11-16, Working the Lights

I recently purchased an Impact 16" x 55" strip box.  I had a specific purpose in mind when I made this purchase, but after a few test sessions I realized that my plan needed modifications.  I snagged my husband for a few minutes in the studio for some brainstorming.  I'm truly astounded by the results, specifically for one photo.  I've read about this particular style of photography, and knew how to do it in theory, but didn't believe the results could be so easily achieved.  Here's a rundown of the various lighting techniques I used.  (Thanks to Impact and B&H Photo for the product photos.  All of my images are sooc.....straight out of the camera- no editing.)

1.  One light scenario:  Stripbox (at subject's side)

Results:  Strong light from subject's side with unmodified light falling off and hitting background

2.  One light scenario:  Stripbox with attached Grid (at subject's side)

Results:  Strong directional light falling only on near side of subject's face with no fall off onto the background.  This image was made in a white room with a cream-colored canvas backdrop, but since the only light source was the gridded softbox everything else fell into black.

3.  Two light scenario:  strip box (to the front and side of subject)

                                      ceiling mounted softbox (behind and above subject)

Results:  The light falling on subject's face isn't as directional as when the strip box was placed at his side.  The shadow side of his face has more detail although it is still darker than the side of his face closer to the stripbox.  The cream-colored background is now evenly lit with the ceiling mounted softbox giving the subject separation from the background.

4.  Three light scenario:  strip box (behind and to the side of the subject)

                                        soft box (mounted above and behind subject)

                                        umbrella (in front of subject)

Results:  The background is well lit from the ceiling-mounted softbox.  The subject's face is lit from the umbrella placed in front of him, opening up the shadow side of his face.  The strip box angled at the rear of the subject throws light on his side creating more visual distance from the background.

So, which photo achieved the most surprising results?  The single gridded strip box.  I couldn't believe that the background actually went to black when there was no light falling on it!  This was definitely a worthwhile experiment.  I feel as if a whole new world of lighting combinations and techniques has been revealed.  Awesome!

11-6, "The Ultimate Selfie"

I couldn't help but use my son's words for the title of this blog post-- "The Ultimate Selfie."  I saw an article online the other day that was something to the effect of why every photographer should do self portraits.  I added this to my (very long) list of things I want to go back and read.  I have my own theory about this issue, so I'll go ahead and share my ideas.   See, clients think it's easy for the photographer to direct them into poses that may seem awkward.  I think there is value in understanding firsthand how these poses look from behind the camera as well as how they feel for the person in front of the camera.  Agreeably, it isn't so easy to 'tilt your head this way' or 'lean into it.'  Yes, it can feel awkward, and yes it feels even more awkward when you're the subject and the photographer.  Another thing that 'selfie's' enforce is the conscious play of your lights and how the posing and light placement affects the results.  It's a lot easier to stand in front of your subject while making these adjustments.  But, when you have to pose and place simultaneously, you have to delve into any less-than-desirable images and determine how to approach these issues without the benefit of being able to immediately see any changes to the settings you've made until after the photo is taken.  Everything takes just a little more time, and sometimes this increased investment yields a more comprehensive understanding.  Lastly, this may be one of my most important findings during this annual exercise I do:  client's favorite images vs. photographer's favorite images.  As a photographer, I tend to select my favorites based on technical accuracy.  Clients tend to choose their favorite images based on expression and accenting of favorite traits or disguising of those that they feel are negative.  So, sitting in the hot seat-- the editing chair-- it was very hard for me to sway from the technical favorites to the expressive favorites.  This helps a photographer understand the motivation for clients in choosing the images they want to order.  So, now that I've clearly outlined my reasonings for this endeavor, I guess I'll go back and find that article and see what they have to say about it!  

10-31, Halloween Costumes

During a recent visit, my dad helped me hang a light from the ceiling for my backgrounds.  I've been itching to experiment with its placement and settings.  How convenient that Halloween brings out the cutest subjects?!  Of course, new methods bring out new wish list items for my B&H shopping.  Hmmm...what to choose, what to choose!  And, given the proximity of my studio to the path of trick-or-treaters, I had a fun idea I hope to implement next year.  I love the smiles that a little candy and fun clothes provoke!