Fig. 3.1 Image © Christian Hough. Model: Christine Hogan.
THREE HEAD LIGHTING TECHNIQUES
Expanding from two heads to three heads will add a huge amount of flexibility to your setup. It is probably at this point that most photographers begin to fully develop their lighting skills, as the third light can be used to add several effects to both the subject and the backgrounds, without compromising on the use of a fill light when required. Understanding how to use this light effectively takes a little practice and requires more control and forethought. But with experimentation you will soon get to grips with some of the great techniques and effects you can achieve, eventually carving out your own style.
One common mistake made by many is not investing in additional reflectors and modifiers to use on an additional head, finding themselves limited as to how they can use it. It is important to invest in the right reflectors at the same time to help you adequately control and shape the light so your creativity is not hindered. So before you add a third light to your kit bag, factor in the price of some additional reflectors to keep your skills growing and your portfolio fresh.
Three Light Setup 1
There are several creative ways in which we can use a third light in a standard portrait. This example [Fig. 3.1] builds on the lighting from the similar one and two light setups as discussed previously, but now adds a third light by way of a hair/rim light. There are several ways in which we can light hair, using different reflectors and from different angles; however, in this shot I have boxed clever and circumvented the need for a second boom arm by positioning the light further back, concentrating the light on the hair, whilst also providing a slight rim light effect. Setting up in this way requires more control over the hair light to prevent spill and lens flare. Cognizance needs to be given to the style and colour of hair of your subject, as lighting the hair from behind has a tendency to pick out all of the loose strands of hair.
Finally, rather than using the second head as a fill light, I decided to use it to light the seamless background, creating a natural vignette around the subject. This helps focus the viewer’s attention on the subject, whilst creating an element of separation from the dark grey background and at the same time reducing the contrast between the hair/rim light.
Fig. 3.1 Image © Christian Hough. Model: Christine Hogan.
Original
Alternative
Getting Started
Begin by setting up your background and hanging the dark grey seamless paper or background of your choice. A seamless paper background will provide the most pleasing effect, as it naturally creates a smooth gradient when lit, which is much more difficult to achieve with fabric. Try and leave enough space between the rear of the background and the wall of your studio within which to place another stand and studio head. When you have set up your background, mark a position on the floor of your studio, or use a seat, as to where you will be placing your subject. Leave approximately two metres distance between the background and subject.
Now place a studio head on a standard lighting stand and fit the head with a reflector and a honeycomb grid. Place this studio head behind your background and position it high over the top of the paper, pointing it downwards towards the back of your subject. The honeycomb grid will help control the direction of the light, preventing it from spilling over your set. The tighter the honeycomb, the narrower the light will be, so it pays to experiment with different honeycomb grids to see which works best. Ideally, if you have a second boom stand you can use this to place the hair light more directly overhead of the subject, offering more flexibility and control, fitting it with either a broader honeycomb or even a small softbox.
Once you set up the hair/rim light, attach a background reflector to a second studio head and position this on a floor stand immediately behind the subject, positioning it so that the light shines back onto the background paper. If you do not have a floor stand a standard lighting stand can be used from the side, although the lighting on the background will be asymmetrical and difficult to position centrally. It is also possible to use a reflector and honeycomb grid if you do not have a background reflector. Use the modelling facility on the studio light and position the light so it will shine directly behind the subject when viewed through the camera.
Fit the key light with a second honeycomb grid, fixing it to a boom arm, before placing it centrally in front of the subject. Raise it up about one metre higher. The honeycomb grid fitted to the key light will help control the light and prevent spill light from hitting the background. Using the modelling facility on the key light, adjust its position to get the light as symmetrical as possible, throwing all the shadows downwards, whilst ensuring that you are retaining the catchlight in the eyes. Meter your key light between ƒ8.0 and ƒ16.
There are no exact power ratios for the background light and hair/rim light, as the colour and type of background material and finish and colour of your subject’s hair or clothing will all affect the outcome. Dark fabric backgrounds will require more power than lighter paper backgrounds, in much the same way as very dark hair will require more light than very fair hair. It is worth positioning your subject and then making the final adjustments to the direction of these lights using the modelling facility and adjusting the power to taste by using the camera’s LCD/computer monitor.
Common Issues
LENS FLARE FROM HAIR/RIM LIGHT
BACKGROUND LIGHT SHOWING CREASES IN BACKGROUND PAPER
SETTINGS AND EQUIPMENT
Camera Settings
Lighting Equipment Required
Three Light Setup 2
Small adjustments of the lights and the pose can dramatically change the mood of a photograph. In this shot [Fig. 3.2] I have changed the mood from more of a serious fashion feel to that of a softer sitting portrait. The lighting setup is similar to the previous setup but with a few minor adjustments to take into account the position and direction in which the subject is sitting, and to add colour to the background. The idea here is to try and add an element of warmth to the shot by drawing the depth of the red background with a coloured gel. It is entirely possible to use a deep red background paper and light it independently in a similar way to the previous setup; however, using coloured gels can enable you to change the colour of the background very quickly and with the bare minimum of cost. The biggest factor to consider in obtaining a deep colour on a background when using a gel is the colour of the paper; you will find that a thunder grey/dark grey background will hold the colour well, without it looking too light and washed-out.
Fig. 3.2 Image © Christian Hough. Model: Freya Berry.
Getting Started
In a setup similar to the previous shot, start by hanging a dark grey seamless paper roll from your background support. The results from fabric backdrops can be somewhat unpredictable, whereas a dark grey paper background will provide the most pleasing effect, creating a smooth gradient when lit. Remember to leave enough space between the rear of the background and the wall of your studio within which to place another stand and studio head. When you have set up your background, mark a position on the floor of your studio or use a seat so you can judge where you will be placing your subject. If possible, leave at least two to three metres distance between the background and subject.
Now place a studio head on a regular stand and fit the head with a reflector and a honeycomb grid. Place this studio head behind your background and position it over the top of the paper, so that it is pointing back towards your subject. The honeycomb grid will help control the direction of the light, preventing it from spilling over your set. Remember, the tighter the honeycomb, the narrower the light will be, so it pays to experiment with different honeycomb grids to see which works best for you.
As in the previous setup, attach a background reflector or a set of barn doors to a second studio head and attach this to a floor stand immediately behind the subject, positioning it so that the light shines back onto the background paper. Using the clip on the background reflector/barn doors, place a coloured gel over the front of the light, ensuring that it completely covers the aperture of the reflector. If you do not have a floor stand a regular stand may be used from either side, although the colour on the background may be unevenly lit. Ensure that the coloured gel is not resting on the modelling light or flash tube, and ensure that you are using heat rated photographic gels, otherwise you are likely to create a fire risk. Now position the light so it lights the background directly behind the subject. Finally, attach a small beauty dish or softbox to your key light and place it approximately 45 degrees off-camera axis and about a metre higher. Once your subject sits down, you can adjust the positioning of the key light and begin to model the face properly. Meter your key light to approximately ƒ11.
SETTINGS AND EQUIPMENT
Camera Settings
Lighting Equipment Required
As before, there are no exact power ratios for the gelled background light and hair/rim light, as the coloured gel you use will require different amounts of power to light the background. Your subject’s hair or clothing will all affect the outcome. Remember dark gels on dark backgrounds will require more power than lighter-coloured gels on lighter backgrounds, in much the same way as very dark hair will require more light than very fair hair. It is worth positioning your subject before making the final adjustments to the direction and power of these lights, adjusting the power to taste by using the camera’s LCD/computer monitor. As long as your key light is metered properly, you can be more confident in trusting what you see in the LCD.
Common Issues
COLOUR BLEEDING BACK ONTO SUBJECT
Ensure that the background reflector or any other modifier you are using is pointing directly at the background and not spilling onto the subject.
BACKGROUND LOOKS WASHED-OUT
Three Light Setup 3
Creating a high-key background with three lights is an altogether easier prospect. The use of two heads to light the white background enables you to cover a much greater area, even for a standard full-length shot. The trade-off of course is that this will leave you only a single studio head with which to light the subject, which may not be ideal for the individual or subject you decide to photograph. In the majority of cases choosing the right reflectors for all heads can certainly make your life easier, especially within more confined spaces. It really is a case of using the right tools for the job.
In this photograph [Fig. 3.3], I decided to introduce more movement, by getting the model to move around and by using a fan to lift the hair. It is important to allow your subject to move relatively freely when trying to get shape and expression into a photograph as you will find that both the body and the face will help express the energy. In this shot, the model was made to swing from side to side to music, using the waistband and pockets of the trousers to prop the hands. By moving the shoulders back and the elbows inwards, the hand naturally exacerbates the curve in the hip, whilst the breeze through the hair and expression on the face adds to the sense of passion. You will find that a little music on your set will go a long way to helping relax people and create mood!
The key to this shot is covering a larger area with the key light. A lot of free movement can be difficult to achieve with very tight and precise lighting as the subject will constantly move out of the light. For this reason I deliberately used a very large parabolic on my key light, to cover a broad area.
Fig. 3.3 Image © Christian Hough. Model: Jannica Klingborg.
Getting Started
Start by setting up your background. White seamless paper, vinyl or a studio infinity cove are ideal; and fabric is also an acceptable alternative. Each background will require different amounts of power, depending on the finish and distance from the subject. Remember, shiny reflective vinyl will require less light than an extremely matt finished fabric. Once you have set up your background, mark a position for your subject approximately three to four metres in front of the background. More space between the background and the subject will help you control the light more.
On each side of the subject and about half a meter behind, place a studio head fitted with a broad directional reflector or small softbox, without the front diffusers fitted. These heads will make the background white, so they need to be positioned slightly behind your subject to help eliminate any risk of light spilling back. Use the modelling facility on each light to ensure you are evenly covering the white background behind the subject. There is no need to aim both of the heads at the same spot directly behind the subject. Directing the light on each side of the subject should be enough to offer consistent yet broad coverage of the background.
It is a good idea when choosing a modifier for your key light to think about coverage. A large softbox or umbrella will achieve good coverage of the subject and will also help throw light onto the background, whereas a small reflector with a honeycomb grid will only cover a small and relatively precise area. It is recommended that you use a large umbrella or softbox on the key light. Once you have done this, move the key light in front of the subject, between two and three metres and approximately fifty centimetres to a metre higher. It is not crucial as to where on the camera’s axis you have the key light, but it is worth considering that the closer to the camera’s axis the key light, the flatter the light. In the example pictured here, the key light was placed around 45 degrees from the camera and was metered to ƒ16. If your subject is moving, you will find that ƒ16 will increase the chance of you capturing a properly focused image.
With the background lights, it is recommended that you meter these individually to ensure a uniformly lit background. On forums there is usually a lot of debate with regard to the metering of the high- key background, with many photographers professing fail-proof metering for all scenarios. However, in reality, it is not always that clear cut, as factors such as the type of background in use (paper, painted wall, fabric, vinyl and so on), the space within which you are shooting, the distance between the subject and the background, even the key light modifier will all affect the metering. For this reason, I frequently advise photographers to begin by metering the background approximately a stop higher than the key light and then to utilize the histogram or flashing highlights on the camera’s LCD to ascertain how much of the background they are overexposing, and increasing or decreasing the power as necessary. It is important to consider all of the studio environment to reduce undesirable effects, such as flare, bleed and spill.
Once you have metered your key light and background, be sure to test the settings on your subject and utilize the key light to shape the face and body properly. Get your subject to move about, and get an assistant to waft the hair with a reflector or fan to add a little more movement.
Common Issues
LIGHT BOUNCING ONTO THE SUBJECT FROM BACKGROUND (BLEED)
INSUFFICIENT COVERAGE OF THE BACKGROUND
UNABLE TO MAINTAIN CONSISTENT BACKGROUND
If you are using a fabric background, you will possibly find that it can be more difficult to retain fully blown highlight detail towards the outer edges of the frame, depending on how wide you are shooting. This is because fabric absorbs light and can result in a yellow discoloration towards the edge of the frame.
SETTINGS AND EQUIPMENT
Camera Settings
Lighting Equipment Required
Three Light Setup 4
Getting up close to your subject can really help give an image a different perspective. Instead of using a more familiar studio focal length of 80–100mm, you may find that zooming out to a slightly wider angle can make an interesting alternative and allow you to get in closer and higher, squeezing more into the frame. Zooming out just a little can make a big difference.
What works in this image [Fig. 3.4] is the angle, crop and contrast. The slightly wider angle of 64mm has enabled getting in closer and slightly above the model, which brings the top of the arms and collarbone into the frame. However, the majority of the frame is filled by the model’s face, drawing the viewer’s attention to the interesting eye makeup. The dark eyes work nicely with the low-key background, whilst the highlights produced by the side lights bring shape and definition to the model’s face. More interestingly, the key light was actually flagged by me standing in front of the model, thus evenly filling the shadows and making the side lights the main accent. Finally, the framing helps the viewer focus on the face as there are no distractions from hair or clothing.
Fig. 3.4 Image © Christian Hough. Model: Jaala Pickering.
Original setup.
Flagging light with body.
Getting Started
This shot consists of a standard three light setup that was modified purely due to positioning. The setup and modification are simple yet effective. Begin by setting up your black paper or fabric background. If you are limited with space, you will find that a black velvet background will prove more effective at absorbing light. Once done, position a backless seat or stool approximately two metres from the background. Depending on the angle you intend shooting at, you may find that you need to pull the background down to the floor and under the stool so that you do not get any unwanted background scenery once you start shooting at higher angles.
For your key light, attach a medium-sized silver reflective umbrella to a standard reflector; fit it to your studio head and position this directly above the camera. A good starting point for the height of the umbrella is approximately two metres from the ground and approximately four metres in front of the stool. This will allow enough distance for the light to spread and not to be completely blocked by your body. Meter this to ƒ11.
Now you need to set up your side lights. Begin by erecting two stripboxes, fixing them to two studio lights, and then place a light either side of the model, approximately one metre behind the stool. Now turn the stripboxes back towards where the model will sit. Meter the two side lights evenly to approximately ƒ8.0. If you don’t have stripboxes it is possible to clip black fabric or thick black card to a standard softbox to create a strip effect. Failing this, you can always use standard reflectors and honeycomb grids.
SETTINGS AND EQUIPMENT
Camera Settings
Lighting Equipment Required
Position your model and, without standing in front of the light, take a test shot. You should find that the umbrella lights the face, whilst the two stripboxes highlight the sides of the cheeks. Once you are satisfied with the positioning of your lighting, you can now consider zooming out and getting closer, flagging the key light with your body. You will now find that your shots are underexposed, as you are blocking out the key light. The simple solution is to stop up by approximately one stop to compensate. To help lift the shadows, use a silver bounce reflector at about knee height. Not only does this lift the shadows, but it also creates a small catchlight in the model’s eye. The great thing is that you can now return to a more typical shooting position by simply stepping away from the model and stopping back down to ƒ11. You get two uses out of a single setup.
Common Issues
LIGHT SPILLING ONTO BACKGROUND
STANDARD SETUP TOO FLAT
Three Light Setup 5
Babies and children can be a delight to photograph, and there are times when virtually every picture you take will please a loving parent! However, they can also be some of the most challenging subjects and occasionally need lots of patience, so it pays to keep the lighting simple and flexible. Using broad light sources is the key to success, enabling you to concentrate on positioning and shooting, without the additional worry of the light.
You may find that babies around the six months mark can be particularly challenging. Every child develops at their own rate, so assumptions cannot be made as to whether they can support themselves or sit upright unaided. You may need to use something to assist the child, such as a baby poser, covered with fabric or a throw. What makes this shot [Fig. 3.5] is the clothing and the baby’s expression. A denim jacket and a pair of pink sunglasses give the child a funky appearance, made all the more apt by the cheeky expression. The high-key background and white fur throw help soften the image and allow the baby to be the main focus point.
Fig. 3.5 Image © Christian Hough. Model: Tabetha Wydymus.
Getting Started
Begin by setting up your white background. Any white background can be used - paper, fabric or even a wall. Position a low and broad table approximately two metres in front of your background and then position the baby poser on top. I have used a very low and wide table, as it lifts the baby high enough to be photographed, but is also more than wide enough to stop the baby from toppling over the edge. You can use any material you wish to cover the baby poser; however, it is preferable and more acceptable to use ‘soft’ material and throws.
Once in position, attach a small softbox or semi- directional reflector to a studio light and position this to the side of the table, pointing it towards your background. Place it approximately half a metre closer to the background than the baby poser, and meter it between ƒ11 and ƒ16. Remember the more reflective your background, the less power it will need to blow the highlights.
For your key and fill lights, set up two lights onto stands and attach a silver reflective umbrella to each of them. If you don’t have silver umbrellas, then shoot-through umbrellas or softboxes will perform just as well. Position one of these umbrellas approximately 45 degrees off-axis and approximately one metre higher than the head of the baby. This will be your key light, so meter this to ƒ11. Now place your fill light on the opposite side of the key light and closer to the camera axis. Meter the fill light between ƒ5.6 and ƒ8.0. Try not to produce too many hard shadows as babies’ and children’s faces are very soft and therefore suit softer images. If you have an older child who is moving around more, then you may wish to move the umbrellas further apart so that you cover a broader area with light.
Once your subject is in place, take a test shot and ensure that the background light is lighting the wall directly behind. Keep your key and fill light around two metres away from the subject, to ensure that you retain a catchlight in the eye; this can often be a problem when subjects are positioned low to the ground.
Finally, always ensure that you have a responsible parent or guardian with any child. Studios are dangerous places with hot lights, electric cables and delicate equipment. Be sure to fully brief the parent or guardian about all the hazards and what you expect from them, ensuring that they remain close to the child at all times. For very young children, it is advisable for at least one parent to be just out of frame and ready to control the child between shots.
Common Issues
WASHED-OUT IMAGE
If you are shooting in a confined space you may be experiencing bleed from the background.
NO CATCHLIGHT.
SETTINGS AND EQUIPMENT
Camera Settings
Lighting Equipment Required
Three Light Set Up 6
Simple movements and small adjustments to your lights can make a huge difference to the mood of your photograph. In this example [Fig. 3.6], the lighting has been kept direct and the background subtle, placing more emphasis on contrast on the subject, rather than contrast against the background. The face has been short lit and the second light tightly controlled to bring out the shape of the model’s face and body from the side, while retaining more shadow towards the lens of the camera. The simplicity of the background creates a gentle gradient that doesn’t distract the viewer.
Fig. 3.6 Image © Christian Hough. Model: Kayt Webster Brown.
Getting Started
For this shot to work, it is important to find a smooth white background. A painted white wall, white paper or vinyl will work perfectly and allow the light to drop off smoothly, creating a gentle crease-free gradient. Of course, if you plan on converting the shot to black and white, it is possible to use any light coloured wall. The success of the background will depend on the available space, as the further away the background light is positioned from the wall, the greater the spread of light and the more subtle the gradient. Positioning the background light close to the wall or background paper will increase the angle at which the light needs to be placed and thus the contrast of the gradient.
Begin by attaching a light to a stand at waist height and fit it with a broad directional reflector. Position the light approximately 2–3 metres from the wall. Direct the light back towards the wall and use the modelling facility to ascertain the strength of the gradient. At 90 degrees, the light should be fairly flat on the background, however, as you position the light closer and decrease the angle, the contrast of the gradient will increase. Once you’re happy with the effect, meter the background light to approximately ƒ5.6 at the central point behind the model.
For the key and side light, it is a good idea to mark a position for your model on the ground and then use this as a reference point for your metering. Begin by positioning the attaching a reflector and honeycomb grid to a single studio light and placing this to the right side of the model. Position it approximately 1 metre higher than the model. This will be the key light so with your model in position, move the light around her until you achieve the familiar Rembrandt/short lighting pattern on the face and meter to ƒ11. Providing you keep the light the same distance from the model, it will be possible to move it around and shape the face, without the need to re-meter continuously.
Finally, attach a second honeycomb grid and reflector to a second studio light and position this to the left of the model. This will be used to light the shoulder and the hair. Position the light slightly behind the model and approximately 1 metre higher. The strength of this light will ultimately depend on the colour of the hair and skin of the model and you will find that darker hair and matt skin will need a little more power than fair hair and shiny skin, so meter between ƒ5.6 and ƒ11, making adjustments as necessary.
SETTINGS AND EQUIPMENT
Camera Settings
Lighting Equipment Required
Common Issues
SHADOWS TOO DARK
If you find that there is too much contrast, then use a reflector or white polyboard to help bounce the light and lift some of the shadow detail. Position the reflectors close to the camera axis. More than one reflector can be used if necessary.
GRADIENT TOO STRONG
Begin by adjusting the angle of the background light. The more ‘square on’ to the background the light, the less contrast the gradient will have. It is also worthwhile experimenting with different reflectors. Broad directional reflectors will increase the contrast over a smaller distance and vice versa. Finally, you can always use a reflector on the opposite side to the background light to help reduce the overall contrast.
FOUR AND FIVE HEAD LIGHTING TECHNIQUES
As you increase the number of lights you allow for more flexibility, but it can also mean more work and the need for additional control. However, it is of course possible to use all of the techniques that we have applied with the one, two and three head setups in a single shot, making the most of the shape, tone and texture of any subject.
One of the key principles of studio photography is to understand when to use more light. Quite often, inexperienced photographers will throw as much light as possible at a subject, without any cognizance of why they are lighting the subject and the particular aspects of the subject they need to draw out of the photograph. Remember that ‘less is often more’.
Before you progress, think about the various aspects of additional lighting, such as side lighting, rim lighting, hair lights, gels and fill lighting. Which of these techniques will your subject and photograph benefit from? Try and picture the finished result and discard any lights and techniques that are not suitable.
Four Light Setup 1
Beauty images can require a different approach to portraits. For the most part, they concentrate on the shape and expression of the face and eyes. The majority of beauty images are used editorially and commercially, usually in conjunction with cosmetic products. In a similar vein, this shot [Fig. 3.6] was created to focus the viewer’s attention on the eyes and the cheekbones. To draw out the shape, the four heads have been used to light the face evenly on each side, making it symmetrical. The background has then been gelled red, to enhance the wintery/Christmas theme.
Fig. 3.7 Image © Christian Hough. Model: Christine Hogan.
Getting Started
Begin by setting up your background and attaching a three-metre roll of grey background paper. A darker shade of grey will work better as it deepens the colour from the gel, whereas lighter shades have a tendency to make the colours look too pale and watery. Once your background is in place, set up your background light, attaching a set of barn doors. On the front of the barn doors, clip a red gel. Position the light so that it is lighting the background. The ‘doors’ can be adjusted so that they flag the light, which is particularly useful for preventing unwanted red spill light reaching the back of the model. By spreading the doors, you are effectively allowing the light to spread outwards and cover a greater area. Use the modelling facility on the studio head to ascertain where on the background the light is falling and then adjust the barn doors to control the light. Meter this between ƒ8.0 and ƒ16. You will find that different shades of background paper require different amounts of light.
SETTINGS AND EQUIPMENT
Camera Settings
Lighting Equipment Required
For your key light, fix a reflector and honeycomb grid to your studio head and then attach this to a boom arm. Mark a place for your model at least two metres from the background and then ask them to stand in position temporarily. Place your key light approximately two metres back and position it so that the light is central to the model’s face, casting the shadows directly downwards. You will find that the further back and lower down you position the key light, the shallower the shadows will become and the flatter the face will look. Moving the light closer and higher will force you to increase the downwards angle of the light, which will make the shadows longer. Ideally the light needs to be between one and two metres higher than the model, although this will depend on the type of honeycomb grid you are using. Meter your key light to ƒ11. This is effectively known as butterfly lighting.
It is of course possible to use any light as your key light; however, maintaining an evenly gelled background requires control over your lighting and some separation between the subject and the background. If you were to use an umbrella or beauty dish as your key light, you may find that it will throw unwanted light onto the background, decreasing the intensity of the coloured gel.
The next step is to set up two side lights. Fit two heads with reflectors and the same sized honeycomb grids and then position one on each side of the background paper. Move each light backwards so that it is almost level with the background support, and with your model in place adjust them so they are picking up the cheeks on each side. Meter each head evenly between ƒ5.6 and ƒ8.0. You may find that light shiny skin requires less light than darker matt skin.
Honeycomb grids make the light much more directional, so your model will have less latitude for movement before they move out of the light. Keep the modelling facility on whilst you are shooting, so that you can see where the light is falling.
Common Issues
PALE-COLOURED BACKGROUND
INCONSISTENT EXPOSURE
If you are using a very tight honeycomb grid then it will create a very narrow light source; you will find that small movements by the model will move them out of the light.
Four Light Setup 2
If you wish to introduce more movement into your image, yet retain a similar lighting setup, you will need to use a broader reflector. This shot retains the grey background without the use of a gel, but progresses from a butterfly style lighting technique into a clamshell lighting technique. For the most part everything else remains in the same place, and it is more a case of repositioning the background light around to the front and changing a couple of reflectors.
Here [Fig 3.8], the model is wearing black, which absorbs light. Whilst there are only four lights in use, the key light has now been fitted with a silver reflective umbrella, which helps light more of the model and partially lights the dark grey background. A fill light has then been positioned to the floor to lift the shadows (creating the clamshell), drawing out some of the texture of the clothing and the colour of the red accessories. The black and grey create enough separation to illustrate the shape of the model, whilst the two side lights add to the separation on the exposed parts of the model’s arms and face.
Fig. 3.8 Image © Christian Hough. Model: Freya Berry.
Getting Started
Begin by suspending your grey background paper and draw out a good length train underneath the model. If you are only intending to shoot half- length, then it may be possible to pull the paper only to the ground to prevent it becoming soiled unnecessarily. Mark a position for your model to stand no less than two metres from the background.
Set up your key light, attach it to a boom arm and then fit it with a silver reflective umbrella. If you do not have an umbrella, then a medium-sized octabox or large beauty dish will also work; however, you may find that a beauty dish is much less suitable for full-length photographs due to the sudden light fall-off on the edges and hardening of the shadows at a distance. Position the boom arm so that it is central to the model and camera, and between one and two metres higher than the model. Remember, the further back and lower down you position the key light, the shallower the shadows will become and the flatter the photograph will look. Moving the light closer and higher will force you to increase the downwards angle of the light, which will make the shadows longer. Once in position, meter the key light to ƒ11.
For your fill light, attach a studio head to a floor stand and fit it with a standard reflector or small soft- box. Position this light approximately two metres in front of the model and direct it upwards towards the model’s torso/face. Meter the light to approximately ƒ5.6. Depending on the reflector you are using, you may find that you need to increase or reduce the power to get the fill light at a level you are comfortable with.
The next step is to set up two side lights to create the rim light effect. Fit two heads with stripboxes or small softboxes and then position one on each side of the background paper. Move each light backwards, so that it is almost level with the background support, and with your model in place, adjust them so they are picking up each side of the model. Meter each head evenly between ƒ5.6 and ƒ8.0. Care needs to be taken to ensure that you do not direct the light from the side lights down the lens of the camera, especially if you are using a standard softbox. Studio polyboards and black fabric make ideal flags to counteract this problem. It is also possible to use broader honeycomb grids in place of strip lights if they can be placed far enough away to achieve enough spread to cover the length of the model.
Common Issues
BACKGROUND SHADOWS
FLAT IMAGE
The higher and closer the key light, the longer the shadows will be.
LENS FLARE
It is important to control the light coming from the side lights.
SETTINGS AND EQUIPMENT
Camera Settings
Lighting Equipment Required
Four Light Setup 3
Getting in at different angles can help to give an image a more interesting perspective. In this example [Fig. 3.9], using a wide-angle lens for a portrait and getting in above the saxophonist has accentuated the size of the saxophone and, his head, and enabled him to peer over his glasses at the camera, all this whilst fitting the shot into the frame. This approach wouldn’t necessarily work for every subject, but the change of perspective is both quirky and refreshing. The lighting in itself is nothing complicated, using a key and fill light with a high-key background; however, just a little more thought was required to the positioning of the background lighting to light the floor immediately underneath the subject as well as the background.
Fig. 3.9 Image © Christian Hough. Model: Gavin Randle.
Getting Started
Start by setting up your white paper/fabric background and pulling a train of paper/fabric underneath the intended position of your subject. This will allow you to experiment with different angles and focal lengths whilst reducing the risk of getting unwanted background scenery in your photograph. Once done, position a stool on the floor for your subject. Now set up your key light and fill light. Umbrellas or medium-sized softboxes are both ideal as they need to cover most of the subject, plus it isn’t always necessary to worry about the spill onto the background from your main lighting when shooting on a high-key background.
Attach your softbox or umbrella and then position your key light approximately 45 degrees off-axis to camera left, raising it approximately a metre higher than your subject. Meter the key light between ƒ11 and ƒ16 (depending how much depth of field you prefer at different angles). Attach your second softbox or umbrella to the fill light and position this between 20 and 45 degrees to camera right. Raise the fill light to the same height (or higher) as the key light and meter to ƒ5.6.
For your background lights, attach two directional reflectors or small softboxes to each light and then position them on each side and slightly behind the subject so they are lighting the background. Meter these jointly to around ƒ16. It is possible that you can reduce the power; however, this will depend on the power, proximity and positioning of the key and fill lights in relation to the background.
This setup will allow you to shoot from a standard and slightly elevated frontal angle at typical focal lengths. Once you move closer to your subject and shoot from an elevated position and wider angle you will need to make a couple of small adjustments to the background lighting. Firstly compose and frame your subject and whilst looking through the camera lens check to see that background scenery is visible. Adjust the angle of the left background light so that it is lighting the background directly behind the subject. Now rotate the right-hand background light and change the angle, pointing it downwards so that it lights the floor immediately underneath and behind the subject. Depending on the distances involved, you may need to decrease the power of this light. As you continue to shoot and move around your subject, check the background scenery and readjust the position of the background lighting if necessary.
SETTINGS AND EQUIPMENT
Camera Settings
Lighting Equipment Required
Common Issues
HAZY IMAGE
Begin by increasing the distance between the subject and background and if necessary reducing the power of the background lighting. Quite often haze is attributed to excessive light bouncing off the background.
YELLOWING OF BACKGROUND
It is common for fabric backgrounds to quickly grey and yellow in areas where the light falls off or is underexposed, especially if it becomes creased.
Four Light Setup 4
Studio glamour photography is and will always remain popular with many photographers. It is, of course, quite a particular market, yet its popularity remains as strong today as it did many years ago. Glamour photography is synonymous with female models and a male readership; however, there is an ever-growing female audience, so male glamour models have become more common over the years. The concept behind the glamour shot is fairly simple and that is to push the boundaries of what is acceptable to the widest possible audience. This normally involves the minimal use of clothing, maximum exposure of skin and usually involves underwear and other sexually provocative items!
From a lighting point of view, glamour is usually fairly straightforward as the main emphasis is on the model and not so much the mood and the lighting. You will often find that direct light sources can work well with glamour as they create strong shadows that emphasize shape and create more specular highlights, especially if the skin of the model has been lightly oiled; however, a lot will depend on the physique of the model, and a particularly voluptuous model may require flatter and more diffused light. Finally, the use of underwear will help prop the shot as it helps create ‘the tease’. It shouldn’t be too explicit, as it is not about what is visible, but about firing the imagination of the viewer!
Fig. 3.10 Image © Christian Hough.
Getting Started
In the shot [Fig. 3.10] we have used a simple high key background. As we have seen in other examples, there are several ways in which you can set-up a high key background. In this shot, I have used an infinity cove in a studio; however, paper, vinyl, fabric backgrounds or even a white wall will also work just as well.
Begin by setting up your white background and then attach two studio heads to two stands, positioning one on each side of the background. Fit each of the heads with a broad directional reflector and move them approximately 2–3 metres away from the background, aiming them so that they create a broad spread of light onto the white background. Now mark a position on the ground for your model, approximately 1–2 metres in front of the background lighting. Before you progress any further, it is a good idea to use the modelling facility on the background lights ensure that no light is spilling onto the model and adjust if necessary. Meter the lights between ƒ11 and ƒ22, depending on the reflectivity of the background surface. Remember, the more reflective the surface is, the less power it will need to light!
Once you are happy with the background lighting, it is time to progress to lighting the model and setting up the key light. In this shot, I have used a simple butterfly lighting technique to cast the shadows downwards and allow the model to move around relatively freely. This also maintains a constant broad lighting pattern on the face, regardless of which way the model is facing. Begin by setting up a single head onto a boom arm and position it approximately 2 metres higher than the model and 2 metres in front. It is a good idea to position your model and move the light so that it adequately lights the head and body. The choice of reflector for the key light is quite personal and you can literally use anything from a wide angle reflector to a softbox. In this shot, I have used a medium sized softbox without the front diffuser, so that the shadows retain a little more definition. You will find that the lower down and further back from the model you position the key light, the narrower the shadows and the flatter the light will be. Once you’re happy with the position of the key light, meter between ƒ11 and ƒ16, depending on the depth of field required.
It is quite possible to shoot with only a single light and the broader the light modifier or reflector, the less need there will be for any fill light. However, you may find that using a single light causes the light to fall off fairly quickly, leaving the lower half of the body darker than the top half. Alternatively it may create too many shadows, making the light less flattering. You will find that glamour models tend to be curvaceous if women or very muscular if men. Whereas strong shadows are good for drawing out muscle tone and definition, they are not always flattering for the curvaceous woman. In this situation, it is a good idea to use a fill light to lift the shadows and make the image flatter.
To set-up your fill light, begin by attaching a studio light to a floor stand and positioning it approximately 2 metres in front of the model. The choice of reflector is again a personal thing. In this example I have chosen to use a bare wide angled reflector; however, it is possible to use a small soft- box. Remember, if you are shooting full length, you will find that a large reflector on the floor stand may obscure the feet and you will have to adjust your angle of shooting and focal length to compensate. Meter your fill light between ƒ8.0 and ƒ11, depending on how much fill you require for the shadows.
Common Issues
SHADOWS CAST UPWARDS
This is caused by the fill light positioned on the floor.
Begin by decreasing adjusting the key/fill light power ratio, by reducing the power output of the fill light.
If you are still seeing some upward shadow definition, move the fill light further away from the model to decrease the length of the shadow or use a more diffused modifier.
SETTINGS AND EQUIPMENT
Camera Settings
Lighting Equipment Required
Five Light Setup 1
It is time to draw together some of the techniques you have learned so far and apply them to master a basic five light setup. The idea [Fig. 3.11] is to accentuate the shape of the model, create separation from the background, whilst drawing out the necessary detail and texture of the clothing.
The lighting has been deliberately set up to allow the model to move relatively freely along a two metre parallel, enabling her to create different poses in different outfits. It is very similar to the previous image, with the addition of a hairlight to add more detail and contrast to the model’s hair, whilst also creating more separation from the background. More, it is very quick and easy from a photographer’s point of view, as once you have set up, there is very little in the way of adjustments that are required, allowing you to concentrate on the shoot and the model.
Original.
Alternative.
Fig. 3.11 Image © Christian Hough. Model: Jaala Pickering.
Getting Started
Start by suspending your grey background paper and draw out a good length train underneath the model. Dark grey paper works best as black creates too much contrast, whilst a lighter grey advances the background too much, making the photograph look too flat. Once done, mark a position for your model to stand no less than two metres from the background.
If you have a boom stand, then set up a hair light to that it is central to the model and positioned above and behind. Direct the light to the top and back of the head so that it only lights the hair and doesn’t spill onto the face. It is possible to use a small softbox, strip light or even a honeycomb grid for this. If you do not have a second boom stand to hand, then attach you hair light to a regular stand and position it behind and above your background. You will need to fit a honeycomb grid to control the light and reduce the risk of flare. The hair light in this position will also need to be placed very high, so it may not be possible to achieve this effect in a room/studio with low ceilings. Meter to approximately ƒ8.0.
As for your key light, attach it to a boom arm and fit it with a medium-sized softbox. If you do not have a softbox a medium-sized silver umbrella will also work. Position the boom arm so that is central to the model and camera and between one and two metres higher than the model. Remember, the further back and lower down you position the key light, the shallower the shadows will become and the flatter the photograph will look. Moving the light closer and higher will force you to increase the downwards angle of the light, which will make the shadows longer, but also decrease the amount of light hitting the background. Once in position, meter the key light to ƒ11.
For your fill light, attach a studio head to a floor stand and fit it with a small softbox or standard reflector. If you need to control the spread on the fill light, fit it with a honeycomb grid. Position this light approximately two metres in front of the model and direct it upwards to towards the model’s torso/face. Meter the light to approximately ƒ5.6. Depending on the reflector you are using, you may find that you need to increase or reduce the power to get the fill light at a level you are comfortable with.
The next step is to set up two side lights to create the rim light effect. Fit two heads with stripboxes and then position one on each side of the background paper. Move each light backwards, so that it is almost level with the background and, with your model in place, adjust them so they are picking up each side of the model, including the face. Meter each head evenly between ƒ5.6 and ƒ8.0. Care needs to be taken to ensure that you do not direct the light from the side lights down the lens of the camera, especially if you are planning on using a standard softbox. Studio polyboards and black fabric make ideal flags to counteract this problem and will also help prevent spill light from the side lights hitting the background. It is also possible to use broader honeycomb grids in place of strip lights if they can be placed far enough away to achieve enough spread to cover the length of the model.
Finally, it is possible to substitute the boom arm for the hair light and instead attach the key light to a regular stand, positioning as close to the camera axis as possible. This will give you more flexibility as to where you position the key light and reduce the possibility of lens flare.
SETTINGS AND EQUIPMENT
Camera Settings
Lighting Equipment Required
Fig. 3.12 Image © Christian Hough. Model: Jaala Pickering.
Common Issues
BACKGROUND SHADOWS
FLAT IMAGE
The higher and closer the key light, the longer the shadows will be.
LENS FLARE
It is important to control the light coming from the hair light and the side lights.