By Allison Earnest
Focusing solely on mild modifiers and benefiting from the least gear, this in-depth guide is perfect to be used via the newbie and complex amateurs who desire to take their images to the subsequent point. together with diagrams and lighting fixtures set scenes to facilitate studying and adapting approach, step by step evaluations of a number of portrait classes, and an intensive assessment of quite a few mild enhancing tools—from barn doorways and snoots to gels, umbrellas, and strip boxes—this worthy textbook sort booklet unearths the perfect steps for acquiring size and intensity for indoor and outdoors portrait periods. This source is a must have for amateur photographers seeking to find a treasure trove of unpolluted, artistic lights idea, that might absolutely aid upload variety and inventive type on your images.
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Extra resources for The Digital Photographer's Guide to Light Modifiers: Techniques for Sculpting With Light
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.