White & Gray Card Balance

You will get a reliable daylight substitute from most flashes and photographic strobes. Using an automatic setting on your camera is not recommended when you are in the studio.

Room lighting can trigger auto adjustments. This could result in a skewed adjustment.

Tungsten lights are hot lights. Be cautious about setting them too close to your seamless paper backdrops. Use only gels and film that are suitable for the high temperature. They can be shaded blue to produce more natural lighting.

Use a gray or white card to manually take a reading on your white balance. Snap a photo of the card and keep it as a reference card for later. Editing will be easier if you have a place to start with a record of the settings. It is more efficient to shoot with these settings rather than editing later.

Eye Catch lights

Eye Catch lights—those tiny reflections in subjects’ eyes—can help you recall how your studio lighting was setup. Just by examining your portraits closely, you can discover how many lights you used and which ones were more dominant. Don’t attempt this with another person’s work. With editing software and digital manipulation, you can never be certain that the photograph is untouched unless it is your own. Remember to keep it simple. A single light source will deliver a more natural catchlight

If you’re using studio strobe lighting and have several lights joined together using optical slaves and fast synching of 1/500 or faster, your strobes may need a much slower sync speed of between 1/250 and 1/125 in order to align every light for a single shot. The rule of thumb is generally to use the fastest shutter that also provides you with an image that is properly exposed. If you choose a faster shutter speed, you risk a significant loss of light in the resulting image.

Cameras that utilize either an electronic or leaf-type shutter can often shoot images at speeds that exceed the recommended sync speed. As a result, you will experience a lower exposure because the image is unable to capture the entire strobe burst. This technique is useful if you’re interested in images that capture stop action movement, this technique is ideal. As an example, a high-end digital SLR, which naturally has an electronic shutter, can work with strobes at a speed set as high as 1/8,000. The compromise is the amount of light in the resulting image.

Cameras that have a focal plane such as a traditional film SLR, or newer digital models are set to expose the image at or below the rated sync speed.

If your goal is to include the ambient light in an image, choose a slower sync speed.

Placing the Lights

Light placement is as individual as the photographer taking the shot and can be the result of years of practice to get the perfect image.

As an example of placement, set two large reflective umbrellas on either side of your subject and add a single light that shines from above and behind your subject to highlight their hair and contours. Consider adding an object like a Gobo to block out the light coming from behind the subject’s hair, which can create unwanted reflections in your image. This setup should work on a variety of subjects, including people and objects.

No matter how you set up your strobe and studio lighting, there is no incorrect or correct way to take a photograph. The sign of a true photographic artist is their willingness to consistently adjust their use of lights and angles. For your images, keep in mind that the way you light a subject is far more important than the camera you use to take the shot.

Connecting Strobes and Studio Lights To Your Camera

Studio and strobe lighting typically comes with a cord that is long enough to plus into your camera’s sync outlet but not long enough to prevent tripping on it. This poses a hazard to your valuable equipment as well as your own well-being. Instead of using this plug and if your camera does not have PC connection terminal, you can purchase a coupler for less than $20. The coupler plugs into the hot shoe of your camera.

Triggering your strobe lighting can be accomplished by plugging an on-board flash with an optical slave that is plugged into your strobe’s power device.

An inexpensive slave attached to your power pack, combined with the on-board camera flash and manual mode can help you take a great shot without unwanted pre-flashes. When using both strobes and studio lighting, try using a lower power setting in order to decrease the drain on batteries and allow the lights to recycle faster. Using just 1/4 power can reduce your flash recycling to match that of your studio lights. If the strobes don’t have enough power to fire, you can raise the amount of power on the trigger flash. Making this change however, won’t affect when your studio strobes fire in response to the same exposure. This occurs regardless of the setting on your trigger flash.

There’s a reason why professional photographers rely heavily on their on-board flash. Adding a ot shoe flash to a professional digital camera adds unnecessary weight that can affect your ability to move around and get a stable shot. Keep in mind however that if you work with a  camera model such as a Nikon D70 or D200, you have the ability to use the on-board flash to trigger nearly any brand of slave except those controlled by RF.

Controlling Exposure When taking your shots, no settings should need to be changed and your lighting will be sitting up on stands. Use manual exposure on your camera, because you are required to use it when working with studio strobe lighting. Setting the correct exposure is a matter of  settings and adjustments.

To create proper portrait lighting you need various studio lighting,  photographic backdrops, a soft box, reflectors and studio umbrellas.

Photo : Robert Mitchell

Bounce the main light into a photographic umbrella, this will soften any shadows on the subjects face. The main light should be placed to one side at a 45-degree angle from the camera. Avoid the use of strong, harsh lighting which will create an undesired stark look and angular facial features.

Use a soft box on the man light to diffuse it. This is a common practice when shooting portraits for advertising purposes. Place the soft box at a 25-degree angle in front of your subject. To add fill light when using a soft box you can use a reflector board to bounce the light onto the subject.

You can use three lights in your studio when shooting portraits. Place two of the lights on each side of the camera at 20-degree angles. The third light should be placed opposite the main light and slightly behind the subject. Studio lights should be placed in a progressive pattern as they go away from the subject. For example, if the main light is located six feet in front of the subject, your front fill light should be approximately eight feet away.

To begin with, you’ll want to direct your model without dictating exactly what they should do. Some models will need more direction than others, but being open to your model’s ideas and giving them some freedom will help assure that your photos turn out looking natural rather than forced.

While you may want everything perfect in your fashion photo shoot, it’s important to remember to allow yourself to be creative and even bend the rules a little bit. It’s okay if your shoot isn’t as seamless as your seamless backdrop. You might want to change the lighting angle to something less conventional or mix up different body shots and head shots. If your model has a particularly striking feature, feel free to maximize on it. Trial and error is a big part of the process, but it can also be where you have your biggest success.

Photo : Kate Massey

Another part of having great fashion photos is by sheer volume. The law of averages dictates that the more pictures you take the more great photos you will get. You never know what might be going through your model’s mind at a specific moment that will get you the perfect expression, but if you miss it, it’s gone forever. You can always delete any bad shots from your memory cards.

Another thing that is important to remember when shooting fashion photos is that you are always selling something. Whether it is the unique way your model wears her makeup, her skin tone, her clothing or the flower in her hair, taking time to tune into these things will make your photos stand out. Feel free to experiment with a variety of  photography backdrops to take lighter and more dramatic shots. You may discover some nice surprises.

While experimentation and flexibility are both very important when it comes to getting great shots, you also want to maintain your professionalism. Stay calm even when things get stressful. Make sure your model knows you are trying a lot of things in order to have the best final product, and that you know what you’re doing. Even if you are inexperienced, it is important not to show it. Doubt is contagious and is bound to show up in your photos.

Photo : Krazy Kev Cool

Step One:

Light that is considered soft is diffused, and is more flattering. When light doesn’t travel in the same direction, it is softer. However, direct light is harder. Think of what it’s like on a cloudy day, where the light is softer because the sun’s rays are shining through the clouds. However, when the day is sunny, the light is stark and hard.

Step Two:

Creating soft light lamps is simple. Shine light through material in order to create diffusion. Materials include seamless paper,  muslins, and silks.  Choose materials that will not sacrifice light intensity when diffusing.

To add the material to diffuse your lights, you can attach the fabric right to the light. This isn’t recommended, though, because it could catch fire. Another option is to build a frame, attach the material to it, and shine the light through. Using a photographic soft box, though, is the easiest option.

Step Three:

Soft boxes a specifically designed to create and diffuse soft light. These attach directly to lamps, and aren’t fire hazards. Even though they’re referred to as boxes, they actually aren’t boxes at all. The soft box is constructed from a ring, four sticks, a black box, and diffusion material.

The outside of the soft box is black, that way bouncing light isn’t an issue. Inside the soft box is reflective material used for maximum light creation out of the box from the bulb. The spread of light is further maximized through use of a design where the box widens at the end where diffusion occurs.

Step Four:

If you’re in need of a soft box for one day’s work, you can construct one easily. Purchase a large piece of foam that is black on one side and white on the other, black tape, a light stand, and material. Cut the foam into four pieces, each equal in size, and tape them together so the white is on the inside. Tape the material the front of the box, and mount it to a stand. Place your box in front of the light.

Photo : Nick Wheeleroz

Place two light stands on either side of the studio background when shooting a free-standing model or object. The light stands need to be positioned slightly behind where you will place the subject of your photograph. Look through the camera’s viewfinder to confirm the light stands are not in the frame and reposition is necessary.

Use daylight balanced bulbs that are white and full-spectrum to illuminate your photographic backdrop. Avoid using regular incandescent light bulbs, because they will cast an unnatural yellowish hue onto the background and/or can affect the color spectrum and/or white balance of your photograph. Place the light bulbs into the light stands. Point lights toward the backdrop in a downward angle so they cross just before reaching the backdrop.

Photo : Nick Wheeleroz

If you will be shooting an object that is placed on a stand you will need to position the stand at least two feet in front of the white seamless backdrop. Place two short stand lights, or small floor lights, on the floor behind the stand so they are out of sight from the camera’s viewfinder. Use white full-spectrum daylight balanced bulbs and point them up toward the backdrop. Light beams should cross just before reaching the backdrop.

Take some test shots before finalizing the light positions. If possible, place the model or object in the correct position during test shots. This will help you determine if there are any unwanted shadows, overly bright spots or dark spots on the photographic backdrop. Re-adjust camera, subject or light positions as necessary until you have reached desired look and feel of the photograph.

Harsh lighting accentuates minute details that include scars and wrinkles in your portrait subject. It also produces more shadows around features like the chin, nose and eyes. Soft lighting tends to obscure the fine details and produce a smooth, even facial texture for your photograph.

In order to grasp the concept of harsh light and soft light, stop thinking about light as being bright or dim. It is really about being big or wide, and small or narrow. Simply stated, harsh light is smaller, more targeted and soft light is larger. If you are taking photos outside rather than inside in front of a photographic backdrop, consider the outdoor lighting. Full, bright sunshine is harsher than the softer light on a cloudy day. Clouds tend to spread the light-make it broader-whereas full sun without obstruction is relatively direct.

What Is The Gray Zone?

Before discussing how to create soft lighting in your studio, let’s mention another aspect of lighting effects. The term “gray zone” refers to the area between full light and full shadow. Using a hand held light source like a lamp, spotlight or flashlight, point the beam on your backdrop. You will notice that the light gradually fades into shadows. The area between the full light and the shadows is called the gray zone. You can see the band widen and become narrow by moving the light source closer to the photographic backdrop and then further away. The wider this area is, the softer the overall lighting is. When setting up your light sources, check the gray zone to determine if your light is soft enough for portrait applications.

Photo : Gilbert Rossi

Creating Soft Lighting For Portraiture

One way to get a softer light is to move the photographic light source closer to your subject. Another way to expand the light is to bounce your light off an umbrella. The reflection expands the targeted light to the full width of the photographic umbrella. You will often see this technique used in the quick studio settings in local department stores and temporary setups for the holidays.

Professional photographers use other equipment, such as reflectors, reflective photographic backgrounds and diffusers to produce the same effects in their studios and on location. Bouncing light off a wall instead of an umbrella can have the same softening effects.

Exceptional portraits are within your reach. Stock your studio with enough seamless background options and light sources to allow you to accommodate a variety of customers. Utilize the basics of creating soft lighting to flatter your clients. The results are sure to please.

Photo : Southern Light Photography

DO’S

Move Groups Together -
Get families close together. Not only does this help you fit them into your photographic backdrop easier, but the photos emit a sense of warmth and togetherness.

Plan Your Subject’s Clothing -
Obviously, it’s up to the particular family as to what they want to wear, but you might consider advising them to stay away from extreme colors,  clothing with large logos on them, or clothing that may clash with your seamless background.

Check  Camera Screen -
When you’re shooting groups of people, you’re bound to get shots where people are blinking or not looking at the camera or doing something else. Check out the camera to make sure you’ve got the shots that you want before you move on.

Provoke A Reaction -
Tell a joke. Playfully rib one of your subjects. Just do something to get a reaction of them. The more natural the family feels, the better the photos will look.

Blur The Photographic Background -
Photographic backgrounds are important. But do you know what’s more important? Your subjects. You want to focus the lens on your subjects, not the background.

DONT’S

Don’t Pick The Wrong Backdrop – Keep in mind the subjects you will be photographing and pick your photographic backdrop accordingly (i.e. if your are going to be shooting older teenagers or adults perhaps use a muslin background or darker, more sophisticated colors).

Don’t Forget To Check Your Camera Settings -
It’s a photographer’s worst nightmare to complete a photo shoot only to realize that you weren’t using the right lens, or didn’t have the camera on the correct setting for outdoor shots. Don’t put yourself in that position, double-, triple- and quadruple-check your settings.

Beware Of The Head Tilt -
Oh, the dreaded head tilt. It’s fine for shooting star-crossed lovers, but not so fine for shooting families. Be aware of this and correct it, if necessary.

Don’t Sound Like An Amateur -
Is there anything more frustrating to a client than a photographer that doesn’t seem to know what he’s doing? Remember, you’re hired because you’re a professional. Come prepared.

Don’t Let Someone Else Run The Show -
You’re shooting this family portrait for a reason – because you’re the professional photographer. So no matter how much of an expert Mom, Uncle Joe or the kid who used a point-and-shoot once claim to be, remember, it’s you who should have say.

Don’t Be Afraid To Listen To Other Ideas -
We just got done telling you not to let anyone else run your photo shoot. And while we stand by this important “don’t,” we don’t think you should completely tune out the opinions or ideas of others. For example, if little Jimmy wants to take a picture out back in front of his playhouse, go for it.

Portrait studios focus on taking pictures of people. Whether you are photographing one person or twelve, make your photos special.

A group portrait should reflect some familiarity or connection between the subjects. You can enhance this element by creating poses that have the subjects holding hands, resting a hand on the shoulder of another group member or even by having the people face-to face. The physical contact can be so subtle it is barely noticeable. For more professional photos like a corporate board or ball team, have the members stand shoulder to shoulder, or choose a few members to turn slightly toward one another on the outer borders of the shot. An outdoor ribbon cutting looks better if the front members are sharing a pair of scissors or a plaque. Connections make more pleasing group photographs.

A traditional pose for groups with several people, is to perhaps arrange them on a staircase. Smaller groups can be arranged in an inverted V for a symmetrical look. Capturing children at play delivers a natural photo. Position them in front of a beach backdrop with a sandbox. It is often less stressful for the children and the photographer can capture some great smiles this way.

In addition to posing, the photographer’s seamless background adds character to portraits. There are so many types of  backdrops for photography to choose from today that you can create almost any mood. Keep in mind that the back ground should not detract from the subject. If a studio background is too busy, the subject will lose its prominence. Choose a scene or color that fits your needs without being over-powering. If necessary, shoot closer to your subject to reduce the amount of background that shows in the photograph.

Deciding whether to shoot your subject outdoors or indoors is really a matter of preference for the photographer and the client. Indoor settings provide more control for the photographer. Artificial lighting can be positioned and manipulated to control the shadows on the subject, which control the personality of the final product. The type of photographic background can be anything from a solid color to a mountain scene. Adding extra lights and using controlled reflection helps the photographer achieve the results desired.

Outdoor scenes can be quiet appealing. A photo in front of a waterfall or lush garden may be exactly what you are looking for. Remember to watch for distracting items in the background. If possible, take your photographs in the early morning or late afternoon to take advantage of the best light.