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In this Photography tutorial you will learn how to create lighting for a simple shoot.
Tags:How to Create Lighting for a Shoot,correct lighting techniques,creating images,lighting for a shoot,Lighting techniques,nobsphotosuccess,photography tips,photography tutorials,studio lighting,successful photography
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All right, welcome to another NoBS Photo Success tutorial.
In this little demonstration here, I’m just going to show you a quick portrait I did. I used three lights and a reflector and it’s just a basic portrait of my wife I was at studio earlier this month and Canon Studio and I was just showing a basic lighting setup using, you know, the lighting that you have on hand. So, we did this with just three lights. I had a main light as a soft box and I had a kicker laid. And one laid on the background and I use a reflector for fill.
So, just a little background, I was metering from my main light. I want an exposure of 125th of a second at F8. So, I was metering my main light. I wanted my main light for an output of F8. Now, this is what you see before me is basically just the background. This is the background, there’s no light on it. I had my model far enough from the background that you don’t see anything.
So, let’s just start away. I placed my model where I want it to be. And I simply just placed here and I positioned my main light to the right of me which should be to the left of her. And it’s just one soft box—I get my soft box just as close to my subject as I possibly can without being in the frame. So, this is just outside of the frame. And as you can see here, I place my main light at about a 45-degree angle.
What I’m looking for is this shadow right here, this loop lighting. This is a modified loop lighting. Basically, the shadow is coming from the nose, it’s 45-degree angle in between the lip and the nose. So, I like to place my main light 45 degree’s to my subject and about 45 degrees up. And this gives me the nice catch light in the eyes. As you can see right here, I got a nice, big catch lights in both eyes.
So, I meter right here F8. Now, as you can see—this is my wife by the way. My wife is actually wearing a black shirt so obviously right now she looks like you know she’s just a floating head in the darkness. So next, what I did is I brought in behind her, I brought in a kicker light. Now, I can use a hair light which goes directly over top. I can use two kicker lights which are placed behind my subject to 45 degrees but I only had three lights. So, I often just use the one kicker to my left.
As you can see with just the kicker light in and know where the lights is just high lighting to her right side. It’s showing detail in the hair, it’s actually showing a little bit of detail in her shirt. But it’s adding a little bit of separation. You can see a little bit of separation here. So with that set, this is what I get with my main light and my kicker light.
Okay, so I’ve still got a nice shadow here. I got nice little but now she’s got a little bit more definition from the background. She’s got some separation here. This area here is still a little bit dark but I’m still going to bring in another two light sources. Now, one light source said I’ve only had three so I’ve used one from my main light, I’ve used one from my kicker light/hair light. And now I’ve got one to go on the background, well how do I get the extra light. While I’m bringing in a reflector from fill and I usually bring my reflector right in close so I use a big reflector. I’m going to bring in right about here and I just want that extra catch lights, extra catch light in the eyes.
Now, I can normally bring in another light if I had one and put it behind me as a fill light, an umbrella or something like that but for all my portraits, I use a reflector for my fill light, I do not use another light.
So, let’s bring in that reflector. So now, I’ve got the reflector. I brought it in, right about here, it’s just outside the frame but as you can see I get that extra catch lights in the eyes. You can see that right there and it also fills in the shadow side of the face a bit, see here, to there, beautiful.
Now, I still don’t have a lot of separation in this part here. There’s not a lot of definition but when I bring my background light in, it’s going to light the background and therefore add some separation.
Now, just for this image, I’ve got my main light set at F8. My wife has darker hair so I used my kicker lighting in here. I had that about 5, 6½. Okay, this way I’m not blowing out her hair anyway.
If she had blonde hair, I probably bring it down a little bit more. It’s another good reason to learn your histograms and always check your histograms and make sure you’re not blowing anything out. Now, my background, I bring in with the mono light and I had a honey cone grid and I brought that in at around F8 and F8½. And with the honey cone grid, I’ve actually got some separations so let’s just bring that in there, we have it right there.
We’ve got some separation. Now, you can see the separation here. We’ve still got the hair light showing some definition in the hair. And we’ve still got our nice catch lights from our fill or our reflector. So, that’s just using three lights, a main light, a hair light/kicker light, a reflector that had some fill in the shadows and a background light.
In the next video, I’m just going to finish the workflow on this image of the other once I’ve just worked for, so let’s get right into just doing a quick workflow on this part.