商业摄影用光 袖珍版

Umbrellas 47 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. 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. 48 Master Lighting Guide for Commercial Photographers The first umbrella is placed on the right side of the set. The sec- ond umbrella is placed on the left side of the set. The umbrel- las are aimed at the subject at a 45-degree angle, and both lights are on full power. The third umbrella is directly behind the subject and is aimed straight at the camera. The subject blocks the majority of the light, reducing flare. This third light is on low power. The first umbrella is placed on the right side of the set. The sec- ond umbrella is placed on the left side of the set. The umbrel- las are aimed at the subject at a 45-degree angle, and both lights are on full power. The third light is fitted with a 30- degree honeycomb grid and is aimed at the model’s hair. The gridded light is on low power. Umbrellas 49 An umbrella is placed in the front-right corner of the set and is aimed at the subject at a 45-degree angle. A strobe is fitted with a 30-degree honeycomb grid, placed in the back-left cor- ner of the set, and aimed at the subject’s hair. Both lights are on full power. A bounce card is added to the camera-left side of the set and reflects light from the umbrella back onto the model. An umbrella is placed in the front-right corner of the set and is aimed at the subject at a 45-degree angle. A strobe light fit- ted with a 30-degree honeycomb grid is placed at the back-left corner of the set and is aimed at the subject’s hair. Both lights are on full power. 50 Master Lighting Guide for Commercial Photographers One umbrella is placed in the front-right corner of the set. A second umbrella is placed at the front-left corner of the set. These lights are aimed at the subject at a 45-degree angle. An umbrella is placed in each of the back corners of the set. These are aimed at the background at a 30-degree angle. All four lights are on full power. A strobe fitted with an umbrella is placed in the front-right corner of the set. The umbrella is aimed at the subject at a 45- degree angle. Two strobes, each fitted with a 20-degree honey- comb grid, are aimed at the subject’s hair from the back cor- ners of the set. All three lights are on full power. Umbrellas 51 An umbrella is placed in the front-right corner of the set and is aimed at the subject at a 45-degree angle. A second umbrel- la is placed in the back-right corner of the set and is aimed at the subject at a 45-degree angle. A strobe is fitted with a 30- degree honeycomb grid and aimed at the subject’s hair. All three lights are on full power. An umbrella is placed in the front-right corner of the set. A second umbrella is placed to the left of the subject. Both umbrellas are on full power. A strobe fitted with a 10-degree honeycomb grid is placed directly in front of the first umbrel- la, aimed at the subject’s face. This light is on low power. 52 Master Lighting Guide for Commercial Photographers A strobe fitted with a 30-degree honeycomb grid is mounted on a boom stand, positioned directly over the subject, and aimed at her face and chest. The light is on full power. The first umbrella is placed in the front-right corner of the set and is aimed at the subject at a 45-degree angle. A strobe fit- ted with a 30-degree honeycomb grid is placed behind the sub- ject and aimed at her hair. Both lights are on full power. A bounce card is added to the left side of the subject, bouncing in the light from the umbrella. Umbrellas 53 A strobe fitted with a 30-degree honeycomb grid is mounted on a boom stand, positioned directly over the subject, and aimed at her face and chest. Using a second studio boom stand, we positioned a light fitted with a 40-degree honeycomb grid directly over the subject and aimed at the back and shoulders. Both lights are 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. A strobe fitted with a 30-degree honeycomb grid is mounted on a boom stand, positioned directly over the subject, and aimed at her face and chest. Using a second studio boom stand, we positioned a light fitted with a 40-degree honeycomb grid directly over the subject and aimed at the back and shoulders. Both lights are on full power. 54 Master Lighting Guide for Commercial Photographers A strobe fitted with a 30-degree honeycomb grid is mounted on a boom stand, positioned directly over the subject, and aimed at her face and chest. The light is on full power. The second light is an umbrella placed behind the subject aimed directly at the camera. The umbrella is on low power. A large bounce card is added to the left side to reflect the light back onto the subject. Panels are placed on the right and left sides of the subject, with each light in the P1 position. The panel lights are on full power. The third light is an umbrella placed directly behind the sub- ject and aimed at the camera. It is on low power. The fourth light is fitted with a 20-degree honeycomb grid and aimed at the subject’s hair. The gridded light is on full power. This image seems sterile in some ways. The portrait is exposed cor- rectly. 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 dress tell the story of 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. 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 almost make her dress appear see-through, and gives 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 prac- tice, 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 Two umbrellas are placed on the right side of the set. Both lights are on full power. The umbrellas are aimed at the subject at a 45-degree angle. Notice how the lighting appears a bit flatter than in the previous image. Using two lights increased the for- ward detail and reduced the shadows. An umbrella is placed to camera right and set on full power. The umbrella is aimed at the subject at a 45-degree angle. The sun is behind and to the side of the subject, so the camera does not have to fight flare. In this case, the umbrella works as a fill light. It is matched evenly with the sun and creates a perfect 3-D effect on the subject. Left—Here’s the true test of this lighting setup—using it with two models. To create this image, I left the lights exactly as they were in the previous shot and just moved the models around. As you can see, umbrellas are a great match for sunlight, produc- ing light that is not too focused but not too soft. It seems to flatter the subject every time. Right—For this shot, I added to the previous lighting setup. In addition to the single full-power umbrella placed to camera right, an open head at 50 percent power is placed to camera left. The umbrella and open head are almost pointing directly at one anoth- er. A portion of the light from the open head hits the lens, but this reads like bright sunlight in the image. The third light used in this setup is a 40-degree honeycomb grid placed to camera right behind the subjects. This light, set at full power, is aimed toward the back subject’s hair. While we were creating these shots the sun was beginning to set. As the sky became darker, I was able to force the bright sun/dark sky effect by adjusting my aperture and the placement of my lights. Here, the same lighting setup was used, but with a single subject and a low camera angle for a more dramatic shot. Softboxes 61 A medium softbox on a large studio stand is positioned at the left of the set. The light is at a 45-degree angle to the subject and is on full power. 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. 62 Master Lighting Guide for Commercial Photographers 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. A 6-foot tall white bounce card is positioned across from the soft- box. It is used to reflect light back onto the subject, adding more detail to the face and body. A medium softbox on a large studio stand is positioned to the left rear of the set. The light is at a 45-degree angle to the subject. Softboxes 63 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. A 6-foot tall white bounce card is posi- tioned in front of the subject on the right side at a 45-degree angle. This bounce card is used to bring the light back into the subject, adding more detail to the face and body. 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. A 6-foot tall white bounce card is placed behind the subject on the right side of the set at a 45-degree angle to the subject. This bounce card reflects the light back into the subject, creating separation from the background. 64 Master Lighting Guide for Commercial Photographers A medium softbox on a large studio stand is positioned at the left rear of the set. The light is at a 45-degree angle to the sub- ject and is on full power. A 6-foot tall white bounce card is positioned at the front-right corner of the set and is aimed at the subject at a 45-degree angle. This bounce card reflects light back into the subject, adding more detail to the face and 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 positioned at the left of the set. The light is at a 90-degree angle to the subject. The light is on full power. A 6-foot tall white bounce card is positioned in front of the subject on the right side at a 45- degree angle. This bounce card is used to bring the light back into the subject, adding more detail to the face and body. A thin vertical softbox is placed in the back-right corner 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 positioned at the left of the set. The light is at a 90-degree angle to the subject. A 6-foot tall white bounce card is positioned in front of the sub- ject on the right side at a 45-degree angle. This bounce card is used to bring the light back into the subject, adding more detail to the face and body. A thin vertical softbox is placed in the back-right corner aimed at the subject. This light creates highlights around the subject that ensure her separation from the background. A strobe fitted with a 30-degree honeycomb grid is aimed at the background. This creates a halo effect in the shot. 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. A 6-foot tall white bounce card is positioned in front of the sub- ject on the right side at a 45-degree angle. This bounce card is used to bring the light back into the subject, adding more detail to the face and body. A thin vertical softbox is placed in the back-right corner and aimed at the subject. This light cre- ates highlights around the subject that ensure her separation from the background. A strobe fitted with a 30-degree honey- comb grid is aimed at the background. This creates a halo effect in the shot. Left—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 sub- ject. Two thin vertical softboxes are placed in the back corners and are aimed at the subject. They create highlights around the subject that ensure her separation from the background. A strobe fitted with a 30-degree honeycomb grid is aimed at the back- ground. This creates a halo effect in the shot. Right—A medium softbox on a large studio stand is positioned at the front-left corner of the set. The light is at a 90-degree angle to the subject and is on full power. A 6-foot tall white bounce card is positioned in front of the subject on the right side at a 45- degree angle. It is used to bring the light back into the subject, adding more detail to the face and body. Two thin vertical soft- boxes are placed in the back corners of the set and are aimed at the subject. They create highlights around the subject that ensure her separation from the background. A strobe fitted with a 30-degree honeycomb grid is aimed at the background. This creates a halo effect in the shot. Softboxes 67 A medium softbox on a large studio stand is positioned at the front-left corner of the set. The light is at a 45-degree angle to the subject. A thin vertical softbox is placed in the back-right corner aimed at the subject. It creates highlights around the subject that ensure her separation from the background. A medium softbox on a large studio stand is positioned at the front-left corner of the set. The light is at a 90-degree angle to the subject. Two thin vertical softboxes are placed in the back corners of the set and aimed at the subject. They create high- lights around the subject that ensure her separation from the background. 68 Master Lighting Guide for Commercial Photographers A thin vertical softbox on a large studio stand is positioned at the left of the set. The light is at a 90-degree angle to the sub- ject. Another thin vertical softbox is placed in the back-left cor- ner and aimed at the subject. Two thin vertical softboxes are placed in the back corners of the set and aimed at the subject. This light creates highlights around the subject’s body that ensure her separation from the background. Softboxes 69 Two thin vertical softboxes are placed in the back corners and are aimed at the subject. They create highlights around the subject that ensure her separation from the background. The setup also creates intense flare and silhouette. A 6-foot tall white bounce card is positioned in the front-left corner of the set at a 45-degree angle. It reflects light back into the subject, adding more detail to the face and body. Two thin vertical softboxes are placed directly behind the sub- ject and aimed toward the camera. This light creates high- lights around the subject that ensure her separation from the background. This lighting setup creates intense flare and silhouette. 70 Master Lighting Guide for Commercial Photographers A medium softbox on a large studio boom stand is positioned above the subject. The light is at a 90-degree angle to the sub- ject and about 3 feet away. A thin vertical softbox is placed on the left side of the set, 90 degrees to the subject. A 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 is fitted with a 30-degree honeycomb grid and is aimed at the background. This creates a halo effect in the shot. A medium softbox on a large studio boom stand is positioned above the subject. The light is at a 90-degree angle to the sub- ject and about 3 feet away. Thin vertical softboxes are placed on the right and left sides 90 degrees to the subject. A large bounce card is placed 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 fit- ted with a 30-degree honeycomb grid is aimed at the back- ground. This creates a halo effect in the shot. Softboxes 71 A medium softbox on a large studio boom stand is positioned above the subject. The light is at a 90-degree angle to the sub- ject and about 3 feet away. A large bounce card is placed 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 medium softbox on a large studio boom stand is positioned above the subject. The light is at a 90-degree angle to the sub- ject and about 3 feet away. A 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 sub- ject’s face and body. A strobe fitted with a 30-degree honey- comb grid is aimed at the background. This creates a halo effect in the shot. A medium softbox on a large studio boom stand is positioned above the subject. The light is at a 90-degree angle to the subject and about 3 feet away. 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 the top 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. The portrait at the bottom of the page is also beautifully executed, but it is completely differ- ent. Because the lights are shining directly into the lens, the model’s face and body are silhou- etted, and the color of the dress is muted. The bounce card only adds detail to the model’s fea- tures. 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 to express themselves artistically. When you have produced an artistic portrait, your client will appreciate what you have done, and your reputation will soar. At the very end of a photo shoot, it is important to understand that the camera, the subject, the set, and the amount of money spent did not create the feel of the image. It was the light used to enhance the model and the set. Professional photography is about light, and good lighting comes down to careful placement. Dedication About the Author Contents Introduction Part 1. The Foundations of Commercial Lighting 1. Lighting Basics Types of Light Natural Light Artificial Light Characteristics of Light Color Temperature Direction Hard Light vs. Soft Light Exposure Aperture Shutter Speed Metering 2. Equipment Cameras Electronic Flash Units Modifiers that Attach to Flash Units Stands Freestanding Modifiers 3. Understanding the Diagrams An Overview 4. Studio Setup How to Create a Simple Product Table Larger Sets Room Sets Reflective Sets Creating Inexpensive Sets Part 2. Using Lights and Modifiers 5. Panels 6. Honeycomb Grids 7. Umbrellas Using