Trying new strobes with Brandy

[Karl Bailey]

Brandy is a good friend with previous modeling experience and she poses for me sometimes to allow me to get practice. I just purchased two strobes with soft boxes and I was trying them out. I'm sure there are several issues with these. I did some PP in Picasa but it doesn't have a lot of tools to fix the amount of issues I see in these. Mostly I'm looking for critiques and suggestions on the lighting to see if I'm on the right track. Thank you

 

[Asher Kelman]

Brandy is a good friend with previous modeling experience and she poses for me sometimes to allow me to get practice. I just purchased two strobes with soft boxes and I was trying them out. I'm sure there are several issues with these. I did some PP in Picasa but it doesn't have a lot of tools to fix the amount of issues I see in these. Mostly I'm looking for critiques and suggestions on the lighting to see if I'm on the right track. Thank you

Let's start with this one. The others do get better, but it's easier to see "errors" here. Now if you designed it this way, it would be your taste. but we assume you wanted glamorous lighting.

The idea is to get into every nook and cranny with a main large close light and then add some shape with another light, above and to one side in front of the model. Here you have most of the light on her upper left and so harsh shadows are unflattering.

The book Bart Van Der Wolf recommends, (and that I was given as a present by another OPFr way back and I swear by), is Light, Science & Magic. No one should put money into strobes and not have read this book, unless they want to make mistakes for years themselves. A lot of people master lighting on their own but this really is the most logical easy to follow and rational text you could buy.

 

[Asher Kelman]

In the meanwhile, if in doubt, use a single very large umbrella shooting through the material or else a soft box. You can advance adding a reflector to one side and then a reflector at 45 degrees leaning on a chair below and to her front of her. I always think it's best to get a feeling of what one light will do. somehow make the source as large as possible. with a single strobe, you can shoot it to a giant piece of sheeting, card or paper and then the reflection coming back will be more diffused.

Small lights give sharper harsher shadows. Light fall off is gentle with a massive source close to the model. Always start by being able to light all of the subject, and then sculpt with added lights. A light on the b.g. will give separation between the subject and the b.g. A narrow, (tube shaped adapter on the strobe), light on the hair will bring out the curls and different shades.

BTW, the best light for learning is natural light on an overcast day or in the shadows. Even better is Northern window light in the later afternoon. Always, a white card on the other side might be all you need. You can also go a step further with a black card to deepen shading on the other side.

Good luck. You have a kind, cooperative model.

Asher

 

[Karl Bailey]

In the meanwhile, if in doubt, use a single very large umbrella shooting through the material or else a soft box. You can advance adding a reflector to one side and then a reflector at 45 degrees leaning on a chair below and to her front of her. I always think it's best to get a feeling of what one light will do. somehow make the source as large as possible. with a single strobe, you can shoot it to a giant piece of sheeting, card or paper and then the reflection coming back will be more diffused.

Small lights give sharper harsher shadows. Light fall off is gentle with a massive source close to the model. Always start by being able to light all of the subject, and then sculpt with added lights. A light on the b.g. will give separation between the subject and the b.g. A narrow, (tube shaped adapter on the strobe), light on the hair will bring out the curls and different shades.

BTW, the best light for learning is natural light on an overcast day or in the shadows. Even better is Northern window light in the later afternoon. Always, a white card on the other side might be all you need. You can also go a step further with a black card to deepen shading on the other side.

Good luck. You have a kind, cooperative model.

Asher

Thanks Asher. Great suggestions and comments as always. I ended up having to set a reflector up in some of the images because I couldn't get the light on the left side of her face. Next time she comes over I'll try to do the things you suggested. Thank you.

 

[Asher Kelman]

Karl,

When I say, "always" ..... name it XYZ or anything else, I mean, to get a good result fast and please ~97% of folks, but it's not some law but rather "lore". In portraiture, you might very well want to have one side of the face in shadow or to accentuate features well, (cheek bones in fashion models) or large chin, lips, forehead, (for villains). However, to serve almost all needs for event photography, news reporting and theater and school pictures, sports and the like, open close, massive and even lighting gives a really agreeable image with few if any complaints.

However, to get drama, panache, intrigue and more, one needs shaping of the body with poses, gestures and facial expression as well as increasingly sophisticated lighting. That's where a book on lighting or work with an experienced pro is important. Books and a plastic/ceramic mannequin head are the greatest value. You do not need to arrange, wait for, pay, entertain, tolerate, chaperon or feed your model. That alone would be a bargain! While books are gifts, almost for free, from the rest of the photography world to us! They represent a hundred years of collective experience of countless photographers and we can have it in the most efficient form devised: a book, which runs without batteries!

My late father-in-law used a ceramic mannequin head for his exrcises, with just light from the overcast sky and reflectors or black board. That approach has always impressed me most and when there's northern window light or else cloud cover even under an overhang for shade, you're set for the greatest portraits with almost no gear at all!

So I'd suggest working two tracks for your portrait and glamor photography:

• Mannequin as model: "Light, Science and Magic, your "bible" plus one "lighting for portraits" book, your mannequin head under simple overcast skylight, Northern window light, or bright sun, (diffused by a white sheet or modifier and reflectors), for testing out new sets of lighting skills.
  
  
• Every day shots of people: the largest, (for the circumstances), diffused close light and you'll please clients and yourself right away, each and every time. (A white card held by a friend behind you and shooting towards it with a diffuser covered camera flash works just fine!). Using anything large and neutral as possible to reflect off and always carry a gray card to take a reference shot for that light, there, in that part of the room or outside space!]
  

Share your new pictures of Brandy here, so all can benefit. It's always interesting to watch someone's lighting style evolve. Also you can get feedback at each step of the way!

Good luck!

Asher

BTW, if my trusted friend, Frank Doorhof offers a course near you, sign up. I've worked with him and I'd even repeat it after a year and you'll not regret the expenditure. But first get Light, Science and Magic!

 

[Asher Kelman]

Any other ideas? My words are only one POV!

Asher

 

[Terry Lee]

Good first test!

Agree with Asher's comments. The best thing to do is play!

My suggestion, your location may not permit this, but one simple thing to work on is separation of the model from the background.

A simple trick I learned many years ago: Use a white background (seamless or just a wall) and position the model/lights so you have about 2 stops falloff from the background and the model (the wall gets 2 stops less light than the model does). This will give the background a nice dark grey yet still be visible. Just put more distance between the model/lights and the background. You also may have to decrease the model to light distance (making the model to background ratio larger) depending on your location (how much room you have from the camera to the wall)...Easy!

The background delta helps create a vignette of sorts on the model, highlights the subject if you will with the lighting contrast. Evaluate your B&W image and you see there isn't much or any delta between her and the background? Her tats almost blend into the background they are so close. If there were 2 stops of difference that shot would start to sing!

Play with that a little and it will help your images pop out even more!

 

[Karl Bailey]

Terry,

Thank you. The reason I had her so close to the background was short and didn't have much drop on the floor. I do have a long white background and will use that next time. When you say 2 stops fall off do I need to adjust that in the strobes by two stops? I was doing this in my garage so I have plenty of room to move back. I may try a different lens also. This lens was the 18-135 but I have a 50 1.8 and a couple others if I need a different ratio. I'll keep playing with the distance of the strobes and position.

Again, thank you for the comments and suggestions.

 

[Asher Kelman]

Terry,

Thank you. The reason I had her so close to the background was short and didn't have much drop on the floor. I do have a long white background and will use that next time. When you say 2 stops fall off do I need to adjust that in the strobes by two stops? I was doing this in my garage so I have plenty of room to move back. I may try a different lens also. This lens was the 18-135 but I have a 50 1.8 and a couple others if I need a different ratio. I'll keep playing with the distance of the strobes and position.

Again, thank you for the comments and suggestions.

Terry,

You can have the background two stops under, but alternatively, 2 stops over! The latter way backlights your model as well, like a rim light. It all depends on the effect you need.

Asher

 

[Karl Bailey]

Would a beauty dish be useful for any of these shots? I got one of those with the kit also.

 

[Karl Bailey]

Photobucket didn't like the b/w... here it is again

 

[Asher Kelman]

Photobucket didn't like the b/w... here it is again

Karl,

An extra thought, beyond lighting - the pose!

Your model had tattoos that she meant, at least at some point in her life, define her person for ever. So It might be worthwhile to have her pose in such a way as to have those additions show with her body in a graceful way. Right now, the side tattoos are cut off. See if you can get her to move fluidly to show herself.

Asher

 

[Jerome Marot]

I might say that I wondered about the winged grenade tattoo. Apparently, a lot of younger people are getting those tattoos these days to honor lost loved ones who have served in the military.

 

[Karl Bailey]

I might say that I wondered about the winged grenade tattoo. Apparently, a lot of younger people are getting those tattoos these days to honor lost loved ones who have served in the military.

I think hers is directed more at a broken heart from a relationship she was in. There are several issues going on there with Brandy and the reasons behind her tattoos. I'm trying to talk her out of sleeveing her right arm.

 

[Terry Lee]

Terry,

Thank you. The reason I had her so close to the background was short and didn't have much drop on the floor. I do have a long white background and will use that next time. When you say 2 stops fall off do I need to adjust that in the strobes by two stops? I was doing this in my garage so I have plenty of room to move back. I may try a different lens also. This lens was the 18-135 but I have a 50 1.8 and a couple others if I need a different ratio. I'll keep playing with the distance of the strobes and position.

Again, thank you for the comments and suggestions.

Distance is the easiest way, just put more distance between the model and the background and you can get a couple stops delta pretty quick.

And Asher is correct you can invert and add two stops to the background for the same but opposite effect.... Just depends on what you have handy as far as lights and space!