Commercial Photographer's Master Lighting Guide

Second Edition

Commercial Photographer’s master lighting guide food architectural interiors clothing jewelry more

I ncludes over 125 lighting diagrams!

Choose the right light Capture texture and shape your subject Design creative setups and more

Robert Morrissey PhaseOne featured Amherst Media® photographer publisher of photography books

Dedication I dedicate this book to my beautiful wife, Angie; our daughter, Renya; and my son, Gavin.

Special Thanks Special thanks to: Olympus, Terry Monahan (Chimera), Peter Pboremba (DynaLite), and Roger Carpenter.

Commercial Photographer’s Master Lighting Guide is the second edition of Master Lighting Guide for Commercial Photographers.

Published by: Amherst Media, Inc. P.O. Box 586 Buffalo, N.Y. 14226 Fax: 716-874-4508 www.AmherstMedia.com

Publisher: Craig Alesse Senior Editor/Production Manager: Michelle Perkins Assistant Editor: Barbara A. Lynch-Johnt Editorial assistance from: Carey A. Miller, Sally Jarzab, John S. Loder Business Manager: Adam Richards Marketing, Sales, and Promotion Manager: Kate Neaverth Warehouse and Fulfillment Manager: Roger Singo

ISBN-13: 978-1-60895-633-3 Library of Congress Control Number: 2013905041 Printed in The United States of America. 10 9 8 7 6 5 4 3 2 1

No part of this publication may be reproduced, stored, or transmitted in any form or by any means, electronic, mechanical, photocopied, recorded or otherwise, without prior written consent from the publisher.

Notice of Disclaimer: The information contained in this book is based on the authors’ experience and opin- ions. The authors and publisher will not be held liable for the use or misuse of the information in this book.

Check out Amherst Media’s blogs at: http://portrait-photographer.blogspot.com/ http://weddingphotographer-amherstmedia.blogspot.com/ Contents

About the Author ...... 5 Reflective (Glass/Acrylic) Sets . . . . .30 sidebar: Connect with Robert ...... 5 sidebar: Tools for a Reflective Product Set . 31 Creating Inexpensive Sets ...... 31 Introduction ...... 6 sidebar: Tools for Inexpensive Sets . . . .31

1. Lighting Basics ...... 9 5. Panels ...... 32 Types of Light ...... 9 The Setup ...... 32 Characteristics of Light ...... 13 sidebar: Color Temperatures ...... 13 6. Honeycomb Grids ...... 42 sidebar: The Bright Spot ...... 14 Exposure ...... 15 sidebar: SQDC=E ...... 16 sidebar: Aperture and Light Levels . . . 17 sidebar: Histograms ...... 18

2. Equipment ...... 20 Cameras ...... 20 Electronic Flash Units ...... 20 Modifiers that Attach to Flash Units . . .21 Stands ...... 23 Freestanding Modifiers ...... 23 sidebar: Equipment Selection ...... 24

3. Using the Diagrams ...... 26 Panel Lighting Overview ...... 26 sidebar: Lighting Shorthand ...... 27

4. Studio Setup ...... 28 sidebar: Tools for a Simple Product Table .28 How to Create a Simple Product Table . .28 Larger Sets ...... 29 sidebar: Tools for a Larger Set . . . . . 29 Room Sets ...... 29 sidebar: Tools for a Room Set . . . . . 30

contents 3 7. Umbrellas ...... 49 Medical Light ...... 98 sidebar: Keys to Successful Lighting ...... 99 8. Softboxes ...... 58 Lighting Auto Exteriors ...... 100 sidebar: Tools for Auto Shoots . . . . 100 On Assignment ...... 71 Trilight ...... 101 Updating Older Images ...... 72 Large Sets ...... 102 Black & White ...... 73 Lighting on Location ...... 104 Edgy Portraits ...... 74 Shooting for Photoshop ...... 106 Making Images Look Old ...... 75 Overhead Light 1 ...... 108 Natural-Scene Fill Light ...... 76 Overhead Light 2 ...... 110 sidebar: Time-Saving Strategies . . . . .76 Overhead Light 3 ...... 111 Dramatic Light ...... 78 Lighting with Mirrors ...... 112 sidebar: Keys to Success ...... 78 Small Items and Jewelry ...... 113 Dappled or Textured Light ...... 80 Sunlight ...... 114 sidebar: Plan for a Perfect Shot . . . . .80 Fill Flash Outdoors ...... 115 Portraits ...... 83 Tungsten and Daylight ...... 116 Front Lighting Using Grids ...... 84 Lighting Glass ...... 117 Fashion Lighting ...... 85 Multiple-Image Campaigns ...... 118 Corporate Portraits ...... 86 The Empty Product ...... 120 Lens Flare ...... 88 Silhouettes ...... 121 Glowing Light ...... 89 Black on Black ...... 122 Lighting Food 1 ...... 90 Lighting Food 2 ...... 92 Final Words ...... 123 Lighting Drinks ...... 93 Lighting Rooms 1 ...... 94 Glossary ...... 124 Lighting Rooms 2 ...... 96 Index ...... 126 Scientific Light ...... 97

4 Commercial Photographer’s Master Lighting Guide About the Author

obert Morrissey has been behind a camera this, Robert became a lead photographer for the Rsince 1988, when he first began taking class- University of Missouri–Columbia. In this posi- es at the Kansas City Art Institute. During the tion, he helped introduce the use of Adobe Pho- third year of his schooling, he interned with Nick toshop as a tool for photographic illustration. Vedros, a top advertising photographer. Inspired Once chosen by Phase One to be a featured by working with Vedros, Robert opened a stu- photographer, Robert’s career took off. Robert dio of his own at the age of nineteen. By age now works closely with Olympus and is spon- twenty, his images had been published world- sored by DynaLite and Chimera. wide. While completing his senior year, Robert Now the owner and executive photographer not only owned and operated his own photog- of Morrissey & Associates, where the focus of raphy studio but also worked with many other photographic jobs is food and faces for advertis- professionals in the Kansas City area. He as- ing, Robert shoots for international advertising sisted these photographers, learning as much as campaigns, catalogs, and television commercials. he could from them and applying techniques he You may have seen his advertising work in Na- learned to his paid assignments. After graduating tional Geographic Explorer, The Wall Street Jour- with a B.F.A. in photography, Robert moved on, nal, Time, or at your local grocery or “big box” sold his studio, and traveled through the United stores. States and Europe, photographing everything S that interested him. elf-portrait by After landing in Virginia Beach, Robert got a job with Wright Studios. His duties were run- R

ning an E-6 lab and photographing catalog work obert for the Navy. This was the first time Robert was M exposed to the professional digital camera. After orrissey, taken with an iPhone 5.

Connect with Robert Keep up with Robert’s shooting activity and read more great lighting tips on his blog:

http://masterlightingguide.blogspot.com Introduction

y aim in writing this book was to demys- this book and to show you how to become the Mtify and simplify commercial photographic best photographer you can be. I believe that lighting. In these pages, you’ll learn about the commercial photography is more competitive qualities of light and gain tips for selecting es- now than it was six years ago when I wrote the sential photographic gear. You’ll find a variety of first edition of this book. What has allowed me professional lighting techniques explained and to keep moving my career forward is positivity, diagrammed in a clear, concise manner. I have determination, and knowing the technical aspects used every one of the techniques described for of commercial photographic production like the paying jobs, and each time, my client was pleased. back of my hand. I have also provided strategies for designing a studio for the particular type of photography you do. I will show you how to create sets inexpen- I have used every one of sively and how to stay within your client’s budget the techniques described and increase your bottom line. The straightfor- ward insights into selecting backdrops and back- for paying jobs. ground materials will save you money, too. You can also use this book to explain to clients I now own and operate Morrissey & Associ- the light you think will best enhance their proj- ates. My advertising and editorial photographs ect—without having to set up the shot. have been published globally. I have had the If you want to be a professional commercial good fortune to truly make a good living as a photographer, this book will give you the foun- commercial photographer. By learning to pro- dation you need to do it and do it well. There are vide your clients with standout, evocative images no silver linings or half-truths about the business that sell their merchandise in print ads and on the in this book. Photography has always been com- web, you too can achieve this level of professional petitive and it always will be. To get to the top success. By engaging with the information in this and succeed (i.e., make money), you must not book, you will have the foundation you need to only take great images—you must operate your make your dreams come true. studio within certain business parameters. I wish Good luck. there was a book like this when I started out. facing page—These images prove that com- Working as a commercial photographer isn’t mercial photography relies not only on great always easy or glamorous. For me, it has been a lighting but also a complete understanding of long and strenuous journey. The downfalls and Photoshop. To make seamless final images, you victories along the way have inspired me to write must fully understand light and shadows.

6 Commercial Photographer’s Master Lighting Guide

1. Lighting Basics

omeone once told me that photography is 90 source. Photographers use both natural and arti- Spercent light and 10 percent subject matter. ficial light when creating images, and often these When I thought about this, I realized it was ab- sources are used in combination to great effect. solutely correct. Without light, there would be no photographs. Without great lighting professionals, there would be no great photographs. Without great lighting To create the best-possible results when photo- professionals, there would graphing your subjects, you should have a general knowledge of light. Before investigating the be no great photographs. equipment, diagrams, and other key foundation- al aspects of creating an effective image, we must Natural Light. Natural light can be used to cover the basics. create an array of appealing effects, especially in portrait photography. While studio lighting of- Types of Light fers the ultimate in control, many photographers Light can be natural or artificial. Natural light prefer the simplicity of working with natural light. is light that comes from the sun, whether it’s Keep in mind that because your light sourc- the low light that filters into a shady area, the es are fixed when using natural light, you will light beams that filter through a window, or di- control the effects you achieve primarily by rect sunlight coming from a cloudless sky. Ar- adjusting the position of your subject in rela- tificial light is light that comes from any other tion to the light. You can also control the light

facing page—Effective lighting in the studio or on location requires a knowledge of the qualities of artificial andnatural light. left and right—Strong lighting skills are critical for producing commercial photos that set your work apart from the competition. by blocking it from above or the side (using a black card; see page 25) or bouncing light into a shadow area (with a bounce card or reflector; see page 21). Overhead Sunlight. When working with sunlight, try to avoid scenarios in which the light strikes the subject directly from above. This can quickly create unpleasant shadows on the face of a model or strong downward shadows on any subject. This issue can be avoided by shooting earlier or later in the day, when the sun is naturally at a lower angle (see “Golden Hour” below). When possible, look for situations where the light is diffused and, ideally, blocked from overhead. The light at the edge of a clearing (with tall trees or branches overhead) is often ideal, as is the light on a porch. Always bring two stands and at least a 4x6-foot scrim (see page 25) with you to diffuse the light.

Try to avoid scenarios in which the light strikes the subject directly from above.

Window Light. You can also use natural light indoors. Window light (or open-door light) is often extremely flattering for portraits. Because windows tend to be large, the light is typically very soft as it goes through the glass. Windows, by their very nature, also produce light with good directional characteristics. To even out the light on your subject, place a bounce card opposite the sun to “fill in” the shadows on the subject. You can also soften/diffuse the light coming through the window with a diffusion scrim. Golden Hour. When working outdoors, photographers often take advantage of the golden facing page and right—Each job will require a specialized, highly creative lighting approach.

hour, a time when the sun is low in the sky and can be used to produce magically warm side and backlighting. The general rule is that the best light occurs from sunrise to one hour after sunrise and from one hour prior to sunset until sunset. I make sure to show up early enough to get my lighting equipment set up and the subject and props positioned. Artificial Light. Artificial light options are characterized as instantaneous (flash) or continuous (HMI, tungsten, or fluorescent) light sources. Flash. Flash is useful when there is very little natural light or the natural light needs to be enhanced. Many inexpensive cameras and some professional models have a built-in flash. This is either part of the camera assembly or it “pops up” when activated. These units provide flash illumination on subjects that are fairly close to the camera (generally within 15 feet). These low- powered flash units do a good job, but because the flash is so close to the camera lens, you will likely get red-eye when taking pictures of people.

accessory flash units may be completely manual or fully automatic.

For better results, many photographers use an accessory flash (often called a hot-shoe flash, speedlight, or small flash). These are produced by camera manufacturers as well as third-party ed directly on the camera, held by the photog- manufacturers like Metz and Quantum. This rapher at a position off the camera, or mounted type of flash is connected to the camera via the above or to the side of the camera using a flash hot shoe or a sync cord. The units can be mount- bracket.

Lighting Basics 11 Accessory flash units may be completely man- A monolight is a self-contained light that ual or fully automatic. Manual flash units emit has both the power supply and the flash head the same amount of light every time they are built into one complete unit. These lights are triggered (though some have a variable power AC powered and can usually be triggered by di- control setting). A flash meter is useful with rect connection to the camera’s flash sync or via these units so that you can measure the light out- a radio slave unit that allows the strobe to be put and set your camera accordingly. In the au- triggered remotely (i.e., without a direct physi- tomatic modes, the camera communicates with cal connection to the camera). Many monolights the flash and tells it how much light to emit for have a built-in light-sensitive slave unit that will a proper exposure. This is accomplished via TTL fire the flash automatically when another strobe (through the lens) metering technology. is triggered. Separate radio slave units such as the Accessory flash units can be used with a vari- PocketWizard or Quantum radio slaves can also ety of diffusion devices made to soften the blow be connected to the monolight and the camera of the full-frontal burst of light on your subject. I to trigger the light. suggest you always soften your on-camera flash’s Power pack lighting units allow photogra- light to some degree. phers to use multiple flash heads, which can be somewhat independently adjusted. Studio power There are two types pack units can be AC or DC powered. Some of studio strobes: units will also operate on DC voltage with a car battery. This can be handy on location when you monolights and power packs. want the flexibility of a studio lighting system but cannot plug into an AC power source. Solar Studio strobes (also called electronic studio generators are coming down in price as well. flashes or flash kits) are the favored light source When triggered by the camera’s shutter but- for most studio product photographers. They ton, strobes emit a measurable “burst” of light. run cool, are portable, and pair easily with day- Obviously, working with only a brief burst of light film or the daylight white balance setting. light would make it difficult to place your lights There are two types of studio strobes: mono- in relation to the subject. Therefore, strobe units lights and power packs. With either type, your also house a modeling light, typically a 250- camera communicates with the light units via a watt tungsten-halogen bulb. This light stays on sync cord, radio slave, and light-sensitive slave to help you focus your light and see how it il- units (this will be discussed in more detail later). luminates your subject. (Some turn off after the strobe is fired then turn on again when the flash has recycled and is ready for use in the next shot.)

This photo of a Lego solar home is an example of using creativity, photography, and Photoshop to produce a remarkable advertising image. Remember to evaluate the color of light in the scene before shooting to ensure correct color rendition.

Continuous Lighting. Before the invention of flash, continuous light sources were the studio photographer’s only option. With the surge in the popularity of digital video, they are experi- encing a renewed popularity. With continuous sources, the light source is both the modeling light and the shooting light. This means you immediately see the lighting ef- Film and digital image sensors do not adapt as fect you will get. Additionally, since the advent readily. Therefore, it’s important to evaluate the of digital imaging, balancing your recording me- color of the light illuminating your scene before dium to the color temperature of these lights is shooting to ensure accurate color in your image. easy (just set your camera’s white balance appro- The color of a light source is described by its priately, using a custom setting if needed). color temperature. “White” light is the start- Photographic tungsten lights are like super- ing point for color temperature, and it measures charged household bulbs. Their output ranges about 5500 degrees Kelvin (5500K). As the sun from 100 to 24,000 watts. When working with rises or sets, the color of its light gets warmer, these lights, you’ll need to select your camera’s which is noted as a lower temperature (yes, it’s tungsten white balance setting or use a tungsten- counter-intuitive). Sources with a temperature balanced film. above 5500K are cooler, or more blue. HMIs take a short time to warm up and re- When the color balance of the medium used quire a ballast but are bright and daylight bal- to capture the image matches the color tempera- anced. These units are expensive. ture of the light, the colors in the image will be Professional photographic fluorescents run rendered neutral, as our eyes see them. cool, which can help keep your subject comfort- Direction. Direction is one of the key quali- able. They can be daylight or tungsten balanced ties of light. A light’s direction determines where but are limited in illumination intensity.

Characteristics of Light Color Temperatures match flame 1700–1800K Color Temperature. Visible light is comprised candle flame 1850–1930K of seven colors: red, orange, yellow, green, blue, sun at sunrise or sunset 2000–3000K indigo, and violet. The human eye does a good household tungsten bulbs 2500–2900K job of balancing these colors, so colors look the tungsten lamp (500 to 1000 watts) 3000K same to us whether they are under reddish light quartz lights 3200–3500K (e.g., sunset), yellowish light (e.g., a household fluorescent lights 3200–7500K sun, direct at noon 5000–5400K lamp), or greenish light (e.g., most fluorescents). daylight 5500–6500K overcast sky 6000–7500K computer monitor 6500KLighting Basics 13 outdoor shade 7000–8000K partly cloudy sky 8000–10,000K highlights, shadows, and the tonalities that pro- Backlighting is light that comes from behind duce the look of a third dimension in photos will the subject and toward the camera; therefore, it be created on the subject. The direction of light often leaves the front of your subject in shadow is described in relation to the subject, so moving or underexposed. It can also cause the edges of either the light source or the subject can change a subject to appear lit (or even to seem to glow). the direction of the light. By changing the cam- When this effect occurs, it is called rim lighting. era’s perspective, you may include more or less of This lighting is also used to create silhouettes. the shadows and highlights created by the light. Side lighting, as you might suspect, originates In most cases, a light source illuminates the at some angle to the left or right of the subject. side of the subject closest to it and leaves the op- This type of lighting can produce pronounced posite side in shadow. When very diffuse light is shadows. As a result, it is commonly used in por- used, though, the scene sometimes lacks shadow. trait photography, where showing the shape of the subject’s face is important to the image. Overhead light, as you’d expect, comes from A light source illuminates above the subject’s head. This type of light is the side of the subject usually held up by some type of boom stand. Undercarriage light comes from the bottom closest to it. of the subject. The term comes from the auto industry but describes the approach well. Light coming from in front of the subject is Hard Light vs. Soft Light. While the direc- called front lighting. With this lighting, the de- tion of the light determines where on a subject tail in the front of the subject is well illuminated. the highlights and shadows will fall, the quality As there may be minimal shadow areas, however, of the light will determine how soft or well de- the image may lack dimensionality and texture. fined these shadows are. Based on this, light is This type of lighting is often used in fashion and described as either hard or soft. Hard light (like glamour portraiture because it makes the skin the light available outdoors on a bright, sunny look flawless. This type of light alone will create day) produces dark, hard-edged shadows, bright a flattened or shallow perception of the subject. colors, and bright highlights. Soft light (like

The Bright Spot As photographers, we must render the three-dimensional world on two-dimensional media. To do this, we create highlights and shadows that help us interpret the subject’s shape and relationship to other elements in the scene. The term “bright spot” describes the area that is brighter (“hotter”) than any other point in the frame. When we look at an image, our eye is drawn to the brightest tone. Therefore, I sometimes use the bright spot to enhance the visibility of a logo. Other times, I use it to create a 3-D effect on a flat product or to add a sense of depth in a scene. When creating a bright spot, it is important to control the shadow areas. There cannot be brighter areas without having darker areas. The trick to creating a bright spot is to first light the subject attractively. Choose the area that you wish to make brighter. Reflect the main light back onto the subject using a mirror, or aim a lower-powered light with a honeycomb grid or snoot at the area you wish to emphasize. To increase the contrast between the highlight and shadow areas, you can use black cards (gobos) to block light from illuminating areas that should be rendered darker. This image embraces the combination of photography and computer graphics for a creative play on a mango. that from an overcast sky) produces paler, softer shadows, or no shadows at all. In soft light, the colors of objects tend to be subdued or muted. For most images, soft light is the photographic ideal. While soft light is not always readily available in a given scene, hard light can be modified and made softer through the use of light modifiers. This will be covered later in this chapter.

Hard light is produced by sources that are small in relation to the subject.

Whether a light source is soft or hard is determined by the size of the light in relation to the subject. Hard light is produced by sources that are small in relation to the subject. For ex- up the light and scattered it across the sky. On a ample, think of the crisp, well-defined shadows day like this, the entire sky is the light source— that appear on a bright, sunny day. The sun is and it’s huge! As a result, the light is soft. an immense light source, but because it is so far When we consider artificial light, the same away, it is very small in relation to the subjects it principles apply. If you light your subject with illuminates here on Earth. Once the light passes a relatively small source (say, a bare bulb) from through the atmosphere, you could be facing any distance, the light will be hard. By adding hard or soft light, depending on the atmospheric a diffuser—whether a commercially available conditions. Soft light is produced by a source modifier or a bedsheet—in between the light that is large in relation to the subject and close and subject, you are technically enlarging the by. Tip: Bring various modifiers to your sessions light source, making it wider and softer. The dis- so that you can modify the light as you see fit. tance between your subject and the light source Soft light is produced by sources that are will also affect the strength of the highlights and large in relation to the subject. Imagine that you shadows in your image. are outdoors on an overcast day. If you can see your shadow at all, it will be very pale and not Exposure very well defined (i.e., the edges will be soft and When you take an image, you want deep, satu- fuzzy). This is because the clouds have broken rated black tones with detail, bright whites with

Lighting Basics 15 detail, and accurate color. If an image is overex- Aperture. The aperture you select determines posed (your camera let in too much light), it may the depth of field in your final exposure and the be washed out and the highlights will lack detail. amount of light that is allowed to strike the sen- In an underexposed image (your camera let in sor/film. Therefore, the aperture setting also has too little light), the shadows will lack detail or an effect on the overall exposure. The smaller the gain noise (digital). aperture, the less light reaches the sensor or film. ISO. The first factor to consider in the expo- The larger the aperture, the more light reaches sure equation is the ISO rating (or film speed) the sensor or film. To “open up” is to increase in use. The larger the number, the greater the the size of the lens aperture. It is the opposite of image sensor’s sensitivity to light. “stopping down.” With each full-stop change in the aperture, the amount of light striking the film/sensor is either doubled or halved. The sidebar on the facing page may help you to better understand the relationship between the aperture size and the amount of light used to make the exposure. Shutter Speed. The shutter speed setting on your camera dictates the duration of time that the camera’s shutter remains open, allowing light to strike the sensor/film. The shutter speed is usually rated in fractions of a second, though photographers sometimes use long exposures when shooting in low-light situations. The slower the shutter speed, the greater the amount of light that reaches the film. The faster

Your lighting and exposure decisions will en- able you to establish the desired mood in your image.

SQDC=E Sensitivity+Quantity+Duration+Color Balance=Exposure

There are four main factors that determine the amount of light used to create the image, and whether your exposure will be acceptable: Sensitivity. The ISO or “film speed” is a numeric description of the light sensitivity of media on which the image will be recorded. The higher this number is, the greater the degree of sensitivity. Color Balance. The term “color balance” refers to the way that colors are depicted in an image. As described in “Color Temperature” (page 13), the color temperature of the light source will impact the way that colors in the scene appear in the image. Digital cameras offer a white balance setting that can be used to make color neutral (i.e., as it appears to the human eye) or warmer or cooler than the eye perceives it. This is sometimes done to establish mood in an image. Quantity. The aperture size is one of the controls used to determine how much light enters the camera and strikes the sensor/film. Duration. The shutter speed controls the duration of time light is allowed to the hit film/sensor. the shutter speed, the less the amount of light Aperture and light levels that reaches the film. Each full-stop change in f/2.8—Twice as much light as f/4 the shutter speed means that the amount of light f/4—Half as much light as f/2.8, twice as much striking the film/sensor is doubled or halved. light as f/5.6 Fast shutter speeds are typically used to con- f/5.6—Half as much light as f/4, twice as much trol exposure in brightly lit situations or to freeze light as f/8 subject movement. Faster shutter speeds also help f/8—Half as much light as f/5.6, twice as much light as f/11 to alleviate the effects of camera shake, a blurring f/11—Half as much light as f/8, twice as much that sometimes occurs due to camera movement light as f/16 when hand-holding the camera. f/16—half as much light as f/11, twice as much Long shutter speeds are used to allow more light as f/22 light into the camera in low-light situations. f/22—Half as much light as f/16 They can also be used to blur moving subjects, accentuating the motion as a blur across the on handheld meters) at the subject and reads the frame. When using long shutter speeds, there is amount of light reflected by the subject. an increased risk of blur due to camera move- Because this type of meter measures the light ment. Therefore, the camera should be tripod- that is reflected from the subject, the tone and mounted or otherwise stabilized. You may even color of the area you target with the camera’s wish to use a cable release or remote to trip the meter will determine the exposure settings it rec- shutter without touching the camera. ommends. For example, when a camera meter In SLRs, a mirror helps the photographer targets a white area of the subject, it will deter- view the scene through the viewfinder. When mine you need less exposure than if it targets a the shutter is triggered, the mirror flips out of black area. the way to allow light to reach the sensor/film. To combat this, more advanced digital camer- The mirror’s movement can cause camera shake, as measure multiple areas of the scene to provide which can produce some blur. To avoid this, the an averaged (more accurate) reading. If your mirror can be locked in the up position. camera does not offer this option, you can also Light Meters. A light meter is a device that improve your reflected light metering results by measures the light that falls on or is reflected by using a gray card. These cards, available from any a scene/subject. Based on this measurement, the photography supply store, are a solid, medium- meter recommends a particular aperture, shutter gray tone. When you place this card in the same speed, and ISO combination that will produce a light as your subject and meter off the card rath- well-exposed image. There are two basic types er than the subject (this is called a gray balance of meters for photography: reflected light meters reading), you can be assured of a proper reading. and incident light meters. Most reflected light meters have an angle of ReflectedLight Meters. All built-in camera view of about 50 degrees, similar to a normal meters and some handheld meters are reflected lens. A spot meter, however, is a reflected light light meters. The photographer points the light- meter that has a much smaller angle of view. measuring portion of the meter (usually a dome This provides an accurate measurement of a

Lighting Basics 17 Histograms in the image. For a fast-moving subject, the pho- I use the histogram in my camera or digital imag- tographer would want a fast, motion-stopping ing software to make sure that my exposures are shutter speed. This fast shutter speed would re- right on the mark. I find this method to be more accurate than metering—and commercial work de- quire a corresponding large lens opening to al- mands perfect exposures every time. low more light. However, if the photographer was working with a family group consisting of several people in rows, he would want a smaller particular spot in the scene (for example, your lens opening for maximum depth of field. This subject’s skin tone). Some spot meters can have small lens opening would require a slower shut- as little as a 1-degree angle of view. ter speed to allow more light to be recorded. Incident Light Meters. Incident light meters Flash Meters. These units measure the light measure the light falling onto the subject, so output from a portable flash unit or studio strobe they provide an accurate reading regardless of light. An essential tool in the studio, a flash meter the color or tonality of the subject. An incident allows the photographer to measure each light light meter is held at the subject’s position and individually and create the desired light ratio on aimed at the camera. Incident light meters have the subject. a very wide angle of view, up to 180 degrees. Color Temperature Meters. A color tempera- Combination Meters. Many popular handheld ture meter (or color meter) measures the color meters have reflected, incident, and spot meter- temperature of the light in a scene. This is used ing capabilities, allowing the photographer to frequently by commercial photographers to en- choose a metering option that best suits the sub- sure that the colors in their images will be prop- ject and photographic conditions. erly recorded. Some meters display an exposure value (EV) reading, which provides a choice of compatible shutter speeds and aperture settings. This allows

the photographer to choose the appropriate set- below and facing page—Controlling the color tings depending on the subject being photo- contrast in your image files will allow you to graphed and how much depth of field is desired take your photography to the next level.

18 Part 1: The Foundations of commercial lighting Lighting Basics 19 2. Equipment

he equipment you need for a professional $60,000. Don’t let sticker shock get to you. This Tshoot will vary from job to job. However, is your main tool as a professional. If your budget it’s a good idea to have a solid understanding of is a little more restrictive, make sure any camera the tools that are available. Often, new tools can you’re considering offers at least 12-megapixel allow you to create a new look or effect. In this capture. Anything below that puts the camera chapter, we’ll take a look at some of the tools into the prosumer category. that many commercial photographers rely on. Electronic Flash Units Cameras After your camera, your lights are the second Cameras come in a wide variety of makes and most important tool in your kit—and that’s a models. As a professional photographer, your close second! If you want to make a living as camera choice can make or break your career. a professional commercial photographer, you I rely on Phase One and Olympus SLR camera need to purchase excellent lights. Do not go systems. For my work, I find that their cameras, cheap here. My favorite lighting kits are made by lenses, and software are unparalleled. Their digi- DynaLite. The kits are small, accurate, and pack tal file sizes, shots per second, and storage media, the punch I need. They are also very durable. digital transfer rates, lens clarity, ergonomics, and This is important to me because the busier I am, durability, and lens sets make the grade and meet the more I beat up my gear. my needs. If you’re looking to invest in equip- Flash is the light source of choice for most ment, be sure to consider all of those variables. studio photographers. These lights run cool, Of course, you will also want to determine are portable, and easily pair with the camera’s whether any camera system you are considering daylight white balance or gray balance setting as suits your shooting style, workflow, and budget. well as daylight-balanced film. There are a vari- A professional system can run from $10,000 to ety of light modifiers available for use with these

New camera models are constantly being introduced. Do some careful research to ensure that any model you’re considering offers the features you want.T here are no hard-and-fast rules for selecting a professional camera. Much of the decision-making process boils down to your personal prefer- ences and budget. Photos courtesy of Olympus (left) and the Phase One Corporation (right). top—These DynaLite power packs can be used to power multiple strobes. bottom—Dish (para- bolic) reflectors and honeycomb grids can be used to direct the light from your strobes.

units (more on this below), which makes them a versatile and powerful option. A great studio unit will produce good quality light through the flash and modeling light. I use them just as I would hot lights. Power Packs. Power packs can electrify multiple strobes, which can be independently adjusted. These can be AC or DC powered. Some will even operate on DC voltage with a car battery; this is a great option for location photographers who cannot plug into an AC power source. Be sure to buy durable packs—they get used hard and are always on the floor of the set.

Dish-type reflectors are your reflectors will be. You should have a reflector for every strobe you own. an important part of There are a number of modifiers designed for your lighting kit. use with a reflector dish, including snoots, barndoors, and honeycomb grids. I recommend that you purchase a solar gener- Snoots. A snoot is a modifier that fits over a ator to run AC powered flash kits. This way, your studio light head or portable flash head and al- set stays quiet. You can use the more powerful lows the photographer to control the direction and controllable plug-in studio packs too. and radius of the light beam. These may be coni- cal, cylindrical, or rectangular in shape. Snoots Modifiers that Attach to Flash Units stop light spill and can help isolate a subject. Reflectors. Dish-type reflectors are an important Barndoors. Barndoors do not affect the part of your lighting kit. Without reflectors, your hardness or softness of the light. The barndoor lights can be easily broken, and a broken strobe fitting is used to control the shape of the light. is expensive to fix. Of course, reflectors do more By closing or opening the doors vertically or than protect your lights. These modifiers are de- horizontally, the light allowed to pass through is signed to cast a certain type of light that is need- narrowed or widened. Therefore, the barndoor ed for fill, highlights, and the feeling of direct configuration affects the shape of the light. When sunlight on your subject. As a general rule, the two side flaps are close together, a narrow strip more expensive your lights, the more expensive of light is allowed to illuminate the subject or

equipment 21 Left—A heavy-duty stand is an essential part of your tool kit. In my studio, we use silver stands to hold our lights and black stands to hold bounce cards, backdrops, etc. Right— A softbox is a fabric housing that is used to diffuse the light produced by a strobe. As this image illustrates, softboxes come in a variety of shapes and sizes.

Left—DynaLite strobes are at the heart of my studio/location lighting kit. Right—A selection of clamps are an indispensable part of your lighting tool kit. Their uses are detailed in chapter 4. scene (like light coming through a partially open ers offer an ultraprecise 5-degree honeycomb door). When all four doors are folded inward, a grid. The smaller the degree rating, the tighter square beam of light will result (this can be ideal or more focused the light will be. for drawing attention to the subject and isolating Softboxes. A softbox is a large fabric hous- the focal point from the rest of the scene). ing for your light source. Softboxes come in a Honeycomb Grids. A honeycomb grid typi- wide variety of shapes, sizes, and depths. Check cally fits inside the reflector dish or softbox and with your retailer to identify the best softbox for forces the light to travel in a straighter line. your projects. Be prepared to spend a little more These devices allow you to create precise lighting money for a good softbox. Price makes a huge effects. The most popular types are the 10-, 20-, difference in the quality of light that is cast. As of 30-, and 40-degree grids, but some manufactur- this writing, I favor Chimera softboxes.

22 Part 1: The Foundations of commercial lighting Umbrellas. This umbrella-shaped modifier is Freestanding Modifiers clipped or mounted onto a strobe to diffuse and Panels. This white translucent fabric panel with soften the light falling on a subject or set. These a steel frame (about 4x4 feet) is a necessary part modifiers are available with a silver lining for of your lighting kit. By shining a strobe through cooler light, gold for warmer tones, or a white it, you can produce a beautiful, soft light source. interior, which creates a higher level of diffusion Also, the strobe can be positioned at various but does not impact the color of the light pro- points along its surface. This is a clear advantage duced. Umbrellas reflect the light from the head, over using a softbox, in which the light is in a creating a softer and wider luminescent source. fixed position inside the fabric housing. Using panels allows you to create precise, professional, Stands and stylized lighting effects. The stands you choose must be sturdy and able The Chimera light panels are large and du- to support the weight of your lights or freestand- rable but compact enough to be placed around ing modifiers. Never use a poorly constructed a tabletop set. The strobes seem to snug right stand. If someone gets hurt, it could easily be the end of your photographic career.

Umbrellas reflect the light from the head, creating a softer, wider source.

Stands come in two colors—black and silver. I use black stands to hold up sets, set poles, bounce cards, etc.; I use silver stands to hold my lights. This makes it easy for me to communicate the stand function to any assistants who are new to the studio and my way of working.

Top—Light panels are used in most of the lighting scenarios that appear in this book. Panels are lightweight and offer a more versatile, precise approach than do softboxes. Bottom— By using a cukaloris, you can cast interesting patterns of light and shadow on your subject or scene. Chimera offers a great kit that allows you to change patterns quickly.

equipment 23 Equipment selection Below is a list of the equipment used for day-to-day operations in my studio. This is the same equipment used to make the images in this book. Think before you buy. Good gear is expensive. I have not been paid to endorse any of the following items. My selection and recommendations are based upon years of experience with a wide array of gear.

Cameras (Chimera softboxes, cont’d) Mamiya 645AF body two thin vertical softboxes Phase One H5 digital back square Plume Phase One 645DF+ round Plume Phase One 1Q 180 Olympus E500 Panels Canon D1 two 6x6-foot Chimera light panels Canon 5D four 4x4-foot Chimera light panels Olympus E-3 two 8x4-foot Lightform light panels Olympus E-5 black, gold, silver, and translucent scrim materials

Lenses Computers 80mm lens two Mac G5s (video editing and Photoshop 35mm lens retouching) 120mm lens two iMacs (support and photographer’s offices) 12–60mm lens Mac Mini (sales and billing) 14–45mm lens 17-inch iBook 2.66GHz DVD/CD/RW 500GB 24–70mm lens hard drive 40–150mm lens four 2T drives (for media backup)

Camera Stands Cables/Syncs Foba Asaba four sync cords Triton field tripod eight FireWire cords six 11-foot Bogen stands (B0336) PocketWizard two optical slaves Lighting three Speedotron 1205cx light kits Printers six Speedotron lights HP 20ps two Hensel Porty 1200 battery packs Epson printer four Hensel lights Kodak printer three DynaLite 1000-watt Roadmax Epson matte photo printer paper six DynaLite heads Workshop Tools Light Stands and Clamps table saw six small black Speedotron kit stands chop saw six TCI clamps two cordless drills two Manfrotto Super Clamps hacksaw Avenger boom (C) stands circular saw Avenger boom arms brushes, paint rollers, and trays Orange stand weights (15 pounds) various screwdrivers tin snips Light24 M oPartdifie 1:rs The Foundations of commercialratchets lighting Chimera softboxes: four sawhorses medium up to the panels. The steel frame is the best in the business and is built to last a lifetime. In addition, these modifiers can be used as bounce panels and to block unwanted light from hitting the set. You can also use them to create mobile dressing rooms and small site tents to shield your crew from the elements.

These modifiers can be used as bounce panels and to block unwanted light.

Bounce Cards. A bounce card is a light modifier that is used to reflect light back into the set from another light source. In my studio, we use white boards or foam core panels. Black Cards. A black card is a panel that is placed between a light source and the subject to block light from hitting the subject or set. You can use black foam core or black PVC board as a flag. (Note: The term “flag” is synonymous with “gobo.”) Black cards are one of the many light- top—Here, I am speaking with a model and blocking tools used in the studio. preparing her for an upcoming shoot. above— Cukaloris. If you have an expanse of evenly Here, my staff photographed me sitting alone lit background (for instance, in a room shot), on the set, just before a big shoot. you may want to employ a cukaloris (often called a “cookie”)—a solid panel with holes of random ing the overall shot. Keep an array of sizes and or uniform shapes cut into it—to break up the shapes of these inexpensive tools on hand. background by introducing shadow patterns. Scrims. Scrims are fabric diffusers that come A cookie can be used to emulate the effect of in a range of colors (white, silver, gold, and the shadows of leaves, a windowpane, or just an black) and a wide variety of sizes. These modi- abstract, dappled-light effect. A cukaloris can be fiers make an appearance throughout this book, purchased from a photo equipment retailer, or but from this point forward, you will see them you can make your own from black foam core. referred to as light panels. Mirrors. Mirrors are a key tool in the creation of a well-lit photograph. You can add light directly to areas that need light without affect-

equipment 25 3. Using the Diagrams

he diagrams in this book will help you to eas- Panel Lighting Overview Tily produce a variety of commercial lighting When lighting with panels, you have precise con- styles and show products and models to best ef- trol over the light angles because the light can be fect. The diagrams are clearly marked and easy to moved to various points behind the fabric. When understand. A written overview of each illustra- a light is in a softbox, on the other hand, it is tion fully explains each light’s placement in the always in the center (P1) position. illustration. Finally, photographs show the result Turning a panel affects the way light shines that each lighting setup achieved. This three- through it. With the panel perfectly horizon- pronged approach will help you achieve the looks tal (center of the diagram), a large, flat light you are after and will help you develop your own source is produced. As the panel is turned, the lighting style, solve problems, and succeed. light refracts differently off of the subject and an In these pages, there are detailed diagrams increasingly thinner, longer light source is pro- that can be used to light rooms, highlight the duced. The changing appearance of the light is styling of an automobile, shoot smaller products, dramatic and highly visible. create portraits, and more.

Top and bottom left—These illustrations show the versatile lighting approaches that can be achieved by rotating the light panels or strobe head. Rotating the light behind the panels makes it easy to produce lighting nuances. Above—This diagram shows the five positions at which the strobe may be placed to shoot through a 4x4-foot light panel. Lighting Shorthand Here is a list of the abbreviations used in the diagrams to desig- nate the various tools. Refer to this list as you try your hand at creating the lighting setups in your own studio. You may also use the diagrams to show clients your lighting ideas, giving them a better sense of what you aim to create.

BB—bottom bounce card TB—top bounce card SB—side bounce card G10—10-degree honeycomb grid G20—20-degree honeycomb grid G30—30-degree honeycomb grid G40—40-degree honeycomb grid CB—ceiling bounce light MR—mirror OH—overhead light P1—strobe positioned in the center of the panel P2—strobe positioned in the upper-left corner of the panel This illustration is a key to the elements pictured in the diagrams P3—strobe positioned in the that appear throughout the book. bottom-left corner of the panel P4—strobe positioned in the upper-right corner of the panel P5—strobe positioned in the lower-right corner of the panel UMB—umbrella SBX—softbox (Note: MD/SBX is an abbreviation for medium softbox; LG/SBX stands for These three squares show the way light shines through a panel. large softbox.) The reference positions from left to right are P4 (upper-left L1, L2, L3, etc.—Light 1, light 2, position), P3 (lower-left position), and P1 (center position). As light 3, etc. L1 is the source the light shines through the panel, it disperses evenly from the closest to the camera, on the center of the strobe head. This allows the photographer to create left side. As you continue to a nuanced lighting effect. move clockwise around the set, L2 would be the second light, L3 would be the third usingsource the used, diagrams etc. 27 4. Studio Setup

hen you design your studio, keep in mind your client that you care and are a professional. Wthat you are designing a workspace. You A dirty, poorly planned, sloppy workspace tells will need a place for your clients to relax and feel the client to look for a new photographer. comfortable, a private place where you can keep your records and do behind-the-scenes work, How to Create a Simple Product Table and a client-friendly place for your customers In any commercial photography studio, small- to view and order images. You’ll also need clean to medium-size products are typically photo- restrooms and some type of storage area. A clean, graphed on a tabletop crafted using two sawhors- well-thought-out, efficient studio space shows es topped with a 4x4-foot board (this setup holds up to 200 pounds). Two small stands are placed Here is an image of a tabletop set that I often behind the tabletop, and the backdrop pole rests use in my studio. upon the stands. Rather than using backdrop paper, you can use Formica, which comes in a handy 4-foot width. In this case, simply use the clamps to secure the backdrop to the stands and drape it across the table. The set is fast and easy to assemble and disassemble. All the pieces can be stored easily, and the set components can be used in the creation of many other sets. Another great thing about this type of setup is its versatility. You can choose from a wide variety of backdrop colors and textures. You can create useful setups and control your background falloff easily. By using a metal or glass tabletop and placing the backdrop a foot or two away, you can create simple, classic product shots. There are many expensive alternatives to the product table, but the one shown here costs Tools for a only about $100.00 to make (the sawhorses and Simple Product Table Formica are the most expensive parts) and allows two sawhorses you to photograph a wide variety of products one 4x4-foot flat board effectively. I’ve produced entire catalogs using two small stands this simple setup. backdrop pole 4x8-foot sheet of Formica three small A-clamps two Bogen Super Clamps Tip: When your client arrives, have the table- Tools for a Larger set four sawhorses top setup ready to go. Have a basic lighting plan two hollow doors in mind and a chair for the client to sit in. This two large stands makes the client feel welcome. backdrop pole large paper backdrop Larger Sets three medium A-clamps Many products require larger, more elaborate two Manfrotto Super Clamps sets. When creating a larger set, make sure it is sturdy and will hold the weight or size of the products you will photograph. Trust me, when you have several products on the set, you don’t want your set to get bumped and fall apart while you’re putting the finishing touches on your composition. I’ve seen poorly designed scenes bring otherwise successful projects to an imme- diate, embarrassing halt. Also, make sure that you and your client can reach into the set to arrange the props and objects to be photographed. You can fill these spaces in later with the lights used on the set, but get the shot set up first.

Make sure that you and your This diagram shows the elements required for a client can reach into the set large product setup. to arrange the objects. bled. As with the smaller set, it can be stored easily when space is limited. To build a larger product set, follow the basic Tips: Ask the client for a list of the shot’s con- steps outlined above using four sawhorses and tents and props. Detail what the client expects two hollow doors rather than a 4x4-foot board. from the shot, what products will be shown, and The doors used do not have the knob hole the proposed composition. For large sets and drilled. These doors can be found at any hard- complicated propping, you may need to hire a ware store and cost about $35.00 each. They are stylist. Stay creative and think outside of the box. great for large sets because they are lightweight As long as your set does not fall down and it al- but strong, do not warp, and are ready to paint. lows you to capture great photos, it works. Of course, you’ll need a larger backdrop pole, larger stands, and the paper of your choice. Room Sets This set is safe, predictable, and inexpensive. The second largest set is the full backdrop or It can also be quickly assembled and disassem- room set. These sets usually consist of a large

Studio Setup 29 This setup can be used to effectively light a room shot.

down and all booms and stands are secured with counterbalancing weights. Also make sure that any artificial walls are clamped and will not fall. I cannot emphasize this enough. If something falls and hurts someone, it’s the photographer’s fault, not the assistant’s, and never the client’s. The diagram on the left shows the position of unmodified and gridded strobes, umbrellas, the camera, black cards, and sun. I have not provided the lights’ power settings or the specs for other Tools for a Room Set equipment. This diagram and others like it are 8-foot or taller light stands intended only to show you how to position the umbrellas honeycomb grids lights; the creative aspects are up to you. tripod large black cards Reflective (Glass/Acrylic) Sets large bounce cards When placed on two sawhorses, a 4x4-foot piece cleansers 3 of /8-inch tempered glass can make a simple, clean, and effective tabletop. You can place the backdrop such as a coved wall and props. Some- product on the glass and add a piece of foam times the sets need to be assembled and paint- core underneath the glass to enhance its reflec- ed days in advance. With careful planning and tive qualities. You can also go without the foam communication with the clients about their spe- core and place a backdrop of the client’s choice cific needs, you can ensure that you’re ready to underneath the glass or lay the backdrop upon an shoot when the client arrives at the studio. angled piece of foam core. Glass is highly reflective. Keep in mind that any light above the table will reflect off of the To eliminate possible glass surface. To eliminate possible reflections, reflections, light your you can light your subjects from the sides. The subjects from the sides. reflection from the product is not a bad thing, however; you can use it to make very attractive shapes that enhance the overall image. If you are Room sets must be user-friendly. There are using an overhead light, bring it in from the back usually models in the shots. The photo team overhead area of the set, then use bounce cards may need to access the set to adjust one thing or at the front of the set to add light to the front of another. When this is the case, you must make the products. sure that nothing in the set can fall and injure Placing a light under the set helps create sepa- someone. Ensure that all the cables are taped ration between the glass, the product, and the

30 Part 1: The Foundations of commercial lighting Tools for a Lighting scenarios that enhance the overall Reflective Product Set look of the product should also be presented to two sawhorses your client at this time. Many times the client 4x4-foot tempered glass (3/8-inch thick) is looking for a little drama in the background two large stands four small stands (for lights and panels) that can be created with the proper shadows foam core and highlights. If you are building a large set, canned air remember that the main purpose of the shoot glass cleaner is to enhance the appearance of the person or product. If you keep this in mind, you will have backdrop. You can increase the brightness of this no problem earning the client’s business in the light to create a surreal illumination on the sub- future. ject. Alternatively, you can decrease this light to create a gloomy reflective surface. For shadow- Tools for Inexpensive Sets free shots, you can replace the glass with frosted sheet metal dirt acrylic. doors sand paint grass Creating Inexpensive Sets wallboard rocks When creating a set, be sure to think about your handmade paper gravel client’s budget. Careful planning can save your painted foam core carpet remnants chrome pipe canvas clients money, and if you save your clients mon- brass pipes muslin ey, they will be back. old tires bricks old boards tiles computer parts Formica When creating a set, wire acrylic be sure to think about cable glass your client’s budget.

There are many ways to create low-cost sets. One simple way to do so is to plan the shot prior to execution. Doing so allows you and the client to understand exactly what is needed to make the final shot. While you are reviewing the job with your client, you can suggest using materials you already have on site as backgrounds.

This diagram shows how you can effectively create a floor shot using many of the same materials used in the previous sample setups.

Studio Setup 31 5. Panels

he softbox has been a staple in photogra- The Setup Tphers’ tool kits for years. The light these Light panels can be set up quickly, stored in small modifiers produce is soft, diffuse, and pleasing to spaces, and used as sun tents or dressing rooms the eye. The only drawback to most softboxes is on location. These modifiers are a favorite tool that the light always has to be in the center of the at my studio. Accordingly, they play a big part softbox. This means that to adjust the light even in the lighting scenarios presented in this book. slightly, you have to move the entire softbox. The diagram below shows a side view of a By using a light panel (a large white trans- tabletop setup used to photograph a volleyball. lucent panel with a steel frame) to diffuse your Two plastic sawhorses were topped with a 4x4- light, you can produce the soft lighting effect of foot board, which was secured with an A-clamp. a softbox but enjoy better control. When using A sheet of Formica was used as a backdrop. Two panels, the lights can be positioned at any point A-clamps were used to secure the backdrop to along the surface. Conversely, you can keep the two studio stands placed behind the set. strobe in a static position and move the panel. The subject, a volleyball, is represented by You can even place black paper over the panel to a gray sphere on the tabletop. The camera was manipulate the light hitting your subject. positioned at the front of the set. The camera illustrations show the various shooting angles that can be used with the set.

This setup was used to photograph the volleyball pictured throughout this chapter.

32 Part 2: Using Light Modifiers The panel is on the right side, The panel is on the right side, The panel is on the right side, parallel to the set. The strobe parallel to the set. The strobe parallel to the set. The strobe is in the center of the panel, is in the upper-left corner of is in the bottom-left corner of or the P1 position. In this the panel, at the P2 position. the panel, at the P3 position. image and throughout the In conjunction with other If this light were softened, this series, the strobe is on full lights, this is a great fill light. would be a great starting posi- power, and the camera is in With the strobe positioned tion for the main light. a fixed position on a studio at the top of the panel, the il- With this setup, the ball’s stand. Notice that the ball has lumination is dispersed down- dimension and depth are en- a defined bright side and a ward. There is detail in the hanced. With the light coming defined dark side. You can see ribs of the ball and a shadow from the bottom of the panel, detail on the surface. There is at the table contact point. it disperses upward. More light a dark shadow where the ball However, more light is cast is cast off the set, and less meets the tabletop, creating a on the set and the volleyball, light hits the ball. There is less defined area of contact. This and the apparent dimension is detail in the ribs of the ball on creates a feeling of depth and minimized. one side and a shadow at the dimension. Note: The vol- table contact point. The back leyball images in this chapter of the set appears darker. were shot by Justin LeVett.

Panels 33 The panel is on the right side, The panel is on the right The panel is on the right side, parallel to the set. The strobe side, parallel to the set. The parallel to the set. The strobe is in the top-right corner of the strobe is in the bottom-right is in the center of the panel, at panel, at the P4 position. Most corner of the panel, at the P5 the P1 position. A bounce card of the light is going over the position. Most of the light is is placed on the left side of product and off of the set. In directed past the ball and off the set and fills in darker areas conjunction with other lights, the set. Because the light is without creating new shadows. this is an optimal fill light. positioned to the rear of the The ball’s dimension and The ball’s dimension and set, it lights the back of the depth are reduced because depth have softened. With the ball. The light is close and the light hits both sides of the light coming from the back of is powerful enough to wrap ball. It appears dimensional, the set, the rear of the ball is around the ball; without a however, because the light on illuminated. The white Formica bounce card, however, it falls one side is still brighter. The backdrop acts as a bounce off.T he contact point shadow ribs of the ball appear flatter card, filling in the areas of is still strong but has moved but are more visible because the ball that we can see. The forward. The ball’s dimension they are not hidden in shadow. contact point shadow is still and depth have increased, The background is still muted. strong but has moved forward. but there is less definition in The contact point shadow has the ribs. In conjunction with moved to the side and is softer other lights, this is an optimal due to the light reflecting off highlight. the bounce card.

34 Part 2: Using Light Modifiers The panel is on the right side, The panel is in the front-right The panel is in the front-right parallel to the set. The strobe corner of the set. The strobe corner of the set. The strobe is is in the top-right corner of is in the center of the panel, at in the upper left of the panel, the panel, at the P4 position. the P1 position. This would be at the P2 position. In conjunc- A bounce card is placed on at a great starting point for the tion with other lights, this the front-left corner of the set main light position. would be a nice fill light. and fills in darker areas with- The ball’s dimension and The ball’s dimension and out creating new shadows. depth are enhanced by the depth are reduced because With light hitting both sides light hitting the front of the the light hits the ball and set of the ball, the overall look of ball. The overall look of the equally. With most of the light the image is flat and gray. The image is three dimensional going over the top of the ball ribs of the ball appear flatter with good separation from the and off the set, the image is and are less visible. The muted background. The ribs of the gray and monotone. The over- light causes the ball to appear ball appear flatter. There is all look of the image is two less round. The background a hard shadow falling to the dimensional, with poor separa- is still muted, and the shadow side of the ball that is long tion from the background. The at the contact point is darker. and dark. A bright spot can be ribs of the ball appear flatter. There is a hard shadow going identified on the ball. That is There is a hard shadow going to the side of the ball that falls the area the viewer’s eye will to the side of the ball that is off quickly due to the light be drawn to first. short and dark. reflecting off the bounce card.

Panels 35 The panel is at the front-right The panel is in the front-right The panel is in the front-right corner of the set. The strobe is corner of the set. The strobe is corner of the set. The strobe in the bottom left of the panel, in the top right of the panel, at is in the bottom right of the at the P3 position. This would the P4 position. panel, at the P5 position. be a great starting position for the main light. By placing a secondary light, we could better define the back of the ball and create separation. The ball’s dimension and depth are enhanced by the light hitting the front of the ball. The overall look of the image is two dimensional with great separation from the background. The ball’s ribs look flatter due to the brightness of the light, and there is a long, hard shadow to the back. There is a bright spot on The panel is in the front-right corner of the set. The strobe is the ball; the viewer’s eye will in the center of the panel, at the P1 position. A bounce card is be drawn to that area first. added at an angle at the front-left corner of the set.

36 Part 2: Using Light Modifiers Two panels are positioned parallel to the set. The right-hand strobe is at P1. The left-hand strobe is also at P1. Both lights are set to the same power output. A bounce card is placed between the camera and the ball, and light is reflected upward from the bottom of the ball.

Two panels are parallel to the set. The right-hand strobe is in the center of the panel, at P1. The left-hand strobe is in the upper left (P2) position. Both lights are powered equally. A bounce card is placed between the camera and the ball and reflects light upward from the bottom of the ball.

Two panels are parallel to the set. The right-hand strobe is in the lower left of the panel, at the P3 position. The left-hand strobe is in the upper left (P2) position. Both lights are powered equally.

Two panels are parallel to the set. The right-hand strobe is in the lower right of the panel, at the P5 position. The left-hand strobe is in the upper right (P4) position. Both lights are powered equally.

Panels 37 Two panels are parallel to the Two panels are in the front Two panels are in the front set. The right-hand strobe is corners of the set. The right- corners of the set. The right- in the center of the panel, at hand strobe is in the center of hand strobe is in the center of the P1 position. The left-hand the panel, at the P1 position. the panel, at the P1 position. strobe is also in the P1 posi- The left-hand strobe is also The left-hand strobe is also tion. Both lights are powered in the P1 position. Both lights in the P1 position. The back- equally. A bounce card is are on equal power settings. light, fitted with a 20-degree added between the camera A bounce card is placed to the honeycomb grid, is aimed at and the ball and reflects light back of the set to reflect light the top of the ball. All three upward from the bottom of onto the back of the ball. lights are powered equally. A the ball. A second bounce card The equal lighting from ei- bounce card is placed behind is placed above the ball to ther side flattens the ball and and above the subject; it reflect light downward. background. The overall lack reflects light onto the back of of shadow lessens the sense the ball and downward. This of dimension. We can see the enhances the look of the sur- ribs easily, but without a good face. A bounce card between contact shadow, it is hard to the camera and ball reflects determine the ball’s weight light upward. The highlights and mass. The bounce card separate the edge from the equalizes the light all the way background. With the grada- around the ball. tion of light, the ball maintains a three-dimensional shape.

38 Part 2: Using Light Modifiers Two panels are in the front Two panels are in the front Two panels are in the front corners of the set. The right- corners of the set. The right- corners of the set. The right- hand strobe is in the center hand strobe is in the center hand strobe is in the center of of the panel, at the P1 posi- of the panel, or the P1 posi- the panel, or the P1 position. tion. The left-hand strobe is tion. The left-hand strobe is The left-hand strobe is also in also in the P1 position. The also at P1. The backlight, a the P1 position. The backlight, backlight, a strobe fitted with strobe with a 20-degree grid, a strobe with a 30-degree grid, a 10-degree honeycomb grid, is aimed at the top of the ball. is aimed at the top of the ball. is aimed at the top of the ball. All three lights are on equal All three lights are powered All three lights are on equal power settings. equally. power settings. The ball appears three dimensional; the ribs show clearly in the front, and the specular highlight on the top-right back edge of the ball adds depth and helps create separation from the background. The ball still has the impression of weight and mass.

Two panels are in the front corners of the set. The right-hand strobe is in the center of the panel, or the P1 position. The left- hand strobe is also in the P1 position. The backlight, a strobe fitted with a 40-degree honeycomb grid, is aimed at the top of the ball. All three lights are powered equally. Two panels are in the front corners of the set. The right- hand strobe is in the upper left of the panel, at P2. The left- hand strobe is at the bottom left of the panel, at P5. The backlight, a strobe fitted with a 20-degree grid, is aimed at the top of the ball. All three lights are powered equally.

A single panel is placed at an angle at the front-left corner of the set. The strobe is in the center of the panel, at the P1 position. The backlight, a strobe fitted with a 20-degree honeycomb grid, is aimed at the top of the ball. Both lights are powered equally.

The panel is placed at an angle at the front-left of the set. The strobe is at P1. The backlight, a strobe with a 20-degree grid, is aimed at the top of the ball. Both lights are powered equally. A bounce card is added between the camera and ball and reflects light upward from the bottom of the ball. A bounce card is also placed above the ball to reflect light downward. 40 Part 2: Using Light Modifiers Using light, we have changed the apparent size and weight of the volleyball. In this image, the depth and curvature of the ribs of the ball are defined by the light, which wraps around the ball and adds a certain sparkling, skin-like texture. The brightness of the light on either side of the center emphasizes the round shape of the ball. The overall use of light and shadow in the image creates a feeling of a third dimension in the two-dimensional medium. It’s a perfectly clean ball ready to be picked up and used for sport.

This darker photo of the ball is much more dramatic. The dark shadow on the left side flattens the ball’s shape, as its color slides into the shadow on the floor of the backdrop. The lines on the brighter side of the ball seem to merge into darkness as well, diminishing the feeling of dimensionality in the image. This does not mean that the image is not a success. In this image, the long shadow was produced in order to create mood. Viewers likely know that a volleyball is white, round, and inflated. By using light, we purposefully created a sense of mystery and loneli- ness. A little mystery goes a long way in advertising. Panels 41 6. Honeycomb Grids

honeycomb grid is a modifier that typi- Control over light is a must. However, don’t Acally fits inside a strobe’s reflector dish and confuse masterful lighting with overly compli- forces the light to travel in a straight line. The cated, excessive lighting. Any light you add must most popular types are the 10-, 20-, 30-, and serve a clear purpose. Light without purpose can 40-degree grids, but some manufacturers offer confuse you, your set, and your client. an ultraprecise 5-degree honeycomb grid. By at- Note: As you read each description that fol- taching a grid to your strobe, you get complete lows, assume that the light is being used on full control over the spread of the light beam that is power and the camera is in a fixed position on a illuminating your subject. camera stand.

A strobe with a 20-degree grid A strobe with a 20-degree A strobe with a 20-degree grid is placed at an angle in the grid is placed at the right side is placed at the back-right front-right corner of the set of the set and aimed at the corner of the set and aimed at and aimed at the statue. statue. the statue. Note: The photos in this chapter were taken by Robert Morrissey and Justin LeVett. Strobes with 20-degree grids are placed at the back corners of the set. These lights are aimed at the back of the statue.

A strobe fitted with a 20- degree honeycomb grid is placed at the back-right corner of the set and aimed at the statue. A second strobe fitted with a 20-degree honeycomb grid is placed at the front-left corner of the set and aimed at the statue.

A strobe fitted with a 20- degree honeycomb grid is aimed at the top of the statue from an overhead position. A second strobe is fitted with a 20-degree honeycomb grid and mounted on a boom stand. This light is pointed at the backdrop.

honeycomb grids 43 A strobe fitted with a 20- degree honeycomb grid is placed at the side of the set at a height of 3 feet and aimed at the statue.

A strobe with a 20-degree grid is placed at the side of the set at a height of 4 feet and aimed at the statue.

A strobe with a 20-degree grid is placed at the side of the set at a height of 5 feet and aimed at the statue.

A strobe with a 20-degree grid, placed at the back-right corner of the set, is aimed at the statue. A strobe with a 20-degree grid is placed at the front-left corner of the set, aimed at the front of the statue. A bounce card between the camera and statue is angled upward to bounce light onto the statue.

44 Part 2: Using Light Modifiers A strobe with a 20-degree grid A strobe with a 20-degree grid A strobe with a 20-degree grid is placed at the back-right is placed at the front-right is placed at the front-right cor- corner of the set and aimed corner of the set and aimed ner of the set and aimed at the at the statue. A strobe with at the statue. A second strobe statue. A second strobe fitted a 20-degree grid is placed at with a 30-degree grid is aimed with a 30-degree grid is aimed the front-left corner of the set at the back top of the statue. at the back top of the statue. and aimed at the front of the A mirror is added to the front statue. A bounce card is added left of the set and reflects light between the camera and the onto the statue. statue and angled upward to bounce light onto the statue. A second bounce card is added above the statue and angled inward to reflect light onto the statue.

honeycomb grids 45 A strobe with a 30-degree grid is placed at the front-right corner of the set and aimed at the statue. A second strobe with a 10-degree grid is aimed at the back top of the statue. Two strobes with 20-degree grids are positioned on either side of the backlight, aimed at the camera.

A strobe with a 30-degree grid is placed at the front-right corner of the set and aimed at the statue. A second strobe with a 10-degree grid is aimed at the back top of the statue. Two strobes with 20-degree grid,s are positioned on either side of the backlight, aimed at the lens. A bounce card is added to either side of the set to reflect the backlight onto the statue. A strobe with a 20-degree grid at the front-right corner of the set is aimed at the statue. A second light with a 30-degree grid is aimed at the back top of the statue from above the background. A third strobe with a 10-degree grid, at left of the set, is aimed behind the statue and onto the background. A mirror at the front-left corner of the set reflects the backlight onto the statue. A black card on the right side blocks the first light from hitting the background.

A strobe with a 20-degree grid is placed at the front-right corner of the set and aimed at the statue. A strobe set to low power is fitted with an umbrella and placed behind the first light to produce a wide fill light.A third strobe with a 20-degree grid is placed on the right side, aimed at the statue’s shoulder. A black card is used to block this light from hitting the background. The fourth light, fitted with a 10-degree grid, is placed on the left of the set and aimed at the statue’s shoulder. A black card is used to block this light from hitting the background. Two mirrors are added to reflect the backlight onto the front of the statue. As you can see here, you can create two completely different looks with the same set and object. The left image shows the result of using a lighting setup that brings out every nuance of the statue. The photo below is much darker and more dramatic. Both images will sell the object, and both are perfectly exposed, but there is a big difference in the lighting effect from one shot to the next. Lighting is the very soul of an image. It can create bright and cheery images or dark and moody ones. In these examples, the differences are pronounced.

48 Part 2: Using Light Modifiers 7. Umbrellas

mbrellas can be found in the tool kits of Umbrellas made with a white interior create a Umost photographers. These modifiers attach higher level of diffusion but do not impact the to a strobe head and produce a soft, directional color of the light produced. light. The color of an umbrella’s lining affects To create the series of portraits of Mia, my the quality of the light that is produced. A silver model in this chapter, I used umbrellas with lining produces a cooler light than a gold one. white interiors.

Top and bottom left—An umbrella is placed in the front-right corner of the set and is aimed at the subject at a 45-degree angle. The light is on full power. Top and bottom right—An umbrella is placed in the front-right corner of the set. A second umbrella is placed in the front-left corner of the set. Both umbrellas are aimed at the subject at a 45-degree angle, and both lights are on full power.

umbrellas 49 The first umbrella is placed in the front-right The first umbrella is placed in the front-right corner of the set. The second umbrella is placed corner of the set. The second umbrella is placed in the front-left side of the set. The umbrellas in the front-left corner of the set. The umbrellas are aimed at the subject at a 45-degree angle, are aimed at the subject at a 45-degree angle, and both lights are on full power. The third and both lights are on full power. A third um- light is fitted with a 30-degree honeycomb grid brella is directly behind the subject, aimed right and is aimed at the model’s hair. The gridded at the camera. It is on low power. The subject light is on low power. blocks most of the light, reducing flare.

50 Part 2: Using Light Modifiers An umbrella is placed in the front-right corner An umbrella is placed in the front-right corner of the set and is aimed at the subject at a 45- of the set and is aimed at the subject at a 45- degree angle. A strobe light fitted with a 30- degree angle. A strobe is fitted with a 30-degree degree honeycomb grid is placed at the back- honeycomb grid, placed in the back-left corner left corner of the set and is aimed at the sub- of the set, and aimed at the subject’s hair. Both ject’s hair. Both lights are on full power. lights are on full power. A bounce card is added to the front-left corner of the set and reflects light from the umbrella back onto the model.

umbrellas 51 A strobe fitted with an umbrella is placed in the One umbrella is placed in the front-right cor- front-right corner of the set. The umbrella is ner of the set. A second umbrella is placed at aimed at the subject at a 45-degree angle. Two the front-left corner of the set. These lights are strobes, each fitted with a 20-degree honey- aimed at the subject at a 45-degree angle. An comb grid, are aimed at the subject’s hair from umbrella is placed in each of the back corners the back corners of the set. All three lights are of the set. These are aimed at the background on full power. at a 30-degree angle. All four lights are on full power.

52 Part 2: Using Light Modifiers An umbrella is placed in the front-right corner An umbrella is placed in the front-right corner of of the set. A second umbrella is placed to the the set and is aimed at the subject at a 45- left of the subject. Both umbrellas are on full degree angle. A second umbrella is placed in the power. A strobe fitted with a 10-degree honey- back-right corner of the set and is aimed at the comb grid is placed directly in front of the first subject at a 45-degree angle. A strobe is fitted umbrella, aimed at the subject’s face. This light with a 30-degree honeycomb grid and aimed is on low power. at the subject’s hair. All three lights are on full power.

umbrellas 53 The first umbrella is placed in the front-right A strobe fitted with a 30-degree honeycomb grid corner of the set and is aimed at the subject is mounted on a boom stand, positioned directly at a 45-degree angle. A strobe fitted with a over the subject, and aimed at her face and 30-degree honeycomb grid is placed behind the chest. The light is on full power. subject and aimed at her hair. Both lights are on full power. A bounce card is added to the left side of the subject, reflecting the light from the umbrella.

54 Part 2: Using Light Modifiers A strobe fitted with a 30-degree honeycomb A strobe fitted with a 30-degree honeycomb grid is mounted on a boom stand, positioned grid is mounted on a boom stand, positioned directly over the subject, and aimed at her face directly over the subject, and aimed at her face and chest. Using a second studio boom stand, and chest. Using a second studio boom stand, we positioned a light fitted with a 40-degree we positioned a light fitted with a 40-degree honeycomb grid directly over the subject and honeycomb grid directly over the subject and aimed at her back and shoulders. Both lights are aimed at her back and shoulders. Both lights are on full power. on full power. Two umbrellas are placed on the left side of the set and aimed at the subject. A 4x8-foot panel is added to diffuse the light from the umbrellas on the left side. Panels are placed on the right and left sides of A strobe fitted with a 30-degree grid is mounted the subject, with each light in the P1 position. on a boom stand, positioned directly over the The panel lights are on full power. The third subject, and aimed at her face and chest. The light is an umbrella placed directly behind the light is on full power. The second light is an subject and aimed at the camera. It is on low umbrella placed behind the subject and aimed power. The fourth light is fitted with a 20- directly at the camera. The umbrella is on low degree honeycomb grid and aimed at the sub- power. A large bounce card is added to the left ject’s hair. The gridded light is on full power. side to reflect the light back onto the subject.

56 Part 2: Using Light Modifiers Left—This image seems somewhat sterile. The portrait is exposed correctly. The highlights on the back of the model’s hair and on her skin are correct. The light on her face is flattering and does not promote any imperfections. The wrinkles on the subject’s dress tell the story of the fabric and fit. The background fades evenly from red to a darker, muted color in the red spectrum. Despite its technical graces, the rendition of the model’s face is bland. Even if a photo is technically correct, you’ll find that you sometimes need to add a little something to make it work.

Right—This image has what the previous one lacks. Drama, sex appeal, and a little finesse are all wrapped into one tight photographic package. The giant umbrella behind the model frames her body with white light, and the illumination creates a glimmer on her skin and hair. The front light smoothes her skin, allowing her dramatic features to stand out. The downward shadows created by the high front light make her dress appear almost see- through and give you a good feel for how tight the garment is. Her upward stare is emphasized by the shadows under her brows. This risky technique takes a lot of practice, but the result is well worth it. What you are looking for is the perfect mix of light shooting into the lens plus correct exposure on your subject. One move to either side of the model, and the flare ruins the shot.

umbrellas 57 8. Softboxes

oftboxes create a soft overall light effect that Softboxes come in many shapes and sizes, so Slooks natural and warm and is perfect for choose the best type to suit your needs. (Note: A many portraits and other lighting applications. medium thin softbox can be used in a vertical or The main drawback of working with softboxes is horizontal position. This makes it a good, versa- that the light is centered within the box. There- tile tool for your lighting kit.) fore, it can be more difficult to make a slight ad- Each of the following images in this series was justment to the light’s position when working made using an 80mm lens. In every setup, the with a softbox than it is when using a light panel. lights were used at full power. For each shot, the Every photographer should strive to control the model, Mia, was positioned on a tape mark on light as much as possible. the floor. Natalie Cross served as my assistant.

A medium softbox on a large studio stand is positioned at the left of the set. The light is at a 90-degree angle to the subject and is on full power.

58 Part 2: Using Light Modifiers A medium softbox on a large studio stand is po- A medium softbox on a large studio stand is positioned at the front left of the set. The light is sitioned to the rear left of the set. The light is at at a 45-degree angle to the subject. a 45-degree angle to the subject.

Softboxes 59 A medium softbox on a large studio stand is A medium softbox on a large studio stand is positioned at the left of the set. The light is at positioned at the left of the set. The light is at a 90-degree angle to the subject. A 6-foot-tall a 90-degree angle to the subject. A 6-foot-tall white bounce card is positioned across from white bounce card is positioned on the right the softbox. It is used to reflect light back onto side of the set and is at a 45-degree angle. It the subject, allowing more detail to be visible is used to bounce light onto the subject, so we on the face and body. can see more detail on her face and body.

60 Part 2: Using Light Modifiers A medium softbox on a large studio stand is A medium softbox is on a large studio stand positioned at the left of the set. The light is at positioned at the left of the set. The light is at a 90-degree angle to the subject. A 6-foot-tall a 90-degree angle to the subject. A 6-foot-tall white bounce card is positioned at the front- white bounce card is positioned in front of the right corner of the set and is aimed at the subject on the right side at a 45-degree angle. subject at a 45-degree angle. This bounce card It is used to bounce light onto the subject, al- reflects light back onto the subject, allowing us lowing us to see more detail on her face and to see more detail on the face and body. body. A thin vertical softbox is placed in the back-right corner and aimed at the subject. This light creates highlights around the subject that ensure her separation from the background. A medium softbox on a large studio stand is A medium softbox on a large studio stand is positioned at the left rear of the set and at a positioned at the left of the set, at a 45-degree 45-degree angle to the subject. A 6-foot-tall angle to the subject. A 6-foot white bounce card white bounce card is positioned at the front- is positioned in front of the subject on the right right corner of the set and aimed toward the side at a 45-degree angle. It bounces light onto subject at a 45-degree angle. It reflects light the subject, bringing out detail on her face and onto the subject, bringing out detail on her face body. A thin vertical softbox is placed in the and body. A thin vertical softbox is placed in back-right corner and aimed at the subject. This the back-right corner and aimed at the subject. light creates highlights around the subject that This light creates highlights around the subject ensure her separation from the background. that ensure her separation from the A strobe with a 30-degree grid is aimed at the background. background, creating a halo effect in the shot. A medium softbox is positioned in the front-left A medium softbox on a large studio stand is corner of the set, 45 degrees to the subject. A positioned at the left of the set. The light is at 6-foot white bounce card is positioned at the a 45-degree angle to the subject. A large white front-right corner of the set at a 45-degree bounce card at the front right of the set is at angle. It bounces light onto the subject, allow- a 45-degree angle to the subject. It bounces ing us to see detail on her face and body. A light onto the subject and reveals detail on her thin vertical softbox is placed in the back-right face and dress. Two thin vertical softboxes corner, aimed at the subject. This light cre- are placed in the back corners, aimed at the ates highlights around the subject that ensure subject. They create highlights around her and separation from the background. A strobe with separate her from the background. A strobe a 30-degree grid is aimed at the background, with a 30-degree grid is aimed at the back- creating a halo effect in the shot. ground. This creates a halo effect in the shot. A medium softbox on a large studio stand is A medium softbox on a large studio stand is positioned at the front-left corner of the set, at positioned at the front-left corner or the set. a 45-degree angle to the subject. A 6-foot-tall The light is at a 45-degree angle to the subject. white bounce card is positioned to the front- Two thin vertical softboxes are in the back cor- right of the subject at a 45-degree angle. It is ners of the set. They create highlights around used to bring the light back onto the subject, the subject that ensure her separation from the allowing us to see more detail on her face and background. body. Two thin vertical softboxes are placed in the back corners of the set, aimed at the subject. They create highlights around the subject that ensure her separation from the background. A medium softbox on a large studio stand is Two thin vertical softboxes are placed in the positioned at the front-left corner of the set. The back corners of the set and aimed at the sub- light is at a 45-degree angle to the subject. A ject. This light creates highlights around the thin vertical softbox is placed in the back-right subject’s body that ensure her separation from corner and is aimed at the subject. It creates the background. highlights around the subject that ensure her separation from the background.

Softboxes 65 A thin vertical softbox on a large studio stand is Two thin vertical softboxes are placed directly positioned at the left of the set. The light is at behind the subject and aimed toward the cam- a 90-degree angle to the subject. Another thin era. This creates highlights around the subject vertical softbox is placed in the back-left corner that ensure her separation from the background. and aimed at the subject. This lighting setup creates intense flare and silhouetting.

66 Part 2: Using Light Modifiers Two thin vertical softboxes are placed behind A medium softbox on a large studio boom the subject and aimed toward the camera. This stand is positioned above and 90 degrees to creates intense flare and silhouetting. A 6-foot- the subject, about 3 feet away. Two thin verti- tall white bounce card is positioned in the front- cal softboxes, one 90 degrees to the left of left corner of the set at a 45-degree angle. It the subject, the other 90 degrees to the right reflects light back onto the subject, bringing out of the subject, light the sides of the subject. A more detail in the face and body. large bounce card is placed between the camera and the subject and aimed upward toward the model. This bounce card adds fill light to the subject’s face and body. A strobe with a 30- degree grid is aimed at the background, creating a halo effect in the shot. A medium softbox on a large studio boom stand A medium softbox on a large studio boom stand is positioned above the subject. The light is at a is positioned above the subject. The light is at a 90-degree angle to the subject and about 3 feet 90-degree angle to the subject and about 3 feet away. A thin vertical softbox is placed on the away. A thin vertical softbox is in the front-left left side of the set, 90 degrees to the subject. A corner of the set and is aimed at the model. A thin vertical softbox is on the right side of mod- large bounce card is used to reflect light back el, at a 45-degree angle. A large bounce card is onto the right side of the model. A strobe fitted placed between the camera and the subject and with a 30-degree honeycomb grid is aimed at aimed upward toward the model. This bounce the background. This creates a halo effect in the card adds fill light to the subject’s face and shot. A thin vertical softbox is aimed at the right body. A strobe is fitted with a 30-degree honey- side of the model. This softbox is used for fill comb grid and is aimed at the background. This light on the right side. creates a halo effect in the shot. A medium softbox on a large studio boom A medium softbox on a large studio boom stand stand is positioned above the subject. The light is positioned above the subject. The light is at a is at a 90-degree angle to the subject and about 90-degree angle to the subject and about 3 feet 3 feet away. A large bounce card is placed away. between the camera and the subject and aimed upward toward the subject’s face and body. This bounce card adds fill light to the subject’s face and body. A strobe fitted with a 30-degree honeycomb grid is aimed at the background. This creates the halo effect in the shot. Softboxes 69 Left—As you can see, the final two photographs on this page are completely different. The only thing that has changed is the way the light was cast onto the model. To create this image, we used several lights to highlight every part of the model and enhance the set. The green dress is vibrant, her hair is backlit, and her skin is evenly lit. A bounce card was used to soften the shadows, and the separation between the model and the background is extreme. This is a beautifully executed portrait. Right—This image is also beautifully executed, but it is completely different. The lights are shining directly into the lens, so the model’s face and body are silhouetted and the color of the dress is muted. The bounce card only adds detail to the model’s features. The background appears light, and the foreground is a dark shape with little detail to enhance the viewer’s perception of the image.

Portraits are a great way for a photographer the subject, the set, and the amount of money to express himself artistically. When you have spent did not create the feel of the image. It was produced an artistic portrait, your client will ap- the light used to enhance the model and the set. preciate what you have done, and your reputa- Professional photography is about light, and tion will soar. At the very end of a photo shoot, good lighting comes down to careful placement. it is important to understand that the camera,

70 Part 2: Using Light Modifiers On Assignment

From this point forward, I will present techniques I have used to

create an effective, believable rendition of a variety of subjects.

Note that while some components of a setup might be similar

from one type of shot to the next, the result of applying vari-

ous techniques can vary widely from subject to subject and will

promote a certain mood in the final image.I have used every

one of the lighting techniques described to produce images for

paying clients. Feel free to use them as a springboard for your

own commercial lighting ventures.

ROBERT MORRISSEY & ASSOCIATES

WWW.MORRISSEYPHOTO.COM ON ASSIGNMENT 71 Updating Older Images

As a commercial shooter, you are only as good as ing. A large white bounce card was used between your last project—not your last paying project, the camera and the model to add light to the but the last project you’ve produced and shown model’s chin and clothing. This gave the image a to your online audience. That’s correct—your softer, more professional feel. audience. In recent years, it has become clear I liked the image but hadn’t shown it to any- that you not only need to impress your clients, one for years because it was old. To update the but you need to impress as many people as you shot, I opened the file in Photoshop, made the can with your images. Clients now realize that if colors more saturated and vibrant, then added you can’t impress a small group of people with smoke using custom Photoshop brushes. your work, you might not be able to help them My clients and visual audience liked the im- create an intriguing image for their ad campaign. age. This shot, once in my archives, is now on the front page of my promotional materials.

This shot, once in my Camera: Mamiya 645AF with Phase One archives, is on the front page digital back Lens: 80mm 1 of my promotional materials. Exposure: /125 second, f/11, ISO 100 White balance: daylight Lights: L1=3x3-foot SBX at BKLFT, L2=G30OH What’s great about the technological advance- Power settings: L1=50%, L2=100% ments in this industry is that you can apply them Who’s on set: photographer, assistant, to older collections of images to create stunning model, makeup artist “new” work that is once again valid in the industry. By adopting this approach, you can show your Photoshop skills and prove that you’re able to keep up with trends and visual movements. This fashion shot was made in my studio a few years ago. I placed a G30 above the model on a 10-foot boom stand. Due to the light’s height, the light-to-shadow transition was gradual. A medium softbox was placed about 15 feet to the back left of the model to create subtle backlight- Black & White

Never be afraid to offer black & white images to your clients. Sometimes it is exactly what is needed to get the right look for the job. For this session, I used a maroon muslin backdrop. The model’s drape was an off-white muslin, and her hair was brown. All of that color was distracting. A black & white treatment allowed me to create a simpler image with greater impact.

Never be afraid to offer black & white images to your clients.

I aimed a G20 grid on a 6-foot stand at the background to create the desired highlight. A 6x4-foot panel was used on the right side of the model. Two lights were placed behind the panel at P1 (but a bit off center). A large bounce card placed between the model and the camera reflected the light from the big source onto the model. This made the light-to-shadow transition across the model look smooth and soft. Finally, a G40 on a 5-foot stand was used to create a bright wraparound effect on the model’s left side.

Camera: Mamiya RB67, Kodak TMAX 100 Lens: 80mm

1 Exposure: /60, second, f/16, ISO 100 Lights: L1=G20, L2=G40, L3 and L4=two shoot-through panels Power settings: L1=100%, L2=60%, L3 and L4=100% Who’s on set: photographer, assistant, model, makeup artist

ON ASSIGNMENT 73 Edgy Portraits

To make it to the top in this industry, you must combine style, intensity, originality, and artistic impression in a technically perfect image. You can’t come at this industry lightly and expect to succeed. You must do your best every time. This subject arrived at the studio with a spiky suit and told me I could do whatever I wanted. I secured red fabric to the ceiling and had him try several poses while holding the fabric. Finally, he became tired and lay down. As he lifted himself up with the fabric, the composition struck me.

To the model’s left was a G40 on a boom Camera: Mamiya 645AF with Phase One about 9 feet high. It was pointed at the model’s digital back torso, enhancing the spikes and fabric. It also Lens: 80mm lens added hard lighting on his foot and the circle of 1 Exposure: /125 second, f/11, ISO 100 light on the floor. Above the model on the right White balance: daylight side was a medium softbox on a boom, pointed Lights: L1=G40, L2=4x4-foot SBX at the model’s face and hat. A large white bounce Power settings: L1=70%, L2=80% card between the model and camera added light Who’s on set: photographer, assistant, on the front of the model to ensure more even model lighting on the subject.

74 On Assignment Making Images Look Old

Knowing how and when to create a vintage feel will help you and your client convince the public to buy what you’re selling or feel what you are expressing. Here are some tips:

• Use dated materials and older subjects. • Dirt and scratches will only add to the shot. • Use hard light from the sides. Diffusion panels are a modern photographic tool. • If shooting in color, try using yellow, orange, and amber gels for added warmth. • Don’t overfill the shadow areas. Light shadows create a modern look. • Try adding a sepia tone to a black & white film image using traditional toning techniques or use Photoshop to mimic the effect.

This shot was made in an old building—the perfect backdrop for this tense escape scene. I shot the image with film for a grainy look that aids in creating the old-time feel. The models are wearing modern clothing, but the tattered appearance Camera: Mamiya RB67 with TMAX 100 film adds a vintage feel. The dusty, tattered wood floor Lens: 120mm

1 also helps to build the image concept and creates Exposure: /60 second, f/22, ISO 100 a dynamic feel. The position and constitution of Lights: L1=LG/REF the pole add interest and help the image come Power settings: L1=100% together. The long, dark shadows indicate that Who’s on set: photographer, assistant, the image was shot later in the day and furthers models the nostalgic feel of the shot. A flash head in a large reflector placed far to the subjects’ left and about 4 feet high served as the only light. A large bounce card on the right side provided fill and brought out some detail. Another large bounce card was placed between the models and the camera, reflecting light back onto the models. Natural-Scene Fill Light

The goal in creating natural-scene fill light is to ing are good. I usually let the models view my accent ambient light and make the viewer believe camera’s LCD screen. This way, they can share that no photographic lights were used to enhance their input and feel like part of the process. You the scene. Imagine the sun on a cool autumn day. and the model are working together to get the The sun is warming the planet just enough so best-possible image. If you don’t communicate that you can wear shorts—but when the sun be- with your model they may clam up, feel embar- gins to drop, the slight chill of fall sets in. For a rassed, and become difficult to work with. portion of the day, you are shooting a model’s portfolio. Do you want to capture the feel of the day? Should your image convey a colder or The goal in creating warmer day? The trick is to add light in a way natural scene fill light is that appears completely natural. For example, if to accent ambient light. you are shooting a beach ball on the sand, you can place a strong light high above the ball to emulate the sun. If you are creating an image that Creating natural-scene fill light for a product appears to be illuminated by lamp light, shoot a in the studio can be ten times more difficult. To light warmed with an amber gel through a lamp supplement the lighting, you must first examine shade with a low power setting. I hope that I am the way the existing light reflects off of the set getting my point across: correctly executed nat- when it is placed in its normal or final use posi- ural-scene fill light is invisible to the naked eye. tion (e.g., a TV on a wall), then find a way to The natural-scene fill light approach works emulate the effect naturally. The set must also ap- well when photographing models outdoors for pear to be a realistic setting, not a studio setup. catalogs. Using battery-operated lights, you can For this image, I opted to embrace a natural- add a little light and fill in shadow areas. Test out scene fill light—a soft look that evokes the feeling your flash at several exposure settings. This way, of late summer or early fall. The sun was behind you can choose the best light. Also, be sure to the model, and I used a portable lighting kit with carry extra batteries with you for a shoot like this. two lights to fill in the shadows. A flash head on Nothing looks less professional to the client and the left side of the model’s face was used to add your team than running out of juice! fill to her face and body. This light was placed be- To get the most from your models, they must hind a 4x4-foot panel, in the P1 position. On the like you and trust that the photos you are creat- right side of the subject, I placed another 4x4- foot panel with a flash head in the P5 position. This light added a little snap to the right side of Time-saving Strategies the image. Notice that the exposure of the RAW When shooting outdoors, take a natural-light-only file was for the sunny spots. The lights I used for image before adding lights. Examine the shadow this shot gave the appearance of natural falloff areas that need to be filled or items that need a little extra light. Soften76 On the A ssignmentlights you use to enhance the shot with scrims or softboxes. Remember, don’t make your highlights too bright. into shadow from the sunlight, but if you look under a tree and in the shade (to keep her cool), closely, you can see that the areas not affected by the light from the flash heads created perfect the lights are much darker than the sunny spots. separation of the subject from the shadows. In It’s a good idea to try to keep the sun behind Photoshop, I enhanced the overall color. I then the model’s head and body. The sun is better selected the whites and blue of the hat (the prod- used as a hair light than as the overall main light uct for sale) and changed the levels on it to make on any subject. Although this model was posed it a bit brighter than the rest of the exposure.

Camera: Mamiya 645AF with Phase One digital back Lens: 80mm

1 Exposure: /125 second, f/11, ISO 100 White balance: daylight Lights: L1=P1 at LFT, L2=P5 at RT, L3=sun Power settings: L1=80%, L2=60%, L3=100% Who’s on set: photographer, assistant, model, several other models, makeup artist, client Dramatic Light

People are accustomed to seeing the world il- ow areas. With black foil, you can create modeled luminated by mostly overhead sources. By nar- or formed shadows that complement the com- rowing the field of light or bringing it in from a position. Preserve shadows that contribute to different direction, you can create a dramatic feel the look and feel of the final image. Shadows can and force viewers to see the subject differently. make or break the image—and the photo shoot. To successfully create dramatic light, two Determining when to use dramatic light will things must happen: it must look out of the ordi- become second nature to you. With experience, nary, and the effect must look great. Remember, you will learn to read the client’s wishes and de- we are working on lighting techniques that make termine whether they want a dramatic image or money, not techniques that don’t work. just a powerful one. The points below describe the dramatic lighting approach: To successfully create dramatic light, you must • Start by placing the subject in the set. create dramatic shadows. • Use one light at first to test how you might light the subject; once placed, this first light will be the main light. Do not shoot this light To successfully create dramatic light, you must through a scrim. create dramatic shadows. You should be able to • Once you have determined the placement of control all the lighting elements to create a per- the main light, start to fill in shadow areas fect product. Nothing happens by accident—at with bounces and/or mirrors, depending on least, that is what we tell the client. the strength of fill light you desire. The materials needed to create a dramatic look • Once you have filled these areas, cast a second are inexpensive. You can place a cookie in front of light on the subject. This light must be less a light to create shadows. A mirror can be used to powerful than the main light. cast light back into the scene to soften the shad- • With these two lights in place, you now have the perfect opportunity to add colored gels if you so desire. Keys to Success • Check your shadow areas. Once you have • Don’t take this effect too far, or it will fail. determined your new shadow areas, you can • Colored gels are great for enhancement of an image, but they can also ruin or date an image decide whether or not a third or fourth light when overdone. When using colored gels, con- is needed to create the desired effect. sider working with at least one clean, non-gelled • If the shadow areas are too harsh, use a low- light source. powered light through a scrim as a fill source; • Don’t let your shadow areas fall into complete the lower the power, the more subtle the fill darkness. This can be disastrous in the printing effect. phase. • Dramatic light has its place in professional photography; try not to overuse the technique. • Strive to create simple yet effective lighting on your subjects. Camera: Mamiya 645AF with Phase One digital back Lens: 80mm

1 Exposure: /60 second, f/16, ISO 100 White balance: daylight Lights: P2 LFT Power settings: P2=50% Who’s on set: photographer, assistant, model

• When you’re done building the shot one light Keeping the light soft helped me capture this at a time, you’re ready for the final capture. dramatic image. The depth of field was long in the original exposure. This allowed me to control For this image, I placed a panel at the left and focus in postproduction. In Photoshop, I created parallel with the set. A light was positioned in the a new layer, added a Gaussian blur, and merged upper left of the panel, at P2. This light was at the two layers to establish the feel of a controlled 50 percent of the power pack’s capacity; it pro- lack of focus. Softening the subject produced a vided all of the light used for the shot. A bottom feeling of delicious warmth. bounce card was used in front of the subject, and a second bounce card was placed to the subject’s right to reflect the main light back into the set I like to shoot for full focus and onto the cocoa-covered hands. and allow room to crop Cocoa powder is messy, so I covered my light- on every image. ing gear and the floor with plastic sheets. I kept a container of wet wipes next to the camera so that if I needed to touch the model’s hands, I I like to shoot for full focus and allow room to could quickly wipe the cocoa powder from my crop on every image. This way, I can fix things in own hands before I touched my gear again. postproduction that can’t be fixed on the set.

ON ASSIGNMENT 79 Dappled or Textured Light

The dappled light technique is often used when Camera: Mamiya 645AF with Phase One the entire set will be in the final photograph. In digital back this case, there are usually many elements on the Lens: 80mm set that are creating an atmosphere for the focal 1 Exposure: /125 second, f/11, ISO 100 subject to exist in. In such situations, two types of White balance: daylight lighting come into play: precise subject lighting Lights: L1 and L3=large reflectors, L2=two (to show off the product or main subject of the overhead panels shot) and atmospheric lighting. Power settings: L1=80%, L2=100%, L3=70% Who’s on set: photographer, assistant Various tools can be used to project shadows onto walls and into sets.

We’ve covered a number of techniques for creating precise subject lighting in this book’s previous lessons. To create atmospheric lighting, you need to cast light that is almost textured in form and shape, going from light to dark in an undefined pattern. With a dappled pattern filling the background, you create a subtle texture that is easy to gain separation from. This separation Various tools can be used to project shadows will be needed to show off the main subject of onto walls and into sets, but I have found that the photograph. The photograph shown on the using black foam core with holes cut into it is the facing page demonstrates the use of the dappling best and least expensive way to dapple the light. technique. These forms can be placed in front of a light being used on the set—just be sure not to alter the original lighting you desired on the subject. Plan for a Perfect Shot The same approach can be used to give the When your dappled-light shot contains nu- impression that objects outside of the room— merous objects, clean every item on the set for instance, leaves or window panes—are cast- and make sure there are no fingerprints on the products. A little bit of cleaning now can ing shadows. Let’s say that you are photograph- reduce a whole lot of computer retouching ing a vase on a table that has a plain wall for a work later. backdrop. To add interest, you can place a “window frame” constructed of foam or another

80 On Assignment lightweight material on a light stand, using an ty in a shot that could have easily been flat and A-clamp, and position it in front of the light. boring. This creates the impression that the vase is in a home. For this image, I wanted ultrasoft, warm light. When creating an image like Two 4x8-foot panels were set on top of each this, keep your colors in the other and held up by two stands above the set. same palette if possible. An open head was placed on a 10-foot boom and positioned about 3 feet higher than the panels. Two lights were used on either side of the set The composition of this image was guided by to create the brighter dappled or textured spots three things: the color of the objects, the size on the objects. Large reflectors were placed on of the objects, and the way the light was hitting these units to control the direction of the light. those objects. In front of those lights were two gobos that had When creating an image like this, it is a good holes cut in them to create organic shapes. The idea to keep your colors in the same palette if light shining through them created the dappling possible. or texturing effect. The convergence of brighter and softer light together created depth and beau-

ON ASSIGNMENT 81 82 On Assignment Portraits

There are infinite ways to light a portrait, but them or hate them. When taking portraits of the light cast onto an interesting model should anyone, be sure to do your best and light them convey a visual message about the subject. This like a master. is called visual interpretation, and accomplishing My task here was to create an image of a re- this is every photographer’s job. As I mentioned nowned DJ in Denver, Colorado. I had to pres- earlier, your breakthrough moment in photog- ent the model in a specific, trendy environment raphy might be through an amazing portrait. for the music scene. Never underestimate the importance of any photograph you are taking—especially portraits. Once you deliver the portraits to your client, the To get the powerful lighting images will be sent across the Internet in a flash. in this image, I used three People will see these images and either praise lights and a bounce.

This image was shot in black & white using the camera’s black & white grainy filter effect. In Photoshop, I used a custom brush to create the star-like effect around the subject’s head. This technique would not have been successful if I’d not aimed the backlight at the background to blow it out. To get the powerful lighting seen in this image, I used three lights and two bounces. I set up a 6x6-foot panel behind the model and placed an open head in the P1 position. On the camera- right side of the set, I set up a 4x6-foot panel

Camera: Olympus E-5 with an open head in the P2 position. On the Lens: 12–60mm left side and a little behind the model, I placed

1 a G20, 8 feet high aimed directly at the model’s Exposure: /125 second, f/11, ISO 100 White balance: daylight face. This is the light that produced the wrap- Lights: L1=G20, L2=P1, L3=P2 around effect. Power settings: L1=100%, L2=60%, L3=50% Who’s on set: photographer, assistants, film crew, talent, reps

ON ASSIGNMENT 83 Front Lighting with Grids

This approach could be considered fashion por- in mind. This allows you to be as creative as pos- trait lighting. This front lighting technique works sible and deliver technically perfect files to even well with models who have distinctive cheek- the toughest of clients. bones. Many of the effects and the color in this To light this portrait, I used a G20 grid point- image were added via Photoshop, but the over- ing directly at the model’s face. This threw clean, all lighting made the image come to life. As I directionally controlled light. To keep the en- mentioned before, being creative and edgy is an tire image lit, I placed a 4x4-foot panel on the camera-right side of the set, with a head in a large reflector in the P1 position. At the right rear of Being creative and edgy the set, I used a G40 light aimed directly at the is an important part of model’s hair. The backlight made her hair ex- the success of any image. plode with highlights and flare, creating perfect separation from the background. important part of the success of any image, and Camera: Olympus E-3 creating these images is a great way to push your Lens: 12–60mm career forward. As a professional photographer 1 Exposure: /125 second, f/11, ISO 100 and artist, you must embrace Photoshop. Learn White balance: daylight to take photos and expose them with Photoshop Lights: L1=G20, L2=G40, L3=P1 Power settings: L1=100%, L2=40%, L3=40% Who’s on set: photographer, assistant

84 On Assignment Fashion lighting

When shooting fashion editorials, the only real rule is to show the clothes or model’s makeup in an interesting light. If your client is happy, you get paid, and they call you for another job. That’s proof that you’ve done your job well. But during the planning of the shot, you must be absolutely certain that the lighting you are choosing suits the product you are selling. I usually present the team with an overview of the image concept. This puts everyone at ease before the shoot begins. Once the model is assured that she will look fantastic, you’ll gain her trust. When your client sees that you have the job under control, you’ll have a happy client. When photographing a model, her comfort with the shot is of the utmost importance. In this case, the model’s mother was stationed on the set to ensure that the session unfolded as planned. Simple lighting can be elegant. Sometimes too many lights create chaos. For this image, I positioned the main light, a medium softbox with a double scrim inside, to the right side of the set, near the model’s face. This generated the soft overall lighting. To get a more effective wraparound on her face, I used a bounce card at the front-left corner and angled it upward to throw light under her chin and onto the side of her face. I aimed a G20 at the backdrop, lighting the area just behind her to create separation.

Camera: Phase One Lens: 80mm

1 Exposure: /125 second, f/11, ISO 100 White balance: daylight Lights: L1=G20, L2=MD/SBX Power settings: L1=80%, L2=100% Who’s on set: photographer, assistant, makeup artist Corporate Portraits

Most corporations want images with a state-of- first, then use a sit-in model to get the light right. the-art feel; they believe that the mood estab- Once everything is in place, you can summon lished in an image speaks to the status of the your subject and start the shoot. Here are some company. They want to portray their leaders and tips that will help you ensure that the session is a products with confidence, power, and success, success: and they want portraits that promote trust. To create these feelings, you’ll need to pull out all of • Avoid harsh, face-distorting shadows. Your the stops—and a variety of equipment. subject should appear honest and successful—like anyone could do business with him or her. When photographing • Act in a professional manner. You can crack a corporate heads, few jokes if that’s something you’re into, but time is of the essence. remember that the corporate environment is much different than the artistic environment of the average photo studio. Producing images that look clean and high • Remember that your client is always correct. tech can be a challenge, so be sure to establish a realistic budget before bidding. Let the art direc- One way to create a powerful photograph is to tor know that good photography is not inexpen- use a bright background with lots of punch, then sive. Sure, using professional models and incred- light the model or subject even brighter. Using ible locations will increase the costs, but make flash from the front and below the subject cre- sure that your clients know you will produce a ates bright and clean separation of subject and top-notch product in the end. background. When photographing corporate heads, time is Another effective approach is to create a dark of the essence. Your best bet is to create the set image with faint wisps of light. Add minimal highlights to let the viewer know what they are

Camera: Phase One looking at, but keep the rest of the image dark; Lens: 12–60mm this allows the imagination to fill in the blanks. I

1 realize that every client will have different ideas Exposure: /60 second, f/22, ISO 100 White balance: daylight about what they want their images to look and Lights: L1=G20, L2=G40, L3=MD/SBX, L4=G40 feel like, but images like those described have Power settings: L1=30%, L2=60%, worked for several large corporations in competi- L3=100%, L4=30% tive industries. Who’s on set: photographer, assistant, Camera angles are very expressive in corporate models, client, runner imagery. You can create a totally different feeling in an image by exploring the angles of the shot.

86 On Assignment Don’t be afraid to experiment. The angles that you choose will differentiate your photos from the rest of the images in the advertising world. This is exactly what you need to do to create a corporate client base of repeat clients.

Camera angles are very expressive in corporate imagery.

This image was created to show a traveling businessman checking in at a corporate hotel. The image needed to show professionalism, trust, and the use of technology. was positioned at camera right and aimed at the The setup included four lights. A G40 on a model’s face and shoulders. A medium softbox tall stand to the left of the camera was used to on a 6-foot stand was placed at camera right in a illuminate the floor. A G20 with an amber gel horizontal position and aimed at the model hold- was placed on a stand about 5 feet high to the ing the phone. The computer screens were added left of the camera aimed directly at the model opin Photoshop. erating the computer. A G40 on a 5-foot stand

ON ASSIGNMENT 87 Lens Flare

When non-image-forming light strikes the lens • When photographing a product on a light- or bounces off of an object and reflects into the colored surface, place black cards as close to lens, flare results. It shows up as bright shapes or the subject as possible. lines in your image and can even cause the color • Move the light unit that is striking the lens or to appear washed out. Sometimes you can im- place black cards between the light and your mediately see flare in your images; other times, camera. It may seem as if you’re being overly it’s more difficult to discern. The trick is to know cautious, but it’s better to be safe than sorry. what color saturation to expect. If the colors are • Avoid using bright colors when shooting a washed out, you may have flare. Flare can also product that will be clipped out in Photoshop. flatten the contrast and make the image harder The bright colors can affect the white balance, to view. create a color cast, and even impact the exposure. Use a darker neutral-gray backdrop. • Before shooting, wrap a long piece of black Flare can flatten the contrast paper around the lens—just be sure it doesn’t and make the image cut into the image frame. • Cut a hole in a piece of black foam core and harder to view. insert your lens through it. This prevents any reflections from the shiny parts of the camera For this image, I set up in a dark, cold, snow- from being recorded. lift garage. The front of the image was lit using two open heads, placed on either side of the Camera: Phase One model and car. Both were in the P1 position be- Lens: 80mm hind 4x4-foot panels. A third light, an open head 1 Exposure: /60 second, f/16, IS0 100 on a studio stand placed in the back of the set, White balance: daylight was aimed straight at the camera. The resultant Lights: L1=P1, L2=OPN, L3=P1 flare created a sense of dimension and lightened Power settings: L1=70%, L2=100%, L3=70% the dark feeling of the closed, dark garage. Who’s on set: photographer, assistant, model, Flare will not be useful in every image, so here clients, video operator, makeup artist are some tips to prevent it:

88 On Assignment GLowing Light

If flare is to work, you must identify the point at which it adds to the shot but does not wash out the color. To do so, place the subject between you and the flaring source and let a little light peek around the subject. If need be, power up the main light, choose a smaller aperture, and power your flare light down to minimize the light burst.

The water splashes and mist caught the light and enhanced the overall look.

Here, a panel with an open head at P1 was placed to camera right. An acrylic diffuser was set between the product and the panel to soften the light and create the white line on the side of the bottle. Two G20s were angled toward the lens. A bounce card was placed opposite the main light, creating a white line along the length of the bottle. This added a professional touch. A little flare goes a long way. We kept the 1 Camera: Phase One modeling lights on /3 power, fired the strobes, Lens: 80mm and dragged the shutter, allowing the modeling 1 Exposure: /125 second, f/22, ISO 100 lights and strobes to mix for a pleasing glow. The 1 White balance: daylight shutter speed was /125 second; the longer the Lights: L1=G20, L2=G20, L3=P1 shutter remains open, the brighter the glow. Power settings: L1=100%, L2=100%, The water splashes and mist caught the light L3=80% and enhanced the overall look. The shot works as Who’s on set: photographer, assistant, client an advertising image, as it generates an explosion of motion, color, and freshness. There’s a thin line between this approach and the “daylight and tungsten together” technique. To me, the line is crossed when the image takes on a warm tint. To neutralize the color, use your camera’s gray balance feature. Lighting Food 1

Lighting food can be a chore, but the following tips will help you create a great shot:

• When photographing meats and breads, use an overhead light with a soft amber gel for fill. This will help create the impression that the photograph is being shot in a kitchen or restaurant. • With grids or spots, highlight the Christmas ham, Thanksgiving turkey, or other hero of the set. You can warm these lights, but don’t go overboard. • Use ample fill. Dark shadows take away from the meal. Avoid overstyling the shot, and get the visual flavor of food shots. in close to your main subject. • Use a soft main light above and in front of • Use a short depth of field. This will give your the food. Do not warm this light. For the image a clear focal point. This technique is best results, make sure that this light is on its flattering to many single plates of food and own power pack so you can control the power most drinks, especially when shooting from output. above the subject. • Avoid overlighting your subject. A single main light source that produces an overall light plus Use a soft main light an accent light that adds a little glimmer to above and in front the rear-most items on the set is often all that of the food. is needed. There are several ways to photograph food, but • Place black cards where needed to create with the tips provided here, you have the house shadows. A dappled light approach can be built, and all you need to do is decorate. Don’t welcome here. be intimidated by your first food shots. Just re- • Make the set accessible and safe for the food member that you are trying to create beautiful stylist, your client, and you. Otherwise, images with a certain “yummy” appeal. By us- someone may trip and a disastrous spill could ing warm fill lights and a clean main light, you result. Have ample towels and cleaning sup- can create the visual atmosphere needed to make plies on hand. your client happy. • Keep the shot simple, and keep the viewer’s A scene like the one I encountered when I ar- focus on the foods that are most important to rived for this shoot is the food photographer’s

90 On Assignment most complicated scenario. As you can see, many Camera: Olympus E3 different surface values had to be controlled: Lens: 12–60mm there was the skin of the chicken, the texture 1 Exposure: /125, f/11, ISO 100 of the breaded pieces and the potato salad, the White balance: daylight greens of the lettuce, and the matte value of the Lights: L1=MD/SBX, L2=LG/REF, L3=P3 paper bag. Power settings: L1=70%, L2=100%, L3=80% Who’s on set: photographer, stylist Place black cards where needed key feeling. To realistically light the front of the to create shadows. products, I used a medium softbox at camera left. On the right side of the set, I added an open head in the P3 position behind a panel. This brought To light the image, I used three lights. (I use fill light into the set and opened up the shadows. as few lights as possible. Each light is a new vari- Finally, a bounce card was placed in between the able, and when you have lots of variables, things camera and the food to reflect all of the lights are harder to control.) A large reflector at the back onto the chicken. back-left side of the set created the overall high-

ON ASSIGNMENT 91 Lighting Food 2

This image was shot on location in the restau- food. I set up a large reflector at the right rear of rant where the food was normally served. I had the set to create the hot lighting on the food and to take up as little room as possible because the plates. At the front right of the set, I positioned restaurant was serving people during the shoot. a 4x4-foot panel, with a strobe behind it at P1. I This happens a lot. placed a bounce card in between the camera and I used the following setup to photograph this the food to soften the shadows on the plates. dish and various others: I quickly set up a 4x4- foot panel above the table the food was presented on. I placed the strobe head in the P3 position behind a large panel, pointed downward at the

Camera: Olympus E-5 Lens: 12–60mm

1 Exposure: /125 second, f/8, ISO 100 White balance: daylight Lights: L1=P3OH, L2=LG/REF, L3=P1 Power settings: L1=80%, L2=100%, L3=60% Who’s on set: photographer, assistant, chef

92 On Assignment Lighting Drinks

When photographing drinks, you’re working with two incompatible elements—water and electricity. (The two get along so well, it’s shocking!) You’ll need to protect your equipment against spills or splashes. I use plastic bags and sheets for protection, and I tape around the seams with gray duct tape. This may make ac- cessing your power packs more difficult, but you don’t want to get a single drop of water on your equipment. Never do a pour shot alone. Have an assistant pour the beverage while you take the shot. Use tubs to catch and contain the liquid, and keep a few towels on hand to ensure a quick cleanup. Splash shots are fun to photograph, and when done correctly, they make a great addition to your portfolio. Use a fast shutter speed and keep the duration of the flash as brief as you can. The faster the flash reaches its maximum brightness,

the better you will freeze the splashing liquid. Camera: Olympus E-5 For this image, I filled the cup with acrylic Lens: 12–60mm

“ice.” Once my lighting and exposure were on 1 Exposure: /125 second, f/11, ISO 100 target, I added the product. The cup was sprayed White balance: daylight between exposures to cover it with water drop- Lights: L1=P1, L2=G10, L3=P1 lets. This made the drink look cool and refresh- Power settings: L1=70%, L2=100%, ing. I used panels with open heads at P1 on ei- L3=80% ther side of the set. This made it seem that two Who’s on set: photographer, assistant (and large lights were illuminating the cup. I used a a mop!)

G10 on a boom stand aimed at the top of the drink (the focal point of the shot). I clipped out the drink in Photoshop and generated the blue- and-white background on its own layer. Finally, I used custom Photoshop brushes to add extra splashes to give the image the feeling of liquid movement.

ON ASSIGNMENT 93 Lighting Rooms 1

As you look at a room, remember that while you and where to place them, you can add fill lights are lighting an object that has depth, you will be to bring out the texture in the shadow areas. producing a two-dimensional likeness of your When lighting a room, be sure there is just subject. For the best results, look at every angle one set of shadows projected from the objects in as if it were in a painting. The shadows are the the room. Multiple shadows are a sure sign that darker palette, showing the depth and the size of artificial light was added to the scene. Remem- the objects in the scene. The highlights are the ber, you want the effect to appear natural. image’s features, the objects of beauty and importance, the “why” of the image. Though the interior shots in this book were The easiest way to light made in rectangular rooms, remember that you a room is to bounce your will need to create images in interiors of a wide lights right into the ceiling. variety of sizes and shapes. Also, note that the lighting in a room changes as the sun moves across the sky. Therefore, the approaches pro- It seems that not long ago, you needed a large vided here should serve only as examples; your crew and several lights to shoot an interior. Back working space may require a different strategy. then, I used a 4x5 camera; it was great for taking The easiest way to light a room is to bounce care of the warps and twists in the rooms from your lights directly onto the ceiling. This creates the lens distortions. These days, it’s all digital, soft, diffuse lighting, which is usually comple- and I can get away with fewer lights. Lugging mentary to the colors in the room. Also, it creates a 4x5 and a ton of gear around is a thing of the a natural-looking light source. Once you deter- past. You just need a lighting kit and a little Pho- mine how many lights to bounce from the ceiling toshop know-how to make your images sing.

94 On Assignment Creating this image took a lot of time, plan- the night-time windows to be visible. This cre- ning, patience, and multiple tries. In the end, ated the illusion that all parts of the image were though, it’s a perfect example of using only avail- perfectly exposed in a single capture. able light to create a great image. In Photoshop, I retouched out all cords, ca- The image had to show the lighting inside and bles, and plugs and corrected discolorations. Fi- outside of the room. When the interior lights nally, I added the two closest pillows. Nope, they were on, there was a glare on the windows that weren’t really on the set! obscured the view. Therefore, I needed to create two exposures—one for the interior (I used a tungsten white balance) and one for the exterior (I used a fluorescent white balance and shot with the interior lights off). I wanted a panorama, so I had to take five shots of the interior and five shots of the exterior, with the intention of creating two separate sets of five images each, which would be stitched together in Photoshop. I took both exposures—one interior and one exterior—prior to rotating the camera for the next image in the panoramic series. (Yes, I had to Camera: Olympus E-5 start over a few times.) Once I felt I had effective- Lens: 12–60mm ly captured both scenes, I exported my shots and Exposure: 5 sec. and 2 sec., f/22, ISO 100 stitched them together in Photoshop. I placed White balance: tungsten, fluorescent the two separate exposures on top of each other Lights: available in Layers. The darker “night” exposure was the Power settings: n/a bottom layer. I erased the areas within the lighter Who’s on set: photographer exposure to remove the windows, allowing for

ON ASSIGNMENT 95 Lighting Rooms 2

This was a great-looking room, and I had amaz- light added fill where the ceiling lights fell off. To ing camera angle access—but I had to make this create the final photograph, I merged three im- bathroom look like a place where you would ages using Photoshop’s HDR image merge tool. want to spend a lot of time—a luxurious getaway The first exposure was for the highlights in the in your hotel room—and I did. room, the second was for the midtones, and the Just one light was used for this shot. A third was for the shadows. DynaLite flash head was positioned up high and Once the images were merged, I enhanced a bounced off the ceiling into the bathroom. This few of the key colors using Photoshop’s selective color palette feature. I brought out the warmth in the overall shot and made sure that the cool areas stayed cool in color.

Camera: Olympus E-5 Lens: 12–60mm

1 Exposure: /5 second, f/18, ISO 100 White balance: tungsten Lights: L1=OPN (modeling light) Power settings: L1=100% Who’s on set: photographer

96 On Assignment Scientific Light

Scientific product lighting is tricky but rewarding. flection and ensured the correct framing. I want- Your challenging subjects may vary from glass ed to keep the composition simple to produce a products, to laser beams, to the smallest micro- high-tech feel in the image. processor you’ve ever seen. You’ll want to create Here are some final tips: images that look clean and modern. One way to do this is to use extreme white light around the • Investigate lighting challenges before the main subject while enhancing the background ar- shoot. eas with gelled lights, creating arcs with grids and • Find out what you can and can’t touch. spots, or using both techniques at once. • Bring cleansers and paper towels. Try to use minimal light to get the shot. Of- • Some scientists aren’t as photogenic as hired ten, you can bounce light off the wall to diffuse models, but good lighting can make anyone it; this saves you the time of setting up a soft- look appealing. box. If you want the scene to look like the light is coming from overhead, add an amber gel to the Camera: Phase One light and bounce it into the ceiling. Lens: 80mm

1 When working at a scientific campus, you’ll Exposure: /60 second, f/8, ISO 100 want to have an array of lenses for shooting ev- White balance: daylight erything from whole rooms to extreme close- Lights: L1=P1 ups. Many labs have tight working spaces that Power settings: L1=100% are hard to photograph; consider wider lenses for Who’s on set: photographer, clients these shots. Also, consider using a longer lens to isolate the subject from a distracting background. It may help to have an assistant you know and trust on hand to help you move your equipment. By the time you have photographed everything from the labs to the CEO, you will be tired. Without an assistant, you may be exhausted and still not have the project complete. Many scientific products are highly reflective. Here, we chose a camera angle that reduced re-

ON ASSIGNMENT 97 Medical Light

When photographing a patient and caretaker, In the sterile environment of a hospital or care you must light the image in a way that conveys facility, it can be difficult to create interesting a feeling of trust and serenity. Sure, the models shots. I suggest that you close in on the subject; in the photo will project these feelings, but it is many of the procedures done in these facilities up to you to enhance them. Advertising medi- are interesting up close. When photographing an cal procedures is only successful when the patient entire room, see if there are plants or warm col- appears comfortable with the caretakers. Using ors available to include in the shot; this gives the neutral to warm colors can have a calmer, warm- viewer something less medical to view. ing effect. Some medical shots require a clean, Don’t be afraid of a model who has a health cool look. When you know how the final image condition—they want to be treated like everyone will be used, you can determine the feel that the else. Too much sympathy can make the model photo needs to convey. feel weak or self-conscious and ruin the shoot.

Camera: Phase One Lens: 80mm

1 Exposure: /125, f/11, ISO 100 White balance: daylight Lights: L1=P1, L2=G20, L3=OPN, L4=G20, L5=P1 Power settings: L1=70%, L2=100%, L3=50%, L4=80%, L5=100% Who’s on set: photographer, assistant, client, models, staff, stylist

98 On Assignment When shooting with patients in a care facility, Here are some tips for working safely and use common sense and be courteous. Be sure to effectively: work quickly, as many models with health conditions tire easily. Plus, you never know when an • Tape down cords with bright safety tape. emergency will arise, leaving you and your equip- • Use an assistant you know and trust. ment sprawled about and in the way. Always keep • Be prepared to see something that may make your equipment close by and accounted for, and you uncomfortable. make sure that there are no cables where someone can trip over them. Finally, when taking the For this shoot, we had to work quickly. We were photo, prepare everyone for the flash. If possible, in an emergency room and had five lights to set set the flash off a few times so the subject knows up, so it was all hands on deck. First, I set up two what to expect. You do not want to scare anyone 4x4-foot panels with open heads in the P1 posi- who has health problems. tion. This lit the room up nicely. Next, I wanted to highlight the patients’ faces by aiming G20 grids directly at them. Finally, to create a little In hospitals, the rooms are separation, I aimed an open head at the floor in designed for privacy, the back-left corner of the room. I used Photo- not photography. shop’s photo filters to add an overall blue cast.

Keys to When working in a patient-care setting, you Successful lighting must control the flow of the shoot. Otherwise, • When lighting an exam room, bounce you and your team can lose focus. When on lo- your main light into the ceiling. This cation in a hospital, maintaining control can be gives the feeling of general overhead more difficult than usual. This is due to the seri- light. ous nature of everything around you. It becomes • To make something seem modern or harder to joke around and have fun, as you would high-tech, place blue, green, or pink gels on your lights. Avoid using red gels when under lighter circumstances. photographing medical equipment. One of the main problems you will run into • Keep medical scenes clutter-free. when lighting in hospitals is that the rooms are • Enhance the color and mood of the im- designed for privacy, not photography. The ceil- age in Photoshop for maximum image ings are not very high, and there are often no impact. angles for you to sneak lights in. Many times, you will need to light the room from the front only. This means no back lights, no spots from the side, and no lights from overhead. Art directors think because we have digital cameras, we can do anything. Well, what do you know? They’re right.

ON ASSIGNMENT 99 Lighting Auto exteriors

When shooting the exterior of an automobile, Camera: Mamiya 645 AF Phase One back you must use bigger light sources to illuminate Lens: 80mm the large areas involved. Auto exteriors are sleek 1 Exposure: /125 second, f/22, ISO 100 and smooth and feature both large and small White balance: daylight curves. The light that you cast will wrap around Lights: L1=OPN P1, L2=OPN P2, L3=3x4SBX, these curves or quickly get stuck in them and L4=G20, L5=G30, L6=G20, L70=3x4SBX, cause unwanted reflections. This job will require L8=OPN P1, L9=OPN P1 you to constantly finesse the light sources in play Power settings: L1 and L2=100%, L3=75%, as you produce the reflections you want and L4=80%, L5=75%, L8=100%, L9=100% eliminate those you don’t. Who’s on set: photographer, assistant, vehicle owner

Tools for auto shoots Armor All wash rags window cleaner toothbrush leather cleaner Play-Doh paper towels lighting grids vacuum cleaner lens cloth museum putty cotton gloves bounce cards of all boom stands sizes assistant small mirrors a flexible spine bucket Trilight

Sometimes it is best to use old-school, surefire Finally, I increased the contrast and the color techniques when taking portraits. For this partic- saturation in the image. I pushed right to the ular session, I took a three-light approach—one very edge of the color gamut. My final portrait light for the face, a second for the fill, and a third has an “Old Hollywood meets new technology” for hair or rim light to increase the glow around feel. The lighting is classically done, but with the edges of the subject. the intense color, this portrait appears a little bit This setup (shown in detail in the diagram be- surreal. low) allowed me to light the subject as I needed. It also allowed me to create shadow-free continu- Camera: Olympus E5 ous lighting on the green screen backdrop. This Lens: 120mm

1 is a critical approach, as the background must be Exposure: /60 second, f/16, ISO 100 a continuous tone to be removed from the pro- White balance: daylight cessed digital file. Lights: L1=SBX/Thin, L2=G30, L3=SBX/Med In postproduction, I went to work to ensure Power settings: L1=80%, L2=80%, L3=100% that the musician would appear highly polished Who’s on set: photographer and model in the final photo. I used Portrait Professional to remove blemishes, even out the skin tone, and get a great overall clean retouching effect. Once the retouching of the face and skin was complete, I opened the file in Photoshop and removed the green screen background, replacing it with the ominous background you see in the final image. Large Sets

When you’re lighting large (10x10 feet or more), down. The setup also allows for control over complex sets, you must consider the safety of the main light and fill light, and you can easily those working around you. Large sets can and alternate between the two. By illuminating the do create a maze of cables strewn across the shot with a pleasing overall light, you have built a floor, which may trip someone. Try to position foundation. You can, of course, enhance the im- your power packs in a safe place but within reach age by adding light to suit the given product and from the camera station. If that isn’t possible, get composition, but in most cases, you’ll want to the help of an assistant who knows how to use add highlights and shadows that help to create them well and can take commands from you. Do separation between the subject and background. not yell directives at your assistant; if the pow- We faced a number of obstacles when shooter packs are far away, use a two-way radio for ing this image: the texture of the carpet was eas- communication. ily lost in the exposure; the TV screen was a big, white reflector that needed to be at the correct angle to the camera; the speakers were black with Let the client know that there copper insets (another exposure challenge!); and are certain challenges that finally, we were working on location. Arghhh! come into play on a large set. When you’re faced with obstacles like these, be sure to let the client know that there are certain challenges that come into play when working on When lighting large sets, I recommend the a large set—but keep the extent of those prob- use of a 4x8-foot panel, mounted overhead and lems to yourself. This can help your client relax banked at a 45-degree angle. Depending on the as you work through the challenges and come up shot, this light can serve as the main light or a with a perfect exposure. In this case, that meant very flattering fill light. The next light to throw employing six lights. We’d started out with eight in is the side light; this unit should be on an in- dependent power pack for optimal control. In- Camera: Phase One stead of using a panel as a side light, aim the light Lens: 80mm

1 through a 4x4-foot piece of frosted white acrylic. Exposure: /60 second, aperture f/22, ISO 100 This will greatly reduce the likelihood of glare White balance: daylight on the set. With the main light and side light in Lights: L1=P2, L2=P4, l3=G30, L4=LG/REF, place, you are free to use strobes with honey- L5=G30, L6=P2, L7=P4 comb grids, mirrors, and bounce cards to add fill Power settings: L1 and L2=60%, L3=80%, in the areas of the set that are begging for more L4=100%, L5=80%, L6 and L7=60% light. Who’s on set: photographer, assistant, With a streamlined setup like this one, the client art director has little to stumble over and knock

102 On Assignment lights but soon realized that two lights were creating cross shadows that were doing more harm than good. (Remember, too many lights means too many variables!)

Always stay on top of the project and consider every nuance of the set.

Always stay on top of the project and consider every nuance of the set. In large sets, you’ll often You’ve probably noticed that many of the im- be presented with a variety of faces, textures, and ages in this book were tweaked in Photoshop. reflections. Remember that there is great money My goal in sharing this particular image is to in high-end photography, and larger sets usually show how good a RAW image can look without mean larger checks. Pull out all of the stops. Take a lot of postproduction work. For this image, the the time to look at some test shots. If you find wall behind the TV was cleaned up, and the blue yourself in a bind, simply take your exposure one in the TV screens was added in. light at a time, and don’t panic. This approach may not be very scientific, but it’s effective.

ON ASSIGNMENT 103 Lighting On Location

So your career is starting to boom. You are now the premises. Remember that you are welcome getting calls to light entire scenes outside with on the set and the client wants you to make the models, props, makeup artists, assistants, and best-possible photographs. For a day, you are a houses. You look at the budget and realize that little bit like a celebrity, so enjoy that privilege. you are running a project that has a burn rate This is the time to pull out the time-saving of $1200 per hour. That is when you come to techniques you have been developing. Bounce understand that lighting on location is the hard- light off of walls and light the main subject with est but most rewarding thing a photographer can a grid. Use simple fill sources. Consider lighting do. Having your clients ask you to work outside your outdoor subject with one light in an um- of your studio is a show of trust in your photo- brella. When lighting location scenes, try to keep graphic abilities, so don’t let them down. your lights to a minimum. When you over-light a scene, you create a hazardous working environment for everyone. If you are not using a light, Shooting on location have your assistant put it away. is simplified when you Here are some other general guidelines for use a checklist. location work: • Be prepared for the unexpected. Shooting on location is simplified when you • Bring snacks and drinks for everyone working use a checklist. Your list should include direc- on the shoot. tions to the location, the phone numbers for ev- • Learn the names of everyone on the set eryone involved in the shoot, and all the equip- before the shoot. ment needed to complete the project. Forgetting • On dark and cloudy days, use a longer expo- a major piece of equipment can cause you a great sure for a sunny appearance. deal of stress; if you’ve ever had this experience, • Work quickly. you probably already have a list. Once you have arrived at the location, find the Camera: Phase One electrical outlets you need, examine the scene Lens: 80mm

1 for lighting challenges, and then bring in the Exposure: /60 second, f/16, ISO 100 required equipment. Leave whatever you don’t White balance: daylight need for lighting the scene nearby but out of the Lights: L1=P1, L2=LG/REF, L3=P1, L4=sun way. It is always helpful to establish a designated Power settings: L1=80%, L2=90%, storage area so that you and your assistant know L3=100%, L4=100% where to find things. Who’s on set: photographer, assistant, Also, try to make yourself comfortable before models, client, stylist you start shooting. My philosophy is to take over

104 On Assignment This image was just one of several that had to be created throughout the course of a three- day shoot. The budget for this project was about $30,000. Needless to say, we had to get it right—fast. The truck and the house were lit

A flash head with a large reflector was used to light the box on the truck evenly. mostly by the sun. The model in the front of the image was lit by two panels; behind each one was an open head in the P1 position. A bounce card positioned between the camera and the model large reflector was used to light the box on the reflected light from the sun and the other light truck evenly. units back onto the model. A flash head with a

ON ASSIGNMENT 105 SHOOTING FOR PHOTOSHOP

This shot was used to promote my client’s new using a 3-D program. Each component was con- designer bag to a young, trendy customer base. tained on its own Photoshop layer. (Note: The The budget was small, but the client wanted big lighting for each component had to be the same results. I proposed an image of a woman holding so that they would fit together believably. I used the bag, with the company’s logo tattooed on her a 4x4-foot panel with an open head at P1. A arm. From there, the concept evolved. bounce card was placed between the camera and subject, and angled upward at the bag.) Here is the process: Each element was shot separately or generated • The first layer contained the model’s face. using a 3-D program. • For perspective control, I added the shoulder in as its own layer. The shoulder was from an image of another model. For complete control over the final image, • I combined the face and shoulder to create a each element was shot separately or generated single image. I designed the hair using Poser, a 3-D character creation program. The hair was broken into two layers: the front part of the hair and the hair behind the face. • The shadows on the model’s face were painted on in a layer directly above the original layer. I used the paintbrush tool, adjusted the layer opacity, then added a slight Gaussian blur. • Next, I brought in a clipped-out photo of the handbag and the model’s arm. I added the background image (a stock photo from my collection). The arm was rotated to get this exact composition. The lighting on the model’s hand and the handbag matched the lighting on her face precisely. • I darkened the background for better separation. • I added the water droplets that appear to be on the window. The model now appears to be indoors on a rainy day. • Using the company’s logo, I created a vector smart image, then rotated it into place. I lowered the layer opacity and chose the Multi- ply mode. I added the curlicue design with a custom brush.

Camera: Olympus E-5 Lens: 12–60mm

1 Exposure: /125 second, f/11, ISO 100 White balance: daylight • Lastly, I used a custom brush to add the cracks Lights: L1=P1 in the window. This layer was placed behind Power settings: L1=100% the rain layer. Who’s on set: photographer, model In the final image, you see a black-haired model with a V tattoo holding the company’s handbag in front of a shattered window on a rainy night in the city. I’ve walked you through the steps, so you know how the elements of the shot were ma- nipulated and brought together, but most people see only the final result and are drawn in.

ON ASSIGNMENT 107 Overhead Light 1

Most things we see in the course of our lives are lit ows. The way the product’s size is depicted is, of by an overhead light source—be it the sun, lights course, up to you and your client. in a store, or the lights in our homes. Therefore, You should fine-tune your lighting skills by fa- it follows that using overhead light helps viewers miliarizing yourself with the way overhead light feel comfortable with the light in our images. For shines on subjects through scrims and softboxes. this reason, overhead lighting is commonplace in Simply placing a light over your subject does not many photographic scenarios. always create a pleasing effect. You need to fill in shadow areas with reflected light. A word of warning: Do not overfill the shadows. They help Lighting subjects from above create a feeling of depth. helps create a There are many things to consider when light- sense of gravity. ing subjects. How will the photo be used? Does the art director want to clip the subject out from the background in Photoshop? What size image In commercial photography, you must create will be printed? What material is the subject made an enticing depiction of the product. The vision of? What will the background be? What camera you present must hold up off of the set. To rep- angle will be used? Once you have answered the resent the product in as realistic a way as pos- above questions, you are free to light the subject. sible, use overhead light, then use bounce cards The lighting diagram and the paragraphs that and spotlights as needed. Unless your product is follow describe the simplest way to light any sub- shot in a realistic manner, you risk creating a dis- ject—whether people or products. These tech- crepancy between the way viewers perceive your niques allow you to work quickly and efficiently, ad and the way that the product appears in real and the approach is the basis for more compli- life—and this can make consumers feel let down cated techniques. or suspicious about the claims that are made in For this technique to work, you must position the advertisement. the subject in the center of the set. Departing Lighting subjects from above also helps create from the subject or lighting placement shown a sense of gravity in the sterile space of the studio set. People use their sense of sight to analyze col- Camera: Phase One or, shape, depth, and weight. By creating down- Lens: 80mm ward shadows on the product, you help viewers 1 Exposure: /60 second, f/22, ISO 100 gauge the girth of the subject. You can exagger- White balance: daylight ate girth by creating stronger shadows (many Lights: LG/REF consumers determine the quality of a product by Power settings: L1=100% its weight); conversely, you can make the subject Who’s on set: photographer, assistant, model appear smaller by reducing or eliminating shad-

108 On Assignment in the diagram can negatively impact your im- This photo is the perfect example of how one age. Also, for the best results, avoid over-lighting light placed overhead can create a stunning and your subject. dramatic image. The setup for this shot was sim- Here are some additional tips: ple: a large reflector on a boom was placed above the subject, and a large bounce card was placed • Simple lighting is not always easy lighting. on the floor to add fill at the bottom of the • Overhead lighting is far from the end-all and image. be-all fix. Some subjects need more light This image works because the light is simple from the front than they do from overhead. and dramatic. The subject is animated, and the This can be hard to determine at times. light creates a mood that suits his actions. This • Try to convey the feeling of three dimensions shot would not be nearly as interesting if it were by controlling your shadows. all lit up. The overhead light helps create a dra- • Although using overhead light allows you to matic feel, but there is a real-world feel since the emulate the light that illuminates most of the light is coming from above the subject. things we see in our daily lives, realize that overhead light need not be harsh like the sun.

This image works because the light is simple and dramatic.

• When photographing people, bring the overhead light in from above and in front of the model and point the light directly at the subject’s face. • Leave room above the model; this helps models feel less claustrophobic. • Keep the set safe.

ON ASSIGNMENT 109 OVERHEAD Light 2

This portrait was made for a professional model’s When photographing a model as opposed to portfolio. She wanted the images all models have a product, a new rule comes into play: you must plus a few that were more personal. I came up ensure your subject’s safety. Because our over- with the idea of posing her in a contemplative head lighting assembly weighed 75 pounds, we prayer-like pose holding a candle. The money double checked our tension settings and added in photographing models isn’t great, but doing weights at the base of the stand. some shoots will help you build your portfolio. The creative aspects of your shot can have For this image, a strobe with a 20-degree grid as big an impact on viewers as the technical el- was mounted on a boom stand and positioned ements. Here, the hair, makeup, and clothing above the model. This served as the main light. were selected to work specifically with this mod- (A gridded overhead light creates a nice effect el. As you can see, her clothing is a bit unusual. for portraits.) A strobe with a 30-degree grid It’s okay to go crazy with an outfit every once in was aimed at the background directly behind the a while. Making creative images is what it’s all model and close to the floor to provide separa- about. tion. A bottom bounce was used to fill in the Tip: When photographing models wearing shadow areas of the model’s face and bring out this much makeup, be sure that the makeup artist detail in the darker tones. The candle was cap- has applied enough translucent powder to elimi- tured in a separate exposure and brought into the nate any glare. Sweat can make the model’s skin shot via Photoshop. glisten, and that can easily ruin the shot.

Camera: Olympus E-5 Lens: 12–60mm

1 Exposure: /125 second, f/22, ISO 100 White balance: daylight Lights: L1=G20, L2=G30 Power settings: L1=100%, L2=60% Who’s on set: photographer, assistant, model OVERHEAD Light 3

Sometimes, the ambient light will provide the strong reflection on the table. A light was placed majority of the light you need to photograph a above the flowers and diffused with a large 4x4- subject. In this scenario, the majority of the light foot panel held up by two stands. This light was needed to illuminate the flowers came from a 1.5 stops brighter than the window light. To fin- window behind the subject. Of course, I took ad- ish the shot, I added a bounce card on the front vantage of the existing light by placing the flow- of the set just under the view of the camera. The ers in this position in the first place. bounce card evened out the light on the front of When you have this much existing light in the vase and the ribbon. I used Photoshop to cre- your shot, it is important to understand where ate the blurred effect and to enhance the colors you need to add light—if you need to add light in the final image. at all. I usually take a test shot from my desired camera angle and review the image to get a feel for what changes need to be made. I can see where the light is dull and lifeless and introduce light to enhance the final exposure.

The bounce card evened out the light on the front of the vase and the ribbon.

This photograph was used to sell flowers for Albertson’s in the newspaper and online. The blurred light in the background is naturally coming through window blinds. This created the

Camera: Olympus E-5 Lens: 12–60mm

1 Exposure: /125 second, f/11, ISO 100 White balance: daylight Lights: L1=P1OH, L2=window light Power settings: L1=100%, L2=50% Who’s on set: photographer, assistant, client

ON ASSIGNMENT 111 Lighting with Mirrors

Mirrors are a key tool in the creation of a well-lit Camera: Phase One image. Mirrors offer a lot of control over your Lens: 12–60mm lighting (I use them rather than snoots or barn 1 Exposure: /60 second, f/16, ISO 100 doors when possible)—you can add light to areas White balance: daylight that need it without affecting the overall shot— Lights: L1=P1, L2=MED/REF and you can add light without bringing in an- Power settings: L1=100%, L2=80% other light and stand to clutter up the set. Who’s on set: photographer, assistant Small mirrors can be used in tighter spaces, and larger ones can be used on location to open up shadow detail or to backlight a model’s hair. I affecting the overall image. When it’s convinc- have worked with photographers who use round ing to the audience or serves a specific purpose, a makeup mirrors, small square mirrors, and even little color goes a long way. broken pieces of mirror with gaffer’s tape on the Creating this small set was easy—we had just edges. Makeup mirrors with built-in stands work a few bottles on a white Formica sweep. The best for me. One side provides a wide reflection; camera angle and light made it shine. I used a the other side offers a focused reflection—perfect! medium reflector on a stand pointing toward the Different mirrors can produce various effects. backdrop to create the light that cuts the back- This is due to the color of the “silvering” and the ground. This light also added a little specular type of glass or acrylic that is used. Old mirrors light on the backs of the bottles. I placed an open reflect a warm-toned light. Newer mirrors don’t head behind a 4x4-foot panel on the left side of affect the color of the reflected light in the same the set. This light created the overall consisten- way. Keep in mind that you can add a gel over cy to the bottles. Makeup mirrors were used to the mirror to selectively add a little color without the right and the left of the bottles to catch and increase the light on the set. The backlight reflected off the mirrors onto the upper portions of the bottles and created amazing reflections on the bottle tops and stems. A mirror reflected light from the diffused source on the left of the set onto the base of the bottles. This created the separation at the front bottom of the bottles.

112 On Assignment Small Items and Jewelry

Creating a small set can be a challenge due to the objects because you will not be able to light the size of the objects that are to be photographed. subject until you know just where the subject You also need to make sure there is enough con- is in the camera. I decided that shooting from trast between the color and material in the set and above and in front of the necklaces was the best the color and materials that the object is made of. view and the easiest way to get my camera onto You should use a shallow depth of field to the set. make the background quickly fall out of focus, A 3x4-foot softbox with two diffusion panels while ensuring that the main subject is sharp. was placed over the set. This softbox cast diffused Here’s how it’s done: light through a piece of frosted acrylic; this produced the soft feeling in the image. For a little • Set your aperture between f/2.8 and f/4.5. directional light, I used a G30 on a strobe shin- • Set your lights to full power. ing into the set from the back left. This light was • Place a 3- or 6-stop neutral density filter in directed through frosted acrylic. I surrounded front of the lens. (Take an exposure test to the set with bounce cards and white paper. determine which filter works best.) In Photoshop, I blurred the flowers to create a • Focus on the product. (To increase the focus, feeling of softness. I also added a green tint to the open up the aperture and decrease the ND fil- photo, which was originally neutral. The color ter strength. To decrease the focus, stop down took the shot from okay to great. Using Photo- and increase the ND filter strength.) shop isn’t cheating. It’s simply another tool that photographers can use to intensify their images. For this image, I first determined the camera an- Here are some tips for a great small-subject gle. This is important when photographing small shot:

• Use dental wax to prop up small pieces of Camera: Olympus E-5 jewelry. Lens: 12–60mm

1 • Allow enough open space for your hands to fit Exposure: /125 second, f/22, ISO 100 into the set. White balance: daylight • Always wear gloves to avoid fingerprints. Lights: L1=G30 through acrylic panel Power settings: L1=100% Who’s on set: photographer

ON ASSIGNMENT 113 Sunlight

in the sunlight you need. You can use fill flash to Camera: Phase One soften or fill in the shadow areas. Lens: 80mm If you want to backlight a model’s hair, have 1 Exposure: /60, f/22, ISO 100 her stand with the sun behind her and use a White balance: daylight bounce card to add light on her face and the Lights: L1=P1, L2=sun front of her body. (Soften the light with a scrim Power settings: L1=100%, L2=100% to keep her from squinting.) Don’t let the sun- Who’s on set: photographer, assistant, client, light strike your lens! You can also use a mirror model, stylist to catch the light behind the model and direct it toward her hair. This allows for more flexibility in The sun slowly moves across the sky, so the light positioning your model. on your set is always changing. Once you have At midday in direct sun, avoid using snow, set up your sunlit scene, you must work quickly. white sand, concrete, still water, or mirrored build- Decide what kind of light you want in your shot, ings as a background. These surfaces can create block the sunlight you don’t need, and bounce exposure problems. To defend against this problem, use portable strobes to light the subject, choose camera angles that reduce glare, or wait until the sun is in a more desirable position. For this image, my assistant stood at the side of the pool, making waves so that the water did not appear flat. With the water rippling, it was easy to control the reflection, color, and highlights. The sun was behind the model, creating a highlight around her body and on her hair. A 4x4-foot diffusion panel was placed at the front right of the set. I used a flash head at full power to balance the sunlight. A large bounce card on the model’s left caught the sunlight and light from the panel.

114 On Assignment Fill Flash Outdoors

Sure, you can use a bright blast of flash in a dark room to create an image, but the odds of the image looking good aren’t in your favor. For outdoor work, however, a great set of lights is essential to fill in shadows and get a correct exposure. When the sun is behind your subject, you’ll need to add light to fill in the subject from the front. For best results, find the f-stop that best exposes the natural light, then set your flash for the same exposure or one stop higher. Once you think you have equalized the two exposures, check the results on your camera’s LCD screen (in the shade). Make sure the highlight areas are not blown out (i.e., the RGB values are not over 245); otherwise, you’ll have a hard time convert- ing the image to CMYK for a good print. While this can be considered an advanced technique, it’s worth mastering. The outdoors

provides photographers with a vast array of interesting locations, and using this fill technique can help you to make a wide variety of settings viable. Looking at this portrait, you’d never guess that these models were positioned in front of a real sunflower field. The image looks like it was created using a green screen, but it was not. If you look you closely, you can see that sunlight was coming from overhead on the left side of the image. I used an umbrella just to the left of the camera to light his back and her face. I used another light with a 40-degree grid and an amber gel to light the back of the female’s hair. The sun Camera: Phase One was high and behind the clouds. All of these light Lens: 80mm sources were brought together in one exposure 1 Exposure: /125, f/16, ISO 100 to create an almost surreal, dramatic image. White balance: daylight Lights: L1=UMB, L2=G40, L3=sun ON ASSIGNMENT 115 Power settings: L1=100%, L2=80%, L3=80% Who’s on set: photographer, assistant, client, model Tungsten and Daylight

jected onto the scene came from three lights: The first light source was a strobe at the left side Daylight creates a crisp, cool, natural feel. Tung- of the scene, cast through a 4x4-foot panel. The sten light can be used to warm your subject. second source, an open head behind a 4x4-foot When these light sources are combined, they play panel at P1, was 1.5 stops brighter than the first off of each other, creating beautiful images. This light. This directional light helped bring out de- 1 technique is easy to control and can be effective tail. A /30 second exposure allowed for the third whenever you want to create an array of shots us- source, a tungsten light under the cabinet, to being a uniform lighting approach. come part of the exposure. A mixed lighting approach can make unin- teresting objects look more fascinating and feel more realistic. When the light sources are con- When these light sources trolled, you can use the color variances to guide are combined, they the viewer’s eye. Color variances coupled with play off of each other. good composition will make for interesting images. For this image, I wanted the viewer’s eye to be drawn into the area under the cabinet, to the The final light was a G20 grid aimed at the product featured in the shot. The daylight pro- book and on the front of the product. This light removed the yellowing effect from the book and created an unexpected but well-received high- Camera: Phase One light on the product. This highlight was empha- Lens: 80mm sized by a small mirror placed behind the model 1 Exposure: /30 second, f/11, ISO 100 and aimed at the product. The mirror caught the White balance: daylight light from the grid and threw it onto the back of Lights: L1=P3, L2=tungsten bulb, L3=G20, the product. L4=P1 Power settings: L1=50%, L2=30%, L3=70%, 116 On Assignment L4=100% Who’s on set: photographer, assistant, client, model, stylist Lighting Glass

When photographing glass, you don’t want a I used my 12–60mm lens to get a close, di- softbox or other lights reflected on the subject. mensional view of the bottle. This allowed me to To avoid this, try using white acrylic diffusion heighten the interest without adding to the cost material as a modifier. You will also want to en- of the shot. I used black velvet for the backdrop sure that the camera and photographer are not to ensure that the back was completely black in reflected in the shot. Place black foam core (4x4 the final exposure. feet or larger) between the camera and set, and In Photoshop, I blurred the bottles slightly cut a hole in the center to slide the camera’s lens to achieve the shallow depth of field effect, then through. darkened the background. When photographing clear glass, slightly underexpose the shot. (You can use Photoshop’s Camera: Canon 5D Levels to finesse the exposure.) If, during the ini- Lens: 12–60mm

1 tial exposure, you find that certain areas of the Exposure: /125, f/11, ISO 100 subject are too bright, you can use a gray/black White balance: daylight card to reflect darker tones into the bright areas. Lights: L1=P1OH My goal for this image was to create a feeling Power settings: L1=100% of warmth and age. The props—a rope, cork, ci- Who’s on set: photographer, assistant gar boxes, and money—helped establish mood. Ice was added to the 100-year-old glass to make the drink feel real. To light this image, I used a 3x3-foot piece of frosted acrylic above the set. I cast light through the acrylic down onto the set with an open flash head. I placed a bounce card at the front of the set, just under the camera’s view. It filled the front of the bottle and the canister with light. On either side of the set I had two 3x3-foot bounce cards reflecting the light from overhead onto the side of the glass. Multiple-Image Campaigns

As a commercial photographer, you will often any decisions about lighting the series. Try to be called upon to create multiple images for an have your client give you examples of what they ad campaign. Using light to create a series helps are looking for. Above all, listen to the client; photographers to create a sense of continuity. Se- they may just tell you everything you need to lect one lighting technique for the job and stick know. Remember, too, that a happy client will re- with it. Should you find that you need to finesse fer other clients and hire you again and again. As the approach a bit, keep the main light consistent any successful photographer knows, your busi- throughout, and then add extra lights to tweak ness is built one client and one job at a time. the exposure as needed. Though the subject may An ability to produce a well-designed, effec- change, the light essentially remains the same, tive image series is a sign of a photographer’s ar- creating a uniform feel from image to image. You tistic maturity. I urge you to spend a great deal of want light that is effective and stylish; this is not time working to perfect this skill. the time to over-light your scene. Each client’s tastes and needs are different. I • Have at least one series in your portfolio cre- urge you to research as much as you can about ated with light. This helps photography clients the product and the company before you make determine your skill level.

Camera: Olympus E-5 Lens: 12–60mm

1 Exposure: /125 second, f/22, ISO 100 White balance: daylight Lights: L1=LRG/REF, L2=G20, L3=P1 Power settings: L1=50%, L2=60%, L3=100% Who’s on set: photographer, assistant, talent, stylist, rep • Pushing your lighting while creating a series may help you enhance your shooting style.

These images were made for a documentary on the Denver music scene. My goal was to create a body of images that reflected the motion of music and the artistic power of my photographic skills. To ensure that the series would be solid, I chose a few key strategies to create a cohesive feel: First, each image had a unique color background. Second, each person was lit in the exact same manner. (Each musician would have a 3x3-foot square on the floor of the set that they were allowed to move around in.) Third was the motion of the musician. My fourth strategy was to use Photoshop to enhance the images. These four approaches helped me to create an amazing series of portraits that I will continue to produce throughout the duration of the project.

For this series, I set up a panel cove and positioned each model within it. ing two types of light on the model at once. On For this on-location series, I set up a panel the right of the set, I used an open head behind cove and positioned each model within it. This a panel at P1. This light was powered 1 stop be- allowed me to control the atmosphere and atti- low the light on the left and helped to create a tude of the musicians while taking their portraits. natural-looking fill. A third light, an open head In many cases, you need to isolate the person be- behind a panel at P1, created the backlit edges of ing photographed from the environment. In this the musician. Bounce cards were used to fill the case, I isolated the musicians from several people darkest area of the musician’s body. who were talking and fifteen or so onlookers and In Photoshop, I went to Image>Mode and se- video cameras. Unwelcome distractions can ruin lected the 16 Bits/Channel option. I then added the results of your capture. the orange/green background and created the I used an open-head light on a boom about wisps around the person and the guitar or shoes. 8 feet in the air to the left of the set. This light I enhanced the overall saturation of the color, was directed through and over the panel, creat- too.

ON ASSIGNMENT 119 The Empty Product

You see empty product shots everywhere these • I had the model slip the jacket off, then I pho- days. I think it’s about time that this technique is tographed the inside of the open hood and revealed in a “how to” book. the inside of the cuffs. Here’s the approach I used to photograph this • I clipped out the yellow jacket using vector yellow jacket. clipping paths. • In Photoshop, I removed the face and hands • First, I steamed the product to remove of the model. wrinkles. • I created a layer for the jacket. • I had a model slip into the jacket, then I cap- • I clipped out the image of the hood, then tured the main shot. This is how I created the clipped out the image of the cuffs. unique and unusual shaping. • I placed the hood on a layer just behind the yellow jacket. • Next, I placed the cuffs on a layer just behind Camera: Olympus E5 the yellow jacket. Lens: 12–60mm • I used the Transform function to size the 1 Exposure: /125, f/16, ISO 100 hood and the cuffs and distort them until they White balance: daylight appeared to be a natural part of the jacket. Lights: L1=P5, L2=P1OH, L3=P1, L4=LG/REF • Once the compositing was complete, I Power settings: L1=60%, L2=100%, merged the layers. L3=80%, L4=60% Who’s on set: photographer The background in this image was created in Photoshop. I used a circular gradient with a white-to-blue coloration.

120 On Assignment Silhouettes

Camera: Phase One Lens: 80mm

1 Exposure: /125 second, f/22, ISO 100 White balance: daylight Lights: L1=LG/REF, L2=LG/REF, L3=LG/REF Power settings: L1, L2, and L3=100% Who’s on set: photographer, assistant, model

A silhouette is an image in which the subject or scene is represented as a solid shape of a single color (usually black). The edges of a silhouette match the edges of the subject, but the interior is basically featureless. This black subject is usually juxtaposed against a light or white background— or no background at all. A silhouette is a good option when you need to create an ad with a dramatic effect but must leave plenty of room for words, type, and logos.

With no light falling on the front of the subject, the form is in shadow.

A silhouette is created by first shining light at the camera and then putting the subject between the light and the camera’s lens. With no light falling on the front of the subject, the form is in shadow and is rendered without detail. The silhouette can be a very elegant way to create an image that evokes feeling. In this case, Here, I set up sixteen 3x3-foot light cubes. I I placed a woman bending backward in between placed three strobes with large reflectors behind the lights and the camera. This artistic compo- the cubes, aimed at the camera. Once I had the sition was created to promote the light cubes exposure for those lights, I asked the model to shown behind the model. come between the light cubes and the camera.

ON ASSIGNMENT 121 Black on Black

For my final lighting example, I’ll show you the the foreground. It is a clean, durable surface that approach I used to light the most difficult type of does not show scratches or dings. product shot there is—a black object on a black Above the stereo, I placed a frosted 6x4-foot, 1 background. /4-inch thick acrylic panel. I placed an open head The popularity of black-on-black seems to wax on a boom on the left side of the set to create the and wane. Lately, these shots have been a com- soft lighting effect on the speakers on the left and mon request from the electronics industry. For the main speakers in the center of the shot. these sessions, it’s my job to present the items as To light the speakers on the right, I used a sleek and expensive, and black on black is perfect 3x3-foot piece of frosted acrylic with a G30 for that. light shining through the diffuser at just those When you are lighting black-on-black scenes, two speakers. This light created the warm-toned you must be able to place your lights in myriad simple highlight on the right side of the larger locations to produce the desired highlights. I speaker. To create separation between the stereo chose a black velvet background because I knew and the background, I aimed a head in a medium it would not be impacted by the lights unless I reflector at the velvet backdrop and allowed for wanted it to be. I used a black Formica board for the slightest light burst to fall onto the set.

Camera: Phase One Lens: 80mm

1 Exposure: /60 second, f/22, ISO 100 White balance: daylight Lights: L1=OPN, L2=LG/REF, L3=G30 Power settings: L1=100%, L2=100%, L3=80% Who’s on set: photographer, assistant Final Words

ighting photographs should be an enjoyable You should also get your portrait techniques Levent for you and your client. You should down to a science. There will come a time when never become frustrated when lighting a subject. you have to photograph a person with a large Some subjects are more difficult to light than nose, deep inset eyes, glasses, and a bald and you might imagine. If you find yourself in a jam, shining head—or a group of individuals with a take a break and think the shot through. Don’t variety of perceived flaws. You don’t want to ask be afraid to discuss the problem with your cli- your subject(s) to lean in different directions un- ent. They won’t think you are stupid. Remem- til the light seems correct. Directing people can ber, you’re not a superhero, you’re a professional be the hardest part of a photo shoot. So bring photographer. Many times, the client will relate in a few of your friends, have them put on some to your frustration and help you to work through glasses, and try directing them. Even better, put the adjustments. Just express to them that the a pair of glasses on three balloons and try to get technique you have been using doesn’t seem a great shot without ugly reflections. to be doing the trick and you are going to try Also, never let a portrait subject know you something new. Once you have mentioned this, are having a difficult time lighting them. People your client will likely enjoy the shoot even more. want to feel special when they are being pho- Showing the client the evolution of your lighting tographed. When you can comfortably work approach will never hurt the relationship. through the session, you can reassure your cli- I recommend that all photographers study the ents that they’re doing great and help calm their effects of light on many different surfaces and nerves. materials during their downtime. There is no As a commercial photographer, it is critical better way to lose a client than to putter around that you practice your approach. It’s your job to a set trying to produce something when you’re understand light and its effects on people and unsure of what your results will be. Practicing materials. Photography is highly competitive, without clients around helps you when you come and each of us needs to be able to light and de- across these materials in the line of duty. Light- liver great photographs on demand to our cli- ing chrome, glass, black neoprene, and other ents. Practicing does not mean that you are a bad surfaces common to product photographers can photographer. On the contrary, a photographer be challenging. Even a paper bag can be difficult who does not practice could be left behind. to light if you don’t know what you’re doing.

Final words 123 Glossary

Acrylic diffuser—Semi-opaque white piece of Cookie—A device placed in front of a spotlight acrylic placed between the light source and to create a pattern of light on a set or subject. photographic subject to evenly and softly dif- Dappled light—Atmospheric lighting that adds fuse light from the light source. form and shape to the image. Dappled light Backlight—Light source that illuminates the is often produced by a cookie. back of the subject and points toward the Daylight—Light from the sun or a strobe that camera. This type of lighting often causes measures 5500–6500K. the front of the subject to appear in shadow, Falloff—Loss of illumination toward the edges and its use may result in underexposure. of a scene, due to the use of a light source The edges of the subject lit in this manner that does not cover the entirety of the set or may appear to glow; this effect is commonly view. referred to as rim lighting. Fill light—A secondary light used to fill in the Black card—Device used to block light from shadows created by a main light. Usually has hitting the set or subject. a lower luminosity than the main light. Boom—An adjustable pole-like arm used to Flare—Flare is the non–image forming light hold lights or lighting accessories. that is recorded by the camera. It can be Bounce card—A white card used to bounce caused by light that is directly hitting the lens light into the set from another light source. or bouncing off a surface into the lens and Bounce light—Light that does not travel can result in characteristic shapes and lines in directly from the source but reflects off of the image. something before hitting the subject. Flash—These lights are the tool of choice for Bright spot—The brightest highlight in an image. most studio photographers. They run cool, Camera stand—A device with a cross arm are portable, and pair easily with the camera’s designed to hold cameras of all sizes in the daylight white balance setting or daylight- studio. This stand usually has a locking wheel balanced film. The term also refers to the base and measurements that allow the pho- bright burst of light produced by flash units. tographer to calculate the camera position. Gel—Plastic sheets placed in front of lights or Color temperature—Description of the color on a bounce card to alter the color of light quality light, measured in degrees Kelvin on the set or subject. (e.g., 5500K).

124 Glossary Gobo—A device used to block light from hit- Side light—A light that is positioned to the ting the set or subject. side of a subject or set. This light has a dra- Hair light—A light placed over the subject to matic quality and can be useful when creating show detail in the hair. a sense of dimensionality in the image. Highlight—The bright, shadowless areas that Snoot—A long tube attached to a light source result when a light hits the subject or set. to produce a narrow beam of illumination. Honeycomb grid—A modifier that typically fits Softbox—A fabric housing for the light source inside the reflector dish and forces the light that produces a soft, diffuse quality of light. to travel in a straight line. The most popular Studio stand—A heavy-duty stand (often types are the 10-, 20-, 30-, and 40-degree wheeled) that holds lights, clamps, bounce grids, but some manufacturers offer an ultra- cards, or black cards. precise 5-degree honeycomb grid. Sync cord—A connection between the camera Lighting schematic—A drawing of the light- and the flash unit that allows the flash to fire ing setup used to communicate the lighting at the precise moment when the shutter is strategy with other photographers or clients. fully open so that the full effect of the flash Light pack—The power source that controls burst is recorded. studio strobes. Also called a power pack. Tabletop set—A set that includes a flat, el- Light panel—A large white translucent fabric evated surface upon which small objects and panel with a steel frame used to diffuse light. products are typically photographed. Light ratio—The difference in the intensity Tripod—A three-legged stand designed to hold of the shadow versus the highlights in the a camera. Its use can prevent the image-blur- image. ring camera shake that can result with longer Main light—The most powerful luminous shutter speeds when hand-holding a camera. source lighting the set. Tungsten—Light measured at 2500–3500K Overhead light—Light source that originates produced by an incandescent light source. from above the subject or set. Umbrellas—An umbrella-shaped modifier that Power pack—The source that powers strobes. is clipped or mounted onto a light to diffuse A power pack may be connected directly or and soften the light falling onto a subject or indirectly to your flash units. set. These modifiers are available with a silver Scrim—A panel made of translucent material lining for cooler light, gold for warmer tones, that disperses the light cast through it. or a white interior, which creates a higher Secondary light—The second most powerful level of diffusion but does not impact the luminous light source used on the set. color of the light produced. Set—Any space that is in the camera view when Wraparound lighting—A soft light produced taking a photo. by an umbrella or other modifier that hits Shadow—An area of the scene or subject that both sides of the subject. This type of light- is not illuminated directly by the light source. ing produces a low lighting ratio and well- Such areas of the composition are darker illuminated, open highlight areas. than areas that receive light.

Glossary 125 Index

A C Empty product, 120 Accent lights, 90 Cable release, 17 Equipment, 20–25 Adobe Photoshop, 6, 72, 75, Camera angle, 86–87, 96, 97 Exposure, 15–18, 105, 117, 77, 79, 84, 87, 88, 93, 94, Camera selection, 20 120 95, 96, 99, 103, 106–7, Camera shake, 17 110, 111, 113, 117, 119, Clamps, 22, 28, 81 F 120 Clients, 28–29 Falloff, 76, 96, 124 Ambient light, 76, 95, 111 Color casts, 23, 88, 89, 95, 99, Fashion lighting, 14, 85 Atmospheric lighting, 80 113, 116 Fill light, 21, 76, 78, 90, 94, Aperture, 16, 17, 113; see also Color rendition, 15, 88, 89 114, 115, 119, 124 depth of field Color temperature, 13, 124 Film, 75 Assistants, 97, 99 Computers, 24 Fingerprints, 113 Autos, 100 Contrast, 18, 88, 113 Flare, 57, 84, 88, 89 Cookies, 23, 25, 78, 124 Flash, 11, 20–21, 115, 124 B Corporate portraits, 86–87 Fluorescent lights, 11, 13 Backgrounds, 28, 29, 30, 31, Coves, 30, 119 Foam core, 30, 88, 117 70, 112 Cropping, 79 Food, 90–91, 92 Backlighting, 14, 112, 114, Foregrounds, 70 124 D Front lighting, 14, 57, 84 Bare bulb, 14 Dappled light, 80–81, 124 Barndoors, 21–22, 112 Daylight, 116, 124 G Batteries, 126 Dental wax, 113 Gels, 78, 87, 90, 97, 99, 112, Black & white, 73 Depth of field, 16, 79, 90, 113, 115, 124 Black cards, 10, 15, 25, 30, 47, 117 Glass, 31, 117 88, 90, 91, 118, 124 Diffusers, see Panels Glowing light, 89 Black foil, 78 Dimension, 14, 33–41, 88, 94, Gobos, 10, 15, 25, 30, 47, 88, Black on black, 122 109, 117, 125 90, 91, 117, 118, 124 Booms, 14, 24, 30, 43, 72, 74, Direction of light, 13 Golden hour, 10–11 81, 93, 100, 104, 109, Direct sunlight, 21 Green screen, 101 110, 119, 122, 124 Distance, light-to-subject, 15 Grids, 22, 42–48, 84, 104, Bounce cards, 25, 117, 124; Dragging the shutter, 89 115, 124 see also Bounce light Dramatic light, 78 Bounce light, 94, 96, 97, 99, Drinks, 93 H 104, 124 Hair lights, 77, 84, 112, 114, Bright spot, 14, 124 E 125 Budget, 6, 31, 104 Edgy portraits, 74 Hard light, 14–15

126 Index High-key lighting, 91 P Snoots, 21, 112, 125 Highlights, 6, 14, 15, 21, 115, Panoramas, 95 Softboxes, 22, 24, 58–70, 125 116, 122 Panels, 23–25, 26, 32–41, 102, Soft light, 14–15, 94 Histograms, 18 113, 114, 117, 125 Splash shots, 93 HMI lights, 11, 13 Photoshop, see Adobe Stands, 14, 22, 23, 125 Honeycomb grids, see Grids Photoshop Strobes, studio, 13 Portraits, 49–57, 58–70, 83, Stylists, 90 I 84, 85, 86–87 Sunlight, 114 ISO, 16 Poser, 106 Sync cords, 24, 125 Postproduction, 6, 15, 6, 72, J 75, 77, 79, 84, 87, 88, T Jewelry, 113 93, 94, 95, 96, 99, 103, Tabletop sets, 23, 28, 125 106–7, 110, 111, 113, Toning, 75 L 117, 119, 120 Triggering devices, 12 Large sets, 29, 102–3 Power packs, 12, 21, 90, 125 Trilight, 101 LCD screen, 76 Printers, 24 Tripods, 17, 125 Lenses, 24, 117 Tungsten lights, 11, 116, 125 Light meters, 12, 17–18 R Location, lighting on, 104–5 Radio triggers, 12 U Ratio, light, 125 Umbrellas, 23, 49–57, 104, M Red-eye, 11 115, 125 Main light, 125 Reflections, 30, 100, 111 Undercarriage light, 14 Medical light, 98–99 Reflectors, 21, 22, 80, 81, 105, Updating images, 72 Mirrors, 25, 78, 112, 114, 116 109, 112, 121 Mixed lighting, 125 Reflective products, 31, 97 V Modeling lights, 12, 13, 89 Rim lighting, 14 Video, 13 Models, 110 Rooms, lighting, 29–30, Motion, 17, 93, 119 94–95, 96 W Multi-image campaigns, White balance, 12, 13, 20, 89, 118–19 S 95 Scientific light, 97 Window light, 9, 10 N Scrims, see Panels Workshop tools, 24 Natural light, 9–11, 76–77 Secondary lights, 125 Wraparound lighting, 83, 125 Neutral-density filter, 113 Separation, 77, 84, 85, 112, Noise, 16 122 Sets, 28–31, 102–3, 125 O Shadows, 6, 14, 15, 75, 78, 94, Old, making images look, 75 125 Outdoor sessions, 76, 104–5, Shutter speed, 16–17, 89, 93 114, 115, 116, 124 Side lighting, 14, 125 Overhead light, 10, 108–9, Silhouettes, 14, 121 110, 111, 115, 125 Size of light source, 15

Index 127 “ . . . offers a rare professional blend of compelling artistic vision and dazzling technique.” —Roger Carpenter, owner of Carpenter Design Agency

“ . . . demonstrates techniques for lighting for mood, conveying the message, and always getting the shot.” —Ron Burgess, CEO of RedFusion Media

Master client-pleasing lighting techniques and design outstanding images.

Robert Morrissey breaks down commercial lighting techniques into clear, concise lessons, making each skill easy to master and apply. Going behind the scenes on real professional assignments, you’ll learn how to light any subject with confidence while maintaining the client’s budget and boosting your bottom line. No matter your skill level, his techniques and advice will elevate the quality of your images, set you apart from your competition, and enhance your reputation as a photographer.

Effective lighting setups for product photography Lighting people and products together The best light modifiers for your subject Studio and location techniques Solutions to common challenges

® Amherstpublisher of photogr Mediaaphy books PO Box 586, Buffalo, NY 14226 www.AmherstMedia.com

$27.95 USA $30.95 Canada

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