By Lou Szoke
With lighting fixtures ideas valuable for pro photographers but in addition obtainable for these much less skilled with a digicam, this convenient reference bargains insights into using “hot lights” (tungsten-based non-stop gentle assets) to accomplish glamorous, Hollywood-inspired pictures. This “Hollywood” lighting—characterized via dramatic distinction, sharp shadows, and a sultry mood—is basic to create and permits photographers to “sculpt” the topic, accentuating their most sensible beneficial properties whereas minimizing flaws. even though the focal point is on nostalgic lighting fixtures variety, the booklet recognizes glossy advances in photographic know-how and discusses the best way to produce those superb unfashionable results utilizing either electronic and conventional movie cameras. in the course of the e-book, lighting fixtures diagrams exhibiting the photograph’s setup accompany approximately each photograph, rigorously illustrating the lighting fixtures options for simple new edition.
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Extra info for Hollywood Portraits: Hot-Light Techniques for Professional Photographers
CAMERA: Nikon D300, Lexar media. SETTINGS: AWB, manual mode, 1/125 second, f/8, ISO 200. model to add further separation and depth. These were set to record at one stop more than the main light. As you can see in the set scene, the camera-right kicker was further diffused with a white scarf. The barn doors on the other kicker were closed to create a more directional light source. Photograph 3-9 was created by turning off the main light (the beauty dish) and the focusable spot. I also changed the model’s position and moved the monolight with the barndoors (to camera left) higher and closer to the model.
I find it beneficial to place the dome of the meter facing the light source. Another method of incidentlight metering is placing the meter under your subject’s chin, with the dome facing the camera. Both techniques work well and are essential to obtain correct exposure. In most instances the exposure remained the same and in others it was necessary to re-meter to obtain a proper exposure. All of the images in this sequence were lit using a single Hensel Integra 500 monolight, fired using Pocket Wizard remotes (photograph 2-7).
The concept of the shoot was to create three different personalities in a one-hour session. I chose to start with a strong headshot using a traditional four light setup (photograph 3-4). To obtain a pure white background, the model was positioned close to the white background so the lights illuminating the set would also illuminate the background. ) Two side kicker/accent lights, both fitted with directional grids, were placed just behind Sarah to create very hard, directional accents on the sides of her face.