hair from a reflector or small fan. In this photograph [Fig. 2.18] I have sought to restrict the movement to the head only, and worked on the framing and sitting pose of the model to give it a more editorial feel.
The framing and movement are both key to the image. Rather than shoot in the portrait orientation, I have chosen to shoot this landscape and position the bodyline diagonally within the frame. The movement was then created by simply getting the model to throw her head backwards several times until she created the right expression and angle with her face. Capturing movement can at times be hit and miss, so it may take a few more frames for you to get the right shot. Be patient and check your results as you go.
Fig. 2.18 Image © Christian Hough. Model: Lucy Flower.
Getting Started
This shot was taken on a painted white infinity cove and required very little power to lift the white background. A 160cm silver umbrella was used on the key light to cover a large area with light, lighting both the model and the background. A secondary light was then used to lift the background, making it white.
Begin by attaching a silver reflective umbrella to your key light and positioning this off-camera. In this shot, the key light is off-axis to camera left. The exact positioning of your key light will depend on the positioning of your subject and the type of movement you want, so it is a good idea to get your subject to practise a few moves so you can find out where and how they are finishing, to enable you to capture the end result and ensure they will be adequately lit. It is also highly beneficial to consider the depth of field, especially if the subject is moving in and out of the focal plane as opposed to traversing it, as a greater depth of field will increase your chances of capturing a properly focused image.
When you have worked out a good position for your key light, meter it to your desired focal length (anywhere between ƒ8.0 and ƒ16 is generally acceptable). Now it is time to consider lifting the background. In the example, the background light has only been used to lift the shadows further and reduce the fall-off of light from the key light, so its positioning and direction will depend on the area you are in and the angle at which you are shooting. Here a single High Performance reflector has been used to bounce light off the background back onto the floor behind the model. In this instance, the background light was metered to approximately one f stop higher than the key light and then bounced off the background onto the floor area. Bouncing the light ensured that it provided a diffused light source and no bleed onto the model. If you don’t have a white wall to bounce off, try using a very large piece of card, bounce reflector or even a second umbrella/large softbox, taking time to position it carefully so that it only lights the areas you want it to and doesn’t spill onto your subject.
There are no exact settings for metering for this setup and there are so many variables that will affect the settings. Ensure you check the camera’s LCD after each shot to see how the movement is working and make use of the blinking highlight facility to see how the background is exposing.
Common Issues
BLURRED MOVEMENT
SUBJECT OUT OF FOCUS
Depending on your camera’s focusing system, it is not always possible to track moving subjects that easily within the studio, especially if they are moving towards you.
SUBJECT OUT OF LIGHT
Ensure you light the area where you want to freeze the movement.
SETTINGS AND EQUIPMENT
Camera Settings
Lighting Equipment Required