everything you need to know about lighting and … · lighting and the studio ... flash, flash...
TRANSCRIPT
EVERYTHING YOU NEED TO KNOW ABOUT LIGHTING AND THE STUDIO
BY LUCY BARTLETT
wwwlucybartlettphotographywordpresscomwwwflickrcomphotoslucybartlett
bartletlunicoventryacukwwwcuphotographyorg
CONTENTS
CONTENTS
Top Tips and Info 4-5
How To
Use a Light Meter 6-7Making Lighting Diagrams 8-9Make a Pinhole Camera 10-19
Getting To Grips WithStudio Equipment 20-23Understanding Power 24-25
LightingBasic Effects 26-29Working with the Backdrop 30-31Backlighting Hair 32-33Working Outside 34-41
Notes 42-45
TOP TIPS AND INFO
SHUTTER SPEEDShutter speed is the speed at which you take the photograph You can think of each increase or decrease in lsquostopsrsquo of light For example 130s lets in twice as much light as 160s which lets in half as much light as 1120s as the shutter speed is increasing each time
APERTUREJust like the zone system which is explained on the opposite page these numbers represent stops of light An aperture of f4 lets in twice as much light as f56 which lets in twice as much light as f8 The higher the number is the bigger size the aperture will be
ISO The ISO is how sensitive to light the film or image sensor is The higher the ISO number the grainier the photograph 4
TOP TIPS AND INFO
The Zone System The zone system can be employed to pre-visualize the images you make A light meter will always give you an exposure for zone 5 (V) as this is mid-grey the perfect exposureRemember that each zone also represents one lsquostoprsquo of light so that zone 4 (IV) is half as much light as zone 5 (V) which is half as much light as zone 6 (VI)
5
HOW TO USE A LIGHT METER
A light meter is an indispensible tool for any photographer If used correctly the light meter gives the photographer the correct exposure and once yoursquove mastered the basics of it you can work out how you want a photograph to work out The light meter will give you the reading for zone 5 (refer back to the previous page to understand the zone system) as this is mid-grey the perfect exposure
On the light meter opposite yoursquoll notice there is it reads lsquo125rsquo with a lsquoTrsquo for time above it This is the shutter speed you should shoot at The lsquo16rsquo with the lsquoFrsquo above it is the aperture you should shoot at The ISO on the image opposite reads lsquo100rsquo It is important that you set the ISO that matches the ISO on your camera or you will not get the correct exposure
If the meter reads lsquoEursquo it means that there is not enough light If it blinks you need to add more light If solid the apertureshutter needs changing
6
HOW TO USE A LIGHT METER
Turn onoff
ISO button - Used to change the ISO Flash sync
socket
Dome - Reads the light
Mode - This changes the mode the meter is set on Modes ambient flash flash connected to via sync
Up and Down Arrows - How to adjust aperture
Exposed button - Once yoursquore reading to get your reading simply press this button
7
HOW TO MAKE LIGHTING DIAGRAMS
As a photographer it is useful to write down or make note of lighting set-ups Although you could draw your set ups it is easier and neater to use software that helps you create lighting diagrams One example is httpwwwlightingdiagramscom This is what it looks like simply click on lsquoCreatorrsquo on the online site
All tools on the right are labelled and you simple click then move around on the grid
8
HOW TO MAKE LIGHTING DIAGRAMS
You may also decide to write over the diagram with the equipment used the setting of the equipment and the distance between each item should you require it for future reference The easiest way to do this is by adding text to the diagram on Photoshop
Once yoursquove exported your diagram it should look a little like this
9
HOW TO MAKE A PINHOLE CAMERA
What you will needbull 500ml Canbull Can Openerbull Scissorsbull Duct tapegaffer tapebull Double sided sticky tapebull Masking tapebull Sheet of black paperbull Needlepin
1 With the can opener cut the top of the 500ml lid off
10
HOW TO MAKE A PINHOLE CAMERA
2 Once you have cut the lid off you should have something like this Keep sure it is smooth so you do not cut your self
3 Using the scissors cut the black paper into a long rectanglur shape
11
HOW TO PINHOLE CONT
4 Once you have a rectangular shape piece of paper cut several slits into the whole length of paper like so
5 Using the left over paper use your can to draw a circular shape on the paper
12
HOW TO PINHOLE CONT
6 Once you have drawn your circle from the can cut out the circle
7 With the rectangular piece of paper fold over the sides so the paper is more flimsy and can be folded in
13
HOW TO PINHOLE CONT
8 Wrap the rectangular piece of paper around the can and use double sided sticky tape to hold the paper in place keeping sure the side with the slits can fold over the can
9 Using the double sided sticky tape put some onto the circular paper
14
HOW TO PINHOLE CONT
10 Firmly place and hold down the circular piece of paper on top of the folded over paper with the slits on it
11 You should now have a lid for yout camera which can easily pop on and off over the can
15
HOW TO PINHOLE CONT
12 Using the duct tape or gaffer tape begin to cover the lid to make it as light proof as possible
13 Keep covering the lid until no paper shows
16
HOW TO PINHOLE CONT
15 Using the needle or pin pierce into the can like so You now have an aperture
14 You should now have something like this It should be able to come away from the can with ease
17
HOW TO PINHOLE CONT
16 To make a stopper to stop light entering the pinhole camera tape some of the black paper over the aperture with masking tape Alternatively use blu-tac
And there you have it Just insert photo-sensitive paper into your camera by re-moving the lid Your pinhole camera is now ready to go
18
HOW TO PINHOLE CONT
Top tips
bull The bigger the hole the more light is let in For sharpe images make the hole as small as possible For a soft focus make the hole slightly bigger
bull Ensure the camera is lightproof to stop unwanted light effecting the paper
bull Avoid camera shake as it will result in very blurred images
bull Donrsquot use very thick material for your camera so your camera so that the light is not restricted
bull Ensure paper is inserted correctly
19
GETTING TO GRIPS WITH STUDIO EQUIPMENT
A photography studio or any other studio for that matter is an ideal space for photographers to work in There is a great deal of control over the lighting than if you were working outside
Spill KillThis head comes in a range of sizes A very basic head which gives a hard light on the subject
20
GETTING TO GRIPS WITH STUDIO EQUIPMENT
Umbrella This can be used with the silver lining with black back which should be aimed facing away from the subject as it reflects the light Without it it should be aime towards the subject as the light will disfuse through the white of the umbrella
Flash Gun A flash gun is easily portable for on location shooting It is possible to match 2 up 1 the master the other the slave
21
Beauty Dish This head is ideal for portraits where you want soft light on model Honeycomb can be inserted inside Snoot This head gives a spotlight effect so will look circular on whatever you project it on to Perfect for dramatic lighting and if you want to highlight something
GETTING TO GRIPS WITH STUDIO EQUIPMENT
22
500W and 750W Travel Kit A range of kits are available but the picture on the left features 2 500W flash head with 2 stands 2 umbrellas 2 mains lead and a synch lead Ideal for both studio work and on location
Transmitters One is connected to light and the other one on the hot shoe of the camera Working wirelessly without the need for sync cables this sends the signal to the flash so when you press the shutter the flash goes off They have channels so you can set certain lights off
Battery pack The battery pack can be used to power upto 2 lights at once
GETTING TO GRIPS WITH STUDIO EQUIPMENT
Poly boardsReflectors Also known as Flags these can reflect or block light from the subject you are photographing One side is typically white and the other is black They can be easily moved around the studio
23
Soft box This light softens the subject hence the name The main sheet is velcroed onto the head with another small sheet underneath which can also come off if you want a harsher light Soft-boxes come in large and small sizes
GETTING TO GRIPS WITH UNDERSTANDING POWER
In a perment studio it is likely the mains will need to be switched on As the image on the left shows you simply twist the red holder from left to right If you are changing one of the light bulbs it is vital to switch the mains off so you donrsquot electrocute yourself
Before using any equipment in the studio it is important to under how to operate the lighting units and how you can change the power to desired effect This section looks at understanding how to power the lights
24
GETTING TO GRIPS WITH UNDERSTANDING POWER
TIP Flash to release the power if you are decreasing the power to reduce the chances of damaging the power unit
May also say lsquoStopsrsquo instead of lsquoPowerrsquo Increase the power and the flash will be brighter
May also read as lsquoTenthsrsquo instead of lsquoLamprsquo Lower this to make the light dimmer
25
The higher the number the brighter the light The lowest is f50 with f10 the highest Press the arrows beneath it to go updown a stop
Press this green button to flash If it flashes it means power needs to be discharged
STUDIO BASIC EFFECTS
When it comes to working in the studio experiment-ing is key Although the speed of the lights is 1125 so shoot at this shutter speedHere are some examples of what lighting set up achieves what sort of effect
26
By placing the light on the left side of the mod-el you see that only half of the face is lit and the other half in darkness as there is no light coming from theat direction
The light is placed about 1 metre away from the model and the camera also about the same distance
STUDIO BASIC EFFECTS
27
If you add a black reflector directly opposite from where the light is coming from about 1 metre away from the model it will bounce and light this side of the face As it is black which absorbs light it wonrsquot reflect too much back
TIPWhen lighting skin it is better to go 1 stop higher to over expose it slightly or the skin can look a little dark
STUDIO BASIC EFFECTS
If you change the black reflector for a white reflector the model will appear more lit This is because white reflects light The closer you move the white reflector the better lit the model will be
28
With this shot the softbox and white reflector were about 1 metre away from the model with thecamera also about 1 metre away from the model
STUDIO BASIC EFFECTS
If you donrsquot want a dramatic effect with many shadows place the light directly in front of the model and by adding a white reflector under-neath the light should also bounce onto the model
29
A white poly board was used underneath and below the model to bring in more light to her light her with This was about 2 feet away from her The soft box was on f2
LIGHTING WORKING WITH THE BACKDROP
30
Backdrops can dramatically change how we see a photograph The studio typically has a white or black backdrop
To create this a black poly board was positioned behind the model Two soft boxes were placed diagonally facing the model at f1 about 1 metre away Camera on ISO 200 aperture f8 and shutter on 1125 secs
LIGHTING WORKING WITH THE BACKDROP
31
With the previous photographs it appears the back-drop is grey as it is not being directly lit However there is a method to stop this Use a Bowen 500W soft box above the camera set on f3 Using a Bowen 500W light with a spill kill head set on f55 facing the backdrop Place a black reflector in front of this light to block light bouncing back to the model Place a white reflector next to the model as it will help bounce light back to the wall Each reflector should be about 15 metres from the model
LIGHTING BACK LIGHTING HAIR
32
This set up was created with a Bowen 500W Honeycomb head at f2 placed behind at one side of the model A beauty dish placed above the camera at f1 to give the main light source for the face
Backlighting is most often used for beauty and fashion shoots as it creates a more dramatic shot Back lighting hair that is blonde or very light tends to be more effective over darker hair as the two on the right show
LIGHTING BACK LIGHTING HAIR
33
Blonde Hair
Darker Hair
LIGHTING WORKING OUTSIDE
You will needbull A camera that allows sync bull Sync cable for flash Wireless
flash triggerbull 500w or 750w lightsbull Battery pack (to power the light)bull Light meterbull You may also addbull Snootbeauty dishhoneycombbull Power cablesbull Whitesilvergold reflector
Of course using lights are not soley used in an indoor environement This section looks at how to use the travel kits outside where the lighting is more difficult to control in comparison to the studio
34
LIGHTING WORKING OUTSIDE
35
This photograph was taken in an alley way where there was not much light It was intentional to have the railings appearing dark with the scene behind it being fairly lit The model was about 4 metres from the camera and light which was up high
This photograph was created using an aperture of f63 shutter speed of 1125 seconds and and ISO of 200 The Bowen 500W travel kit was used with the light unit set on f5
LIGHTING WORKING OUTSIDE CONT
36
This was created using the Bowen 500W at f2 The light directly bounced off the reflector opposite to light this photograph The aperture was on f16 which helped make the back-ground darker
LIGHTING WORKING OUTSIDE CONT
37
The aim with this was to light the background evenly with the model The Bowen 500W at f2 light the was placed at the model at angle so it could hit the reflector and light the wall at the same time
LIGHTING WORKING OUTSIDE CONT
38
With this one the soft box was placed closely to the model with the gold reflector at the opposite end to reflect the light The backdrop is dark as the aperture is around f16 with the light set on f5 Proves a dramatic set up
LIGHTING WORKING OUTSIDE CONT
39
This was created using 1 light but a gold reflector was placed down below near the model so the light could be reflected The Bowen 500W on f1 had an umbrella with no silver casing facing towards the model to give a fair but dramatic lighting
LIGHTING WORKING OUTSIDE CONT
40
These photographs were taken using the Canon Speedlite 580ex ii Two were used with 1 as the Master and the other as the slave
With this set-up the flash was on full power hence the dramatic lighing but the flash was positioned upwards The slave flash is what creates the majority of the light as it is at head level to the model at the side
LIGHTING WORKING OUTSIDE CONT
41
Here the model moved closer to the slave flash which was set on full power once again The master was not on hence why the only light source in the photograph is coming in directly onto the model Makes for an unusual set-up and for a dramatic effect
NOTES NOTES
42
NOTES NOTES
43
NOTES NOTES
44
NOTES NOTES
45
THIS GUIDE TO LIGHTING COVERS EVERTHING YOU NEED TO KNOW ABOUT THE BASICS OF A PHOTOGRAPHIC STUDIO FROM UNDERSTANDING LIGHTING EQUIPMENT TO ACHEIVING DESIRED RESULTS FROM CERTAIN TECHNIQUES THIS GUIDE GIVES A SIMPLE EXPLAINATION TO ASSIST YOU
LUCY BARTLETT IS STUDYING BA (HONS) PHOTOGRAPHY AT COVENTRY UNIVERSITY THIS MANUAL WAS PRO-DUCED AS PART OF THE lsquoWORKING WITH LIGHTrsquo MODULE
Prepared by MagCloud for Lucy Bartlett Get more at lucybartlettphotographymagcloudcom
wwwlucybartlettphotographywordpresscomwwwflickrcomphotoslucybartlett
bartletlunicoventryacukwwwcuphotographyorg
CONTENTS
CONTENTS
Top Tips and Info 4-5
How To
Use a Light Meter 6-7Making Lighting Diagrams 8-9Make a Pinhole Camera 10-19
Getting To Grips WithStudio Equipment 20-23Understanding Power 24-25
LightingBasic Effects 26-29Working with the Backdrop 30-31Backlighting Hair 32-33Working Outside 34-41
Notes 42-45
TOP TIPS AND INFO
SHUTTER SPEEDShutter speed is the speed at which you take the photograph You can think of each increase or decrease in lsquostopsrsquo of light For example 130s lets in twice as much light as 160s which lets in half as much light as 1120s as the shutter speed is increasing each time
APERTUREJust like the zone system which is explained on the opposite page these numbers represent stops of light An aperture of f4 lets in twice as much light as f56 which lets in twice as much light as f8 The higher the number is the bigger size the aperture will be
ISO The ISO is how sensitive to light the film or image sensor is The higher the ISO number the grainier the photograph 4
TOP TIPS AND INFO
The Zone System The zone system can be employed to pre-visualize the images you make A light meter will always give you an exposure for zone 5 (V) as this is mid-grey the perfect exposureRemember that each zone also represents one lsquostoprsquo of light so that zone 4 (IV) is half as much light as zone 5 (V) which is half as much light as zone 6 (VI)
5
HOW TO USE A LIGHT METER
A light meter is an indispensible tool for any photographer If used correctly the light meter gives the photographer the correct exposure and once yoursquove mastered the basics of it you can work out how you want a photograph to work out The light meter will give you the reading for zone 5 (refer back to the previous page to understand the zone system) as this is mid-grey the perfect exposure
On the light meter opposite yoursquoll notice there is it reads lsquo125rsquo with a lsquoTrsquo for time above it This is the shutter speed you should shoot at The lsquo16rsquo with the lsquoFrsquo above it is the aperture you should shoot at The ISO on the image opposite reads lsquo100rsquo It is important that you set the ISO that matches the ISO on your camera or you will not get the correct exposure
If the meter reads lsquoEursquo it means that there is not enough light If it blinks you need to add more light If solid the apertureshutter needs changing
6
HOW TO USE A LIGHT METER
Turn onoff
ISO button - Used to change the ISO Flash sync
socket
Dome - Reads the light
Mode - This changes the mode the meter is set on Modes ambient flash flash connected to via sync
Up and Down Arrows - How to adjust aperture
Exposed button - Once yoursquore reading to get your reading simply press this button
7
HOW TO MAKE LIGHTING DIAGRAMS
As a photographer it is useful to write down or make note of lighting set-ups Although you could draw your set ups it is easier and neater to use software that helps you create lighting diagrams One example is httpwwwlightingdiagramscom This is what it looks like simply click on lsquoCreatorrsquo on the online site
All tools on the right are labelled and you simple click then move around on the grid
8
HOW TO MAKE LIGHTING DIAGRAMS
You may also decide to write over the diagram with the equipment used the setting of the equipment and the distance between each item should you require it for future reference The easiest way to do this is by adding text to the diagram on Photoshop
Once yoursquove exported your diagram it should look a little like this
9
HOW TO MAKE A PINHOLE CAMERA
What you will needbull 500ml Canbull Can Openerbull Scissorsbull Duct tapegaffer tapebull Double sided sticky tapebull Masking tapebull Sheet of black paperbull Needlepin
1 With the can opener cut the top of the 500ml lid off
10
HOW TO MAKE A PINHOLE CAMERA
2 Once you have cut the lid off you should have something like this Keep sure it is smooth so you do not cut your self
3 Using the scissors cut the black paper into a long rectanglur shape
11
HOW TO PINHOLE CONT
4 Once you have a rectangular shape piece of paper cut several slits into the whole length of paper like so
5 Using the left over paper use your can to draw a circular shape on the paper
12
HOW TO PINHOLE CONT
6 Once you have drawn your circle from the can cut out the circle
7 With the rectangular piece of paper fold over the sides so the paper is more flimsy and can be folded in
13
HOW TO PINHOLE CONT
8 Wrap the rectangular piece of paper around the can and use double sided sticky tape to hold the paper in place keeping sure the side with the slits can fold over the can
9 Using the double sided sticky tape put some onto the circular paper
14
HOW TO PINHOLE CONT
10 Firmly place and hold down the circular piece of paper on top of the folded over paper with the slits on it
11 You should now have a lid for yout camera which can easily pop on and off over the can
15
HOW TO PINHOLE CONT
12 Using the duct tape or gaffer tape begin to cover the lid to make it as light proof as possible
13 Keep covering the lid until no paper shows
16
HOW TO PINHOLE CONT
15 Using the needle or pin pierce into the can like so You now have an aperture
14 You should now have something like this It should be able to come away from the can with ease
17
HOW TO PINHOLE CONT
16 To make a stopper to stop light entering the pinhole camera tape some of the black paper over the aperture with masking tape Alternatively use blu-tac
And there you have it Just insert photo-sensitive paper into your camera by re-moving the lid Your pinhole camera is now ready to go
18
HOW TO PINHOLE CONT
Top tips
bull The bigger the hole the more light is let in For sharpe images make the hole as small as possible For a soft focus make the hole slightly bigger
bull Ensure the camera is lightproof to stop unwanted light effecting the paper
bull Avoid camera shake as it will result in very blurred images
bull Donrsquot use very thick material for your camera so your camera so that the light is not restricted
bull Ensure paper is inserted correctly
19
GETTING TO GRIPS WITH STUDIO EQUIPMENT
A photography studio or any other studio for that matter is an ideal space for photographers to work in There is a great deal of control over the lighting than if you were working outside
Spill KillThis head comes in a range of sizes A very basic head which gives a hard light on the subject
20
GETTING TO GRIPS WITH STUDIO EQUIPMENT
Umbrella This can be used with the silver lining with black back which should be aimed facing away from the subject as it reflects the light Without it it should be aime towards the subject as the light will disfuse through the white of the umbrella
Flash Gun A flash gun is easily portable for on location shooting It is possible to match 2 up 1 the master the other the slave
21
Beauty Dish This head is ideal for portraits where you want soft light on model Honeycomb can be inserted inside Snoot This head gives a spotlight effect so will look circular on whatever you project it on to Perfect for dramatic lighting and if you want to highlight something
GETTING TO GRIPS WITH STUDIO EQUIPMENT
22
500W and 750W Travel Kit A range of kits are available but the picture on the left features 2 500W flash head with 2 stands 2 umbrellas 2 mains lead and a synch lead Ideal for both studio work and on location
Transmitters One is connected to light and the other one on the hot shoe of the camera Working wirelessly without the need for sync cables this sends the signal to the flash so when you press the shutter the flash goes off They have channels so you can set certain lights off
Battery pack The battery pack can be used to power upto 2 lights at once
GETTING TO GRIPS WITH STUDIO EQUIPMENT
Poly boardsReflectors Also known as Flags these can reflect or block light from the subject you are photographing One side is typically white and the other is black They can be easily moved around the studio
23
Soft box This light softens the subject hence the name The main sheet is velcroed onto the head with another small sheet underneath which can also come off if you want a harsher light Soft-boxes come in large and small sizes
GETTING TO GRIPS WITH UNDERSTANDING POWER
In a perment studio it is likely the mains will need to be switched on As the image on the left shows you simply twist the red holder from left to right If you are changing one of the light bulbs it is vital to switch the mains off so you donrsquot electrocute yourself
Before using any equipment in the studio it is important to under how to operate the lighting units and how you can change the power to desired effect This section looks at understanding how to power the lights
24
GETTING TO GRIPS WITH UNDERSTANDING POWER
TIP Flash to release the power if you are decreasing the power to reduce the chances of damaging the power unit
May also say lsquoStopsrsquo instead of lsquoPowerrsquo Increase the power and the flash will be brighter
May also read as lsquoTenthsrsquo instead of lsquoLamprsquo Lower this to make the light dimmer
25
The higher the number the brighter the light The lowest is f50 with f10 the highest Press the arrows beneath it to go updown a stop
Press this green button to flash If it flashes it means power needs to be discharged
STUDIO BASIC EFFECTS
When it comes to working in the studio experiment-ing is key Although the speed of the lights is 1125 so shoot at this shutter speedHere are some examples of what lighting set up achieves what sort of effect
26
By placing the light on the left side of the mod-el you see that only half of the face is lit and the other half in darkness as there is no light coming from theat direction
The light is placed about 1 metre away from the model and the camera also about the same distance
STUDIO BASIC EFFECTS
27
If you add a black reflector directly opposite from where the light is coming from about 1 metre away from the model it will bounce and light this side of the face As it is black which absorbs light it wonrsquot reflect too much back
TIPWhen lighting skin it is better to go 1 stop higher to over expose it slightly or the skin can look a little dark
STUDIO BASIC EFFECTS
If you change the black reflector for a white reflector the model will appear more lit This is because white reflects light The closer you move the white reflector the better lit the model will be
28
With this shot the softbox and white reflector were about 1 metre away from the model with thecamera also about 1 metre away from the model
STUDIO BASIC EFFECTS
If you donrsquot want a dramatic effect with many shadows place the light directly in front of the model and by adding a white reflector under-neath the light should also bounce onto the model
29
A white poly board was used underneath and below the model to bring in more light to her light her with This was about 2 feet away from her The soft box was on f2
LIGHTING WORKING WITH THE BACKDROP
30
Backdrops can dramatically change how we see a photograph The studio typically has a white or black backdrop
To create this a black poly board was positioned behind the model Two soft boxes were placed diagonally facing the model at f1 about 1 metre away Camera on ISO 200 aperture f8 and shutter on 1125 secs
LIGHTING WORKING WITH THE BACKDROP
31
With the previous photographs it appears the back-drop is grey as it is not being directly lit However there is a method to stop this Use a Bowen 500W soft box above the camera set on f3 Using a Bowen 500W light with a spill kill head set on f55 facing the backdrop Place a black reflector in front of this light to block light bouncing back to the model Place a white reflector next to the model as it will help bounce light back to the wall Each reflector should be about 15 metres from the model
LIGHTING BACK LIGHTING HAIR
32
This set up was created with a Bowen 500W Honeycomb head at f2 placed behind at one side of the model A beauty dish placed above the camera at f1 to give the main light source for the face
Backlighting is most often used for beauty and fashion shoots as it creates a more dramatic shot Back lighting hair that is blonde or very light tends to be more effective over darker hair as the two on the right show
LIGHTING BACK LIGHTING HAIR
33
Blonde Hair
Darker Hair
LIGHTING WORKING OUTSIDE
You will needbull A camera that allows sync bull Sync cable for flash Wireless
flash triggerbull 500w or 750w lightsbull Battery pack (to power the light)bull Light meterbull You may also addbull Snootbeauty dishhoneycombbull Power cablesbull Whitesilvergold reflector
Of course using lights are not soley used in an indoor environement This section looks at how to use the travel kits outside where the lighting is more difficult to control in comparison to the studio
34
LIGHTING WORKING OUTSIDE
35
This photograph was taken in an alley way where there was not much light It was intentional to have the railings appearing dark with the scene behind it being fairly lit The model was about 4 metres from the camera and light which was up high
This photograph was created using an aperture of f63 shutter speed of 1125 seconds and and ISO of 200 The Bowen 500W travel kit was used with the light unit set on f5
LIGHTING WORKING OUTSIDE CONT
36
This was created using the Bowen 500W at f2 The light directly bounced off the reflector opposite to light this photograph The aperture was on f16 which helped make the back-ground darker
LIGHTING WORKING OUTSIDE CONT
37
The aim with this was to light the background evenly with the model The Bowen 500W at f2 light the was placed at the model at angle so it could hit the reflector and light the wall at the same time
LIGHTING WORKING OUTSIDE CONT
38
With this one the soft box was placed closely to the model with the gold reflector at the opposite end to reflect the light The backdrop is dark as the aperture is around f16 with the light set on f5 Proves a dramatic set up
LIGHTING WORKING OUTSIDE CONT
39
This was created using 1 light but a gold reflector was placed down below near the model so the light could be reflected The Bowen 500W on f1 had an umbrella with no silver casing facing towards the model to give a fair but dramatic lighting
LIGHTING WORKING OUTSIDE CONT
40
These photographs were taken using the Canon Speedlite 580ex ii Two were used with 1 as the Master and the other as the slave
With this set-up the flash was on full power hence the dramatic lighing but the flash was positioned upwards The slave flash is what creates the majority of the light as it is at head level to the model at the side
LIGHTING WORKING OUTSIDE CONT
41
Here the model moved closer to the slave flash which was set on full power once again The master was not on hence why the only light source in the photograph is coming in directly onto the model Makes for an unusual set-up and for a dramatic effect
NOTES NOTES
42
NOTES NOTES
43
NOTES NOTES
44
NOTES NOTES
45
THIS GUIDE TO LIGHTING COVERS EVERTHING YOU NEED TO KNOW ABOUT THE BASICS OF A PHOTOGRAPHIC STUDIO FROM UNDERSTANDING LIGHTING EQUIPMENT TO ACHEIVING DESIRED RESULTS FROM CERTAIN TECHNIQUES THIS GUIDE GIVES A SIMPLE EXPLAINATION TO ASSIST YOU
LUCY BARTLETT IS STUDYING BA (HONS) PHOTOGRAPHY AT COVENTRY UNIVERSITY THIS MANUAL WAS PRO-DUCED AS PART OF THE lsquoWORKING WITH LIGHTrsquo MODULE
Prepared by MagCloud for Lucy Bartlett Get more at lucybartlettphotographymagcloudcom
CONTENTS
CONTENTS
Top Tips and Info 4-5
How To
Use a Light Meter 6-7Making Lighting Diagrams 8-9Make a Pinhole Camera 10-19
Getting To Grips WithStudio Equipment 20-23Understanding Power 24-25
LightingBasic Effects 26-29Working with the Backdrop 30-31Backlighting Hair 32-33Working Outside 34-41
Notes 42-45
TOP TIPS AND INFO
SHUTTER SPEEDShutter speed is the speed at which you take the photograph You can think of each increase or decrease in lsquostopsrsquo of light For example 130s lets in twice as much light as 160s which lets in half as much light as 1120s as the shutter speed is increasing each time
APERTUREJust like the zone system which is explained on the opposite page these numbers represent stops of light An aperture of f4 lets in twice as much light as f56 which lets in twice as much light as f8 The higher the number is the bigger size the aperture will be
ISO The ISO is how sensitive to light the film or image sensor is The higher the ISO number the grainier the photograph 4
TOP TIPS AND INFO
The Zone System The zone system can be employed to pre-visualize the images you make A light meter will always give you an exposure for zone 5 (V) as this is mid-grey the perfect exposureRemember that each zone also represents one lsquostoprsquo of light so that zone 4 (IV) is half as much light as zone 5 (V) which is half as much light as zone 6 (VI)
5
HOW TO USE A LIGHT METER
A light meter is an indispensible tool for any photographer If used correctly the light meter gives the photographer the correct exposure and once yoursquove mastered the basics of it you can work out how you want a photograph to work out The light meter will give you the reading for zone 5 (refer back to the previous page to understand the zone system) as this is mid-grey the perfect exposure
On the light meter opposite yoursquoll notice there is it reads lsquo125rsquo with a lsquoTrsquo for time above it This is the shutter speed you should shoot at The lsquo16rsquo with the lsquoFrsquo above it is the aperture you should shoot at The ISO on the image opposite reads lsquo100rsquo It is important that you set the ISO that matches the ISO on your camera or you will not get the correct exposure
If the meter reads lsquoEursquo it means that there is not enough light If it blinks you need to add more light If solid the apertureshutter needs changing
6
HOW TO USE A LIGHT METER
Turn onoff
ISO button - Used to change the ISO Flash sync
socket
Dome - Reads the light
Mode - This changes the mode the meter is set on Modes ambient flash flash connected to via sync
Up and Down Arrows - How to adjust aperture
Exposed button - Once yoursquore reading to get your reading simply press this button
7
HOW TO MAKE LIGHTING DIAGRAMS
As a photographer it is useful to write down or make note of lighting set-ups Although you could draw your set ups it is easier and neater to use software that helps you create lighting diagrams One example is httpwwwlightingdiagramscom This is what it looks like simply click on lsquoCreatorrsquo on the online site
All tools on the right are labelled and you simple click then move around on the grid
8
HOW TO MAKE LIGHTING DIAGRAMS
You may also decide to write over the diagram with the equipment used the setting of the equipment and the distance between each item should you require it for future reference The easiest way to do this is by adding text to the diagram on Photoshop
Once yoursquove exported your diagram it should look a little like this
9
HOW TO MAKE A PINHOLE CAMERA
What you will needbull 500ml Canbull Can Openerbull Scissorsbull Duct tapegaffer tapebull Double sided sticky tapebull Masking tapebull Sheet of black paperbull Needlepin
1 With the can opener cut the top of the 500ml lid off
10
HOW TO MAKE A PINHOLE CAMERA
2 Once you have cut the lid off you should have something like this Keep sure it is smooth so you do not cut your self
3 Using the scissors cut the black paper into a long rectanglur shape
11
HOW TO PINHOLE CONT
4 Once you have a rectangular shape piece of paper cut several slits into the whole length of paper like so
5 Using the left over paper use your can to draw a circular shape on the paper
12
HOW TO PINHOLE CONT
6 Once you have drawn your circle from the can cut out the circle
7 With the rectangular piece of paper fold over the sides so the paper is more flimsy and can be folded in
13
HOW TO PINHOLE CONT
8 Wrap the rectangular piece of paper around the can and use double sided sticky tape to hold the paper in place keeping sure the side with the slits can fold over the can
9 Using the double sided sticky tape put some onto the circular paper
14
HOW TO PINHOLE CONT
10 Firmly place and hold down the circular piece of paper on top of the folded over paper with the slits on it
11 You should now have a lid for yout camera which can easily pop on and off over the can
15
HOW TO PINHOLE CONT
12 Using the duct tape or gaffer tape begin to cover the lid to make it as light proof as possible
13 Keep covering the lid until no paper shows
16
HOW TO PINHOLE CONT
15 Using the needle or pin pierce into the can like so You now have an aperture
14 You should now have something like this It should be able to come away from the can with ease
17
HOW TO PINHOLE CONT
16 To make a stopper to stop light entering the pinhole camera tape some of the black paper over the aperture with masking tape Alternatively use blu-tac
And there you have it Just insert photo-sensitive paper into your camera by re-moving the lid Your pinhole camera is now ready to go
18
HOW TO PINHOLE CONT
Top tips
bull The bigger the hole the more light is let in For sharpe images make the hole as small as possible For a soft focus make the hole slightly bigger
bull Ensure the camera is lightproof to stop unwanted light effecting the paper
bull Avoid camera shake as it will result in very blurred images
bull Donrsquot use very thick material for your camera so your camera so that the light is not restricted
bull Ensure paper is inserted correctly
19
GETTING TO GRIPS WITH STUDIO EQUIPMENT
A photography studio or any other studio for that matter is an ideal space for photographers to work in There is a great deal of control over the lighting than if you were working outside
Spill KillThis head comes in a range of sizes A very basic head which gives a hard light on the subject
20
GETTING TO GRIPS WITH STUDIO EQUIPMENT
Umbrella This can be used with the silver lining with black back which should be aimed facing away from the subject as it reflects the light Without it it should be aime towards the subject as the light will disfuse through the white of the umbrella
Flash Gun A flash gun is easily portable for on location shooting It is possible to match 2 up 1 the master the other the slave
21
Beauty Dish This head is ideal for portraits where you want soft light on model Honeycomb can be inserted inside Snoot This head gives a spotlight effect so will look circular on whatever you project it on to Perfect for dramatic lighting and if you want to highlight something
GETTING TO GRIPS WITH STUDIO EQUIPMENT
22
500W and 750W Travel Kit A range of kits are available but the picture on the left features 2 500W flash head with 2 stands 2 umbrellas 2 mains lead and a synch lead Ideal for both studio work and on location
Transmitters One is connected to light and the other one on the hot shoe of the camera Working wirelessly without the need for sync cables this sends the signal to the flash so when you press the shutter the flash goes off They have channels so you can set certain lights off
Battery pack The battery pack can be used to power upto 2 lights at once
GETTING TO GRIPS WITH STUDIO EQUIPMENT
Poly boardsReflectors Also known as Flags these can reflect or block light from the subject you are photographing One side is typically white and the other is black They can be easily moved around the studio
23
Soft box This light softens the subject hence the name The main sheet is velcroed onto the head with another small sheet underneath which can also come off if you want a harsher light Soft-boxes come in large and small sizes
GETTING TO GRIPS WITH UNDERSTANDING POWER
In a perment studio it is likely the mains will need to be switched on As the image on the left shows you simply twist the red holder from left to right If you are changing one of the light bulbs it is vital to switch the mains off so you donrsquot electrocute yourself
Before using any equipment in the studio it is important to under how to operate the lighting units and how you can change the power to desired effect This section looks at understanding how to power the lights
24
GETTING TO GRIPS WITH UNDERSTANDING POWER
TIP Flash to release the power if you are decreasing the power to reduce the chances of damaging the power unit
May also say lsquoStopsrsquo instead of lsquoPowerrsquo Increase the power and the flash will be brighter
May also read as lsquoTenthsrsquo instead of lsquoLamprsquo Lower this to make the light dimmer
25
The higher the number the brighter the light The lowest is f50 with f10 the highest Press the arrows beneath it to go updown a stop
Press this green button to flash If it flashes it means power needs to be discharged
STUDIO BASIC EFFECTS
When it comes to working in the studio experiment-ing is key Although the speed of the lights is 1125 so shoot at this shutter speedHere are some examples of what lighting set up achieves what sort of effect
26
By placing the light on the left side of the mod-el you see that only half of the face is lit and the other half in darkness as there is no light coming from theat direction
The light is placed about 1 metre away from the model and the camera also about the same distance
STUDIO BASIC EFFECTS
27
If you add a black reflector directly opposite from where the light is coming from about 1 metre away from the model it will bounce and light this side of the face As it is black which absorbs light it wonrsquot reflect too much back
TIPWhen lighting skin it is better to go 1 stop higher to over expose it slightly or the skin can look a little dark
STUDIO BASIC EFFECTS
If you change the black reflector for a white reflector the model will appear more lit This is because white reflects light The closer you move the white reflector the better lit the model will be
28
With this shot the softbox and white reflector were about 1 metre away from the model with thecamera also about 1 metre away from the model
STUDIO BASIC EFFECTS
If you donrsquot want a dramatic effect with many shadows place the light directly in front of the model and by adding a white reflector under-neath the light should also bounce onto the model
29
A white poly board was used underneath and below the model to bring in more light to her light her with This was about 2 feet away from her The soft box was on f2
LIGHTING WORKING WITH THE BACKDROP
30
Backdrops can dramatically change how we see a photograph The studio typically has a white or black backdrop
To create this a black poly board was positioned behind the model Two soft boxes were placed diagonally facing the model at f1 about 1 metre away Camera on ISO 200 aperture f8 and shutter on 1125 secs
LIGHTING WORKING WITH THE BACKDROP
31
With the previous photographs it appears the back-drop is grey as it is not being directly lit However there is a method to stop this Use a Bowen 500W soft box above the camera set on f3 Using a Bowen 500W light with a spill kill head set on f55 facing the backdrop Place a black reflector in front of this light to block light bouncing back to the model Place a white reflector next to the model as it will help bounce light back to the wall Each reflector should be about 15 metres from the model
LIGHTING BACK LIGHTING HAIR
32
This set up was created with a Bowen 500W Honeycomb head at f2 placed behind at one side of the model A beauty dish placed above the camera at f1 to give the main light source for the face
Backlighting is most often used for beauty and fashion shoots as it creates a more dramatic shot Back lighting hair that is blonde or very light tends to be more effective over darker hair as the two on the right show
LIGHTING BACK LIGHTING HAIR
33
Blonde Hair
Darker Hair
LIGHTING WORKING OUTSIDE
You will needbull A camera that allows sync bull Sync cable for flash Wireless
flash triggerbull 500w or 750w lightsbull Battery pack (to power the light)bull Light meterbull You may also addbull Snootbeauty dishhoneycombbull Power cablesbull Whitesilvergold reflector
Of course using lights are not soley used in an indoor environement This section looks at how to use the travel kits outside where the lighting is more difficult to control in comparison to the studio
34
LIGHTING WORKING OUTSIDE
35
This photograph was taken in an alley way where there was not much light It was intentional to have the railings appearing dark with the scene behind it being fairly lit The model was about 4 metres from the camera and light which was up high
This photograph was created using an aperture of f63 shutter speed of 1125 seconds and and ISO of 200 The Bowen 500W travel kit was used with the light unit set on f5
LIGHTING WORKING OUTSIDE CONT
36
This was created using the Bowen 500W at f2 The light directly bounced off the reflector opposite to light this photograph The aperture was on f16 which helped make the back-ground darker
LIGHTING WORKING OUTSIDE CONT
37
The aim with this was to light the background evenly with the model The Bowen 500W at f2 light the was placed at the model at angle so it could hit the reflector and light the wall at the same time
LIGHTING WORKING OUTSIDE CONT
38
With this one the soft box was placed closely to the model with the gold reflector at the opposite end to reflect the light The backdrop is dark as the aperture is around f16 with the light set on f5 Proves a dramatic set up
LIGHTING WORKING OUTSIDE CONT
39
This was created using 1 light but a gold reflector was placed down below near the model so the light could be reflected The Bowen 500W on f1 had an umbrella with no silver casing facing towards the model to give a fair but dramatic lighting
LIGHTING WORKING OUTSIDE CONT
40
These photographs were taken using the Canon Speedlite 580ex ii Two were used with 1 as the Master and the other as the slave
With this set-up the flash was on full power hence the dramatic lighing but the flash was positioned upwards The slave flash is what creates the majority of the light as it is at head level to the model at the side
LIGHTING WORKING OUTSIDE CONT
41
Here the model moved closer to the slave flash which was set on full power once again The master was not on hence why the only light source in the photograph is coming in directly onto the model Makes for an unusual set-up and for a dramatic effect
NOTES NOTES
42
NOTES NOTES
43
NOTES NOTES
44
NOTES NOTES
45
THIS GUIDE TO LIGHTING COVERS EVERTHING YOU NEED TO KNOW ABOUT THE BASICS OF A PHOTOGRAPHIC STUDIO FROM UNDERSTANDING LIGHTING EQUIPMENT TO ACHEIVING DESIRED RESULTS FROM CERTAIN TECHNIQUES THIS GUIDE GIVES A SIMPLE EXPLAINATION TO ASSIST YOU
LUCY BARTLETT IS STUDYING BA (HONS) PHOTOGRAPHY AT COVENTRY UNIVERSITY THIS MANUAL WAS PRO-DUCED AS PART OF THE lsquoWORKING WITH LIGHTrsquo MODULE
Prepared by MagCloud for Lucy Bartlett Get more at lucybartlettphotographymagcloudcom
CONTENTS
Top Tips and Info 4-5
How To
Use a Light Meter 6-7Making Lighting Diagrams 8-9Make a Pinhole Camera 10-19
Getting To Grips WithStudio Equipment 20-23Understanding Power 24-25
LightingBasic Effects 26-29Working with the Backdrop 30-31Backlighting Hair 32-33Working Outside 34-41
Notes 42-45
TOP TIPS AND INFO
SHUTTER SPEEDShutter speed is the speed at which you take the photograph You can think of each increase or decrease in lsquostopsrsquo of light For example 130s lets in twice as much light as 160s which lets in half as much light as 1120s as the shutter speed is increasing each time
APERTUREJust like the zone system which is explained on the opposite page these numbers represent stops of light An aperture of f4 lets in twice as much light as f56 which lets in twice as much light as f8 The higher the number is the bigger size the aperture will be
ISO The ISO is how sensitive to light the film or image sensor is The higher the ISO number the grainier the photograph 4
TOP TIPS AND INFO
The Zone System The zone system can be employed to pre-visualize the images you make A light meter will always give you an exposure for zone 5 (V) as this is mid-grey the perfect exposureRemember that each zone also represents one lsquostoprsquo of light so that zone 4 (IV) is half as much light as zone 5 (V) which is half as much light as zone 6 (VI)
5
HOW TO USE A LIGHT METER
A light meter is an indispensible tool for any photographer If used correctly the light meter gives the photographer the correct exposure and once yoursquove mastered the basics of it you can work out how you want a photograph to work out The light meter will give you the reading for zone 5 (refer back to the previous page to understand the zone system) as this is mid-grey the perfect exposure
On the light meter opposite yoursquoll notice there is it reads lsquo125rsquo with a lsquoTrsquo for time above it This is the shutter speed you should shoot at The lsquo16rsquo with the lsquoFrsquo above it is the aperture you should shoot at The ISO on the image opposite reads lsquo100rsquo It is important that you set the ISO that matches the ISO on your camera or you will not get the correct exposure
If the meter reads lsquoEursquo it means that there is not enough light If it blinks you need to add more light If solid the apertureshutter needs changing
6
HOW TO USE A LIGHT METER
Turn onoff
ISO button - Used to change the ISO Flash sync
socket
Dome - Reads the light
Mode - This changes the mode the meter is set on Modes ambient flash flash connected to via sync
Up and Down Arrows - How to adjust aperture
Exposed button - Once yoursquore reading to get your reading simply press this button
7
HOW TO MAKE LIGHTING DIAGRAMS
As a photographer it is useful to write down or make note of lighting set-ups Although you could draw your set ups it is easier and neater to use software that helps you create lighting diagrams One example is httpwwwlightingdiagramscom This is what it looks like simply click on lsquoCreatorrsquo on the online site
All tools on the right are labelled and you simple click then move around on the grid
8
HOW TO MAKE LIGHTING DIAGRAMS
You may also decide to write over the diagram with the equipment used the setting of the equipment and the distance between each item should you require it for future reference The easiest way to do this is by adding text to the diagram on Photoshop
Once yoursquove exported your diagram it should look a little like this
9
HOW TO MAKE A PINHOLE CAMERA
What you will needbull 500ml Canbull Can Openerbull Scissorsbull Duct tapegaffer tapebull Double sided sticky tapebull Masking tapebull Sheet of black paperbull Needlepin
1 With the can opener cut the top of the 500ml lid off
10
HOW TO MAKE A PINHOLE CAMERA
2 Once you have cut the lid off you should have something like this Keep sure it is smooth so you do not cut your self
3 Using the scissors cut the black paper into a long rectanglur shape
11
HOW TO PINHOLE CONT
4 Once you have a rectangular shape piece of paper cut several slits into the whole length of paper like so
5 Using the left over paper use your can to draw a circular shape on the paper
12
HOW TO PINHOLE CONT
6 Once you have drawn your circle from the can cut out the circle
7 With the rectangular piece of paper fold over the sides so the paper is more flimsy and can be folded in
13
HOW TO PINHOLE CONT
8 Wrap the rectangular piece of paper around the can and use double sided sticky tape to hold the paper in place keeping sure the side with the slits can fold over the can
9 Using the double sided sticky tape put some onto the circular paper
14
HOW TO PINHOLE CONT
10 Firmly place and hold down the circular piece of paper on top of the folded over paper with the slits on it
11 You should now have a lid for yout camera which can easily pop on and off over the can
15
HOW TO PINHOLE CONT
12 Using the duct tape or gaffer tape begin to cover the lid to make it as light proof as possible
13 Keep covering the lid until no paper shows
16
HOW TO PINHOLE CONT
15 Using the needle or pin pierce into the can like so You now have an aperture
14 You should now have something like this It should be able to come away from the can with ease
17
HOW TO PINHOLE CONT
16 To make a stopper to stop light entering the pinhole camera tape some of the black paper over the aperture with masking tape Alternatively use blu-tac
And there you have it Just insert photo-sensitive paper into your camera by re-moving the lid Your pinhole camera is now ready to go
18
HOW TO PINHOLE CONT
Top tips
bull The bigger the hole the more light is let in For sharpe images make the hole as small as possible For a soft focus make the hole slightly bigger
bull Ensure the camera is lightproof to stop unwanted light effecting the paper
bull Avoid camera shake as it will result in very blurred images
bull Donrsquot use very thick material for your camera so your camera so that the light is not restricted
bull Ensure paper is inserted correctly
19
GETTING TO GRIPS WITH STUDIO EQUIPMENT
A photography studio or any other studio for that matter is an ideal space for photographers to work in There is a great deal of control over the lighting than if you were working outside
Spill KillThis head comes in a range of sizes A very basic head which gives a hard light on the subject
20
GETTING TO GRIPS WITH STUDIO EQUIPMENT
Umbrella This can be used with the silver lining with black back which should be aimed facing away from the subject as it reflects the light Without it it should be aime towards the subject as the light will disfuse through the white of the umbrella
Flash Gun A flash gun is easily portable for on location shooting It is possible to match 2 up 1 the master the other the slave
21
Beauty Dish This head is ideal for portraits where you want soft light on model Honeycomb can be inserted inside Snoot This head gives a spotlight effect so will look circular on whatever you project it on to Perfect for dramatic lighting and if you want to highlight something
GETTING TO GRIPS WITH STUDIO EQUIPMENT
22
500W and 750W Travel Kit A range of kits are available but the picture on the left features 2 500W flash head with 2 stands 2 umbrellas 2 mains lead and a synch lead Ideal for both studio work and on location
Transmitters One is connected to light and the other one on the hot shoe of the camera Working wirelessly without the need for sync cables this sends the signal to the flash so when you press the shutter the flash goes off They have channels so you can set certain lights off
Battery pack The battery pack can be used to power upto 2 lights at once
GETTING TO GRIPS WITH STUDIO EQUIPMENT
Poly boardsReflectors Also known as Flags these can reflect or block light from the subject you are photographing One side is typically white and the other is black They can be easily moved around the studio
23
Soft box This light softens the subject hence the name The main sheet is velcroed onto the head with another small sheet underneath which can also come off if you want a harsher light Soft-boxes come in large and small sizes
GETTING TO GRIPS WITH UNDERSTANDING POWER
In a perment studio it is likely the mains will need to be switched on As the image on the left shows you simply twist the red holder from left to right If you are changing one of the light bulbs it is vital to switch the mains off so you donrsquot electrocute yourself
Before using any equipment in the studio it is important to under how to operate the lighting units and how you can change the power to desired effect This section looks at understanding how to power the lights
24
GETTING TO GRIPS WITH UNDERSTANDING POWER
TIP Flash to release the power if you are decreasing the power to reduce the chances of damaging the power unit
May also say lsquoStopsrsquo instead of lsquoPowerrsquo Increase the power and the flash will be brighter
May also read as lsquoTenthsrsquo instead of lsquoLamprsquo Lower this to make the light dimmer
25
The higher the number the brighter the light The lowest is f50 with f10 the highest Press the arrows beneath it to go updown a stop
Press this green button to flash If it flashes it means power needs to be discharged
STUDIO BASIC EFFECTS
When it comes to working in the studio experiment-ing is key Although the speed of the lights is 1125 so shoot at this shutter speedHere are some examples of what lighting set up achieves what sort of effect
26
By placing the light on the left side of the mod-el you see that only half of the face is lit and the other half in darkness as there is no light coming from theat direction
The light is placed about 1 metre away from the model and the camera also about the same distance
STUDIO BASIC EFFECTS
27
If you add a black reflector directly opposite from where the light is coming from about 1 metre away from the model it will bounce and light this side of the face As it is black which absorbs light it wonrsquot reflect too much back
TIPWhen lighting skin it is better to go 1 stop higher to over expose it slightly or the skin can look a little dark
STUDIO BASIC EFFECTS
If you change the black reflector for a white reflector the model will appear more lit This is because white reflects light The closer you move the white reflector the better lit the model will be
28
With this shot the softbox and white reflector were about 1 metre away from the model with thecamera also about 1 metre away from the model
STUDIO BASIC EFFECTS
If you donrsquot want a dramatic effect with many shadows place the light directly in front of the model and by adding a white reflector under-neath the light should also bounce onto the model
29
A white poly board was used underneath and below the model to bring in more light to her light her with This was about 2 feet away from her The soft box was on f2
LIGHTING WORKING WITH THE BACKDROP
30
Backdrops can dramatically change how we see a photograph The studio typically has a white or black backdrop
To create this a black poly board was positioned behind the model Two soft boxes were placed diagonally facing the model at f1 about 1 metre away Camera on ISO 200 aperture f8 and shutter on 1125 secs
LIGHTING WORKING WITH THE BACKDROP
31
With the previous photographs it appears the back-drop is grey as it is not being directly lit However there is a method to stop this Use a Bowen 500W soft box above the camera set on f3 Using a Bowen 500W light with a spill kill head set on f55 facing the backdrop Place a black reflector in front of this light to block light bouncing back to the model Place a white reflector next to the model as it will help bounce light back to the wall Each reflector should be about 15 metres from the model
LIGHTING BACK LIGHTING HAIR
32
This set up was created with a Bowen 500W Honeycomb head at f2 placed behind at one side of the model A beauty dish placed above the camera at f1 to give the main light source for the face
Backlighting is most often used for beauty and fashion shoots as it creates a more dramatic shot Back lighting hair that is blonde or very light tends to be more effective over darker hair as the two on the right show
LIGHTING BACK LIGHTING HAIR
33
Blonde Hair
Darker Hair
LIGHTING WORKING OUTSIDE
You will needbull A camera that allows sync bull Sync cable for flash Wireless
flash triggerbull 500w or 750w lightsbull Battery pack (to power the light)bull Light meterbull You may also addbull Snootbeauty dishhoneycombbull Power cablesbull Whitesilvergold reflector
Of course using lights are not soley used in an indoor environement This section looks at how to use the travel kits outside where the lighting is more difficult to control in comparison to the studio
34
LIGHTING WORKING OUTSIDE
35
This photograph was taken in an alley way where there was not much light It was intentional to have the railings appearing dark with the scene behind it being fairly lit The model was about 4 metres from the camera and light which was up high
This photograph was created using an aperture of f63 shutter speed of 1125 seconds and and ISO of 200 The Bowen 500W travel kit was used with the light unit set on f5
LIGHTING WORKING OUTSIDE CONT
36
This was created using the Bowen 500W at f2 The light directly bounced off the reflector opposite to light this photograph The aperture was on f16 which helped make the back-ground darker
LIGHTING WORKING OUTSIDE CONT
37
The aim with this was to light the background evenly with the model The Bowen 500W at f2 light the was placed at the model at angle so it could hit the reflector and light the wall at the same time
LIGHTING WORKING OUTSIDE CONT
38
With this one the soft box was placed closely to the model with the gold reflector at the opposite end to reflect the light The backdrop is dark as the aperture is around f16 with the light set on f5 Proves a dramatic set up
LIGHTING WORKING OUTSIDE CONT
39
This was created using 1 light but a gold reflector was placed down below near the model so the light could be reflected The Bowen 500W on f1 had an umbrella with no silver casing facing towards the model to give a fair but dramatic lighting
LIGHTING WORKING OUTSIDE CONT
40
These photographs were taken using the Canon Speedlite 580ex ii Two were used with 1 as the Master and the other as the slave
With this set-up the flash was on full power hence the dramatic lighing but the flash was positioned upwards The slave flash is what creates the majority of the light as it is at head level to the model at the side
LIGHTING WORKING OUTSIDE CONT
41
Here the model moved closer to the slave flash which was set on full power once again The master was not on hence why the only light source in the photograph is coming in directly onto the model Makes for an unusual set-up and for a dramatic effect
NOTES NOTES
42
NOTES NOTES
43
NOTES NOTES
44
NOTES NOTES
45
THIS GUIDE TO LIGHTING COVERS EVERTHING YOU NEED TO KNOW ABOUT THE BASICS OF A PHOTOGRAPHIC STUDIO FROM UNDERSTANDING LIGHTING EQUIPMENT TO ACHEIVING DESIRED RESULTS FROM CERTAIN TECHNIQUES THIS GUIDE GIVES A SIMPLE EXPLAINATION TO ASSIST YOU
LUCY BARTLETT IS STUDYING BA (HONS) PHOTOGRAPHY AT COVENTRY UNIVERSITY THIS MANUAL WAS PRO-DUCED AS PART OF THE lsquoWORKING WITH LIGHTrsquo MODULE
Prepared by MagCloud for Lucy Bartlett Get more at lucybartlettphotographymagcloudcom
TOP TIPS AND INFO
SHUTTER SPEEDShutter speed is the speed at which you take the photograph You can think of each increase or decrease in lsquostopsrsquo of light For example 130s lets in twice as much light as 160s which lets in half as much light as 1120s as the shutter speed is increasing each time
APERTUREJust like the zone system which is explained on the opposite page these numbers represent stops of light An aperture of f4 lets in twice as much light as f56 which lets in twice as much light as f8 The higher the number is the bigger size the aperture will be
ISO The ISO is how sensitive to light the film or image sensor is The higher the ISO number the grainier the photograph 4
TOP TIPS AND INFO
The Zone System The zone system can be employed to pre-visualize the images you make A light meter will always give you an exposure for zone 5 (V) as this is mid-grey the perfect exposureRemember that each zone also represents one lsquostoprsquo of light so that zone 4 (IV) is half as much light as zone 5 (V) which is half as much light as zone 6 (VI)
5
HOW TO USE A LIGHT METER
A light meter is an indispensible tool for any photographer If used correctly the light meter gives the photographer the correct exposure and once yoursquove mastered the basics of it you can work out how you want a photograph to work out The light meter will give you the reading for zone 5 (refer back to the previous page to understand the zone system) as this is mid-grey the perfect exposure
On the light meter opposite yoursquoll notice there is it reads lsquo125rsquo with a lsquoTrsquo for time above it This is the shutter speed you should shoot at The lsquo16rsquo with the lsquoFrsquo above it is the aperture you should shoot at The ISO on the image opposite reads lsquo100rsquo It is important that you set the ISO that matches the ISO on your camera or you will not get the correct exposure
If the meter reads lsquoEursquo it means that there is not enough light If it blinks you need to add more light If solid the apertureshutter needs changing
6
HOW TO USE A LIGHT METER
Turn onoff
ISO button - Used to change the ISO Flash sync
socket
Dome - Reads the light
Mode - This changes the mode the meter is set on Modes ambient flash flash connected to via sync
Up and Down Arrows - How to adjust aperture
Exposed button - Once yoursquore reading to get your reading simply press this button
7
HOW TO MAKE LIGHTING DIAGRAMS
As a photographer it is useful to write down or make note of lighting set-ups Although you could draw your set ups it is easier and neater to use software that helps you create lighting diagrams One example is httpwwwlightingdiagramscom This is what it looks like simply click on lsquoCreatorrsquo on the online site
All tools on the right are labelled and you simple click then move around on the grid
8
HOW TO MAKE LIGHTING DIAGRAMS
You may also decide to write over the diagram with the equipment used the setting of the equipment and the distance between each item should you require it for future reference The easiest way to do this is by adding text to the diagram on Photoshop
Once yoursquove exported your diagram it should look a little like this
9
HOW TO MAKE A PINHOLE CAMERA
What you will needbull 500ml Canbull Can Openerbull Scissorsbull Duct tapegaffer tapebull Double sided sticky tapebull Masking tapebull Sheet of black paperbull Needlepin
1 With the can opener cut the top of the 500ml lid off
10
HOW TO MAKE A PINHOLE CAMERA
2 Once you have cut the lid off you should have something like this Keep sure it is smooth so you do not cut your self
3 Using the scissors cut the black paper into a long rectanglur shape
11
HOW TO PINHOLE CONT
4 Once you have a rectangular shape piece of paper cut several slits into the whole length of paper like so
5 Using the left over paper use your can to draw a circular shape on the paper
12
HOW TO PINHOLE CONT
6 Once you have drawn your circle from the can cut out the circle
7 With the rectangular piece of paper fold over the sides so the paper is more flimsy and can be folded in
13
HOW TO PINHOLE CONT
8 Wrap the rectangular piece of paper around the can and use double sided sticky tape to hold the paper in place keeping sure the side with the slits can fold over the can
9 Using the double sided sticky tape put some onto the circular paper
14
HOW TO PINHOLE CONT
10 Firmly place and hold down the circular piece of paper on top of the folded over paper with the slits on it
11 You should now have a lid for yout camera which can easily pop on and off over the can
15
HOW TO PINHOLE CONT
12 Using the duct tape or gaffer tape begin to cover the lid to make it as light proof as possible
13 Keep covering the lid until no paper shows
16
HOW TO PINHOLE CONT
15 Using the needle or pin pierce into the can like so You now have an aperture
14 You should now have something like this It should be able to come away from the can with ease
17
HOW TO PINHOLE CONT
16 To make a stopper to stop light entering the pinhole camera tape some of the black paper over the aperture with masking tape Alternatively use blu-tac
And there you have it Just insert photo-sensitive paper into your camera by re-moving the lid Your pinhole camera is now ready to go
18
HOW TO PINHOLE CONT
Top tips
bull The bigger the hole the more light is let in For sharpe images make the hole as small as possible For a soft focus make the hole slightly bigger
bull Ensure the camera is lightproof to stop unwanted light effecting the paper
bull Avoid camera shake as it will result in very blurred images
bull Donrsquot use very thick material for your camera so your camera so that the light is not restricted
bull Ensure paper is inserted correctly
19
GETTING TO GRIPS WITH STUDIO EQUIPMENT
A photography studio or any other studio for that matter is an ideal space for photographers to work in There is a great deal of control over the lighting than if you were working outside
Spill KillThis head comes in a range of sizes A very basic head which gives a hard light on the subject
20
GETTING TO GRIPS WITH STUDIO EQUIPMENT
Umbrella This can be used with the silver lining with black back which should be aimed facing away from the subject as it reflects the light Without it it should be aime towards the subject as the light will disfuse through the white of the umbrella
Flash Gun A flash gun is easily portable for on location shooting It is possible to match 2 up 1 the master the other the slave
21
Beauty Dish This head is ideal for portraits where you want soft light on model Honeycomb can be inserted inside Snoot This head gives a spotlight effect so will look circular on whatever you project it on to Perfect for dramatic lighting and if you want to highlight something
GETTING TO GRIPS WITH STUDIO EQUIPMENT
22
500W and 750W Travel Kit A range of kits are available but the picture on the left features 2 500W flash head with 2 stands 2 umbrellas 2 mains lead and a synch lead Ideal for both studio work and on location
Transmitters One is connected to light and the other one on the hot shoe of the camera Working wirelessly without the need for sync cables this sends the signal to the flash so when you press the shutter the flash goes off They have channels so you can set certain lights off
Battery pack The battery pack can be used to power upto 2 lights at once
GETTING TO GRIPS WITH STUDIO EQUIPMENT
Poly boardsReflectors Also known as Flags these can reflect or block light from the subject you are photographing One side is typically white and the other is black They can be easily moved around the studio
23
Soft box This light softens the subject hence the name The main sheet is velcroed onto the head with another small sheet underneath which can also come off if you want a harsher light Soft-boxes come in large and small sizes
GETTING TO GRIPS WITH UNDERSTANDING POWER
In a perment studio it is likely the mains will need to be switched on As the image on the left shows you simply twist the red holder from left to right If you are changing one of the light bulbs it is vital to switch the mains off so you donrsquot electrocute yourself
Before using any equipment in the studio it is important to under how to operate the lighting units and how you can change the power to desired effect This section looks at understanding how to power the lights
24
GETTING TO GRIPS WITH UNDERSTANDING POWER
TIP Flash to release the power if you are decreasing the power to reduce the chances of damaging the power unit
May also say lsquoStopsrsquo instead of lsquoPowerrsquo Increase the power and the flash will be brighter
May also read as lsquoTenthsrsquo instead of lsquoLamprsquo Lower this to make the light dimmer
25
The higher the number the brighter the light The lowest is f50 with f10 the highest Press the arrows beneath it to go updown a stop
Press this green button to flash If it flashes it means power needs to be discharged
STUDIO BASIC EFFECTS
When it comes to working in the studio experiment-ing is key Although the speed of the lights is 1125 so shoot at this shutter speedHere are some examples of what lighting set up achieves what sort of effect
26
By placing the light on the left side of the mod-el you see that only half of the face is lit and the other half in darkness as there is no light coming from theat direction
The light is placed about 1 metre away from the model and the camera also about the same distance
STUDIO BASIC EFFECTS
27
If you add a black reflector directly opposite from where the light is coming from about 1 metre away from the model it will bounce and light this side of the face As it is black which absorbs light it wonrsquot reflect too much back
TIPWhen lighting skin it is better to go 1 stop higher to over expose it slightly or the skin can look a little dark
STUDIO BASIC EFFECTS
If you change the black reflector for a white reflector the model will appear more lit This is because white reflects light The closer you move the white reflector the better lit the model will be
28
With this shot the softbox and white reflector were about 1 metre away from the model with thecamera also about 1 metre away from the model
STUDIO BASIC EFFECTS
If you donrsquot want a dramatic effect with many shadows place the light directly in front of the model and by adding a white reflector under-neath the light should also bounce onto the model
29
A white poly board was used underneath and below the model to bring in more light to her light her with This was about 2 feet away from her The soft box was on f2
LIGHTING WORKING WITH THE BACKDROP
30
Backdrops can dramatically change how we see a photograph The studio typically has a white or black backdrop
To create this a black poly board was positioned behind the model Two soft boxes were placed diagonally facing the model at f1 about 1 metre away Camera on ISO 200 aperture f8 and shutter on 1125 secs
LIGHTING WORKING WITH THE BACKDROP
31
With the previous photographs it appears the back-drop is grey as it is not being directly lit However there is a method to stop this Use a Bowen 500W soft box above the camera set on f3 Using a Bowen 500W light with a spill kill head set on f55 facing the backdrop Place a black reflector in front of this light to block light bouncing back to the model Place a white reflector next to the model as it will help bounce light back to the wall Each reflector should be about 15 metres from the model
LIGHTING BACK LIGHTING HAIR
32
This set up was created with a Bowen 500W Honeycomb head at f2 placed behind at one side of the model A beauty dish placed above the camera at f1 to give the main light source for the face
Backlighting is most often used for beauty and fashion shoots as it creates a more dramatic shot Back lighting hair that is blonde or very light tends to be more effective over darker hair as the two on the right show
LIGHTING BACK LIGHTING HAIR
33
Blonde Hair
Darker Hair
LIGHTING WORKING OUTSIDE
You will needbull A camera that allows sync bull Sync cable for flash Wireless
flash triggerbull 500w or 750w lightsbull Battery pack (to power the light)bull Light meterbull You may also addbull Snootbeauty dishhoneycombbull Power cablesbull Whitesilvergold reflector
Of course using lights are not soley used in an indoor environement This section looks at how to use the travel kits outside where the lighting is more difficult to control in comparison to the studio
34
LIGHTING WORKING OUTSIDE
35
This photograph was taken in an alley way where there was not much light It was intentional to have the railings appearing dark with the scene behind it being fairly lit The model was about 4 metres from the camera and light which was up high
This photograph was created using an aperture of f63 shutter speed of 1125 seconds and and ISO of 200 The Bowen 500W travel kit was used with the light unit set on f5
LIGHTING WORKING OUTSIDE CONT
36
This was created using the Bowen 500W at f2 The light directly bounced off the reflector opposite to light this photograph The aperture was on f16 which helped make the back-ground darker
LIGHTING WORKING OUTSIDE CONT
37
The aim with this was to light the background evenly with the model The Bowen 500W at f2 light the was placed at the model at angle so it could hit the reflector and light the wall at the same time
LIGHTING WORKING OUTSIDE CONT
38
With this one the soft box was placed closely to the model with the gold reflector at the opposite end to reflect the light The backdrop is dark as the aperture is around f16 with the light set on f5 Proves a dramatic set up
LIGHTING WORKING OUTSIDE CONT
39
This was created using 1 light but a gold reflector was placed down below near the model so the light could be reflected The Bowen 500W on f1 had an umbrella with no silver casing facing towards the model to give a fair but dramatic lighting
LIGHTING WORKING OUTSIDE CONT
40
These photographs were taken using the Canon Speedlite 580ex ii Two were used with 1 as the Master and the other as the slave
With this set-up the flash was on full power hence the dramatic lighing but the flash was positioned upwards The slave flash is what creates the majority of the light as it is at head level to the model at the side
LIGHTING WORKING OUTSIDE CONT
41
Here the model moved closer to the slave flash which was set on full power once again The master was not on hence why the only light source in the photograph is coming in directly onto the model Makes for an unusual set-up and for a dramatic effect
NOTES NOTES
42
NOTES NOTES
43
NOTES NOTES
44
NOTES NOTES
45
THIS GUIDE TO LIGHTING COVERS EVERTHING YOU NEED TO KNOW ABOUT THE BASICS OF A PHOTOGRAPHIC STUDIO FROM UNDERSTANDING LIGHTING EQUIPMENT TO ACHEIVING DESIRED RESULTS FROM CERTAIN TECHNIQUES THIS GUIDE GIVES A SIMPLE EXPLAINATION TO ASSIST YOU
LUCY BARTLETT IS STUDYING BA (HONS) PHOTOGRAPHY AT COVENTRY UNIVERSITY THIS MANUAL WAS PRO-DUCED AS PART OF THE lsquoWORKING WITH LIGHTrsquo MODULE
Prepared by MagCloud for Lucy Bartlett Get more at lucybartlettphotographymagcloudcom
TOP TIPS AND INFO
The Zone System The zone system can be employed to pre-visualize the images you make A light meter will always give you an exposure for zone 5 (V) as this is mid-grey the perfect exposureRemember that each zone also represents one lsquostoprsquo of light so that zone 4 (IV) is half as much light as zone 5 (V) which is half as much light as zone 6 (VI)
5
HOW TO USE A LIGHT METER
A light meter is an indispensible tool for any photographer If used correctly the light meter gives the photographer the correct exposure and once yoursquove mastered the basics of it you can work out how you want a photograph to work out The light meter will give you the reading for zone 5 (refer back to the previous page to understand the zone system) as this is mid-grey the perfect exposure
On the light meter opposite yoursquoll notice there is it reads lsquo125rsquo with a lsquoTrsquo for time above it This is the shutter speed you should shoot at The lsquo16rsquo with the lsquoFrsquo above it is the aperture you should shoot at The ISO on the image opposite reads lsquo100rsquo It is important that you set the ISO that matches the ISO on your camera or you will not get the correct exposure
If the meter reads lsquoEursquo it means that there is not enough light If it blinks you need to add more light If solid the apertureshutter needs changing
6
HOW TO USE A LIGHT METER
Turn onoff
ISO button - Used to change the ISO Flash sync
socket
Dome - Reads the light
Mode - This changes the mode the meter is set on Modes ambient flash flash connected to via sync
Up and Down Arrows - How to adjust aperture
Exposed button - Once yoursquore reading to get your reading simply press this button
7
HOW TO MAKE LIGHTING DIAGRAMS
As a photographer it is useful to write down or make note of lighting set-ups Although you could draw your set ups it is easier and neater to use software that helps you create lighting diagrams One example is httpwwwlightingdiagramscom This is what it looks like simply click on lsquoCreatorrsquo on the online site
All tools on the right are labelled and you simple click then move around on the grid
8
HOW TO MAKE LIGHTING DIAGRAMS
You may also decide to write over the diagram with the equipment used the setting of the equipment and the distance between each item should you require it for future reference The easiest way to do this is by adding text to the diagram on Photoshop
Once yoursquove exported your diagram it should look a little like this
9
HOW TO MAKE A PINHOLE CAMERA
What you will needbull 500ml Canbull Can Openerbull Scissorsbull Duct tapegaffer tapebull Double sided sticky tapebull Masking tapebull Sheet of black paperbull Needlepin
1 With the can opener cut the top of the 500ml lid off
10
HOW TO MAKE A PINHOLE CAMERA
2 Once you have cut the lid off you should have something like this Keep sure it is smooth so you do not cut your self
3 Using the scissors cut the black paper into a long rectanglur shape
11
HOW TO PINHOLE CONT
4 Once you have a rectangular shape piece of paper cut several slits into the whole length of paper like so
5 Using the left over paper use your can to draw a circular shape on the paper
12
HOW TO PINHOLE CONT
6 Once you have drawn your circle from the can cut out the circle
7 With the rectangular piece of paper fold over the sides so the paper is more flimsy and can be folded in
13
HOW TO PINHOLE CONT
8 Wrap the rectangular piece of paper around the can and use double sided sticky tape to hold the paper in place keeping sure the side with the slits can fold over the can
9 Using the double sided sticky tape put some onto the circular paper
14
HOW TO PINHOLE CONT
10 Firmly place and hold down the circular piece of paper on top of the folded over paper with the slits on it
11 You should now have a lid for yout camera which can easily pop on and off over the can
15
HOW TO PINHOLE CONT
12 Using the duct tape or gaffer tape begin to cover the lid to make it as light proof as possible
13 Keep covering the lid until no paper shows
16
HOW TO PINHOLE CONT
15 Using the needle or pin pierce into the can like so You now have an aperture
14 You should now have something like this It should be able to come away from the can with ease
17
HOW TO PINHOLE CONT
16 To make a stopper to stop light entering the pinhole camera tape some of the black paper over the aperture with masking tape Alternatively use blu-tac
And there you have it Just insert photo-sensitive paper into your camera by re-moving the lid Your pinhole camera is now ready to go
18
HOW TO PINHOLE CONT
Top tips
bull The bigger the hole the more light is let in For sharpe images make the hole as small as possible For a soft focus make the hole slightly bigger
bull Ensure the camera is lightproof to stop unwanted light effecting the paper
bull Avoid camera shake as it will result in very blurred images
bull Donrsquot use very thick material for your camera so your camera so that the light is not restricted
bull Ensure paper is inserted correctly
19
GETTING TO GRIPS WITH STUDIO EQUIPMENT
A photography studio or any other studio for that matter is an ideal space for photographers to work in There is a great deal of control over the lighting than if you were working outside
Spill KillThis head comes in a range of sizes A very basic head which gives a hard light on the subject
20
GETTING TO GRIPS WITH STUDIO EQUIPMENT
Umbrella This can be used with the silver lining with black back which should be aimed facing away from the subject as it reflects the light Without it it should be aime towards the subject as the light will disfuse through the white of the umbrella
Flash Gun A flash gun is easily portable for on location shooting It is possible to match 2 up 1 the master the other the slave
21
Beauty Dish This head is ideal for portraits where you want soft light on model Honeycomb can be inserted inside Snoot This head gives a spotlight effect so will look circular on whatever you project it on to Perfect for dramatic lighting and if you want to highlight something
GETTING TO GRIPS WITH STUDIO EQUIPMENT
22
500W and 750W Travel Kit A range of kits are available but the picture on the left features 2 500W flash head with 2 stands 2 umbrellas 2 mains lead and a synch lead Ideal for both studio work and on location
Transmitters One is connected to light and the other one on the hot shoe of the camera Working wirelessly without the need for sync cables this sends the signal to the flash so when you press the shutter the flash goes off They have channels so you can set certain lights off
Battery pack The battery pack can be used to power upto 2 lights at once
GETTING TO GRIPS WITH STUDIO EQUIPMENT
Poly boardsReflectors Also known as Flags these can reflect or block light from the subject you are photographing One side is typically white and the other is black They can be easily moved around the studio
23
Soft box This light softens the subject hence the name The main sheet is velcroed onto the head with another small sheet underneath which can also come off if you want a harsher light Soft-boxes come in large and small sizes
GETTING TO GRIPS WITH UNDERSTANDING POWER
In a perment studio it is likely the mains will need to be switched on As the image on the left shows you simply twist the red holder from left to right If you are changing one of the light bulbs it is vital to switch the mains off so you donrsquot electrocute yourself
Before using any equipment in the studio it is important to under how to operate the lighting units and how you can change the power to desired effect This section looks at understanding how to power the lights
24
GETTING TO GRIPS WITH UNDERSTANDING POWER
TIP Flash to release the power if you are decreasing the power to reduce the chances of damaging the power unit
May also say lsquoStopsrsquo instead of lsquoPowerrsquo Increase the power and the flash will be brighter
May also read as lsquoTenthsrsquo instead of lsquoLamprsquo Lower this to make the light dimmer
25
The higher the number the brighter the light The lowest is f50 with f10 the highest Press the arrows beneath it to go updown a stop
Press this green button to flash If it flashes it means power needs to be discharged
STUDIO BASIC EFFECTS
When it comes to working in the studio experiment-ing is key Although the speed of the lights is 1125 so shoot at this shutter speedHere are some examples of what lighting set up achieves what sort of effect
26
By placing the light on the left side of the mod-el you see that only half of the face is lit and the other half in darkness as there is no light coming from theat direction
The light is placed about 1 metre away from the model and the camera also about the same distance
STUDIO BASIC EFFECTS
27
If you add a black reflector directly opposite from where the light is coming from about 1 metre away from the model it will bounce and light this side of the face As it is black which absorbs light it wonrsquot reflect too much back
TIPWhen lighting skin it is better to go 1 stop higher to over expose it slightly or the skin can look a little dark
STUDIO BASIC EFFECTS
If you change the black reflector for a white reflector the model will appear more lit This is because white reflects light The closer you move the white reflector the better lit the model will be
28
With this shot the softbox and white reflector were about 1 metre away from the model with thecamera also about 1 metre away from the model
STUDIO BASIC EFFECTS
If you donrsquot want a dramatic effect with many shadows place the light directly in front of the model and by adding a white reflector under-neath the light should also bounce onto the model
29
A white poly board was used underneath and below the model to bring in more light to her light her with This was about 2 feet away from her The soft box was on f2
LIGHTING WORKING WITH THE BACKDROP
30
Backdrops can dramatically change how we see a photograph The studio typically has a white or black backdrop
To create this a black poly board was positioned behind the model Two soft boxes were placed diagonally facing the model at f1 about 1 metre away Camera on ISO 200 aperture f8 and shutter on 1125 secs
LIGHTING WORKING WITH THE BACKDROP
31
With the previous photographs it appears the back-drop is grey as it is not being directly lit However there is a method to stop this Use a Bowen 500W soft box above the camera set on f3 Using a Bowen 500W light with a spill kill head set on f55 facing the backdrop Place a black reflector in front of this light to block light bouncing back to the model Place a white reflector next to the model as it will help bounce light back to the wall Each reflector should be about 15 metres from the model
LIGHTING BACK LIGHTING HAIR
32
This set up was created with a Bowen 500W Honeycomb head at f2 placed behind at one side of the model A beauty dish placed above the camera at f1 to give the main light source for the face
Backlighting is most often used for beauty and fashion shoots as it creates a more dramatic shot Back lighting hair that is blonde or very light tends to be more effective over darker hair as the two on the right show
LIGHTING BACK LIGHTING HAIR
33
Blonde Hair
Darker Hair
LIGHTING WORKING OUTSIDE
You will needbull A camera that allows sync bull Sync cable for flash Wireless
flash triggerbull 500w or 750w lightsbull Battery pack (to power the light)bull Light meterbull You may also addbull Snootbeauty dishhoneycombbull Power cablesbull Whitesilvergold reflector
Of course using lights are not soley used in an indoor environement This section looks at how to use the travel kits outside where the lighting is more difficult to control in comparison to the studio
34
LIGHTING WORKING OUTSIDE
35
This photograph was taken in an alley way where there was not much light It was intentional to have the railings appearing dark with the scene behind it being fairly lit The model was about 4 metres from the camera and light which was up high
This photograph was created using an aperture of f63 shutter speed of 1125 seconds and and ISO of 200 The Bowen 500W travel kit was used with the light unit set on f5
LIGHTING WORKING OUTSIDE CONT
36
This was created using the Bowen 500W at f2 The light directly bounced off the reflector opposite to light this photograph The aperture was on f16 which helped make the back-ground darker
LIGHTING WORKING OUTSIDE CONT
37
The aim with this was to light the background evenly with the model The Bowen 500W at f2 light the was placed at the model at angle so it could hit the reflector and light the wall at the same time
LIGHTING WORKING OUTSIDE CONT
38
With this one the soft box was placed closely to the model with the gold reflector at the opposite end to reflect the light The backdrop is dark as the aperture is around f16 with the light set on f5 Proves a dramatic set up
LIGHTING WORKING OUTSIDE CONT
39
This was created using 1 light but a gold reflector was placed down below near the model so the light could be reflected The Bowen 500W on f1 had an umbrella with no silver casing facing towards the model to give a fair but dramatic lighting
LIGHTING WORKING OUTSIDE CONT
40
These photographs were taken using the Canon Speedlite 580ex ii Two were used with 1 as the Master and the other as the slave
With this set-up the flash was on full power hence the dramatic lighing but the flash was positioned upwards The slave flash is what creates the majority of the light as it is at head level to the model at the side
LIGHTING WORKING OUTSIDE CONT
41
Here the model moved closer to the slave flash which was set on full power once again The master was not on hence why the only light source in the photograph is coming in directly onto the model Makes for an unusual set-up and for a dramatic effect
NOTES NOTES
42
NOTES NOTES
43
NOTES NOTES
44
NOTES NOTES
45
THIS GUIDE TO LIGHTING COVERS EVERTHING YOU NEED TO KNOW ABOUT THE BASICS OF A PHOTOGRAPHIC STUDIO FROM UNDERSTANDING LIGHTING EQUIPMENT TO ACHEIVING DESIRED RESULTS FROM CERTAIN TECHNIQUES THIS GUIDE GIVES A SIMPLE EXPLAINATION TO ASSIST YOU
LUCY BARTLETT IS STUDYING BA (HONS) PHOTOGRAPHY AT COVENTRY UNIVERSITY THIS MANUAL WAS PRO-DUCED AS PART OF THE lsquoWORKING WITH LIGHTrsquo MODULE
Prepared by MagCloud for Lucy Bartlett Get more at lucybartlettphotographymagcloudcom
HOW TO USE A LIGHT METER
A light meter is an indispensible tool for any photographer If used correctly the light meter gives the photographer the correct exposure and once yoursquove mastered the basics of it you can work out how you want a photograph to work out The light meter will give you the reading for zone 5 (refer back to the previous page to understand the zone system) as this is mid-grey the perfect exposure
On the light meter opposite yoursquoll notice there is it reads lsquo125rsquo with a lsquoTrsquo for time above it This is the shutter speed you should shoot at The lsquo16rsquo with the lsquoFrsquo above it is the aperture you should shoot at The ISO on the image opposite reads lsquo100rsquo It is important that you set the ISO that matches the ISO on your camera or you will not get the correct exposure
If the meter reads lsquoEursquo it means that there is not enough light If it blinks you need to add more light If solid the apertureshutter needs changing
6
HOW TO USE A LIGHT METER
Turn onoff
ISO button - Used to change the ISO Flash sync
socket
Dome - Reads the light
Mode - This changes the mode the meter is set on Modes ambient flash flash connected to via sync
Up and Down Arrows - How to adjust aperture
Exposed button - Once yoursquore reading to get your reading simply press this button
7
HOW TO MAKE LIGHTING DIAGRAMS
As a photographer it is useful to write down or make note of lighting set-ups Although you could draw your set ups it is easier and neater to use software that helps you create lighting diagrams One example is httpwwwlightingdiagramscom This is what it looks like simply click on lsquoCreatorrsquo on the online site
All tools on the right are labelled and you simple click then move around on the grid
8
HOW TO MAKE LIGHTING DIAGRAMS
You may also decide to write over the diagram with the equipment used the setting of the equipment and the distance between each item should you require it for future reference The easiest way to do this is by adding text to the diagram on Photoshop
Once yoursquove exported your diagram it should look a little like this
9
HOW TO MAKE A PINHOLE CAMERA
What you will needbull 500ml Canbull Can Openerbull Scissorsbull Duct tapegaffer tapebull Double sided sticky tapebull Masking tapebull Sheet of black paperbull Needlepin
1 With the can opener cut the top of the 500ml lid off
10
HOW TO MAKE A PINHOLE CAMERA
2 Once you have cut the lid off you should have something like this Keep sure it is smooth so you do not cut your self
3 Using the scissors cut the black paper into a long rectanglur shape
11
HOW TO PINHOLE CONT
4 Once you have a rectangular shape piece of paper cut several slits into the whole length of paper like so
5 Using the left over paper use your can to draw a circular shape on the paper
12
HOW TO PINHOLE CONT
6 Once you have drawn your circle from the can cut out the circle
7 With the rectangular piece of paper fold over the sides so the paper is more flimsy and can be folded in
13
HOW TO PINHOLE CONT
8 Wrap the rectangular piece of paper around the can and use double sided sticky tape to hold the paper in place keeping sure the side with the slits can fold over the can
9 Using the double sided sticky tape put some onto the circular paper
14
HOW TO PINHOLE CONT
10 Firmly place and hold down the circular piece of paper on top of the folded over paper with the slits on it
11 You should now have a lid for yout camera which can easily pop on and off over the can
15
HOW TO PINHOLE CONT
12 Using the duct tape or gaffer tape begin to cover the lid to make it as light proof as possible
13 Keep covering the lid until no paper shows
16
HOW TO PINHOLE CONT
15 Using the needle or pin pierce into the can like so You now have an aperture
14 You should now have something like this It should be able to come away from the can with ease
17
HOW TO PINHOLE CONT
16 To make a stopper to stop light entering the pinhole camera tape some of the black paper over the aperture with masking tape Alternatively use blu-tac
And there you have it Just insert photo-sensitive paper into your camera by re-moving the lid Your pinhole camera is now ready to go
18
HOW TO PINHOLE CONT
Top tips
bull The bigger the hole the more light is let in For sharpe images make the hole as small as possible For a soft focus make the hole slightly bigger
bull Ensure the camera is lightproof to stop unwanted light effecting the paper
bull Avoid camera shake as it will result in very blurred images
bull Donrsquot use very thick material for your camera so your camera so that the light is not restricted
bull Ensure paper is inserted correctly
19
GETTING TO GRIPS WITH STUDIO EQUIPMENT
A photography studio or any other studio for that matter is an ideal space for photographers to work in There is a great deal of control over the lighting than if you were working outside
Spill KillThis head comes in a range of sizes A very basic head which gives a hard light on the subject
20
GETTING TO GRIPS WITH STUDIO EQUIPMENT
Umbrella This can be used with the silver lining with black back which should be aimed facing away from the subject as it reflects the light Without it it should be aime towards the subject as the light will disfuse through the white of the umbrella
Flash Gun A flash gun is easily portable for on location shooting It is possible to match 2 up 1 the master the other the slave
21
Beauty Dish This head is ideal for portraits where you want soft light on model Honeycomb can be inserted inside Snoot This head gives a spotlight effect so will look circular on whatever you project it on to Perfect for dramatic lighting and if you want to highlight something
GETTING TO GRIPS WITH STUDIO EQUIPMENT
22
500W and 750W Travel Kit A range of kits are available but the picture on the left features 2 500W flash head with 2 stands 2 umbrellas 2 mains lead and a synch lead Ideal for both studio work and on location
Transmitters One is connected to light and the other one on the hot shoe of the camera Working wirelessly without the need for sync cables this sends the signal to the flash so when you press the shutter the flash goes off They have channels so you can set certain lights off
Battery pack The battery pack can be used to power upto 2 lights at once
GETTING TO GRIPS WITH STUDIO EQUIPMENT
Poly boardsReflectors Also known as Flags these can reflect or block light from the subject you are photographing One side is typically white and the other is black They can be easily moved around the studio
23
Soft box This light softens the subject hence the name The main sheet is velcroed onto the head with another small sheet underneath which can also come off if you want a harsher light Soft-boxes come in large and small sizes
GETTING TO GRIPS WITH UNDERSTANDING POWER
In a perment studio it is likely the mains will need to be switched on As the image on the left shows you simply twist the red holder from left to right If you are changing one of the light bulbs it is vital to switch the mains off so you donrsquot electrocute yourself
Before using any equipment in the studio it is important to under how to operate the lighting units and how you can change the power to desired effect This section looks at understanding how to power the lights
24
GETTING TO GRIPS WITH UNDERSTANDING POWER
TIP Flash to release the power if you are decreasing the power to reduce the chances of damaging the power unit
May also say lsquoStopsrsquo instead of lsquoPowerrsquo Increase the power and the flash will be brighter
May also read as lsquoTenthsrsquo instead of lsquoLamprsquo Lower this to make the light dimmer
25
The higher the number the brighter the light The lowest is f50 with f10 the highest Press the arrows beneath it to go updown a stop
Press this green button to flash If it flashes it means power needs to be discharged
STUDIO BASIC EFFECTS
When it comes to working in the studio experiment-ing is key Although the speed of the lights is 1125 so shoot at this shutter speedHere are some examples of what lighting set up achieves what sort of effect
26
By placing the light on the left side of the mod-el you see that only half of the face is lit and the other half in darkness as there is no light coming from theat direction
The light is placed about 1 metre away from the model and the camera also about the same distance
STUDIO BASIC EFFECTS
27
If you add a black reflector directly opposite from where the light is coming from about 1 metre away from the model it will bounce and light this side of the face As it is black which absorbs light it wonrsquot reflect too much back
TIPWhen lighting skin it is better to go 1 stop higher to over expose it slightly or the skin can look a little dark
STUDIO BASIC EFFECTS
If you change the black reflector for a white reflector the model will appear more lit This is because white reflects light The closer you move the white reflector the better lit the model will be
28
With this shot the softbox and white reflector were about 1 metre away from the model with thecamera also about 1 metre away from the model
STUDIO BASIC EFFECTS
If you donrsquot want a dramatic effect with many shadows place the light directly in front of the model and by adding a white reflector under-neath the light should also bounce onto the model
29
A white poly board was used underneath and below the model to bring in more light to her light her with This was about 2 feet away from her The soft box was on f2
LIGHTING WORKING WITH THE BACKDROP
30
Backdrops can dramatically change how we see a photograph The studio typically has a white or black backdrop
To create this a black poly board was positioned behind the model Two soft boxes were placed diagonally facing the model at f1 about 1 metre away Camera on ISO 200 aperture f8 and shutter on 1125 secs
LIGHTING WORKING WITH THE BACKDROP
31
With the previous photographs it appears the back-drop is grey as it is not being directly lit However there is a method to stop this Use a Bowen 500W soft box above the camera set on f3 Using a Bowen 500W light with a spill kill head set on f55 facing the backdrop Place a black reflector in front of this light to block light bouncing back to the model Place a white reflector next to the model as it will help bounce light back to the wall Each reflector should be about 15 metres from the model
LIGHTING BACK LIGHTING HAIR
32
This set up was created with a Bowen 500W Honeycomb head at f2 placed behind at one side of the model A beauty dish placed above the camera at f1 to give the main light source for the face
Backlighting is most often used for beauty and fashion shoots as it creates a more dramatic shot Back lighting hair that is blonde or very light tends to be more effective over darker hair as the two on the right show
LIGHTING BACK LIGHTING HAIR
33
Blonde Hair
Darker Hair
LIGHTING WORKING OUTSIDE
You will needbull A camera that allows sync bull Sync cable for flash Wireless
flash triggerbull 500w or 750w lightsbull Battery pack (to power the light)bull Light meterbull You may also addbull Snootbeauty dishhoneycombbull Power cablesbull Whitesilvergold reflector
Of course using lights are not soley used in an indoor environement This section looks at how to use the travel kits outside where the lighting is more difficult to control in comparison to the studio
34
LIGHTING WORKING OUTSIDE
35
This photograph was taken in an alley way where there was not much light It was intentional to have the railings appearing dark with the scene behind it being fairly lit The model was about 4 metres from the camera and light which was up high
This photograph was created using an aperture of f63 shutter speed of 1125 seconds and and ISO of 200 The Bowen 500W travel kit was used with the light unit set on f5
LIGHTING WORKING OUTSIDE CONT
36
This was created using the Bowen 500W at f2 The light directly bounced off the reflector opposite to light this photograph The aperture was on f16 which helped make the back-ground darker
LIGHTING WORKING OUTSIDE CONT
37
The aim with this was to light the background evenly with the model The Bowen 500W at f2 light the was placed at the model at angle so it could hit the reflector and light the wall at the same time
LIGHTING WORKING OUTSIDE CONT
38
With this one the soft box was placed closely to the model with the gold reflector at the opposite end to reflect the light The backdrop is dark as the aperture is around f16 with the light set on f5 Proves a dramatic set up
LIGHTING WORKING OUTSIDE CONT
39
This was created using 1 light but a gold reflector was placed down below near the model so the light could be reflected The Bowen 500W on f1 had an umbrella with no silver casing facing towards the model to give a fair but dramatic lighting
LIGHTING WORKING OUTSIDE CONT
40
These photographs were taken using the Canon Speedlite 580ex ii Two were used with 1 as the Master and the other as the slave
With this set-up the flash was on full power hence the dramatic lighing but the flash was positioned upwards The slave flash is what creates the majority of the light as it is at head level to the model at the side
LIGHTING WORKING OUTSIDE CONT
41
Here the model moved closer to the slave flash which was set on full power once again The master was not on hence why the only light source in the photograph is coming in directly onto the model Makes for an unusual set-up and for a dramatic effect
NOTES NOTES
42
NOTES NOTES
43
NOTES NOTES
44
NOTES NOTES
45
THIS GUIDE TO LIGHTING COVERS EVERTHING YOU NEED TO KNOW ABOUT THE BASICS OF A PHOTOGRAPHIC STUDIO FROM UNDERSTANDING LIGHTING EQUIPMENT TO ACHEIVING DESIRED RESULTS FROM CERTAIN TECHNIQUES THIS GUIDE GIVES A SIMPLE EXPLAINATION TO ASSIST YOU
LUCY BARTLETT IS STUDYING BA (HONS) PHOTOGRAPHY AT COVENTRY UNIVERSITY THIS MANUAL WAS PRO-DUCED AS PART OF THE lsquoWORKING WITH LIGHTrsquo MODULE
Prepared by MagCloud for Lucy Bartlett Get more at lucybartlettphotographymagcloudcom
HOW TO USE A LIGHT METER
Turn onoff
ISO button - Used to change the ISO Flash sync
socket
Dome - Reads the light
Mode - This changes the mode the meter is set on Modes ambient flash flash connected to via sync
Up and Down Arrows - How to adjust aperture
Exposed button - Once yoursquore reading to get your reading simply press this button
7
HOW TO MAKE LIGHTING DIAGRAMS
As a photographer it is useful to write down or make note of lighting set-ups Although you could draw your set ups it is easier and neater to use software that helps you create lighting diagrams One example is httpwwwlightingdiagramscom This is what it looks like simply click on lsquoCreatorrsquo on the online site
All tools on the right are labelled and you simple click then move around on the grid
8
HOW TO MAKE LIGHTING DIAGRAMS
You may also decide to write over the diagram with the equipment used the setting of the equipment and the distance between each item should you require it for future reference The easiest way to do this is by adding text to the diagram on Photoshop
Once yoursquove exported your diagram it should look a little like this
9
HOW TO MAKE A PINHOLE CAMERA
What you will needbull 500ml Canbull Can Openerbull Scissorsbull Duct tapegaffer tapebull Double sided sticky tapebull Masking tapebull Sheet of black paperbull Needlepin
1 With the can opener cut the top of the 500ml lid off
10
HOW TO MAKE A PINHOLE CAMERA
2 Once you have cut the lid off you should have something like this Keep sure it is smooth so you do not cut your self
3 Using the scissors cut the black paper into a long rectanglur shape
11
HOW TO PINHOLE CONT
4 Once you have a rectangular shape piece of paper cut several slits into the whole length of paper like so
5 Using the left over paper use your can to draw a circular shape on the paper
12
HOW TO PINHOLE CONT
6 Once you have drawn your circle from the can cut out the circle
7 With the rectangular piece of paper fold over the sides so the paper is more flimsy and can be folded in
13
HOW TO PINHOLE CONT
8 Wrap the rectangular piece of paper around the can and use double sided sticky tape to hold the paper in place keeping sure the side with the slits can fold over the can
9 Using the double sided sticky tape put some onto the circular paper
14
HOW TO PINHOLE CONT
10 Firmly place and hold down the circular piece of paper on top of the folded over paper with the slits on it
11 You should now have a lid for yout camera which can easily pop on and off over the can
15
HOW TO PINHOLE CONT
12 Using the duct tape or gaffer tape begin to cover the lid to make it as light proof as possible
13 Keep covering the lid until no paper shows
16
HOW TO PINHOLE CONT
15 Using the needle or pin pierce into the can like so You now have an aperture
14 You should now have something like this It should be able to come away from the can with ease
17
HOW TO PINHOLE CONT
16 To make a stopper to stop light entering the pinhole camera tape some of the black paper over the aperture with masking tape Alternatively use blu-tac
And there you have it Just insert photo-sensitive paper into your camera by re-moving the lid Your pinhole camera is now ready to go
18
HOW TO PINHOLE CONT
Top tips
bull The bigger the hole the more light is let in For sharpe images make the hole as small as possible For a soft focus make the hole slightly bigger
bull Ensure the camera is lightproof to stop unwanted light effecting the paper
bull Avoid camera shake as it will result in very blurred images
bull Donrsquot use very thick material for your camera so your camera so that the light is not restricted
bull Ensure paper is inserted correctly
19
GETTING TO GRIPS WITH STUDIO EQUIPMENT
A photography studio or any other studio for that matter is an ideal space for photographers to work in There is a great deal of control over the lighting than if you were working outside
Spill KillThis head comes in a range of sizes A very basic head which gives a hard light on the subject
20
GETTING TO GRIPS WITH STUDIO EQUIPMENT
Umbrella This can be used with the silver lining with black back which should be aimed facing away from the subject as it reflects the light Without it it should be aime towards the subject as the light will disfuse through the white of the umbrella
Flash Gun A flash gun is easily portable for on location shooting It is possible to match 2 up 1 the master the other the slave
21
Beauty Dish This head is ideal for portraits where you want soft light on model Honeycomb can be inserted inside Snoot This head gives a spotlight effect so will look circular on whatever you project it on to Perfect for dramatic lighting and if you want to highlight something
GETTING TO GRIPS WITH STUDIO EQUIPMENT
22
500W and 750W Travel Kit A range of kits are available but the picture on the left features 2 500W flash head with 2 stands 2 umbrellas 2 mains lead and a synch lead Ideal for both studio work and on location
Transmitters One is connected to light and the other one on the hot shoe of the camera Working wirelessly without the need for sync cables this sends the signal to the flash so when you press the shutter the flash goes off They have channels so you can set certain lights off
Battery pack The battery pack can be used to power upto 2 lights at once
GETTING TO GRIPS WITH STUDIO EQUIPMENT
Poly boardsReflectors Also known as Flags these can reflect or block light from the subject you are photographing One side is typically white and the other is black They can be easily moved around the studio
23
Soft box This light softens the subject hence the name The main sheet is velcroed onto the head with another small sheet underneath which can also come off if you want a harsher light Soft-boxes come in large and small sizes
GETTING TO GRIPS WITH UNDERSTANDING POWER
In a perment studio it is likely the mains will need to be switched on As the image on the left shows you simply twist the red holder from left to right If you are changing one of the light bulbs it is vital to switch the mains off so you donrsquot electrocute yourself
Before using any equipment in the studio it is important to under how to operate the lighting units and how you can change the power to desired effect This section looks at understanding how to power the lights
24
GETTING TO GRIPS WITH UNDERSTANDING POWER
TIP Flash to release the power if you are decreasing the power to reduce the chances of damaging the power unit
May also say lsquoStopsrsquo instead of lsquoPowerrsquo Increase the power and the flash will be brighter
May also read as lsquoTenthsrsquo instead of lsquoLamprsquo Lower this to make the light dimmer
25
The higher the number the brighter the light The lowest is f50 with f10 the highest Press the arrows beneath it to go updown a stop
Press this green button to flash If it flashes it means power needs to be discharged
STUDIO BASIC EFFECTS
When it comes to working in the studio experiment-ing is key Although the speed of the lights is 1125 so shoot at this shutter speedHere are some examples of what lighting set up achieves what sort of effect
26
By placing the light on the left side of the mod-el you see that only half of the face is lit and the other half in darkness as there is no light coming from theat direction
The light is placed about 1 metre away from the model and the camera also about the same distance
STUDIO BASIC EFFECTS
27
If you add a black reflector directly opposite from where the light is coming from about 1 metre away from the model it will bounce and light this side of the face As it is black which absorbs light it wonrsquot reflect too much back
TIPWhen lighting skin it is better to go 1 stop higher to over expose it slightly or the skin can look a little dark
STUDIO BASIC EFFECTS
If you change the black reflector for a white reflector the model will appear more lit This is because white reflects light The closer you move the white reflector the better lit the model will be
28
With this shot the softbox and white reflector were about 1 metre away from the model with thecamera also about 1 metre away from the model
STUDIO BASIC EFFECTS
If you donrsquot want a dramatic effect with many shadows place the light directly in front of the model and by adding a white reflector under-neath the light should also bounce onto the model
29
A white poly board was used underneath and below the model to bring in more light to her light her with This was about 2 feet away from her The soft box was on f2
LIGHTING WORKING WITH THE BACKDROP
30
Backdrops can dramatically change how we see a photograph The studio typically has a white or black backdrop
To create this a black poly board was positioned behind the model Two soft boxes were placed diagonally facing the model at f1 about 1 metre away Camera on ISO 200 aperture f8 and shutter on 1125 secs
LIGHTING WORKING WITH THE BACKDROP
31
With the previous photographs it appears the back-drop is grey as it is not being directly lit However there is a method to stop this Use a Bowen 500W soft box above the camera set on f3 Using a Bowen 500W light with a spill kill head set on f55 facing the backdrop Place a black reflector in front of this light to block light bouncing back to the model Place a white reflector next to the model as it will help bounce light back to the wall Each reflector should be about 15 metres from the model
LIGHTING BACK LIGHTING HAIR
32
This set up was created with a Bowen 500W Honeycomb head at f2 placed behind at one side of the model A beauty dish placed above the camera at f1 to give the main light source for the face
Backlighting is most often used for beauty and fashion shoots as it creates a more dramatic shot Back lighting hair that is blonde or very light tends to be more effective over darker hair as the two on the right show
LIGHTING BACK LIGHTING HAIR
33
Blonde Hair
Darker Hair
LIGHTING WORKING OUTSIDE
You will needbull A camera that allows sync bull Sync cable for flash Wireless
flash triggerbull 500w or 750w lightsbull Battery pack (to power the light)bull Light meterbull You may also addbull Snootbeauty dishhoneycombbull Power cablesbull Whitesilvergold reflector
Of course using lights are not soley used in an indoor environement This section looks at how to use the travel kits outside where the lighting is more difficult to control in comparison to the studio
34
LIGHTING WORKING OUTSIDE
35
This photograph was taken in an alley way where there was not much light It was intentional to have the railings appearing dark with the scene behind it being fairly lit The model was about 4 metres from the camera and light which was up high
This photograph was created using an aperture of f63 shutter speed of 1125 seconds and and ISO of 200 The Bowen 500W travel kit was used with the light unit set on f5
LIGHTING WORKING OUTSIDE CONT
36
This was created using the Bowen 500W at f2 The light directly bounced off the reflector opposite to light this photograph The aperture was on f16 which helped make the back-ground darker
LIGHTING WORKING OUTSIDE CONT
37
The aim with this was to light the background evenly with the model The Bowen 500W at f2 light the was placed at the model at angle so it could hit the reflector and light the wall at the same time
LIGHTING WORKING OUTSIDE CONT
38
With this one the soft box was placed closely to the model with the gold reflector at the opposite end to reflect the light The backdrop is dark as the aperture is around f16 with the light set on f5 Proves a dramatic set up
LIGHTING WORKING OUTSIDE CONT
39
This was created using 1 light but a gold reflector was placed down below near the model so the light could be reflected The Bowen 500W on f1 had an umbrella with no silver casing facing towards the model to give a fair but dramatic lighting
LIGHTING WORKING OUTSIDE CONT
40
These photographs were taken using the Canon Speedlite 580ex ii Two were used with 1 as the Master and the other as the slave
With this set-up the flash was on full power hence the dramatic lighing but the flash was positioned upwards The slave flash is what creates the majority of the light as it is at head level to the model at the side
LIGHTING WORKING OUTSIDE CONT
41
Here the model moved closer to the slave flash which was set on full power once again The master was not on hence why the only light source in the photograph is coming in directly onto the model Makes for an unusual set-up and for a dramatic effect
NOTES NOTES
42
NOTES NOTES
43
NOTES NOTES
44
NOTES NOTES
45
THIS GUIDE TO LIGHTING COVERS EVERTHING YOU NEED TO KNOW ABOUT THE BASICS OF A PHOTOGRAPHIC STUDIO FROM UNDERSTANDING LIGHTING EQUIPMENT TO ACHEIVING DESIRED RESULTS FROM CERTAIN TECHNIQUES THIS GUIDE GIVES A SIMPLE EXPLAINATION TO ASSIST YOU
LUCY BARTLETT IS STUDYING BA (HONS) PHOTOGRAPHY AT COVENTRY UNIVERSITY THIS MANUAL WAS PRO-DUCED AS PART OF THE lsquoWORKING WITH LIGHTrsquo MODULE
Prepared by MagCloud for Lucy Bartlett Get more at lucybartlettphotographymagcloudcom
HOW TO MAKE LIGHTING DIAGRAMS
As a photographer it is useful to write down or make note of lighting set-ups Although you could draw your set ups it is easier and neater to use software that helps you create lighting diagrams One example is httpwwwlightingdiagramscom This is what it looks like simply click on lsquoCreatorrsquo on the online site
All tools on the right are labelled and you simple click then move around on the grid
8
HOW TO MAKE LIGHTING DIAGRAMS
You may also decide to write over the diagram with the equipment used the setting of the equipment and the distance between each item should you require it for future reference The easiest way to do this is by adding text to the diagram on Photoshop
Once yoursquove exported your diagram it should look a little like this
9
HOW TO MAKE A PINHOLE CAMERA
What you will needbull 500ml Canbull Can Openerbull Scissorsbull Duct tapegaffer tapebull Double sided sticky tapebull Masking tapebull Sheet of black paperbull Needlepin
1 With the can opener cut the top of the 500ml lid off
10
HOW TO MAKE A PINHOLE CAMERA
2 Once you have cut the lid off you should have something like this Keep sure it is smooth so you do not cut your self
3 Using the scissors cut the black paper into a long rectanglur shape
11
HOW TO PINHOLE CONT
4 Once you have a rectangular shape piece of paper cut several slits into the whole length of paper like so
5 Using the left over paper use your can to draw a circular shape on the paper
12
HOW TO PINHOLE CONT
6 Once you have drawn your circle from the can cut out the circle
7 With the rectangular piece of paper fold over the sides so the paper is more flimsy and can be folded in
13
HOW TO PINHOLE CONT
8 Wrap the rectangular piece of paper around the can and use double sided sticky tape to hold the paper in place keeping sure the side with the slits can fold over the can
9 Using the double sided sticky tape put some onto the circular paper
14
HOW TO PINHOLE CONT
10 Firmly place and hold down the circular piece of paper on top of the folded over paper with the slits on it
11 You should now have a lid for yout camera which can easily pop on and off over the can
15
HOW TO PINHOLE CONT
12 Using the duct tape or gaffer tape begin to cover the lid to make it as light proof as possible
13 Keep covering the lid until no paper shows
16
HOW TO PINHOLE CONT
15 Using the needle or pin pierce into the can like so You now have an aperture
14 You should now have something like this It should be able to come away from the can with ease
17
HOW TO PINHOLE CONT
16 To make a stopper to stop light entering the pinhole camera tape some of the black paper over the aperture with masking tape Alternatively use blu-tac
And there you have it Just insert photo-sensitive paper into your camera by re-moving the lid Your pinhole camera is now ready to go
18
HOW TO PINHOLE CONT
Top tips
bull The bigger the hole the more light is let in For sharpe images make the hole as small as possible For a soft focus make the hole slightly bigger
bull Ensure the camera is lightproof to stop unwanted light effecting the paper
bull Avoid camera shake as it will result in very blurred images
bull Donrsquot use very thick material for your camera so your camera so that the light is not restricted
bull Ensure paper is inserted correctly
19
GETTING TO GRIPS WITH STUDIO EQUIPMENT
A photography studio or any other studio for that matter is an ideal space for photographers to work in There is a great deal of control over the lighting than if you were working outside
Spill KillThis head comes in a range of sizes A very basic head which gives a hard light on the subject
20
GETTING TO GRIPS WITH STUDIO EQUIPMENT
Umbrella This can be used with the silver lining with black back which should be aimed facing away from the subject as it reflects the light Without it it should be aime towards the subject as the light will disfuse through the white of the umbrella
Flash Gun A flash gun is easily portable for on location shooting It is possible to match 2 up 1 the master the other the slave
21
Beauty Dish This head is ideal for portraits where you want soft light on model Honeycomb can be inserted inside Snoot This head gives a spotlight effect so will look circular on whatever you project it on to Perfect for dramatic lighting and if you want to highlight something
GETTING TO GRIPS WITH STUDIO EQUIPMENT
22
500W and 750W Travel Kit A range of kits are available but the picture on the left features 2 500W flash head with 2 stands 2 umbrellas 2 mains lead and a synch lead Ideal for both studio work and on location
Transmitters One is connected to light and the other one on the hot shoe of the camera Working wirelessly without the need for sync cables this sends the signal to the flash so when you press the shutter the flash goes off They have channels so you can set certain lights off
Battery pack The battery pack can be used to power upto 2 lights at once
GETTING TO GRIPS WITH STUDIO EQUIPMENT
Poly boardsReflectors Also known as Flags these can reflect or block light from the subject you are photographing One side is typically white and the other is black They can be easily moved around the studio
23
Soft box This light softens the subject hence the name The main sheet is velcroed onto the head with another small sheet underneath which can also come off if you want a harsher light Soft-boxes come in large and small sizes
GETTING TO GRIPS WITH UNDERSTANDING POWER
In a perment studio it is likely the mains will need to be switched on As the image on the left shows you simply twist the red holder from left to right If you are changing one of the light bulbs it is vital to switch the mains off so you donrsquot electrocute yourself
Before using any equipment in the studio it is important to under how to operate the lighting units and how you can change the power to desired effect This section looks at understanding how to power the lights
24
GETTING TO GRIPS WITH UNDERSTANDING POWER
TIP Flash to release the power if you are decreasing the power to reduce the chances of damaging the power unit
May also say lsquoStopsrsquo instead of lsquoPowerrsquo Increase the power and the flash will be brighter
May also read as lsquoTenthsrsquo instead of lsquoLamprsquo Lower this to make the light dimmer
25
The higher the number the brighter the light The lowest is f50 with f10 the highest Press the arrows beneath it to go updown a stop
Press this green button to flash If it flashes it means power needs to be discharged
STUDIO BASIC EFFECTS
When it comes to working in the studio experiment-ing is key Although the speed of the lights is 1125 so shoot at this shutter speedHere are some examples of what lighting set up achieves what sort of effect
26
By placing the light on the left side of the mod-el you see that only half of the face is lit and the other half in darkness as there is no light coming from theat direction
The light is placed about 1 metre away from the model and the camera also about the same distance
STUDIO BASIC EFFECTS
27
If you add a black reflector directly opposite from where the light is coming from about 1 metre away from the model it will bounce and light this side of the face As it is black which absorbs light it wonrsquot reflect too much back
TIPWhen lighting skin it is better to go 1 stop higher to over expose it slightly or the skin can look a little dark
STUDIO BASIC EFFECTS
If you change the black reflector for a white reflector the model will appear more lit This is because white reflects light The closer you move the white reflector the better lit the model will be
28
With this shot the softbox and white reflector were about 1 metre away from the model with thecamera also about 1 metre away from the model
STUDIO BASIC EFFECTS
If you donrsquot want a dramatic effect with many shadows place the light directly in front of the model and by adding a white reflector under-neath the light should also bounce onto the model
29
A white poly board was used underneath and below the model to bring in more light to her light her with This was about 2 feet away from her The soft box was on f2
LIGHTING WORKING WITH THE BACKDROP
30
Backdrops can dramatically change how we see a photograph The studio typically has a white or black backdrop
To create this a black poly board was positioned behind the model Two soft boxes were placed diagonally facing the model at f1 about 1 metre away Camera on ISO 200 aperture f8 and shutter on 1125 secs
LIGHTING WORKING WITH THE BACKDROP
31
With the previous photographs it appears the back-drop is grey as it is not being directly lit However there is a method to stop this Use a Bowen 500W soft box above the camera set on f3 Using a Bowen 500W light with a spill kill head set on f55 facing the backdrop Place a black reflector in front of this light to block light bouncing back to the model Place a white reflector next to the model as it will help bounce light back to the wall Each reflector should be about 15 metres from the model
LIGHTING BACK LIGHTING HAIR
32
This set up was created with a Bowen 500W Honeycomb head at f2 placed behind at one side of the model A beauty dish placed above the camera at f1 to give the main light source for the face
Backlighting is most often used for beauty and fashion shoots as it creates a more dramatic shot Back lighting hair that is blonde or very light tends to be more effective over darker hair as the two on the right show
LIGHTING BACK LIGHTING HAIR
33
Blonde Hair
Darker Hair
LIGHTING WORKING OUTSIDE
You will needbull A camera that allows sync bull Sync cable for flash Wireless
flash triggerbull 500w or 750w lightsbull Battery pack (to power the light)bull Light meterbull You may also addbull Snootbeauty dishhoneycombbull Power cablesbull Whitesilvergold reflector
Of course using lights are not soley used in an indoor environement This section looks at how to use the travel kits outside where the lighting is more difficult to control in comparison to the studio
34
LIGHTING WORKING OUTSIDE
35
This photograph was taken in an alley way where there was not much light It was intentional to have the railings appearing dark with the scene behind it being fairly lit The model was about 4 metres from the camera and light which was up high
This photograph was created using an aperture of f63 shutter speed of 1125 seconds and and ISO of 200 The Bowen 500W travel kit was used with the light unit set on f5
LIGHTING WORKING OUTSIDE CONT
36
This was created using the Bowen 500W at f2 The light directly bounced off the reflector opposite to light this photograph The aperture was on f16 which helped make the back-ground darker
LIGHTING WORKING OUTSIDE CONT
37
The aim with this was to light the background evenly with the model The Bowen 500W at f2 light the was placed at the model at angle so it could hit the reflector and light the wall at the same time
LIGHTING WORKING OUTSIDE CONT
38
With this one the soft box was placed closely to the model with the gold reflector at the opposite end to reflect the light The backdrop is dark as the aperture is around f16 with the light set on f5 Proves a dramatic set up
LIGHTING WORKING OUTSIDE CONT
39
This was created using 1 light but a gold reflector was placed down below near the model so the light could be reflected The Bowen 500W on f1 had an umbrella with no silver casing facing towards the model to give a fair but dramatic lighting
LIGHTING WORKING OUTSIDE CONT
40
These photographs were taken using the Canon Speedlite 580ex ii Two were used with 1 as the Master and the other as the slave
With this set-up the flash was on full power hence the dramatic lighing but the flash was positioned upwards The slave flash is what creates the majority of the light as it is at head level to the model at the side
LIGHTING WORKING OUTSIDE CONT
41
Here the model moved closer to the slave flash which was set on full power once again The master was not on hence why the only light source in the photograph is coming in directly onto the model Makes for an unusual set-up and for a dramatic effect
NOTES NOTES
42
NOTES NOTES
43
NOTES NOTES
44
NOTES NOTES
45
THIS GUIDE TO LIGHTING COVERS EVERTHING YOU NEED TO KNOW ABOUT THE BASICS OF A PHOTOGRAPHIC STUDIO FROM UNDERSTANDING LIGHTING EQUIPMENT TO ACHEIVING DESIRED RESULTS FROM CERTAIN TECHNIQUES THIS GUIDE GIVES A SIMPLE EXPLAINATION TO ASSIST YOU
LUCY BARTLETT IS STUDYING BA (HONS) PHOTOGRAPHY AT COVENTRY UNIVERSITY THIS MANUAL WAS PRO-DUCED AS PART OF THE lsquoWORKING WITH LIGHTrsquo MODULE
Prepared by MagCloud for Lucy Bartlett Get more at lucybartlettphotographymagcloudcom
HOW TO MAKE LIGHTING DIAGRAMS
You may also decide to write over the diagram with the equipment used the setting of the equipment and the distance between each item should you require it for future reference The easiest way to do this is by adding text to the diagram on Photoshop
Once yoursquove exported your diagram it should look a little like this
9
HOW TO MAKE A PINHOLE CAMERA
What you will needbull 500ml Canbull Can Openerbull Scissorsbull Duct tapegaffer tapebull Double sided sticky tapebull Masking tapebull Sheet of black paperbull Needlepin
1 With the can opener cut the top of the 500ml lid off
10
HOW TO MAKE A PINHOLE CAMERA
2 Once you have cut the lid off you should have something like this Keep sure it is smooth so you do not cut your self
3 Using the scissors cut the black paper into a long rectanglur shape
11
HOW TO PINHOLE CONT
4 Once you have a rectangular shape piece of paper cut several slits into the whole length of paper like so
5 Using the left over paper use your can to draw a circular shape on the paper
12
HOW TO PINHOLE CONT
6 Once you have drawn your circle from the can cut out the circle
7 With the rectangular piece of paper fold over the sides so the paper is more flimsy and can be folded in
13
HOW TO PINHOLE CONT
8 Wrap the rectangular piece of paper around the can and use double sided sticky tape to hold the paper in place keeping sure the side with the slits can fold over the can
9 Using the double sided sticky tape put some onto the circular paper
14
HOW TO PINHOLE CONT
10 Firmly place and hold down the circular piece of paper on top of the folded over paper with the slits on it
11 You should now have a lid for yout camera which can easily pop on and off over the can
15
HOW TO PINHOLE CONT
12 Using the duct tape or gaffer tape begin to cover the lid to make it as light proof as possible
13 Keep covering the lid until no paper shows
16
HOW TO PINHOLE CONT
15 Using the needle or pin pierce into the can like so You now have an aperture
14 You should now have something like this It should be able to come away from the can with ease
17
HOW TO PINHOLE CONT
16 To make a stopper to stop light entering the pinhole camera tape some of the black paper over the aperture with masking tape Alternatively use blu-tac
And there you have it Just insert photo-sensitive paper into your camera by re-moving the lid Your pinhole camera is now ready to go
18
HOW TO PINHOLE CONT
Top tips
bull The bigger the hole the more light is let in For sharpe images make the hole as small as possible For a soft focus make the hole slightly bigger
bull Ensure the camera is lightproof to stop unwanted light effecting the paper
bull Avoid camera shake as it will result in very blurred images
bull Donrsquot use very thick material for your camera so your camera so that the light is not restricted
bull Ensure paper is inserted correctly
19
GETTING TO GRIPS WITH STUDIO EQUIPMENT
A photography studio or any other studio for that matter is an ideal space for photographers to work in There is a great deal of control over the lighting than if you were working outside
Spill KillThis head comes in a range of sizes A very basic head which gives a hard light on the subject
20
GETTING TO GRIPS WITH STUDIO EQUIPMENT
Umbrella This can be used with the silver lining with black back which should be aimed facing away from the subject as it reflects the light Without it it should be aime towards the subject as the light will disfuse through the white of the umbrella
Flash Gun A flash gun is easily portable for on location shooting It is possible to match 2 up 1 the master the other the slave
21
Beauty Dish This head is ideal for portraits where you want soft light on model Honeycomb can be inserted inside Snoot This head gives a spotlight effect so will look circular on whatever you project it on to Perfect for dramatic lighting and if you want to highlight something
GETTING TO GRIPS WITH STUDIO EQUIPMENT
22
500W and 750W Travel Kit A range of kits are available but the picture on the left features 2 500W flash head with 2 stands 2 umbrellas 2 mains lead and a synch lead Ideal for both studio work and on location
Transmitters One is connected to light and the other one on the hot shoe of the camera Working wirelessly without the need for sync cables this sends the signal to the flash so when you press the shutter the flash goes off They have channels so you can set certain lights off
Battery pack The battery pack can be used to power upto 2 lights at once
GETTING TO GRIPS WITH STUDIO EQUIPMENT
Poly boardsReflectors Also known as Flags these can reflect or block light from the subject you are photographing One side is typically white and the other is black They can be easily moved around the studio
23
Soft box This light softens the subject hence the name The main sheet is velcroed onto the head with another small sheet underneath which can also come off if you want a harsher light Soft-boxes come in large and small sizes
GETTING TO GRIPS WITH UNDERSTANDING POWER
In a perment studio it is likely the mains will need to be switched on As the image on the left shows you simply twist the red holder from left to right If you are changing one of the light bulbs it is vital to switch the mains off so you donrsquot electrocute yourself
Before using any equipment in the studio it is important to under how to operate the lighting units and how you can change the power to desired effect This section looks at understanding how to power the lights
24
GETTING TO GRIPS WITH UNDERSTANDING POWER
TIP Flash to release the power if you are decreasing the power to reduce the chances of damaging the power unit
May also say lsquoStopsrsquo instead of lsquoPowerrsquo Increase the power and the flash will be brighter
May also read as lsquoTenthsrsquo instead of lsquoLamprsquo Lower this to make the light dimmer
25
The higher the number the brighter the light The lowest is f50 with f10 the highest Press the arrows beneath it to go updown a stop
Press this green button to flash If it flashes it means power needs to be discharged
STUDIO BASIC EFFECTS
When it comes to working in the studio experiment-ing is key Although the speed of the lights is 1125 so shoot at this shutter speedHere are some examples of what lighting set up achieves what sort of effect
26
By placing the light on the left side of the mod-el you see that only half of the face is lit and the other half in darkness as there is no light coming from theat direction
The light is placed about 1 metre away from the model and the camera also about the same distance
STUDIO BASIC EFFECTS
27
If you add a black reflector directly opposite from where the light is coming from about 1 metre away from the model it will bounce and light this side of the face As it is black which absorbs light it wonrsquot reflect too much back
TIPWhen lighting skin it is better to go 1 stop higher to over expose it slightly or the skin can look a little dark
STUDIO BASIC EFFECTS
If you change the black reflector for a white reflector the model will appear more lit This is because white reflects light The closer you move the white reflector the better lit the model will be
28
With this shot the softbox and white reflector were about 1 metre away from the model with thecamera also about 1 metre away from the model
STUDIO BASIC EFFECTS
If you donrsquot want a dramatic effect with many shadows place the light directly in front of the model and by adding a white reflector under-neath the light should also bounce onto the model
29
A white poly board was used underneath and below the model to bring in more light to her light her with This was about 2 feet away from her The soft box was on f2
LIGHTING WORKING WITH THE BACKDROP
30
Backdrops can dramatically change how we see a photograph The studio typically has a white or black backdrop
To create this a black poly board was positioned behind the model Two soft boxes were placed diagonally facing the model at f1 about 1 metre away Camera on ISO 200 aperture f8 and shutter on 1125 secs
LIGHTING WORKING WITH THE BACKDROP
31
With the previous photographs it appears the back-drop is grey as it is not being directly lit However there is a method to stop this Use a Bowen 500W soft box above the camera set on f3 Using a Bowen 500W light with a spill kill head set on f55 facing the backdrop Place a black reflector in front of this light to block light bouncing back to the model Place a white reflector next to the model as it will help bounce light back to the wall Each reflector should be about 15 metres from the model
LIGHTING BACK LIGHTING HAIR
32
This set up was created with a Bowen 500W Honeycomb head at f2 placed behind at one side of the model A beauty dish placed above the camera at f1 to give the main light source for the face
Backlighting is most often used for beauty and fashion shoots as it creates a more dramatic shot Back lighting hair that is blonde or very light tends to be more effective over darker hair as the two on the right show
LIGHTING BACK LIGHTING HAIR
33
Blonde Hair
Darker Hair
LIGHTING WORKING OUTSIDE
You will needbull A camera that allows sync bull Sync cable for flash Wireless
flash triggerbull 500w or 750w lightsbull Battery pack (to power the light)bull Light meterbull You may also addbull Snootbeauty dishhoneycombbull Power cablesbull Whitesilvergold reflector
Of course using lights are not soley used in an indoor environement This section looks at how to use the travel kits outside where the lighting is more difficult to control in comparison to the studio
34
LIGHTING WORKING OUTSIDE
35
This photograph was taken in an alley way where there was not much light It was intentional to have the railings appearing dark with the scene behind it being fairly lit The model was about 4 metres from the camera and light which was up high
This photograph was created using an aperture of f63 shutter speed of 1125 seconds and and ISO of 200 The Bowen 500W travel kit was used with the light unit set on f5
LIGHTING WORKING OUTSIDE CONT
36
This was created using the Bowen 500W at f2 The light directly bounced off the reflector opposite to light this photograph The aperture was on f16 which helped make the back-ground darker
LIGHTING WORKING OUTSIDE CONT
37
The aim with this was to light the background evenly with the model The Bowen 500W at f2 light the was placed at the model at angle so it could hit the reflector and light the wall at the same time
LIGHTING WORKING OUTSIDE CONT
38
With this one the soft box was placed closely to the model with the gold reflector at the opposite end to reflect the light The backdrop is dark as the aperture is around f16 with the light set on f5 Proves a dramatic set up
LIGHTING WORKING OUTSIDE CONT
39
This was created using 1 light but a gold reflector was placed down below near the model so the light could be reflected The Bowen 500W on f1 had an umbrella with no silver casing facing towards the model to give a fair but dramatic lighting
LIGHTING WORKING OUTSIDE CONT
40
These photographs were taken using the Canon Speedlite 580ex ii Two were used with 1 as the Master and the other as the slave
With this set-up the flash was on full power hence the dramatic lighing but the flash was positioned upwards The slave flash is what creates the majority of the light as it is at head level to the model at the side
LIGHTING WORKING OUTSIDE CONT
41
Here the model moved closer to the slave flash which was set on full power once again The master was not on hence why the only light source in the photograph is coming in directly onto the model Makes for an unusual set-up and for a dramatic effect
NOTES NOTES
42
NOTES NOTES
43
NOTES NOTES
44
NOTES NOTES
45
THIS GUIDE TO LIGHTING COVERS EVERTHING YOU NEED TO KNOW ABOUT THE BASICS OF A PHOTOGRAPHIC STUDIO FROM UNDERSTANDING LIGHTING EQUIPMENT TO ACHEIVING DESIRED RESULTS FROM CERTAIN TECHNIQUES THIS GUIDE GIVES A SIMPLE EXPLAINATION TO ASSIST YOU
LUCY BARTLETT IS STUDYING BA (HONS) PHOTOGRAPHY AT COVENTRY UNIVERSITY THIS MANUAL WAS PRO-DUCED AS PART OF THE lsquoWORKING WITH LIGHTrsquo MODULE
Prepared by MagCloud for Lucy Bartlett Get more at lucybartlettphotographymagcloudcom
HOW TO MAKE A PINHOLE CAMERA
What you will needbull 500ml Canbull Can Openerbull Scissorsbull Duct tapegaffer tapebull Double sided sticky tapebull Masking tapebull Sheet of black paperbull Needlepin
1 With the can opener cut the top of the 500ml lid off
10
HOW TO MAKE A PINHOLE CAMERA
2 Once you have cut the lid off you should have something like this Keep sure it is smooth so you do not cut your self
3 Using the scissors cut the black paper into a long rectanglur shape
11
HOW TO PINHOLE CONT
4 Once you have a rectangular shape piece of paper cut several slits into the whole length of paper like so
5 Using the left over paper use your can to draw a circular shape on the paper
12
HOW TO PINHOLE CONT
6 Once you have drawn your circle from the can cut out the circle
7 With the rectangular piece of paper fold over the sides so the paper is more flimsy and can be folded in
13
HOW TO PINHOLE CONT
8 Wrap the rectangular piece of paper around the can and use double sided sticky tape to hold the paper in place keeping sure the side with the slits can fold over the can
9 Using the double sided sticky tape put some onto the circular paper
14
HOW TO PINHOLE CONT
10 Firmly place and hold down the circular piece of paper on top of the folded over paper with the slits on it
11 You should now have a lid for yout camera which can easily pop on and off over the can
15
HOW TO PINHOLE CONT
12 Using the duct tape or gaffer tape begin to cover the lid to make it as light proof as possible
13 Keep covering the lid until no paper shows
16
HOW TO PINHOLE CONT
15 Using the needle or pin pierce into the can like so You now have an aperture
14 You should now have something like this It should be able to come away from the can with ease
17
HOW TO PINHOLE CONT
16 To make a stopper to stop light entering the pinhole camera tape some of the black paper over the aperture with masking tape Alternatively use blu-tac
And there you have it Just insert photo-sensitive paper into your camera by re-moving the lid Your pinhole camera is now ready to go
18
HOW TO PINHOLE CONT
Top tips
bull The bigger the hole the more light is let in For sharpe images make the hole as small as possible For a soft focus make the hole slightly bigger
bull Ensure the camera is lightproof to stop unwanted light effecting the paper
bull Avoid camera shake as it will result in very blurred images
bull Donrsquot use very thick material for your camera so your camera so that the light is not restricted
bull Ensure paper is inserted correctly
19
GETTING TO GRIPS WITH STUDIO EQUIPMENT
A photography studio or any other studio for that matter is an ideal space for photographers to work in There is a great deal of control over the lighting than if you were working outside
Spill KillThis head comes in a range of sizes A very basic head which gives a hard light on the subject
20
GETTING TO GRIPS WITH STUDIO EQUIPMENT
Umbrella This can be used with the silver lining with black back which should be aimed facing away from the subject as it reflects the light Without it it should be aime towards the subject as the light will disfuse through the white of the umbrella
Flash Gun A flash gun is easily portable for on location shooting It is possible to match 2 up 1 the master the other the slave
21
Beauty Dish This head is ideal for portraits where you want soft light on model Honeycomb can be inserted inside Snoot This head gives a spotlight effect so will look circular on whatever you project it on to Perfect for dramatic lighting and if you want to highlight something
GETTING TO GRIPS WITH STUDIO EQUIPMENT
22
500W and 750W Travel Kit A range of kits are available but the picture on the left features 2 500W flash head with 2 stands 2 umbrellas 2 mains lead and a synch lead Ideal for both studio work and on location
Transmitters One is connected to light and the other one on the hot shoe of the camera Working wirelessly without the need for sync cables this sends the signal to the flash so when you press the shutter the flash goes off They have channels so you can set certain lights off
Battery pack The battery pack can be used to power upto 2 lights at once
GETTING TO GRIPS WITH STUDIO EQUIPMENT
Poly boardsReflectors Also known as Flags these can reflect or block light from the subject you are photographing One side is typically white and the other is black They can be easily moved around the studio
23
Soft box This light softens the subject hence the name The main sheet is velcroed onto the head with another small sheet underneath which can also come off if you want a harsher light Soft-boxes come in large and small sizes
GETTING TO GRIPS WITH UNDERSTANDING POWER
In a perment studio it is likely the mains will need to be switched on As the image on the left shows you simply twist the red holder from left to right If you are changing one of the light bulbs it is vital to switch the mains off so you donrsquot electrocute yourself
Before using any equipment in the studio it is important to under how to operate the lighting units and how you can change the power to desired effect This section looks at understanding how to power the lights
24
GETTING TO GRIPS WITH UNDERSTANDING POWER
TIP Flash to release the power if you are decreasing the power to reduce the chances of damaging the power unit
May also say lsquoStopsrsquo instead of lsquoPowerrsquo Increase the power and the flash will be brighter
May also read as lsquoTenthsrsquo instead of lsquoLamprsquo Lower this to make the light dimmer
25
The higher the number the brighter the light The lowest is f50 with f10 the highest Press the arrows beneath it to go updown a stop
Press this green button to flash If it flashes it means power needs to be discharged
STUDIO BASIC EFFECTS
When it comes to working in the studio experiment-ing is key Although the speed of the lights is 1125 so shoot at this shutter speedHere are some examples of what lighting set up achieves what sort of effect
26
By placing the light on the left side of the mod-el you see that only half of the face is lit and the other half in darkness as there is no light coming from theat direction
The light is placed about 1 metre away from the model and the camera also about the same distance
STUDIO BASIC EFFECTS
27
If you add a black reflector directly opposite from where the light is coming from about 1 metre away from the model it will bounce and light this side of the face As it is black which absorbs light it wonrsquot reflect too much back
TIPWhen lighting skin it is better to go 1 stop higher to over expose it slightly or the skin can look a little dark
STUDIO BASIC EFFECTS
If you change the black reflector for a white reflector the model will appear more lit This is because white reflects light The closer you move the white reflector the better lit the model will be
28
With this shot the softbox and white reflector were about 1 metre away from the model with thecamera also about 1 metre away from the model
STUDIO BASIC EFFECTS
If you donrsquot want a dramatic effect with many shadows place the light directly in front of the model and by adding a white reflector under-neath the light should also bounce onto the model
29
A white poly board was used underneath and below the model to bring in more light to her light her with This was about 2 feet away from her The soft box was on f2
LIGHTING WORKING WITH THE BACKDROP
30
Backdrops can dramatically change how we see a photograph The studio typically has a white or black backdrop
To create this a black poly board was positioned behind the model Two soft boxes were placed diagonally facing the model at f1 about 1 metre away Camera on ISO 200 aperture f8 and shutter on 1125 secs
LIGHTING WORKING WITH THE BACKDROP
31
With the previous photographs it appears the back-drop is grey as it is not being directly lit However there is a method to stop this Use a Bowen 500W soft box above the camera set on f3 Using a Bowen 500W light with a spill kill head set on f55 facing the backdrop Place a black reflector in front of this light to block light bouncing back to the model Place a white reflector next to the model as it will help bounce light back to the wall Each reflector should be about 15 metres from the model
LIGHTING BACK LIGHTING HAIR
32
This set up was created with a Bowen 500W Honeycomb head at f2 placed behind at one side of the model A beauty dish placed above the camera at f1 to give the main light source for the face
Backlighting is most often used for beauty and fashion shoots as it creates a more dramatic shot Back lighting hair that is blonde or very light tends to be more effective over darker hair as the two on the right show
LIGHTING BACK LIGHTING HAIR
33
Blonde Hair
Darker Hair
LIGHTING WORKING OUTSIDE
You will needbull A camera that allows sync bull Sync cable for flash Wireless
flash triggerbull 500w or 750w lightsbull Battery pack (to power the light)bull Light meterbull You may also addbull Snootbeauty dishhoneycombbull Power cablesbull Whitesilvergold reflector
Of course using lights are not soley used in an indoor environement This section looks at how to use the travel kits outside where the lighting is more difficult to control in comparison to the studio
34
LIGHTING WORKING OUTSIDE
35
This photograph was taken in an alley way where there was not much light It was intentional to have the railings appearing dark with the scene behind it being fairly lit The model was about 4 metres from the camera and light which was up high
This photograph was created using an aperture of f63 shutter speed of 1125 seconds and and ISO of 200 The Bowen 500W travel kit was used with the light unit set on f5
LIGHTING WORKING OUTSIDE CONT
36
This was created using the Bowen 500W at f2 The light directly bounced off the reflector opposite to light this photograph The aperture was on f16 which helped make the back-ground darker
LIGHTING WORKING OUTSIDE CONT
37
The aim with this was to light the background evenly with the model The Bowen 500W at f2 light the was placed at the model at angle so it could hit the reflector and light the wall at the same time
LIGHTING WORKING OUTSIDE CONT
38
With this one the soft box was placed closely to the model with the gold reflector at the opposite end to reflect the light The backdrop is dark as the aperture is around f16 with the light set on f5 Proves a dramatic set up
LIGHTING WORKING OUTSIDE CONT
39
This was created using 1 light but a gold reflector was placed down below near the model so the light could be reflected The Bowen 500W on f1 had an umbrella with no silver casing facing towards the model to give a fair but dramatic lighting
LIGHTING WORKING OUTSIDE CONT
40
These photographs were taken using the Canon Speedlite 580ex ii Two were used with 1 as the Master and the other as the slave
With this set-up the flash was on full power hence the dramatic lighing but the flash was positioned upwards The slave flash is what creates the majority of the light as it is at head level to the model at the side
LIGHTING WORKING OUTSIDE CONT
41
Here the model moved closer to the slave flash which was set on full power once again The master was not on hence why the only light source in the photograph is coming in directly onto the model Makes for an unusual set-up and for a dramatic effect
NOTES NOTES
42
NOTES NOTES
43
NOTES NOTES
44
NOTES NOTES
45
THIS GUIDE TO LIGHTING COVERS EVERTHING YOU NEED TO KNOW ABOUT THE BASICS OF A PHOTOGRAPHIC STUDIO FROM UNDERSTANDING LIGHTING EQUIPMENT TO ACHEIVING DESIRED RESULTS FROM CERTAIN TECHNIQUES THIS GUIDE GIVES A SIMPLE EXPLAINATION TO ASSIST YOU
LUCY BARTLETT IS STUDYING BA (HONS) PHOTOGRAPHY AT COVENTRY UNIVERSITY THIS MANUAL WAS PRO-DUCED AS PART OF THE lsquoWORKING WITH LIGHTrsquo MODULE
Prepared by MagCloud for Lucy Bartlett Get more at lucybartlettphotographymagcloudcom
HOW TO MAKE A PINHOLE CAMERA
2 Once you have cut the lid off you should have something like this Keep sure it is smooth so you do not cut your self
3 Using the scissors cut the black paper into a long rectanglur shape
11
HOW TO PINHOLE CONT
4 Once you have a rectangular shape piece of paper cut several slits into the whole length of paper like so
5 Using the left over paper use your can to draw a circular shape on the paper
12
HOW TO PINHOLE CONT
6 Once you have drawn your circle from the can cut out the circle
7 With the rectangular piece of paper fold over the sides so the paper is more flimsy and can be folded in
13
HOW TO PINHOLE CONT
8 Wrap the rectangular piece of paper around the can and use double sided sticky tape to hold the paper in place keeping sure the side with the slits can fold over the can
9 Using the double sided sticky tape put some onto the circular paper
14
HOW TO PINHOLE CONT
10 Firmly place and hold down the circular piece of paper on top of the folded over paper with the slits on it
11 You should now have a lid for yout camera which can easily pop on and off over the can
15
HOW TO PINHOLE CONT
12 Using the duct tape or gaffer tape begin to cover the lid to make it as light proof as possible
13 Keep covering the lid until no paper shows
16
HOW TO PINHOLE CONT
15 Using the needle or pin pierce into the can like so You now have an aperture
14 You should now have something like this It should be able to come away from the can with ease
17
HOW TO PINHOLE CONT
16 To make a stopper to stop light entering the pinhole camera tape some of the black paper over the aperture with masking tape Alternatively use blu-tac
And there you have it Just insert photo-sensitive paper into your camera by re-moving the lid Your pinhole camera is now ready to go
18
HOW TO PINHOLE CONT
Top tips
bull The bigger the hole the more light is let in For sharpe images make the hole as small as possible For a soft focus make the hole slightly bigger
bull Ensure the camera is lightproof to stop unwanted light effecting the paper
bull Avoid camera shake as it will result in very blurred images
bull Donrsquot use very thick material for your camera so your camera so that the light is not restricted
bull Ensure paper is inserted correctly
19
GETTING TO GRIPS WITH STUDIO EQUIPMENT
A photography studio or any other studio for that matter is an ideal space for photographers to work in There is a great deal of control over the lighting than if you were working outside
Spill KillThis head comes in a range of sizes A very basic head which gives a hard light on the subject
20
GETTING TO GRIPS WITH STUDIO EQUIPMENT
Umbrella This can be used with the silver lining with black back which should be aimed facing away from the subject as it reflects the light Without it it should be aime towards the subject as the light will disfuse through the white of the umbrella
Flash Gun A flash gun is easily portable for on location shooting It is possible to match 2 up 1 the master the other the slave
21
Beauty Dish This head is ideal for portraits where you want soft light on model Honeycomb can be inserted inside Snoot This head gives a spotlight effect so will look circular on whatever you project it on to Perfect for dramatic lighting and if you want to highlight something
GETTING TO GRIPS WITH STUDIO EQUIPMENT
22
500W and 750W Travel Kit A range of kits are available but the picture on the left features 2 500W flash head with 2 stands 2 umbrellas 2 mains lead and a synch lead Ideal for both studio work and on location
Transmitters One is connected to light and the other one on the hot shoe of the camera Working wirelessly without the need for sync cables this sends the signal to the flash so when you press the shutter the flash goes off They have channels so you can set certain lights off
Battery pack The battery pack can be used to power upto 2 lights at once
GETTING TO GRIPS WITH STUDIO EQUIPMENT
Poly boardsReflectors Also known as Flags these can reflect or block light from the subject you are photographing One side is typically white and the other is black They can be easily moved around the studio
23
Soft box This light softens the subject hence the name The main sheet is velcroed onto the head with another small sheet underneath which can also come off if you want a harsher light Soft-boxes come in large and small sizes
GETTING TO GRIPS WITH UNDERSTANDING POWER
In a perment studio it is likely the mains will need to be switched on As the image on the left shows you simply twist the red holder from left to right If you are changing one of the light bulbs it is vital to switch the mains off so you donrsquot electrocute yourself
Before using any equipment in the studio it is important to under how to operate the lighting units and how you can change the power to desired effect This section looks at understanding how to power the lights
24
GETTING TO GRIPS WITH UNDERSTANDING POWER
TIP Flash to release the power if you are decreasing the power to reduce the chances of damaging the power unit
May also say lsquoStopsrsquo instead of lsquoPowerrsquo Increase the power and the flash will be brighter
May also read as lsquoTenthsrsquo instead of lsquoLamprsquo Lower this to make the light dimmer
25
The higher the number the brighter the light The lowest is f50 with f10 the highest Press the arrows beneath it to go updown a stop
Press this green button to flash If it flashes it means power needs to be discharged
STUDIO BASIC EFFECTS
When it comes to working in the studio experiment-ing is key Although the speed of the lights is 1125 so shoot at this shutter speedHere are some examples of what lighting set up achieves what sort of effect
26
By placing the light on the left side of the mod-el you see that only half of the face is lit and the other half in darkness as there is no light coming from theat direction
The light is placed about 1 metre away from the model and the camera also about the same distance
STUDIO BASIC EFFECTS
27
If you add a black reflector directly opposite from where the light is coming from about 1 metre away from the model it will bounce and light this side of the face As it is black which absorbs light it wonrsquot reflect too much back
TIPWhen lighting skin it is better to go 1 stop higher to over expose it slightly or the skin can look a little dark
STUDIO BASIC EFFECTS
If you change the black reflector for a white reflector the model will appear more lit This is because white reflects light The closer you move the white reflector the better lit the model will be
28
With this shot the softbox and white reflector were about 1 metre away from the model with thecamera also about 1 metre away from the model
STUDIO BASIC EFFECTS
If you donrsquot want a dramatic effect with many shadows place the light directly in front of the model and by adding a white reflector under-neath the light should also bounce onto the model
29
A white poly board was used underneath and below the model to bring in more light to her light her with This was about 2 feet away from her The soft box was on f2
LIGHTING WORKING WITH THE BACKDROP
30
Backdrops can dramatically change how we see a photograph The studio typically has a white or black backdrop
To create this a black poly board was positioned behind the model Two soft boxes were placed diagonally facing the model at f1 about 1 metre away Camera on ISO 200 aperture f8 and shutter on 1125 secs
LIGHTING WORKING WITH THE BACKDROP
31
With the previous photographs it appears the back-drop is grey as it is not being directly lit However there is a method to stop this Use a Bowen 500W soft box above the camera set on f3 Using a Bowen 500W light with a spill kill head set on f55 facing the backdrop Place a black reflector in front of this light to block light bouncing back to the model Place a white reflector next to the model as it will help bounce light back to the wall Each reflector should be about 15 metres from the model
LIGHTING BACK LIGHTING HAIR
32
This set up was created with a Bowen 500W Honeycomb head at f2 placed behind at one side of the model A beauty dish placed above the camera at f1 to give the main light source for the face
Backlighting is most often used for beauty and fashion shoots as it creates a more dramatic shot Back lighting hair that is blonde or very light tends to be more effective over darker hair as the two on the right show
LIGHTING BACK LIGHTING HAIR
33
Blonde Hair
Darker Hair
LIGHTING WORKING OUTSIDE
You will needbull A camera that allows sync bull Sync cable for flash Wireless
flash triggerbull 500w or 750w lightsbull Battery pack (to power the light)bull Light meterbull You may also addbull Snootbeauty dishhoneycombbull Power cablesbull Whitesilvergold reflector
Of course using lights are not soley used in an indoor environement This section looks at how to use the travel kits outside where the lighting is more difficult to control in comparison to the studio
34
LIGHTING WORKING OUTSIDE
35
This photograph was taken in an alley way where there was not much light It was intentional to have the railings appearing dark with the scene behind it being fairly lit The model was about 4 metres from the camera and light which was up high
This photograph was created using an aperture of f63 shutter speed of 1125 seconds and and ISO of 200 The Bowen 500W travel kit was used with the light unit set on f5
LIGHTING WORKING OUTSIDE CONT
36
This was created using the Bowen 500W at f2 The light directly bounced off the reflector opposite to light this photograph The aperture was on f16 which helped make the back-ground darker
LIGHTING WORKING OUTSIDE CONT
37
The aim with this was to light the background evenly with the model The Bowen 500W at f2 light the was placed at the model at angle so it could hit the reflector and light the wall at the same time
LIGHTING WORKING OUTSIDE CONT
38
With this one the soft box was placed closely to the model with the gold reflector at the opposite end to reflect the light The backdrop is dark as the aperture is around f16 with the light set on f5 Proves a dramatic set up
LIGHTING WORKING OUTSIDE CONT
39
This was created using 1 light but a gold reflector was placed down below near the model so the light could be reflected The Bowen 500W on f1 had an umbrella with no silver casing facing towards the model to give a fair but dramatic lighting
LIGHTING WORKING OUTSIDE CONT
40
These photographs were taken using the Canon Speedlite 580ex ii Two were used with 1 as the Master and the other as the slave
With this set-up the flash was on full power hence the dramatic lighing but the flash was positioned upwards The slave flash is what creates the majority of the light as it is at head level to the model at the side
LIGHTING WORKING OUTSIDE CONT
41
Here the model moved closer to the slave flash which was set on full power once again The master was not on hence why the only light source in the photograph is coming in directly onto the model Makes for an unusual set-up and for a dramatic effect
NOTES NOTES
42
NOTES NOTES
43
NOTES NOTES
44
NOTES NOTES
45
THIS GUIDE TO LIGHTING COVERS EVERTHING YOU NEED TO KNOW ABOUT THE BASICS OF A PHOTOGRAPHIC STUDIO FROM UNDERSTANDING LIGHTING EQUIPMENT TO ACHEIVING DESIRED RESULTS FROM CERTAIN TECHNIQUES THIS GUIDE GIVES A SIMPLE EXPLAINATION TO ASSIST YOU
LUCY BARTLETT IS STUDYING BA (HONS) PHOTOGRAPHY AT COVENTRY UNIVERSITY THIS MANUAL WAS PRO-DUCED AS PART OF THE lsquoWORKING WITH LIGHTrsquo MODULE
Prepared by MagCloud for Lucy Bartlett Get more at lucybartlettphotographymagcloudcom
HOW TO PINHOLE CONT
4 Once you have a rectangular shape piece of paper cut several slits into the whole length of paper like so
5 Using the left over paper use your can to draw a circular shape on the paper
12
HOW TO PINHOLE CONT
6 Once you have drawn your circle from the can cut out the circle
7 With the rectangular piece of paper fold over the sides so the paper is more flimsy and can be folded in
13
HOW TO PINHOLE CONT
8 Wrap the rectangular piece of paper around the can and use double sided sticky tape to hold the paper in place keeping sure the side with the slits can fold over the can
9 Using the double sided sticky tape put some onto the circular paper
14
HOW TO PINHOLE CONT
10 Firmly place and hold down the circular piece of paper on top of the folded over paper with the slits on it
11 You should now have a lid for yout camera which can easily pop on and off over the can
15
HOW TO PINHOLE CONT
12 Using the duct tape or gaffer tape begin to cover the lid to make it as light proof as possible
13 Keep covering the lid until no paper shows
16
HOW TO PINHOLE CONT
15 Using the needle or pin pierce into the can like so You now have an aperture
14 You should now have something like this It should be able to come away from the can with ease
17
HOW TO PINHOLE CONT
16 To make a stopper to stop light entering the pinhole camera tape some of the black paper over the aperture with masking tape Alternatively use blu-tac
And there you have it Just insert photo-sensitive paper into your camera by re-moving the lid Your pinhole camera is now ready to go
18
HOW TO PINHOLE CONT
Top tips
bull The bigger the hole the more light is let in For sharpe images make the hole as small as possible For a soft focus make the hole slightly bigger
bull Ensure the camera is lightproof to stop unwanted light effecting the paper
bull Avoid camera shake as it will result in very blurred images
bull Donrsquot use very thick material for your camera so your camera so that the light is not restricted
bull Ensure paper is inserted correctly
19
GETTING TO GRIPS WITH STUDIO EQUIPMENT
A photography studio or any other studio for that matter is an ideal space for photographers to work in There is a great deal of control over the lighting than if you were working outside
Spill KillThis head comes in a range of sizes A very basic head which gives a hard light on the subject
20
GETTING TO GRIPS WITH STUDIO EQUIPMENT
Umbrella This can be used with the silver lining with black back which should be aimed facing away from the subject as it reflects the light Without it it should be aime towards the subject as the light will disfuse through the white of the umbrella
Flash Gun A flash gun is easily portable for on location shooting It is possible to match 2 up 1 the master the other the slave
21
Beauty Dish This head is ideal for portraits where you want soft light on model Honeycomb can be inserted inside Snoot This head gives a spotlight effect so will look circular on whatever you project it on to Perfect for dramatic lighting and if you want to highlight something
GETTING TO GRIPS WITH STUDIO EQUIPMENT
22
500W and 750W Travel Kit A range of kits are available but the picture on the left features 2 500W flash head with 2 stands 2 umbrellas 2 mains lead and a synch lead Ideal for both studio work and on location
Transmitters One is connected to light and the other one on the hot shoe of the camera Working wirelessly without the need for sync cables this sends the signal to the flash so when you press the shutter the flash goes off They have channels so you can set certain lights off
Battery pack The battery pack can be used to power upto 2 lights at once
GETTING TO GRIPS WITH STUDIO EQUIPMENT
Poly boardsReflectors Also known as Flags these can reflect or block light from the subject you are photographing One side is typically white and the other is black They can be easily moved around the studio
23
Soft box This light softens the subject hence the name The main sheet is velcroed onto the head with another small sheet underneath which can also come off if you want a harsher light Soft-boxes come in large and small sizes
GETTING TO GRIPS WITH UNDERSTANDING POWER
In a perment studio it is likely the mains will need to be switched on As the image on the left shows you simply twist the red holder from left to right If you are changing one of the light bulbs it is vital to switch the mains off so you donrsquot electrocute yourself
Before using any equipment in the studio it is important to under how to operate the lighting units and how you can change the power to desired effect This section looks at understanding how to power the lights
24
GETTING TO GRIPS WITH UNDERSTANDING POWER
TIP Flash to release the power if you are decreasing the power to reduce the chances of damaging the power unit
May also say lsquoStopsrsquo instead of lsquoPowerrsquo Increase the power and the flash will be brighter
May also read as lsquoTenthsrsquo instead of lsquoLamprsquo Lower this to make the light dimmer
25
The higher the number the brighter the light The lowest is f50 with f10 the highest Press the arrows beneath it to go updown a stop
Press this green button to flash If it flashes it means power needs to be discharged
STUDIO BASIC EFFECTS
When it comes to working in the studio experiment-ing is key Although the speed of the lights is 1125 so shoot at this shutter speedHere are some examples of what lighting set up achieves what sort of effect
26
By placing the light on the left side of the mod-el you see that only half of the face is lit and the other half in darkness as there is no light coming from theat direction
The light is placed about 1 metre away from the model and the camera also about the same distance
STUDIO BASIC EFFECTS
27
If you add a black reflector directly opposite from where the light is coming from about 1 metre away from the model it will bounce and light this side of the face As it is black which absorbs light it wonrsquot reflect too much back
TIPWhen lighting skin it is better to go 1 stop higher to over expose it slightly or the skin can look a little dark
STUDIO BASIC EFFECTS
If you change the black reflector for a white reflector the model will appear more lit This is because white reflects light The closer you move the white reflector the better lit the model will be
28
With this shot the softbox and white reflector were about 1 metre away from the model with thecamera also about 1 metre away from the model
STUDIO BASIC EFFECTS
If you donrsquot want a dramatic effect with many shadows place the light directly in front of the model and by adding a white reflector under-neath the light should also bounce onto the model
29
A white poly board was used underneath and below the model to bring in more light to her light her with This was about 2 feet away from her The soft box was on f2
LIGHTING WORKING WITH THE BACKDROP
30
Backdrops can dramatically change how we see a photograph The studio typically has a white or black backdrop
To create this a black poly board was positioned behind the model Two soft boxes were placed diagonally facing the model at f1 about 1 metre away Camera on ISO 200 aperture f8 and shutter on 1125 secs
LIGHTING WORKING WITH THE BACKDROP
31
With the previous photographs it appears the back-drop is grey as it is not being directly lit However there is a method to stop this Use a Bowen 500W soft box above the camera set on f3 Using a Bowen 500W light with a spill kill head set on f55 facing the backdrop Place a black reflector in front of this light to block light bouncing back to the model Place a white reflector next to the model as it will help bounce light back to the wall Each reflector should be about 15 metres from the model
LIGHTING BACK LIGHTING HAIR
32
This set up was created with a Bowen 500W Honeycomb head at f2 placed behind at one side of the model A beauty dish placed above the camera at f1 to give the main light source for the face
Backlighting is most often used for beauty and fashion shoots as it creates a more dramatic shot Back lighting hair that is blonde or very light tends to be more effective over darker hair as the two on the right show
LIGHTING BACK LIGHTING HAIR
33
Blonde Hair
Darker Hair
LIGHTING WORKING OUTSIDE
You will needbull A camera that allows sync bull Sync cable for flash Wireless
flash triggerbull 500w or 750w lightsbull Battery pack (to power the light)bull Light meterbull You may also addbull Snootbeauty dishhoneycombbull Power cablesbull Whitesilvergold reflector
Of course using lights are not soley used in an indoor environement This section looks at how to use the travel kits outside where the lighting is more difficult to control in comparison to the studio
34
LIGHTING WORKING OUTSIDE
35
This photograph was taken in an alley way where there was not much light It was intentional to have the railings appearing dark with the scene behind it being fairly lit The model was about 4 metres from the camera and light which was up high
This photograph was created using an aperture of f63 shutter speed of 1125 seconds and and ISO of 200 The Bowen 500W travel kit was used with the light unit set on f5
LIGHTING WORKING OUTSIDE CONT
36
This was created using the Bowen 500W at f2 The light directly bounced off the reflector opposite to light this photograph The aperture was on f16 which helped make the back-ground darker
LIGHTING WORKING OUTSIDE CONT
37
The aim with this was to light the background evenly with the model The Bowen 500W at f2 light the was placed at the model at angle so it could hit the reflector and light the wall at the same time
LIGHTING WORKING OUTSIDE CONT
38
With this one the soft box was placed closely to the model with the gold reflector at the opposite end to reflect the light The backdrop is dark as the aperture is around f16 with the light set on f5 Proves a dramatic set up
LIGHTING WORKING OUTSIDE CONT
39
This was created using 1 light but a gold reflector was placed down below near the model so the light could be reflected The Bowen 500W on f1 had an umbrella with no silver casing facing towards the model to give a fair but dramatic lighting
LIGHTING WORKING OUTSIDE CONT
40
These photographs were taken using the Canon Speedlite 580ex ii Two were used with 1 as the Master and the other as the slave
With this set-up the flash was on full power hence the dramatic lighing but the flash was positioned upwards The slave flash is what creates the majority of the light as it is at head level to the model at the side
LIGHTING WORKING OUTSIDE CONT
41
Here the model moved closer to the slave flash which was set on full power once again The master was not on hence why the only light source in the photograph is coming in directly onto the model Makes for an unusual set-up and for a dramatic effect
NOTES NOTES
42
NOTES NOTES
43
NOTES NOTES
44
NOTES NOTES
45
THIS GUIDE TO LIGHTING COVERS EVERTHING YOU NEED TO KNOW ABOUT THE BASICS OF A PHOTOGRAPHIC STUDIO FROM UNDERSTANDING LIGHTING EQUIPMENT TO ACHEIVING DESIRED RESULTS FROM CERTAIN TECHNIQUES THIS GUIDE GIVES A SIMPLE EXPLAINATION TO ASSIST YOU
LUCY BARTLETT IS STUDYING BA (HONS) PHOTOGRAPHY AT COVENTRY UNIVERSITY THIS MANUAL WAS PRO-DUCED AS PART OF THE lsquoWORKING WITH LIGHTrsquo MODULE
Prepared by MagCloud for Lucy Bartlett Get more at lucybartlettphotographymagcloudcom
HOW TO PINHOLE CONT
6 Once you have drawn your circle from the can cut out the circle
7 With the rectangular piece of paper fold over the sides so the paper is more flimsy and can be folded in
13
HOW TO PINHOLE CONT
8 Wrap the rectangular piece of paper around the can and use double sided sticky tape to hold the paper in place keeping sure the side with the slits can fold over the can
9 Using the double sided sticky tape put some onto the circular paper
14
HOW TO PINHOLE CONT
10 Firmly place and hold down the circular piece of paper on top of the folded over paper with the slits on it
11 You should now have a lid for yout camera which can easily pop on and off over the can
15
HOW TO PINHOLE CONT
12 Using the duct tape or gaffer tape begin to cover the lid to make it as light proof as possible
13 Keep covering the lid until no paper shows
16
HOW TO PINHOLE CONT
15 Using the needle or pin pierce into the can like so You now have an aperture
14 You should now have something like this It should be able to come away from the can with ease
17
HOW TO PINHOLE CONT
16 To make a stopper to stop light entering the pinhole camera tape some of the black paper over the aperture with masking tape Alternatively use blu-tac
And there you have it Just insert photo-sensitive paper into your camera by re-moving the lid Your pinhole camera is now ready to go
18
HOW TO PINHOLE CONT
Top tips
bull The bigger the hole the more light is let in For sharpe images make the hole as small as possible For a soft focus make the hole slightly bigger
bull Ensure the camera is lightproof to stop unwanted light effecting the paper
bull Avoid camera shake as it will result in very blurred images
bull Donrsquot use very thick material for your camera so your camera so that the light is not restricted
bull Ensure paper is inserted correctly
19
GETTING TO GRIPS WITH STUDIO EQUIPMENT
A photography studio or any other studio for that matter is an ideal space for photographers to work in There is a great deal of control over the lighting than if you were working outside
Spill KillThis head comes in a range of sizes A very basic head which gives a hard light on the subject
20
GETTING TO GRIPS WITH STUDIO EQUIPMENT
Umbrella This can be used with the silver lining with black back which should be aimed facing away from the subject as it reflects the light Without it it should be aime towards the subject as the light will disfuse through the white of the umbrella
Flash Gun A flash gun is easily portable for on location shooting It is possible to match 2 up 1 the master the other the slave
21
Beauty Dish This head is ideal for portraits where you want soft light on model Honeycomb can be inserted inside Snoot This head gives a spotlight effect so will look circular on whatever you project it on to Perfect for dramatic lighting and if you want to highlight something
GETTING TO GRIPS WITH STUDIO EQUIPMENT
22
500W and 750W Travel Kit A range of kits are available but the picture on the left features 2 500W flash head with 2 stands 2 umbrellas 2 mains lead and a synch lead Ideal for both studio work and on location
Transmitters One is connected to light and the other one on the hot shoe of the camera Working wirelessly without the need for sync cables this sends the signal to the flash so when you press the shutter the flash goes off They have channels so you can set certain lights off
Battery pack The battery pack can be used to power upto 2 lights at once
GETTING TO GRIPS WITH STUDIO EQUIPMENT
Poly boardsReflectors Also known as Flags these can reflect or block light from the subject you are photographing One side is typically white and the other is black They can be easily moved around the studio
23
Soft box This light softens the subject hence the name The main sheet is velcroed onto the head with another small sheet underneath which can also come off if you want a harsher light Soft-boxes come in large and small sizes
GETTING TO GRIPS WITH UNDERSTANDING POWER
In a perment studio it is likely the mains will need to be switched on As the image on the left shows you simply twist the red holder from left to right If you are changing one of the light bulbs it is vital to switch the mains off so you donrsquot electrocute yourself
Before using any equipment in the studio it is important to under how to operate the lighting units and how you can change the power to desired effect This section looks at understanding how to power the lights
24
GETTING TO GRIPS WITH UNDERSTANDING POWER
TIP Flash to release the power if you are decreasing the power to reduce the chances of damaging the power unit
May also say lsquoStopsrsquo instead of lsquoPowerrsquo Increase the power and the flash will be brighter
May also read as lsquoTenthsrsquo instead of lsquoLamprsquo Lower this to make the light dimmer
25
The higher the number the brighter the light The lowest is f50 with f10 the highest Press the arrows beneath it to go updown a stop
Press this green button to flash If it flashes it means power needs to be discharged
STUDIO BASIC EFFECTS
When it comes to working in the studio experiment-ing is key Although the speed of the lights is 1125 so shoot at this shutter speedHere are some examples of what lighting set up achieves what sort of effect
26
By placing the light on the left side of the mod-el you see that only half of the face is lit and the other half in darkness as there is no light coming from theat direction
The light is placed about 1 metre away from the model and the camera also about the same distance
STUDIO BASIC EFFECTS
27
If you add a black reflector directly opposite from where the light is coming from about 1 metre away from the model it will bounce and light this side of the face As it is black which absorbs light it wonrsquot reflect too much back
TIPWhen lighting skin it is better to go 1 stop higher to over expose it slightly or the skin can look a little dark
STUDIO BASIC EFFECTS
If you change the black reflector for a white reflector the model will appear more lit This is because white reflects light The closer you move the white reflector the better lit the model will be
28
With this shot the softbox and white reflector were about 1 metre away from the model with thecamera also about 1 metre away from the model
STUDIO BASIC EFFECTS
If you donrsquot want a dramatic effect with many shadows place the light directly in front of the model and by adding a white reflector under-neath the light should also bounce onto the model
29
A white poly board was used underneath and below the model to bring in more light to her light her with This was about 2 feet away from her The soft box was on f2
LIGHTING WORKING WITH THE BACKDROP
30
Backdrops can dramatically change how we see a photograph The studio typically has a white or black backdrop
To create this a black poly board was positioned behind the model Two soft boxes were placed diagonally facing the model at f1 about 1 metre away Camera on ISO 200 aperture f8 and shutter on 1125 secs
LIGHTING WORKING WITH THE BACKDROP
31
With the previous photographs it appears the back-drop is grey as it is not being directly lit However there is a method to stop this Use a Bowen 500W soft box above the camera set on f3 Using a Bowen 500W light with a spill kill head set on f55 facing the backdrop Place a black reflector in front of this light to block light bouncing back to the model Place a white reflector next to the model as it will help bounce light back to the wall Each reflector should be about 15 metres from the model
LIGHTING BACK LIGHTING HAIR
32
This set up was created with a Bowen 500W Honeycomb head at f2 placed behind at one side of the model A beauty dish placed above the camera at f1 to give the main light source for the face
Backlighting is most often used for beauty and fashion shoots as it creates a more dramatic shot Back lighting hair that is blonde or very light tends to be more effective over darker hair as the two on the right show
LIGHTING BACK LIGHTING HAIR
33
Blonde Hair
Darker Hair
LIGHTING WORKING OUTSIDE
You will needbull A camera that allows sync bull Sync cable for flash Wireless
flash triggerbull 500w or 750w lightsbull Battery pack (to power the light)bull Light meterbull You may also addbull Snootbeauty dishhoneycombbull Power cablesbull Whitesilvergold reflector
Of course using lights are not soley used in an indoor environement This section looks at how to use the travel kits outside where the lighting is more difficult to control in comparison to the studio
34
LIGHTING WORKING OUTSIDE
35
This photograph was taken in an alley way where there was not much light It was intentional to have the railings appearing dark with the scene behind it being fairly lit The model was about 4 metres from the camera and light which was up high
This photograph was created using an aperture of f63 shutter speed of 1125 seconds and and ISO of 200 The Bowen 500W travel kit was used with the light unit set on f5
LIGHTING WORKING OUTSIDE CONT
36
This was created using the Bowen 500W at f2 The light directly bounced off the reflector opposite to light this photograph The aperture was on f16 which helped make the back-ground darker
LIGHTING WORKING OUTSIDE CONT
37
The aim with this was to light the background evenly with the model The Bowen 500W at f2 light the was placed at the model at angle so it could hit the reflector and light the wall at the same time
LIGHTING WORKING OUTSIDE CONT
38
With this one the soft box was placed closely to the model with the gold reflector at the opposite end to reflect the light The backdrop is dark as the aperture is around f16 with the light set on f5 Proves a dramatic set up
LIGHTING WORKING OUTSIDE CONT
39
This was created using 1 light but a gold reflector was placed down below near the model so the light could be reflected The Bowen 500W on f1 had an umbrella with no silver casing facing towards the model to give a fair but dramatic lighting
LIGHTING WORKING OUTSIDE CONT
40
These photographs were taken using the Canon Speedlite 580ex ii Two were used with 1 as the Master and the other as the slave
With this set-up the flash was on full power hence the dramatic lighing but the flash was positioned upwards The slave flash is what creates the majority of the light as it is at head level to the model at the side
LIGHTING WORKING OUTSIDE CONT
41
Here the model moved closer to the slave flash which was set on full power once again The master was not on hence why the only light source in the photograph is coming in directly onto the model Makes for an unusual set-up and for a dramatic effect
NOTES NOTES
42
NOTES NOTES
43
NOTES NOTES
44
NOTES NOTES
45
THIS GUIDE TO LIGHTING COVERS EVERTHING YOU NEED TO KNOW ABOUT THE BASICS OF A PHOTOGRAPHIC STUDIO FROM UNDERSTANDING LIGHTING EQUIPMENT TO ACHEIVING DESIRED RESULTS FROM CERTAIN TECHNIQUES THIS GUIDE GIVES A SIMPLE EXPLAINATION TO ASSIST YOU
LUCY BARTLETT IS STUDYING BA (HONS) PHOTOGRAPHY AT COVENTRY UNIVERSITY THIS MANUAL WAS PRO-DUCED AS PART OF THE lsquoWORKING WITH LIGHTrsquo MODULE
Prepared by MagCloud for Lucy Bartlett Get more at lucybartlettphotographymagcloudcom
HOW TO PINHOLE CONT
8 Wrap the rectangular piece of paper around the can and use double sided sticky tape to hold the paper in place keeping sure the side with the slits can fold over the can
9 Using the double sided sticky tape put some onto the circular paper
14
HOW TO PINHOLE CONT
10 Firmly place and hold down the circular piece of paper on top of the folded over paper with the slits on it
11 You should now have a lid for yout camera which can easily pop on and off over the can
15
HOW TO PINHOLE CONT
12 Using the duct tape or gaffer tape begin to cover the lid to make it as light proof as possible
13 Keep covering the lid until no paper shows
16
HOW TO PINHOLE CONT
15 Using the needle or pin pierce into the can like so You now have an aperture
14 You should now have something like this It should be able to come away from the can with ease
17
HOW TO PINHOLE CONT
16 To make a stopper to stop light entering the pinhole camera tape some of the black paper over the aperture with masking tape Alternatively use blu-tac
And there you have it Just insert photo-sensitive paper into your camera by re-moving the lid Your pinhole camera is now ready to go
18
HOW TO PINHOLE CONT
Top tips
bull The bigger the hole the more light is let in For sharpe images make the hole as small as possible For a soft focus make the hole slightly bigger
bull Ensure the camera is lightproof to stop unwanted light effecting the paper
bull Avoid camera shake as it will result in very blurred images
bull Donrsquot use very thick material for your camera so your camera so that the light is not restricted
bull Ensure paper is inserted correctly
19
GETTING TO GRIPS WITH STUDIO EQUIPMENT
A photography studio or any other studio for that matter is an ideal space for photographers to work in There is a great deal of control over the lighting than if you were working outside
Spill KillThis head comes in a range of sizes A very basic head which gives a hard light on the subject
20
GETTING TO GRIPS WITH STUDIO EQUIPMENT
Umbrella This can be used with the silver lining with black back which should be aimed facing away from the subject as it reflects the light Without it it should be aime towards the subject as the light will disfuse through the white of the umbrella
Flash Gun A flash gun is easily portable for on location shooting It is possible to match 2 up 1 the master the other the slave
21
Beauty Dish This head is ideal for portraits where you want soft light on model Honeycomb can be inserted inside Snoot This head gives a spotlight effect so will look circular on whatever you project it on to Perfect for dramatic lighting and if you want to highlight something
GETTING TO GRIPS WITH STUDIO EQUIPMENT
22
500W and 750W Travel Kit A range of kits are available but the picture on the left features 2 500W flash head with 2 stands 2 umbrellas 2 mains lead and a synch lead Ideal for both studio work and on location
Transmitters One is connected to light and the other one on the hot shoe of the camera Working wirelessly without the need for sync cables this sends the signal to the flash so when you press the shutter the flash goes off They have channels so you can set certain lights off
Battery pack The battery pack can be used to power upto 2 lights at once
GETTING TO GRIPS WITH STUDIO EQUIPMENT
Poly boardsReflectors Also known as Flags these can reflect or block light from the subject you are photographing One side is typically white and the other is black They can be easily moved around the studio
23
Soft box This light softens the subject hence the name The main sheet is velcroed onto the head with another small sheet underneath which can also come off if you want a harsher light Soft-boxes come in large and small sizes
GETTING TO GRIPS WITH UNDERSTANDING POWER
In a perment studio it is likely the mains will need to be switched on As the image on the left shows you simply twist the red holder from left to right If you are changing one of the light bulbs it is vital to switch the mains off so you donrsquot electrocute yourself
Before using any equipment in the studio it is important to under how to operate the lighting units and how you can change the power to desired effect This section looks at understanding how to power the lights
24
GETTING TO GRIPS WITH UNDERSTANDING POWER
TIP Flash to release the power if you are decreasing the power to reduce the chances of damaging the power unit
May also say lsquoStopsrsquo instead of lsquoPowerrsquo Increase the power and the flash will be brighter
May also read as lsquoTenthsrsquo instead of lsquoLamprsquo Lower this to make the light dimmer
25
The higher the number the brighter the light The lowest is f50 with f10 the highest Press the arrows beneath it to go updown a stop
Press this green button to flash If it flashes it means power needs to be discharged
STUDIO BASIC EFFECTS
When it comes to working in the studio experiment-ing is key Although the speed of the lights is 1125 so shoot at this shutter speedHere are some examples of what lighting set up achieves what sort of effect
26
By placing the light on the left side of the mod-el you see that only half of the face is lit and the other half in darkness as there is no light coming from theat direction
The light is placed about 1 metre away from the model and the camera also about the same distance
STUDIO BASIC EFFECTS
27
If you add a black reflector directly opposite from where the light is coming from about 1 metre away from the model it will bounce and light this side of the face As it is black which absorbs light it wonrsquot reflect too much back
TIPWhen lighting skin it is better to go 1 stop higher to over expose it slightly or the skin can look a little dark
STUDIO BASIC EFFECTS
If you change the black reflector for a white reflector the model will appear more lit This is because white reflects light The closer you move the white reflector the better lit the model will be
28
With this shot the softbox and white reflector were about 1 metre away from the model with thecamera also about 1 metre away from the model
STUDIO BASIC EFFECTS
If you donrsquot want a dramatic effect with many shadows place the light directly in front of the model and by adding a white reflector under-neath the light should also bounce onto the model
29
A white poly board was used underneath and below the model to bring in more light to her light her with This was about 2 feet away from her The soft box was on f2
LIGHTING WORKING WITH THE BACKDROP
30
Backdrops can dramatically change how we see a photograph The studio typically has a white or black backdrop
To create this a black poly board was positioned behind the model Two soft boxes were placed diagonally facing the model at f1 about 1 metre away Camera on ISO 200 aperture f8 and shutter on 1125 secs
LIGHTING WORKING WITH THE BACKDROP
31
With the previous photographs it appears the back-drop is grey as it is not being directly lit However there is a method to stop this Use a Bowen 500W soft box above the camera set on f3 Using a Bowen 500W light with a spill kill head set on f55 facing the backdrop Place a black reflector in front of this light to block light bouncing back to the model Place a white reflector next to the model as it will help bounce light back to the wall Each reflector should be about 15 metres from the model
LIGHTING BACK LIGHTING HAIR
32
This set up was created with a Bowen 500W Honeycomb head at f2 placed behind at one side of the model A beauty dish placed above the camera at f1 to give the main light source for the face
Backlighting is most often used for beauty and fashion shoots as it creates a more dramatic shot Back lighting hair that is blonde or very light tends to be more effective over darker hair as the two on the right show
LIGHTING BACK LIGHTING HAIR
33
Blonde Hair
Darker Hair
LIGHTING WORKING OUTSIDE
You will needbull A camera that allows sync bull Sync cable for flash Wireless
flash triggerbull 500w or 750w lightsbull Battery pack (to power the light)bull Light meterbull You may also addbull Snootbeauty dishhoneycombbull Power cablesbull Whitesilvergold reflector
Of course using lights are not soley used in an indoor environement This section looks at how to use the travel kits outside where the lighting is more difficult to control in comparison to the studio
34
LIGHTING WORKING OUTSIDE
35
This photograph was taken in an alley way where there was not much light It was intentional to have the railings appearing dark with the scene behind it being fairly lit The model was about 4 metres from the camera and light which was up high
This photograph was created using an aperture of f63 shutter speed of 1125 seconds and and ISO of 200 The Bowen 500W travel kit was used with the light unit set on f5
LIGHTING WORKING OUTSIDE CONT
36
This was created using the Bowen 500W at f2 The light directly bounced off the reflector opposite to light this photograph The aperture was on f16 which helped make the back-ground darker
LIGHTING WORKING OUTSIDE CONT
37
The aim with this was to light the background evenly with the model The Bowen 500W at f2 light the was placed at the model at angle so it could hit the reflector and light the wall at the same time
LIGHTING WORKING OUTSIDE CONT
38
With this one the soft box was placed closely to the model with the gold reflector at the opposite end to reflect the light The backdrop is dark as the aperture is around f16 with the light set on f5 Proves a dramatic set up
LIGHTING WORKING OUTSIDE CONT
39
This was created using 1 light but a gold reflector was placed down below near the model so the light could be reflected The Bowen 500W on f1 had an umbrella with no silver casing facing towards the model to give a fair but dramatic lighting
LIGHTING WORKING OUTSIDE CONT
40
These photographs were taken using the Canon Speedlite 580ex ii Two were used with 1 as the Master and the other as the slave
With this set-up the flash was on full power hence the dramatic lighing but the flash was positioned upwards The slave flash is what creates the majority of the light as it is at head level to the model at the side
LIGHTING WORKING OUTSIDE CONT
41
Here the model moved closer to the slave flash which was set on full power once again The master was not on hence why the only light source in the photograph is coming in directly onto the model Makes for an unusual set-up and for a dramatic effect
NOTES NOTES
42
NOTES NOTES
43
NOTES NOTES
44
NOTES NOTES
45
THIS GUIDE TO LIGHTING COVERS EVERTHING YOU NEED TO KNOW ABOUT THE BASICS OF A PHOTOGRAPHIC STUDIO FROM UNDERSTANDING LIGHTING EQUIPMENT TO ACHEIVING DESIRED RESULTS FROM CERTAIN TECHNIQUES THIS GUIDE GIVES A SIMPLE EXPLAINATION TO ASSIST YOU
LUCY BARTLETT IS STUDYING BA (HONS) PHOTOGRAPHY AT COVENTRY UNIVERSITY THIS MANUAL WAS PRO-DUCED AS PART OF THE lsquoWORKING WITH LIGHTrsquo MODULE
Prepared by MagCloud for Lucy Bartlett Get more at lucybartlettphotographymagcloudcom
HOW TO PINHOLE CONT
10 Firmly place and hold down the circular piece of paper on top of the folded over paper with the slits on it
11 You should now have a lid for yout camera which can easily pop on and off over the can
15
HOW TO PINHOLE CONT
12 Using the duct tape or gaffer tape begin to cover the lid to make it as light proof as possible
13 Keep covering the lid until no paper shows
16
HOW TO PINHOLE CONT
15 Using the needle or pin pierce into the can like so You now have an aperture
14 You should now have something like this It should be able to come away from the can with ease
17
HOW TO PINHOLE CONT
16 To make a stopper to stop light entering the pinhole camera tape some of the black paper over the aperture with masking tape Alternatively use blu-tac
And there you have it Just insert photo-sensitive paper into your camera by re-moving the lid Your pinhole camera is now ready to go
18
HOW TO PINHOLE CONT
Top tips
bull The bigger the hole the more light is let in For sharpe images make the hole as small as possible For a soft focus make the hole slightly bigger
bull Ensure the camera is lightproof to stop unwanted light effecting the paper
bull Avoid camera shake as it will result in very blurred images
bull Donrsquot use very thick material for your camera so your camera so that the light is not restricted
bull Ensure paper is inserted correctly
19
GETTING TO GRIPS WITH STUDIO EQUIPMENT
A photography studio or any other studio for that matter is an ideal space for photographers to work in There is a great deal of control over the lighting than if you were working outside
Spill KillThis head comes in a range of sizes A very basic head which gives a hard light on the subject
20
GETTING TO GRIPS WITH STUDIO EQUIPMENT
Umbrella This can be used with the silver lining with black back which should be aimed facing away from the subject as it reflects the light Without it it should be aime towards the subject as the light will disfuse through the white of the umbrella
Flash Gun A flash gun is easily portable for on location shooting It is possible to match 2 up 1 the master the other the slave
21
Beauty Dish This head is ideal for portraits where you want soft light on model Honeycomb can be inserted inside Snoot This head gives a spotlight effect so will look circular on whatever you project it on to Perfect for dramatic lighting and if you want to highlight something
GETTING TO GRIPS WITH STUDIO EQUIPMENT
22
500W and 750W Travel Kit A range of kits are available but the picture on the left features 2 500W flash head with 2 stands 2 umbrellas 2 mains lead and a synch lead Ideal for both studio work and on location
Transmitters One is connected to light and the other one on the hot shoe of the camera Working wirelessly without the need for sync cables this sends the signal to the flash so when you press the shutter the flash goes off They have channels so you can set certain lights off
Battery pack The battery pack can be used to power upto 2 lights at once
GETTING TO GRIPS WITH STUDIO EQUIPMENT
Poly boardsReflectors Also known as Flags these can reflect or block light from the subject you are photographing One side is typically white and the other is black They can be easily moved around the studio
23
Soft box This light softens the subject hence the name The main sheet is velcroed onto the head with another small sheet underneath which can also come off if you want a harsher light Soft-boxes come in large and small sizes
GETTING TO GRIPS WITH UNDERSTANDING POWER
In a perment studio it is likely the mains will need to be switched on As the image on the left shows you simply twist the red holder from left to right If you are changing one of the light bulbs it is vital to switch the mains off so you donrsquot electrocute yourself
Before using any equipment in the studio it is important to under how to operate the lighting units and how you can change the power to desired effect This section looks at understanding how to power the lights
24
GETTING TO GRIPS WITH UNDERSTANDING POWER
TIP Flash to release the power if you are decreasing the power to reduce the chances of damaging the power unit
May also say lsquoStopsrsquo instead of lsquoPowerrsquo Increase the power and the flash will be brighter
May also read as lsquoTenthsrsquo instead of lsquoLamprsquo Lower this to make the light dimmer
25
The higher the number the brighter the light The lowest is f50 with f10 the highest Press the arrows beneath it to go updown a stop
Press this green button to flash If it flashes it means power needs to be discharged
STUDIO BASIC EFFECTS
When it comes to working in the studio experiment-ing is key Although the speed of the lights is 1125 so shoot at this shutter speedHere are some examples of what lighting set up achieves what sort of effect
26
By placing the light on the left side of the mod-el you see that only half of the face is lit and the other half in darkness as there is no light coming from theat direction
The light is placed about 1 metre away from the model and the camera also about the same distance
STUDIO BASIC EFFECTS
27
If you add a black reflector directly opposite from where the light is coming from about 1 metre away from the model it will bounce and light this side of the face As it is black which absorbs light it wonrsquot reflect too much back
TIPWhen lighting skin it is better to go 1 stop higher to over expose it slightly or the skin can look a little dark
STUDIO BASIC EFFECTS
If you change the black reflector for a white reflector the model will appear more lit This is because white reflects light The closer you move the white reflector the better lit the model will be
28
With this shot the softbox and white reflector were about 1 metre away from the model with thecamera also about 1 metre away from the model
STUDIO BASIC EFFECTS
If you donrsquot want a dramatic effect with many shadows place the light directly in front of the model and by adding a white reflector under-neath the light should also bounce onto the model
29
A white poly board was used underneath and below the model to bring in more light to her light her with This was about 2 feet away from her The soft box was on f2
LIGHTING WORKING WITH THE BACKDROP
30
Backdrops can dramatically change how we see a photograph The studio typically has a white or black backdrop
To create this a black poly board was positioned behind the model Two soft boxes were placed diagonally facing the model at f1 about 1 metre away Camera on ISO 200 aperture f8 and shutter on 1125 secs
LIGHTING WORKING WITH THE BACKDROP
31
With the previous photographs it appears the back-drop is grey as it is not being directly lit However there is a method to stop this Use a Bowen 500W soft box above the camera set on f3 Using a Bowen 500W light with a spill kill head set on f55 facing the backdrop Place a black reflector in front of this light to block light bouncing back to the model Place a white reflector next to the model as it will help bounce light back to the wall Each reflector should be about 15 metres from the model
LIGHTING BACK LIGHTING HAIR
32
This set up was created with a Bowen 500W Honeycomb head at f2 placed behind at one side of the model A beauty dish placed above the camera at f1 to give the main light source for the face
Backlighting is most often used for beauty and fashion shoots as it creates a more dramatic shot Back lighting hair that is blonde or very light tends to be more effective over darker hair as the two on the right show
LIGHTING BACK LIGHTING HAIR
33
Blonde Hair
Darker Hair
LIGHTING WORKING OUTSIDE
You will needbull A camera that allows sync bull Sync cable for flash Wireless
flash triggerbull 500w or 750w lightsbull Battery pack (to power the light)bull Light meterbull You may also addbull Snootbeauty dishhoneycombbull Power cablesbull Whitesilvergold reflector
Of course using lights are not soley used in an indoor environement This section looks at how to use the travel kits outside where the lighting is more difficult to control in comparison to the studio
34
LIGHTING WORKING OUTSIDE
35
This photograph was taken in an alley way where there was not much light It was intentional to have the railings appearing dark with the scene behind it being fairly lit The model was about 4 metres from the camera and light which was up high
This photograph was created using an aperture of f63 shutter speed of 1125 seconds and and ISO of 200 The Bowen 500W travel kit was used with the light unit set on f5
LIGHTING WORKING OUTSIDE CONT
36
This was created using the Bowen 500W at f2 The light directly bounced off the reflector opposite to light this photograph The aperture was on f16 which helped make the back-ground darker
LIGHTING WORKING OUTSIDE CONT
37
The aim with this was to light the background evenly with the model The Bowen 500W at f2 light the was placed at the model at angle so it could hit the reflector and light the wall at the same time
LIGHTING WORKING OUTSIDE CONT
38
With this one the soft box was placed closely to the model with the gold reflector at the opposite end to reflect the light The backdrop is dark as the aperture is around f16 with the light set on f5 Proves a dramatic set up
LIGHTING WORKING OUTSIDE CONT
39
This was created using 1 light but a gold reflector was placed down below near the model so the light could be reflected The Bowen 500W on f1 had an umbrella with no silver casing facing towards the model to give a fair but dramatic lighting
LIGHTING WORKING OUTSIDE CONT
40
These photographs were taken using the Canon Speedlite 580ex ii Two were used with 1 as the Master and the other as the slave
With this set-up the flash was on full power hence the dramatic lighing but the flash was positioned upwards The slave flash is what creates the majority of the light as it is at head level to the model at the side
LIGHTING WORKING OUTSIDE CONT
41
Here the model moved closer to the slave flash which was set on full power once again The master was not on hence why the only light source in the photograph is coming in directly onto the model Makes for an unusual set-up and for a dramatic effect
NOTES NOTES
42
NOTES NOTES
43
NOTES NOTES
44
NOTES NOTES
45
THIS GUIDE TO LIGHTING COVERS EVERTHING YOU NEED TO KNOW ABOUT THE BASICS OF A PHOTOGRAPHIC STUDIO FROM UNDERSTANDING LIGHTING EQUIPMENT TO ACHEIVING DESIRED RESULTS FROM CERTAIN TECHNIQUES THIS GUIDE GIVES A SIMPLE EXPLAINATION TO ASSIST YOU
LUCY BARTLETT IS STUDYING BA (HONS) PHOTOGRAPHY AT COVENTRY UNIVERSITY THIS MANUAL WAS PRO-DUCED AS PART OF THE lsquoWORKING WITH LIGHTrsquo MODULE
Prepared by MagCloud for Lucy Bartlett Get more at lucybartlettphotographymagcloudcom
HOW TO PINHOLE CONT
12 Using the duct tape or gaffer tape begin to cover the lid to make it as light proof as possible
13 Keep covering the lid until no paper shows
16
HOW TO PINHOLE CONT
15 Using the needle or pin pierce into the can like so You now have an aperture
14 You should now have something like this It should be able to come away from the can with ease
17
HOW TO PINHOLE CONT
16 To make a stopper to stop light entering the pinhole camera tape some of the black paper over the aperture with masking tape Alternatively use blu-tac
And there you have it Just insert photo-sensitive paper into your camera by re-moving the lid Your pinhole camera is now ready to go
18
HOW TO PINHOLE CONT
Top tips
bull The bigger the hole the more light is let in For sharpe images make the hole as small as possible For a soft focus make the hole slightly bigger
bull Ensure the camera is lightproof to stop unwanted light effecting the paper
bull Avoid camera shake as it will result in very blurred images
bull Donrsquot use very thick material for your camera so your camera so that the light is not restricted
bull Ensure paper is inserted correctly
19
GETTING TO GRIPS WITH STUDIO EQUIPMENT
A photography studio or any other studio for that matter is an ideal space for photographers to work in There is a great deal of control over the lighting than if you were working outside
Spill KillThis head comes in a range of sizes A very basic head which gives a hard light on the subject
20
GETTING TO GRIPS WITH STUDIO EQUIPMENT
Umbrella This can be used with the silver lining with black back which should be aimed facing away from the subject as it reflects the light Without it it should be aime towards the subject as the light will disfuse through the white of the umbrella
Flash Gun A flash gun is easily portable for on location shooting It is possible to match 2 up 1 the master the other the slave
21
Beauty Dish This head is ideal for portraits where you want soft light on model Honeycomb can be inserted inside Snoot This head gives a spotlight effect so will look circular on whatever you project it on to Perfect for dramatic lighting and if you want to highlight something
GETTING TO GRIPS WITH STUDIO EQUIPMENT
22
500W and 750W Travel Kit A range of kits are available but the picture on the left features 2 500W flash head with 2 stands 2 umbrellas 2 mains lead and a synch lead Ideal for both studio work and on location
Transmitters One is connected to light and the other one on the hot shoe of the camera Working wirelessly without the need for sync cables this sends the signal to the flash so when you press the shutter the flash goes off They have channels so you can set certain lights off
Battery pack The battery pack can be used to power upto 2 lights at once
GETTING TO GRIPS WITH STUDIO EQUIPMENT
Poly boardsReflectors Also known as Flags these can reflect or block light from the subject you are photographing One side is typically white and the other is black They can be easily moved around the studio
23
Soft box This light softens the subject hence the name The main sheet is velcroed onto the head with another small sheet underneath which can also come off if you want a harsher light Soft-boxes come in large and small sizes
GETTING TO GRIPS WITH UNDERSTANDING POWER
In a perment studio it is likely the mains will need to be switched on As the image on the left shows you simply twist the red holder from left to right If you are changing one of the light bulbs it is vital to switch the mains off so you donrsquot electrocute yourself
Before using any equipment in the studio it is important to under how to operate the lighting units and how you can change the power to desired effect This section looks at understanding how to power the lights
24
GETTING TO GRIPS WITH UNDERSTANDING POWER
TIP Flash to release the power if you are decreasing the power to reduce the chances of damaging the power unit
May also say lsquoStopsrsquo instead of lsquoPowerrsquo Increase the power and the flash will be brighter
May also read as lsquoTenthsrsquo instead of lsquoLamprsquo Lower this to make the light dimmer
25
The higher the number the brighter the light The lowest is f50 with f10 the highest Press the arrows beneath it to go updown a stop
Press this green button to flash If it flashes it means power needs to be discharged
STUDIO BASIC EFFECTS
When it comes to working in the studio experiment-ing is key Although the speed of the lights is 1125 so shoot at this shutter speedHere are some examples of what lighting set up achieves what sort of effect
26
By placing the light on the left side of the mod-el you see that only half of the face is lit and the other half in darkness as there is no light coming from theat direction
The light is placed about 1 metre away from the model and the camera also about the same distance
STUDIO BASIC EFFECTS
27
If you add a black reflector directly opposite from where the light is coming from about 1 metre away from the model it will bounce and light this side of the face As it is black which absorbs light it wonrsquot reflect too much back
TIPWhen lighting skin it is better to go 1 stop higher to over expose it slightly or the skin can look a little dark
STUDIO BASIC EFFECTS
If you change the black reflector for a white reflector the model will appear more lit This is because white reflects light The closer you move the white reflector the better lit the model will be
28
With this shot the softbox and white reflector were about 1 metre away from the model with thecamera also about 1 metre away from the model
STUDIO BASIC EFFECTS
If you donrsquot want a dramatic effect with many shadows place the light directly in front of the model and by adding a white reflector under-neath the light should also bounce onto the model
29
A white poly board was used underneath and below the model to bring in more light to her light her with This was about 2 feet away from her The soft box was on f2
LIGHTING WORKING WITH THE BACKDROP
30
Backdrops can dramatically change how we see a photograph The studio typically has a white or black backdrop
To create this a black poly board was positioned behind the model Two soft boxes were placed diagonally facing the model at f1 about 1 metre away Camera on ISO 200 aperture f8 and shutter on 1125 secs
LIGHTING WORKING WITH THE BACKDROP
31
With the previous photographs it appears the back-drop is grey as it is not being directly lit However there is a method to stop this Use a Bowen 500W soft box above the camera set on f3 Using a Bowen 500W light with a spill kill head set on f55 facing the backdrop Place a black reflector in front of this light to block light bouncing back to the model Place a white reflector next to the model as it will help bounce light back to the wall Each reflector should be about 15 metres from the model
LIGHTING BACK LIGHTING HAIR
32
This set up was created with a Bowen 500W Honeycomb head at f2 placed behind at one side of the model A beauty dish placed above the camera at f1 to give the main light source for the face
Backlighting is most often used for beauty and fashion shoots as it creates a more dramatic shot Back lighting hair that is blonde or very light tends to be more effective over darker hair as the two on the right show
LIGHTING BACK LIGHTING HAIR
33
Blonde Hair
Darker Hair
LIGHTING WORKING OUTSIDE
You will needbull A camera that allows sync bull Sync cable for flash Wireless
flash triggerbull 500w or 750w lightsbull Battery pack (to power the light)bull Light meterbull You may also addbull Snootbeauty dishhoneycombbull Power cablesbull Whitesilvergold reflector
Of course using lights are not soley used in an indoor environement This section looks at how to use the travel kits outside where the lighting is more difficult to control in comparison to the studio
34
LIGHTING WORKING OUTSIDE
35
This photograph was taken in an alley way where there was not much light It was intentional to have the railings appearing dark with the scene behind it being fairly lit The model was about 4 metres from the camera and light which was up high
This photograph was created using an aperture of f63 shutter speed of 1125 seconds and and ISO of 200 The Bowen 500W travel kit was used with the light unit set on f5
LIGHTING WORKING OUTSIDE CONT
36
This was created using the Bowen 500W at f2 The light directly bounced off the reflector opposite to light this photograph The aperture was on f16 which helped make the back-ground darker
LIGHTING WORKING OUTSIDE CONT
37
The aim with this was to light the background evenly with the model The Bowen 500W at f2 light the was placed at the model at angle so it could hit the reflector and light the wall at the same time
LIGHTING WORKING OUTSIDE CONT
38
With this one the soft box was placed closely to the model with the gold reflector at the opposite end to reflect the light The backdrop is dark as the aperture is around f16 with the light set on f5 Proves a dramatic set up
LIGHTING WORKING OUTSIDE CONT
39
This was created using 1 light but a gold reflector was placed down below near the model so the light could be reflected The Bowen 500W on f1 had an umbrella with no silver casing facing towards the model to give a fair but dramatic lighting
LIGHTING WORKING OUTSIDE CONT
40
These photographs were taken using the Canon Speedlite 580ex ii Two were used with 1 as the Master and the other as the slave
With this set-up the flash was on full power hence the dramatic lighing but the flash was positioned upwards The slave flash is what creates the majority of the light as it is at head level to the model at the side
LIGHTING WORKING OUTSIDE CONT
41
Here the model moved closer to the slave flash which was set on full power once again The master was not on hence why the only light source in the photograph is coming in directly onto the model Makes for an unusual set-up and for a dramatic effect
NOTES NOTES
42
NOTES NOTES
43
NOTES NOTES
44
NOTES NOTES
45
THIS GUIDE TO LIGHTING COVERS EVERTHING YOU NEED TO KNOW ABOUT THE BASICS OF A PHOTOGRAPHIC STUDIO FROM UNDERSTANDING LIGHTING EQUIPMENT TO ACHEIVING DESIRED RESULTS FROM CERTAIN TECHNIQUES THIS GUIDE GIVES A SIMPLE EXPLAINATION TO ASSIST YOU
LUCY BARTLETT IS STUDYING BA (HONS) PHOTOGRAPHY AT COVENTRY UNIVERSITY THIS MANUAL WAS PRO-DUCED AS PART OF THE lsquoWORKING WITH LIGHTrsquo MODULE
Prepared by MagCloud for Lucy Bartlett Get more at lucybartlettphotographymagcloudcom
HOW TO PINHOLE CONT
15 Using the needle or pin pierce into the can like so You now have an aperture
14 You should now have something like this It should be able to come away from the can with ease
17
HOW TO PINHOLE CONT
16 To make a stopper to stop light entering the pinhole camera tape some of the black paper over the aperture with masking tape Alternatively use blu-tac
And there you have it Just insert photo-sensitive paper into your camera by re-moving the lid Your pinhole camera is now ready to go
18
HOW TO PINHOLE CONT
Top tips
bull The bigger the hole the more light is let in For sharpe images make the hole as small as possible For a soft focus make the hole slightly bigger
bull Ensure the camera is lightproof to stop unwanted light effecting the paper
bull Avoid camera shake as it will result in very blurred images
bull Donrsquot use very thick material for your camera so your camera so that the light is not restricted
bull Ensure paper is inserted correctly
19
GETTING TO GRIPS WITH STUDIO EQUIPMENT
A photography studio or any other studio for that matter is an ideal space for photographers to work in There is a great deal of control over the lighting than if you were working outside
Spill KillThis head comes in a range of sizes A very basic head which gives a hard light on the subject
20
GETTING TO GRIPS WITH STUDIO EQUIPMENT
Umbrella This can be used with the silver lining with black back which should be aimed facing away from the subject as it reflects the light Without it it should be aime towards the subject as the light will disfuse through the white of the umbrella
Flash Gun A flash gun is easily portable for on location shooting It is possible to match 2 up 1 the master the other the slave
21
Beauty Dish This head is ideal for portraits where you want soft light on model Honeycomb can be inserted inside Snoot This head gives a spotlight effect so will look circular on whatever you project it on to Perfect for dramatic lighting and if you want to highlight something
GETTING TO GRIPS WITH STUDIO EQUIPMENT
22
500W and 750W Travel Kit A range of kits are available but the picture on the left features 2 500W flash head with 2 stands 2 umbrellas 2 mains lead and a synch lead Ideal for both studio work and on location
Transmitters One is connected to light and the other one on the hot shoe of the camera Working wirelessly without the need for sync cables this sends the signal to the flash so when you press the shutter the flash goes off They have channels so you can set certain lights off
Battery pack The battery pack can be used to power upto 2 lights at once
GETTING TO GRIPS WITH STUDIO EQUIPMENT
Poly boardsReflectors Also known as Flags these can reflect or block light from the subject you are photographing One side is typically white and the other is black They can be easily moved around the studio
23
Soft box This light softens the subject hence the name The main sheet is velcroed onto the head with another small sheet underneath which can also come off if you want a harsher light Soft-boxes come in large and small sizes
GETTING TO GRIPS WITH UNDERSTANDING POWER
In a perment studio it is likely the mains will need to be switched on As the image on the left shows you simply twist the red holder from left to right If you are changing one of the light bulbs it is vital to switch the mains off so you donrsquot electrocute yourself
Before using any equipment in the studio it is important to under how to operate the lighting units and how you can change the power to desired effect This section looks at understanding how to power the lights
24
GETTING TO GRIPS WITH UNDERSTANDING POWER
TIP Flash to release the power if you are decreasing the power to reduce the chances of damaging the power unit
May also say lsquoStopsrsquo instead of lsquoPowerrsquo Increase the power and the flash will be brighter
May also read as lsquoTenthsrsquo instead of lsquoLamprsquo Lower this to make the light dimmer
25
The higher the number the brighter the light The lowest is f50 with f10 the highest Press the arrows beneath it to go updown a stop
Press this green button to flash If it flashes it means power needs to be discharged
STUDIO BASIC EFFECTS
When it comes to working in the studio experiment-ing is key Although the speed of the lights is 1125 so shoot at this shutter speedHere are some examples of what lighting set up achieves what sort of effect
26
By placing the light on the left side of the mod-el you see that only half of the face is lit and the other half in darkness as there is no light coming from theat direction
The light is placed about 1 metre away from the model and the camera also about the same distance
STUDIO BASIC EFFECTS
27
If you add a black reflector directly opposite from where the light is coming from about 1 metre away from the model it will bounce and light this side of the face As it is black which absorbs light it wonrsquot reflect too much back
TIPWhen lighting skin it is better to go 1 stop higher to over expose it slightly or the skin can look a little dark
STUDIO BASIC EFFECTS
If you change the black reflector for a white reflector the model will appear more lit This is because white reflects light The closer you move the white reflector the better lit the model will be
28
With this shot the softbox and white reflector were about 1 metre away from the model with thecamera also about 1 metre away from the model
STUDIO BASIC EFFECTS
If you donrsquot want a dramatic effect with many shadows place the light directly in front of the model and by adding a white reflector under-neath the light should also bounce onto the model
29
A white poly board was used underneath and below the model to bring in more light to her light her with This was about 2 feet away from her The soft box was on f2
LIGHTING WORKING WITH THE BACKDROP
30
Backdrops can dramatically change how we see a photograph The studio typically has a white or black backdrop
To create this a black poly board was positioned behind the model Two soft boxes were placed diagonally facing the model at f1 about 1 metre away Camera on ISO 200 aperture f8 and shutter on 1125 secs
LIGHTING WORKING WITH THE BACKDROP
31
With the previous photographs it appears the back-drop is grey as it is not being directly lit However there is a method to stop this Use a Bowen 500W soft box above the camera set on f3 Using a Bowen 500W light with a spill kill head set on f55 facing the backdrop Place a black reflector in front of this light to block light bouncing back to the model Place a white reflector next to the model as it will help bounce light back to the wall Each reflector should be about 15 metres from the model
LIGHTING BACK LIGHTING HAIR
32
This set up was created with a Bowen 500W Honeycomb head at f2 placed behind at one side of the model A beauty dish placed above the camera at f1 to give the main light source for the face
Backlighting is most often used for beauty and fashion shoots as it creates a more dramatic shot Back lighting hair that is blonde or very light tends to be more effective over darker hair as the two on the right show
LIGHTING BACK LIGHTING HAIR
33
Blonde Hair
Darker Hair
LIGHTING WORKING OUTSIDE
You will needbull A camera that allows sync bull Sync cable for flash Wireless
flash triggerbull 500w or 750w lightsbull Battery pack (to power the light)bull Light meterbull You may also addbull Snootbeauty dishhoneycombbull Power cablesbull Whitesilvergold reflector
Of course using lights are not soley used in an indoor environement This section looks at how to use the travel kits outside where the lighting is more difficult to control in comparison to the studio
34
LIGHTING WORKING OUTSIDE
35
This photograph was taken in an alley way where there was not much light It was intentional to have the railings appearing dark with the scene behind it being fairly lit The model was about 4 metres from the camera and light which was up high
This photograph was created using an aperture of f63 shutter speed of 1125 seconds and and ISO of 200 The Bowen 500W travel kit was used with the light unit set on f5
LIGHTING WORKING OUTSIDE CONT
36
This was created using the Bowen 500W at f2 The light directly bounced off the reflector opposite to light this photograph The aperture was on f16 which helped make the back-ground darker
LIGHTING WORKING OUTSIDE CONT
37
The aim with this was to light the background evenly with the model The Bowen 500W at f2 light the was placed at the model at angle so it could hit the reflector and light the wall at the same time
LIGHTING WORKING OUTSIDE CONT
38
With this one the soft box was placed closely to the model with the gold reflector at the opposite end to reflect the light The backdrop is dark as the aperture is around f16 with the light set on f5 Proves a dramatic set up
LIGHTING WORKING OUTSIDE CONT
39
This was created using 1 light but a gold reflector was placed down below near the model so the light could be reflected The Bowen 500W on f1 had an umbrella with no silver casing facing towards the model to give a fair but dramatic lighting
LIGHTING WORKING OUTSIDE CONT
40
These photographs were taken using the Canon Speedlite 580ex ii Two were used with 1 as the Master and the other as the slave
With this set-up the flash was on full power hence the dramatic lighing but the flash was positioned upwards The slave flash is what creates the majority of the light as it is at head level to the model at the side
LIGHTING WORKING OUTSIDE CONT
41
Here the model moved closer to the slave flash which was set on full power once again The master was not on hence why the only light source in the photograph is coming in directly onto the model Makes for an unusual set-up and for a dramatic effect
NOTES NOTES
42
NOTES NOTES
43
NOTES NOTES
44
NOTES NOTES
45
THIS GUIDE TO LIGHTING COVERS EVERTHING YOU NEED TO KNOW ABOUT THE BASICS OF A PHOTOGRAPHIC STUDIO FROM UNDERSTANDING LIGHTING EQUIPMENT TO ACHEIVING DESIRED RESULTS FROM CERTAIN TECHNIQUES THIS GUIDE GIVES A SIMPLE EXPLAINATION TO ASSIST YOU
LUCY BARTLETT IS STUDYING BA (HONS) PHOTOGRAPHY AT COVENTRY UNIVERSITY THIS MANUAL WAS PRO-DUCED AS PART OF THE lsquoWORKING WITH LIGHTrsquo MODULE
Prepared by MagCloud for Lucy Bartlett Get more at lucybartlettphotographymagcloudcom
HOW TO PINHOLE CONT
16 To make a stopper to stop light entering the pinhole camera tape some of the black paper over the aperture with masking tape Alternatively use blu-tac
And there you have it Just insert photo-sensitive paper into your camera by re-moving the lid Your pinhole camera is now ready to go
18
HOW TO PINHOLE CONT
Top tips
bull The bigger the hole the more light is let in For sharpe images make the hole as small as possible For a soft focus make the hole slightly bigger
bull Ensure the camera is lightproof to stop unwanted light effecting the paper
bull Avoid camera shake as it will result in very blurred images
bull Donrsquot use very thick material for your camera so your camera so that the light is not restricted
bull Ensure paper is inserted correctly
19
GETTING TO GRIPS WITH STUDIO EQUIPMENT
A photography studio or any other studio for that matter is an ideal space for photographers to work in There is a great deal of control over the lighting than if you were working outside
Spill KillThis head comes in a range of sizes A very basic head which gives a hard light on the subject
20
GETTING TO GRIPS WITH STUDIO EQUIPMENT
Umbrella This can be used with the silver lining with black back which should be aimed facing away from the subject as it reflects the light Without it it should be aime towards the subject as the light will disfuse through the white of the umbrella
Flash Gun A flash gun is easily portable for on location shooting It is possible to match 2 up 1 the master the other the slave
21
Beauty Dish This head is ideal for portraits where you want soft light on model Honeycomb can be inserted inside Snoot This head gives a spotlight effect so will look circular on whatever you project it on to Perfect for dramatic lighting and if you want to highlight something
GETTING TO GRIPS WITH STUDIO EQUIPMENT
22
500W and 750W Travel Kit A range of kits are available but the picture on the left features 2 500W flash head with 2 stands 2 umbrellas 2 mains lead and a synch lead Ideal for both studio work and on location
Transmitters One is connected to light and the other one on the hot shoe of the camera Working wirelessly without the need for sync cables this sends the signal to the flash so when you press the shutter the flash goes off They have channels so you can set certain lights off
Battery pack The battery pack can be used to power upto 2 lights at once
GETTING TO GRIPS WITH STUDIO EQUIPMENT
Poly boardsReflectors Also known as Flags these can reflect or block light from the subject you are photographing One side is typically white and the other is black They can be easily moved around the studio
23
Soft box This light softens the subject hence the name The main sheet is velcroed onto the head with another small sheet underneath which can also come off if you want a harsher light Soft-boxes come in large and small sizes
GETTING TO GRIPS WITH UNDERSTANDING POWER
In a perment studio it is likely the mains will need to be switched on As the image on the left shows you simply twist the red holder from left to right If you are changing one of the light bulbs it is vital to switch the mains off so you donrsquot electrocute yourself
Before using any equipment in the studio it is important to under how to operate the lighting units and how you can change the power to desired effect This section looks at understanding how to power the lights
24
GETTING TO GRIPS WITH UNDERSTANDING POWER
TIP Flash to release the power if you are decreasing the power to reduce the chances of damaging the power unit
May also say lsquoStopsrsquo instead of lsquoPowerrsquo Increase the power and the flash will be brighter
May also read as lsquoTenthsrsquo instead of lsquoLamprsquo Lower this to make the light dimmer
25
The higher the number the brighter the light The lowest is f50 with f10 the highest Press the arrows beneath it to go updown a stop
Press this green button to flash If it flashes it means power needs to be discharged
STUDIO BASIC EFFECTS
When it comes to working in the studio experiment-ing is key Although the speed of the lights is 1125 so shoot at this shutter speedHere are some examples of what lighting set up achieves what sort of effect
26
By placing the light on the left side of the mod-el you see that only half of the face is lit and the other half in darkness as there is no light coming from theat direction
The light is placed about 1 metre away from the model and the camera also about the same distance
STUDIO BASIC EFFECTS
27
If you add a black reflector directly opposite from where the light is coming from about 1 metre away from the model it will bounce and light this side of the face As it is black which absorbs light it wonrsquot reflect too much back
TIPWhen lighting skin it is better to go 1 stop higher to over expose it slightly or the skin can look a little dark
STUDIO BASIC EFFECTS
If you change the black reflector for a white reflector the model will appear more lit This is because white reflects light The closer you move the white reflector the better lit the model will be
28
With this shot the softbox and white reflector were about 1 metre away from the model with thecamera also about 1 metre away from the model
STUDIO BASIC EFFECTS
If you donrsquot want a dramatic effect with many shadows place the light directly in front of the model and by adding a white reflector under-neath the light should also bounce onto the model
29
A white poly board was used underneath and below the model to bring in more light to her light her with This was about 2 feet away from her The soft box was on f2
LIGHTING WORKING WITH THE BACKDROP
30
Backdrops can dramatically change how we see a photograph The studio typically has a white or black backdrop
To create this a black poly board was positioned behind the model Two soft boxes were placed diagonally facing the model at f1 about 1 metre away Camera on ISO 200 aperture f8 and shutter on 1125 secs
LIGHTING WORKING WITH THE BACKDROP
31
With the previous photographs it appears the back-drop is grey as it is not being directly lit However there is a method to stop this Use a Bowen 500W soft box above the camera set on f3 Using a Bowen 500W light with a spill kill head set on f55 facing the backdrop Place a black reflector in front of this light to block light bouncing back to the model Place a white reflector next to the model as it will help bounce light back to the wall Each reflector should be about 15 metres from the model
LIGHTING BACK LIGHTING HAIR
32
This set up was created with a Bowen 500W Honeycomb head at f2 placed behind at one side of the model A beauty dish placed above the camera at f1 to give the main light source for the face
Backlighting is most often used for beauty and fashion shoots as it creates a more dramatic shot Back lighting hair that is blonde or very light tends to be more effective over darker hair as the two on the right show
LIGHTING BACK LIGHTING HAIR
33
Blonde Hair
Darker Hair
LIGHTING WORKING OUTSIDE
You will needbull A camera that allows sync bull Sync cable for flash Wireless
flash triggerbull 500w or 750w lightsbull Battery pack (to power the light)bull Light meterbull You may also addbull Snootbeauty dishhoneycombbull Power cablesbull Whitesilvergold reflector
Of course using lights are not soley used in an indoor environement This section looks at how to use the travel kits outside where the lighting is more difficult to control in comparison to the studio
34
LIGHTING WORKING OUTSIDE
35
This photograph was taken in an alley way where there was not much light It was intentional to have the railings appearing dark with the scene behind it being fairly lit The model was about 4 metres from the camera and light which was up high
This photograph was created using an aperture of f63 shutter speed of 1125 seconds and and ISO of 200 The Bowen 500W travel kit was used with the light unit set on f5
LIGHTING WORKING OUTSIDE CONT
36
This was created using the Bowen 500W at f2 The light directly bounced off the reflector opposite to light this photograph The aperture was on f16 which helped make the back-ground darker
LIGHTING WORKING OUTSIDE CONT
37
The aim with this was to light the background evenly with the model The Bowen 500W at f2 light the was placed at the model at angle so it could hit the reflector and light the wall at the same time
LIGHTING WORKING OUTSIDE CONT
38
With this one the soft box was placed closely to the model with the gold reflector at the opposite end to reflect the light The backdrop is dark as the aperture is around f16 with the light set on f5 Proves a dramatic set up
LIGHTING WORKING OUTSIDE CONT
39
This was created using 1 light but a gold reflector was placed down below near the model so the light could be reflected The Bowen 500W on f1 had an umbrella with no silver casing facing towards the model to give a fair but dramatic lighting
LIGHTING WORKING OUTSIDE CONT
40
These photographs were taken using the Canon Speedlite 580ex ii Two were used with 1 as the Master and the other as the slave
With this set-up the flash was on full power hence the dramatic lighing but the flash was positioned upwards The slave flash is what creates the majority of the light as it is at head level to the model at the side
LIGHTING WORKING OUTSIDE CONT
41
Here the model moved closer to the slave flash which was set on full power once again The master was not on hence why the only light source in the photograph is coming in directly onto the model Makes for an unusual set-up and for a dramatic effect
NOTES NOTES
42
NOTES NOTES
43
NOTES NOTES
44
NOTES NOTES
45
THIS GUIDE TO LIGHTING COVERS EVERTHING YOU NEED TO KNOW ABOUT THE BASICS OF A PHOTOGRAPHIC STUDIO FROM UNDERSTANDING LIGHTING EQUIPMENT TO ACHEIVING DESIRED RESULTS FROM CERTAIN TECHNIQUES THIS GUIDE GIVES A SIMPLE EXPLAINATION TO ASSIST YOU
LUCY BARTLETT IS STUDYING BA (HONS) PHOTOGRAPHY AT COVENTRY UNIVERSITY THIS MANUAL WAS PRO-DUCED AS PART OF THE lsquoWORKING WITH LIGHTrsquo MODULE
Prepared by MagCloud for Lucy Bartlett Get more at lucybartlettphotographymagcloudcom
HOW TO PINHOLE CONT
Top tips
bull The bigger the hole the more light is let in For sharpe images make the hole as small as possible For a soft focus make the hole slightly bigger
bull Ensure the camera is lightproof to stop unwanted light effecting the paper
bull Avoid camera shake as it will result in very blurred images
bull Donrsquot use very thick material for your camera so your camera so that the light is not restricted
bull Ensure paper is inserted correctly
19
GETTING TO GRIPS WITH STUDIO EQUIPMENT
A photography studio or any other studio for that matter is an ideal space for photographers to work in There is a great deal of control over the lighting than if you were working outside
Spill KillThis head comes in a range of sizes A very basic head which gives a hard light on the subject
20
GETTING TO GRIPS WITH STUDIO EQUIPMENT
Umbrella This can be used with the silver lining with black back which should be aimed facing away from the subject as it reflects the light Without it it should be aime towards the subject as the light will disfuse through the white of the umbrella
Flash Gun A flash gun is easily portable for on location shooting It is possible to match 2 up 1 the master the other the slave
21
Beauty Dish This head is ideal for portraits where you want soft light on model Honeycomb can be inserted inside Snoot This head gives a spotlight effect so will look circular on whatever you project it on to Perfect for dramatic lighting and if you want to highlight something
GETTING TO GRIPS WITH STUDIO EQUIPMENT
22
500W and 750W Travel Kit A range of kits are available but the picture on the left features 2 500W flash head with 2 stands 2 umbrellas 2 mains lead and a synch lead Ideal for both studio work and on location
Transmitters One is connected to light and the other one on the hot shoe of the camera Working wirelessly without the need for sync cables this sends the signal to the flash so when you press the shutter the flash goes off They have channels so you can set certain lights off
Battery pack The battery pack can be used to power upto 2 lights at once
GETTING TO GRIPS WITH STUDIO EQUIPMENT
Poly boardsReflectors Also known as Flags these can reflect or block light from the subject you are photographing One side is typically white and the other is black They can be easily moved around the studio
23
Soft box This light softens the subject hence the name The main sheet is velcroed onto the head with another small sheet underneath which can also come off if you want a harsher light Soft-boxes come in large and small sizes
GETTING TO GRIPS WITH UNDERSTANDING POWER
In a perment studio it is likely the mains will need to be switched on As the image on the left shows you simply twist the red holder from left to right If you are changing one of the light bulbs it is vital to switch the mains off so you donrsquot electrocute yourself
Before using any equipment in the studio it is important to under how to operate the lighting units and how you can change the power to desired effect This section looks at understanding how to power the lights
24
GETTING TO GRIPS WITH UNDERSTANDING POWER
TIP Flash to release the power if you are decreasing the power to reduce the chances of damaging the power unit
May also say lsquoStopsrsquo instead of lsquoPowerrsquo Increase the power and the flash will be brighter
May also read as lsquoTenthsrsquo instead of lsquoLamprsquo Lower this to make the light dimmer
25
The higher the number the brighter the light The lowest is f50 with f10 the highest Press the arrows beneath it to go updown a stop
Press this green button to flash If it flashes it means power needs to be discharged
STUDIO BASIC EFFECTS
When it comes to working in the studio experiment-ing is key Although the speed of the lights is 1125 so shoot at this shutter speedHere are some examples of what lighting set up achieves what sort of effect
26
By placing the light on the left side of the mod-el you see that only half of the face is lit and the other half in darkness as there is no light coming from theat direction
The light is placed about 1 metre away from the model and the camera also about the same distance
STUDIO BASIC EFFECTS
27
If you add a black reflector directly opposite from where the light is coming from about 1 metre away from the model it will bounce and light this side of the face As it is black which absorbs light it wonrsquot reflect too much back
TIPWhen lighting skin it is better to go 1 stop higher to over expose it slightly or the skin can look a little dark
STUDIO BASIC EFFECTS
If you change the black reflector for a white reflector the model will appear more lit This is because white reflects light The closer you move the white reflector the better lit the model will be
28
With this shot the softbox and white reflector were about 1 metre away from the model with thecamera also about 1 metre away from the model
STUDIO BASIC EFFECTS
If you donrsquot want a dramatic effect with many shadows place the light directly in front of the model and by adding a white reflector under-neath the light should also bounce onto the model
29
A white poly board was used underneath and below the model to bring in more light to her light her with This was about 2 feet away from her The soft box was on f2
LIGHTING WORKING WITH THE BACKDROP
30
Backdrops can dramatically change how we see a photograph The studio typically has a white or black backdrop
To create this a black poly board was positioned behind the model Two soft boxes were placed diagonally facing the model at f1 about 1 metre away Camera on ISO 200 aperture f8 and shutter on 1125 secs
LIGHTING WORKING WITH THE BACKDROP
31
With the previous photographs it appears the back-drop is grey as it is not being directly lit However there is a method to stop this Use a Bowen 500W soft box above the camera set on f3 Using a Bowen 500W light with a spill kill head set on f55 facing the backdrop Place a black reflector in front of this light to block light bouncing back to the model Place a white reflector next to the model as it will help bounce light back to the wall Each reflector should be about 15 metres from the model
LIGHTING BACK LIGHTING HAIR
32
This set up was created with a Bowen 500W Honeycomb head at f2 placed behind at one side of the model A beauty dish placed above the camera at f1 to give the main light source for the face
Backlighting is most often used for beauty and fashion shoots as it creates a more dramatic shot Back lighting hair that is blonde or very light tends to be more effective over darker hair as the two on the right show
LIGHTING BACK LIGHTING HAIR
33
Blonde Hair
Darker Hair
LIGHTING WORKING OUTSIDE
You will needbull A camera that allows sync bull Sync cable for flash Wireless
flash triggerbull 500w or 750w lightsbull Battery pack (to power the light)bull Light meterbull You may also addbull Snootbeauty dishhoneycombbull Power cablesbull Whitesilvergold reflector
Of course using lights are not soley used in an indoor environement This section looks at how to use the travel kits outside where the lighting is more difficult to control in comparison to the studio
34
LIGHTING WORKING OUTSIDE
35
This photograph was taken in an alley way where there was not much light It was intentional to have the railings appearing dark with the scene behind it being fairly lit The model was about 4 metres from the camera and light which was up high
This photograph was created using an aperture of f63 shutter speed of 1125 seconds and and ISO of 200 The Bowen 500W travel kit was used with the light unit set on f5
LIGHTING WORKING OUTSIDE CONT
36
This was created using the Bowen 500W at f2 The light directly bounced off the reflector opposite to light this photograph The aperture was on f16 which helped make the back-ground darker
LIGHTING WORKING OUTSIDE CONT
37
The aim with this was to light the background evenly with the model The Bowen 500W at f2 light the was placed at the model at angle so it could hit the reflector and light the wall at the same time
LIGHTING WORKING OUTSIDE CONT
38
With this one the soft box was placed closely to the model with the gold reflector at the opposite end to reflect the light The backdrop is dark as the aperture is around f16 with the light set on f5 Proves a dramatic set up
LIGHTING WORKING OUTSIDE CONT
39
This was created using 1 light but a gold reflector was placed down below near the model so the light could be reflected The Bowen 500W on f1 had an umbrella with no silver casing facing towards the model to give a fair but dramatic lighting
LIGHTING WORKING OUTSIDE CONT
40
These photographs were taken using the Canon Speedlite 580ex ii Two were used with 1 as the Master and the other as the slave
With this set-up the flash was on full power hence the dramatic lighing but the flash was positioned upwards The slave flash is what creates the majority of the light as it is at head level to the model at the side
LIGHTING WORKING OUTSIDE CONT
41
Here the model moved closer to the slave flash which was set on full power once again The master was not on hence why the only light source in the photograph is coming in directly onto the model Makes for an unusual set-up and for a dramatic effect
NOTES NOTES
42
NOTES NOTES
43
NOTES NOTES
44
NOTES NOTES
45
THIS GUIDE TO LIGHTING COVERS EVERTHING YOU NEED TO KNOW ABOUT THE BASICS OF A PHOTOGRAPHIC STUDIO FROM UNDERSTANDING LIGHTING EQUIPMENT TO ACHEIVING DESIRED RESULTS FROM CERTAIN TECHNIQUES THIS GUIDE GIVES A SIMPLE EXPLAINATION TO ASSIST YOU
LUCY BARTLETT IS STUDYING BA (HONS) PHOTOGRAPHY AT COVENTRY UNIVERSITY THIS MANUAL WAS PRO-DUCED AS PART OF THE lsquoWORKING WITH LIGHTrsquo MODULE
Prepared by MagCloud for Lucy Bartlett Get more at lucybartlettphotographymagcloudcom
GETTING TO GRIPS WITH STUDIO EQUIPMENT
A photography studio or any other studio for that matter is an ideal space for photographers to work in There is a great deal of control over the lighting than if you were working outside
Spill KillThis head comes in a range of sizes A very basic head which gives a hard light on the subject
20
GETTING TO GRIPS WITH STUDIO EQUIPMENT
Umbrella This can be used with the silver lining with black back which should be aimed facing away from the subject as it reflects the light Without it it should be aime towards the subject as the light will disfuse through the white of the umbrella
Flash Gun A flash gun is easily portable for on location shooting It is possible to match 2 up 1 the master the other the slave
21
Beauty Dish This head is ideal for portraits where you want soft light on model Honeycomb can be inserted inside Snoot This head gives a spotlight effect so will look circular on whatever you project it on to Perfect for dramatic lighting and if you want to highlight something
GETTING TO GRIPS WITH STUDIO EQUIPMENT
22
500W and 750W Travel Kit A range of kits are available but the picture on the left features 2 500W flash head with 2 stands 2 umbrellas 2 mains lead and a synch lead Ideal for both studio work and on location
Transmitters One is connected to light and the other one on the hot shoe of the camera Working wirelessly without the need for sync cables this sends the signal to the flash so when you press the shutter the flash goes off They have channels so you can set certain lights off
Battery pack The battery pack can be used to power upto 2 lights at once
GETTING TO GRIPS WITH STUDIO EQUIPMENT
Poly boardsReflectors Also known as Flags these can reflect or block light from the subject you are photographing One side is typically white and the other is black They can be easily moved around the studio
23
Soft box This light softens the subject hence the name The main sheet is velcroed onto the head with another small sheet underneath which can also come off if you want a harsher light Soft-boxes come in large and small sizes
GETTING TO GRIPS WITH UNDERSTANDING POWER
In a perment studio it is likely the mains will need to be switched on As the image on the left shows you simply twist the red holder from left to right If you are changing one of the light bulbs it is vital to switch the mains off so you donrsquot electrocute yourself
Before using any equipment in the studio it is important to under how to operate the lighting units and how you can change the power to desired effect This section looks at understanding how to power the lights
24
GETTING TO GRIPS WITH UNDERSTANDING POWER
TIP Flash to release the power if you are decreasing the power to reduce the chances of damaging the power unit
May also say lsquoStopsrsquo instead of lsquoPowerrsquo Increase the power and the flash will be brighter
May also read as lsquoTenthsrsquo instead of lsquoLamprsquo Lower this to make the light dimmer
25
The higher the number the brighter the light The lowest is f50 with f10 the highest Press the arrows beneath it to go updown a stop
Press this green button to flash If it flashes it means power needs to be discharged
STUDIO BASIC EFFECTS
When it comes to working in the studio experiment-ing is key Although the speed of the lights is 1125 so shoot at this shutter speedHere are some examples of what lighting set up achieves what sort of effect
26
By placing the light on the left side of the mod-el you see that only half of the face is lit and the other half in darkness as there is no light coming from theat direction
The light is placed about 1 metre away from the model and the camera also about the same distance
STUDIO BASIC EFFECTS
27
If you add a black reflector directly opposite from where the light is coming from about 1 metre away from the model it will bounce and light this side of the face As it is black which absorbs light it wonrsquot reflect too much back
TIPWhen lighting skin it is better to go 1 stop higher to over expose it slightly or the skin can look a little dark
STUDIO BASIC EFFECTS
If you change the black reflector for a white reflector the model will appear more lit This is because white reflects light The closer you move the white reflector the better lit the model will be
28
With this shot the softbox and white reflector were about 1 metre away from the model with thecamera also about 1 metre away from the model
STUDIO BASIC EFFECTS
If you donrsquot want a dramatic effect with many shadows place the light directly in front of the model and by adding a white reflector under-neath the light should also bounce onto the model
29
A white poly board was used underneath and below the model to bring in more light to her light her with This was about 2 feet away from her The soft box was on f2
LIGHTING WORKING WITH THE BACKDROP
30
Backdrops can dramatically change how we see a photograph The studio typically has a white or black backdrop
To create this a black poly board was positioned behind the model Two soft boxes were placed diagonally facing the model at f1 about 1 metre away Camera on ISO 200 aperture f8 and shutter on 1125 secs
LIGHTING WORKING WITH THE BACKDROP
31
With the previous photographs it appears the back-drop is grey as it is not being directly lit However there is a method to stop this Use a Bowen 500W soft box above the camera set on f3 Using a Bowen 500W light with a spill kill head set on f55 facing the backdrop Place a black reflector in front of this light to block light bouncing back to the model Place a white reflector next to the model as it will help bounce light back to the wall Each reflector should be about 15 metres from the model
LIGHTING BACK LIGHTING HAIR
32
This set up was created with a Bowen 500W Honeycomb head at f2 placed behind at one side of the model A beauty dish placed above the camera at f1 to give the main light source for the face
Backlighting is most often used for beauty and fashion shoots as it creates a more dramatic shot Back lighting hair that is blonde or very light tends to be more effective over darker hair as the two on the right show
LIGHTING BACK LIGHTING HAIR
33
Blonde Hair
Darker Hair
LIGHTING WORKING OUTSIDE
You will needbull A camera that allows sync bull Sync cable for flash Wireless
flash triggerbull 500w or 750w lightsbull Battery pack (to power the light)bull Light meterbull You may also addbull Snootbeauty dishhoneycombbull Power cablesbull Whitesilvergold reflector
Of course using lights are not soley used in an indoor environement This section looks at how to use the travel kits outside where the lighting is more difficult to control in comparison to the studio
34
LIGHTING WORKING OUTSIDE
35
This photograph was taken in an alley way where there was not much light It was intentional to have the railings appearing dark with the scene behind it being fairly lit The model was about 4 metres from the camera and light which was up high
This photograph was created using an aperture of f63 shutter speed of 1125 seconds and and ISO of 200 The Bowen 500W travel kit was used with the light unit set on f5
LIGHTING WORKING OUTSIDE CONT
36
This was created using the Bowen 500W at f2 The light directly bounced off the reflector opposite to light this photograph The aperture was on f16 which helped make the back-ground darker
LIGHTING WORKING OUTSIDE CONT
37
The aim with this was to light the background evenly with the model The Bowen 500W at f2 light the was placed at the model at angle so it could hit the reflector and light the wall at the same time
LIGHTING WORKING OUTSIDE CONT
38
With this one the soft box was placed closely to the model with the gold reflector at the opposite end to reflect the light The backdrop is dark as the aperture is around f16 with the light set on f5 Proves a dramatic set up
LIGHTING WORKING OUTSIDE CONT
39
This was created using 1 light but a gold reflector was placed down below near the model so the light could be reflected The Bowen 500W on f1 had an umbrella with no silver casing facing towards the model to give a fair but dramatic lighting
LIGHTING WORKING OUTSIDE CONT
40
These photographs were taken using the Canon Speedlite 580ex ii Two were used with 1 as the Master and the other as the slave
With this set-up the flash was on full power hence the dramatic lighing but the flash was positioned upwards The slave flash is what creates the majority of the light as it is at head level to the model at the side
LIGHTING WORKING OUTSIDE CONT
41
Here the model moved closer to the slave flash which was set on full power once again The master was not on hence why the only light source in the photograph is coming in directly onto the model Makes for an unusual set-up and for a dramatic effect
NOTES NOTES
42
NOTES NOTES
43
NOTES NOTES
44
NOTES NOTES
45
THIS GUIDE TO LIGHTING COVERS EVERTHING YOU NEED TO KNOW ABOUT THE BASICS OF A PHOTOGRAPHIC STUDIO FROM UNDERSTANDING LIGHTING EQUIPMENT TO ACHEIVING DESIRED RESULTS FROM CERTAIN TECHNIQUES THIS GUIDE GIVES A SIMPLE EXPLAINATION TO ASSIST YOU
LUCY BARTLETT IS STUDYING BA (HONS) PHOTOGRAPHY AT COVENTRY UNIVERSITY THIS MANUAL WAS PRO-DUCED AS PART OF THE lsquoWORKING WITH LIGHTrsquo MODULE
Prepared by MagCloud for Lucy Bartlett Get more at lucybartlettphotographymagcloudcom
GETTING TO GRIPS WITH STUDIO EQUIPMENT
Umbrella This can be used with the silver lining with black back which should be aimed facing away from the subject as it reflects the light Without it it should be aime towards the subject as the light will disfuse through the white of the umbrella
Flash Gun A flash gun is easily portable for on location shooting It is possible to match 2 up 1 the master the other the slave
21
Beauty Dish This head is ideal for portraits where you want soft light on model Honeycomb can be inserted inside Snoot This head gives a spotlight effect so will look circular on whatever you project it on to Perfect for dramatic lighting and if you want to highlight something
GETTING TO GRIPS WITH STUDIO EQUIPMENT
22
500W and 750W Travel Kit A range of kits are available but the picture on the left features 2 500W flash head with 2 stands 2 umbrellas 2 mains lead and a synch lead Ideal for both studio work and on location
Transmitters One is connected to light and the other one on the hot shoe of the camera Working wirelessly without the need for sync cables this sends the signal to the flash so when you press the shutter the flash goes off They have channels so you can set certain lights off
Battery pack The battery pack can be used to power upto 2 lights at once
GETTING TO GRIPS WITH STUDIO EQUIPMENT
Poly boardsReflectors Also known as Flags these can reflect or block light from the subject you are photographing One side is typically white and the other is black They can be easily moved around the studio
23
Soft box This light softens the subject hence the name The main sheet is velcroed onto the head with another small sheet underneath which can also come off if you want a harsher light Soft-boxes come in large and small sizes
GETTING TO GRIPS WITH UNDERSTANDING POWER
In a perment studio it is likely the mains will need to be switched on As the image on the left shows you simply twist the red holder from left to right If you are changing one of the light bulbs it is vital to switch the mains off so you donrsquot electrocute yourself
Before using any equipment in the studio it is important to under how to operate the lighting units and how you can change the power to desired effect This section looks at understanding how to power the lights
24
GETTING TO GRIPS WITH UNDERSTANDING POWER
TIP Flash to release the power if you are decreasing the power to reduce the chances of damaging the power unit
May also say lsquoStopsrsquo instead of lsquoPowerrsquo Increase the power and the flash will be brighter
May also read as lsquoTenthsrsquo instead of lsquoLamprsquo Lower this to make the light dimmer
25
The higher the number the brighter the light The lowest is f50 with f10 the highest Press the arrows beneath it to go updown a stop
Press this green button to flash If it flashes it means power needs to be discharged
STUDIO BASIC EFFECTS
When it comes to working in the studio experiment-ing is key Although the speed of the lights is 1125 so shoot at this shutter speedHere are some examples of what lighting set up achieves what sort of effect
26
By placing the light on the left side of the mod-el you see that only half of the face is lit and the other half in darkness as there is no light coming from theat direction
The light is placed about 1 metre away from the model and the camera also about the same distance
STUDIO BASIC EFFECTS
27
If you add a black reflector directly opposite from where the light is coming from about 1 metre away from the model it will bounce and light this side of the face As it is black which absorbs light it wonrsquot reflect too much back
TIPWhen lighting skin it is better to go 1 stop higher to over expose it slightly or the skin can look a little dark
STUDIO BASIC EFFECTS
If you change the black reflector for a white reflector the model will appear more lit This is because white reflects light The closer you move the white reflector the better lit the model will be
28
With this shot the softbox and white reflector were about 1 metre away from the model with thecamera also about 1 metre away from the model
STUDIO BASIC EFFECTS
If you donrsquot want a dramatic effect with many shadows place the light directly in front of the model and by adding a white reflector under-neath the light should also bounce onto the model
29
A white poly board was used underneath and below the model to bring in more light to her light her with This was about 2 feet away from her The soft box was on f2
LIGHTING WORKING WITH THE BACKDROP
30
Backdrops can dramatically change how we see a photograph The studio typically has a white or black backdrop
To create this a black poly board was positioned behind the model Two soft boxes were placed diagonally facing the model at f1 about 1 metre away Camera on ISO 200 aperture f8 and shutter on 1125 secs
LIGHTING WORKING WITH THE BACKDROP
31
With the previous photographs it appears the back-drop is grey as it is not being directly lit However there is a method to stop this Use a Bowen 500W soft box above the camera set on f3 Using a Bowen 500W light with a spill kill head set on f55 facing the backdrop Place a black reflector in front of this light to block light bouncing back to the model Place a white reflector next to the model as it will help bounce light back to the wall Each reflector should be about 15 metres from the model
LIGHTING BACK LIGHTING HAIR
32
This set up was created with a Bowen 500W Honeycomb head at f2 placed behind at one side of the model A beauty dish placed above the camera at f1 to give the main light source for the face
Backlighting is most often used for beauty and fashion shoots as it creates a more dramatic shot Back lighting hair that is blonde or very light tends to be more effective over darker hair as the two on the right show
LIGHTING BACK LIGHTING HAIR
33
Blonde Hair
Darker Hair
LIGHTING WORKING OUTSIDE
You will needbull A camera that allows sync bull Sync cable for flash Wireless
flash triggerbull 500w or 750w lightsbull Battery pack (to power the light)bull Light meterbull You may also addbull Snootbeauty dishhoneycombbull Power cablesbull Whitesilvergold reflector
Of course using lights are not soley used in an indoor environement This section looks at how to use the travel kits outside where the lighting is more difficult to control in comparison to the studio
34
LIGHTING WORKING OUTSIDE
35
This photograph was taken in an alley way where there was not much light It was intentional to have the railings appearing dark with the scene behind it being fairly lit The model was about 4 metres from the camera and light which was up high
This photograph was created using an aperture of f63 shutter speed of 1125 seconds and and ISO of 200 The Bowen 500W travel kit was used with the light unit set on f5
LIGHTING WORKING OUTSIDE CONT
36
This was created using the Bowen 500W at f2 The light directly bounced off the reflector opposite to light this photograph The aperture was on f16 which helped make the back-ground darker
LIGHTING WORKING OUTSIDE CONT
37
The aim with this was to light the background evenly with the model The Bowen 500W at f2 light the was placed at the model at angle so it could hit the reflector and light the wall at the same time
LIGHTING WORKING OUTSIDE CONT
38
With this one the soft box was placed closely to the model with the gold reflector at the opposite end to reflect the light The backdrop is dark as the aperture is around f16 with the light set on f5 Proves a dramatic set up
LIGHTING WORKING OUTSIDE CONT
39
This was created using 1 light but a gold reflector was placed down below near the model so the light could be reflected The Bowen 500W on f1 had an umbrella with no silver casing facing towards the model to give a fair but dramatic lighting
LIGHTING WORKING OUTSIDE CONT
40
These photographs were taken using the Canon Speedlite 580ex ii Two were used with 1 as the Master and the other as the slave
With this set-up the flash was on full power hence the dramatic lighing but the flash was positioned upwards The slave flash is what creates the majority of the light as it is at head level to the model at the side
LIGHTING WORKING OUTSIDE CONT
41
Here the model moved closer to the slave flash which was set on full power once again The master was not on hence why the only light source in the photograph is coming in directly onto the model Makes for an unusual set-up and for a dramatic effect
NOTES NOTES
42
NOTES NOTES
43
NOTES NOTES
44
NOTES NOTES
45
THIS GUIDE TO LIGHTING COVERS EVERTHING YOU NEED TO KNOW ABOUT THE BASICS OF A PHOTOGRAPHIC STUDIO FROM UNDERSTANDING LIGHTING EQUIPMENT TO ACHEIVING DESIRED RESULTS FROM CERTAIN TECHNIQUES THIS GUIDE GIVES A SIMPLE EXPLAINATION TO ASSIST YOU
LUCY BARTLETT IS STUDYING BA (HONS) PHOTOGRAPHY AT COVENTRY UNIVERSITY THIS MANUAL WAS PRO-DUCED AS PART OF THE lsquoWORKING WITH LIGHTrsquo MODULE
Prepared by MagCloud for Lucy Bartlett Get more at lucybartlettphotographymagcloudcom
GETTING TO GRIPS WITH STUDIO EQUIPMENT
22
500W and 750W Travel Kit A range of kits are available but the picture on the left features 2 500W flash head with 2 stands 2 umbrellas 2 mains lead and a synch lead Ideal for both studio work and on location
Transmitters One is connected to light and the other one on the hot shoe of the camera Working wirelessly without the need for sync cables this sends the signal to the flash so when you press the shutter the flash goes off They have channels so you can set certain lights off
Battery pack The battery pack can be used to power upto 2 lights at once
GETTING TO GRIPS WITH STUDIO EQUIPMENT
Poly boardsReflectors Also known as Flags these can reflect or block light from the subject you are photographing One side is typically white and the other is black They can be easily moved around the studio
23
Soft box This light softens the subject hence the name The main sheet is velcroed onto the head with another small sheet underneath which can also come off if you want a harsher light Soft-boxes come in large and small sizes
GETTING TO GRIPS WITH UNDERSTANDING POWER
In a perment studio it is likely the mains will need to be switched on As the image on the left shows you simply twist the red holder from left to right If you are changing one of the light bulbs it is vital to switch the mains off so you donrsquot electrocute yourself
Before using any equipment in the studio it is important to under how to operate the lighting units and how you can change the power to desired effect This section looks at understanding how to power the lights
24
GETTING TO GRIPS WITH UNDERSTANDING POWER
TIP Flash to release the power if you are decreasing the power to reduce the chances of damaging the power unit
May also say lsquoStopsrsquo instead of lsquoPowerrsquo Increase the power and the flash will be brighter
May also read as lsquoTenthsrsquo instead of lsquoLamprsquo Lower this to make the light dimmer
25
The higher the number the brighter the light The lowest is f50 with f10 the highest Press the arrows beneath it to go updown a stop
Press this green button to flash If it flashes it means power needs to be discharged
STUDIO BASIC EFFECTS
When it comes to working in the studio experiment-ing is key Although the speed of the lights is 1125 so shoot at this shutter speedHere are some examples of what lighting set up achieves what sort of effect
26
By placing the light on the left side of the mod-el you see that only half of the face is lit and the other half in darkness as there is no light coming from theat direction
The light is placed about 1 metre away from the model and the camera also about the same distance
STUDIO BASIC EFFECTS
27
If you add a black reflector directly opposite from where the light is coming from about 1 metre away from the model it will bounce and light this side of the face As it is black which absorbs light it wonrsquot reflect too much back
TIPWhen lighting skin it is better to go 1 stop higher to over expose it slightly or the skin can look a little dark
STUDIO BASIC EFFECTS
If you change the black reflector for a white reflector the model will appear more lit This is because white reflects light The closer you move the white reflector the better lit the model will be
28
With this shot the softbox and white reflector were about 1 metre away from the model with thecamera also about 1 metre away from the model
STUDIO BASIC EFFECTS
If you donrsquot want a dramatic effect with many shadows place the light directly in front of the model and by adding a white reflector under-neath the light should also bounce onto the model
29
A white poly board was used underneath and below the model to bring in more light to her light her with This was about 2 feet away from her The soft box was on f2
LIGHTING WORKING WITH THE BACKDROP
30
Backdrops can dramatically change how we see a photograph The studio typically has a white or black backdrop
To create this a black poly board was positioned behind the model Two soft boxes were placed diagonally facing the model at f1 about 1 metre away Camera on ISO 200 aperture f8 and shutter on 1125 secs
LIGHTING WORKING WITH THE BACKDROP
31
With the previous photographs it appears the back-drop is grey as it is not being directly lit However there is a method to stop this Use a Bowen 500W soft box above the camera set on f3 Using a Bowen 500W light with a spill kill head set on f55 facing the backdrop Place a black reflector in front of this light to block light bouncing back to the model Place a white reflector next to the model as it will help bounce light back to the wall Each reflector should be about 15 metres from the model
LIGHTING BACK LIGHTING HAIR
32
This set up was created with a Bowen 500W Honeycomb head at f2 placed behind at one side of the model A beauty dish placed above the camera at f1 to give the main light source for the face
Backlighting is most often used for beauty and fashion shoots as it creates a more dramatic shot Back lighting hair that is blonde or very light tends to be more effective over darker hair as the two on the right show
LIGHTING BACK LIGHTING HAIR
33
Blonde Hair
Darker Hair
LIGHTING WORKING OUTSIDE
You will needbull A camera that allows sync bull Sync cable for flash Wireless
flash triggerbull 500w or 750w lightsbull Battery pack (to power the light)bull Light meterbull You may also addbull Snootbeauty dishhoneycombbull Power cablesbull Whitesilvergold reflector
Of course using lights are not soley used in an indoor environement This section looks at how to use the travel kits outside where the lighting is more difficult to control in comparison to the studio
34
LIGHTING WORKING OUTSIDE
35
This photograph was taken in an alley way where there was not much light It was intentional to have the railings appearing dark with the scene behind it being fairly lit The model was about 4 metres from the camera and light which was up high
This photograph was created using an aperture of f63 shutter speed of 1125 seconds and and ISO of 200 The Bowen 500W travel kit was used with the light unit set on f5
LIGHTING WORKING OUTSIDE CONT
36
This was created using the Bowen 500W at f2 The light directly bounced off the reflector opposite to light this photograph The aperture was on f16 which helped make the back-ground darker
LIGHTING WORKING OUTSIDE CONT
37
The aim with this was to light the background evenly with the model The Bowen 500W at f2 light the was placed at the model at angle so it could hit the reflector and light the wall at the same time
LIGHTING WORKING OUTSIDE CONT
38
With this one the soft box was placed closely to the model with the gold reflector at the opposite end to reflect the light The backdrop is dark as the aperture is around f16 with the light set on f5 Proves a dramatic set up
LIGHTING WORKING OUTSIDE CONT
39
This was created using 1 light but a gold reflector was placed down below near the model so the light could be reflected The Bowen 500W on f1 had an umbrella with no silver casing facing towards the model to give a fair but dramatic lighting
LIGHTING WORKING OUTSIDE CONT
40
These photographs were taken using the Canon Speedlite 580ex ii Two were used with 1 as the Master and the other as the slave
With this set-up the flash was on full power hence the dramatic lighing but the flash was positioned upwards The slave flash is what creates the majority of the light as it is at head level to the model at the side
LIGHTING WORKING OUTSIDE CONT
41
Here the model moved closer to the slave flash which was set on full power once again The master was not on hence why the only light source in the photograph is coming in directly onto the model Makes for an unusual set-up and for a dramatic effect
NOTES NOTES
42
NOTES NOTES
43
NOTES NOTES
44
NOTES NOTES
45
THIS GUIDE TO LIGHTING COVERS EVERTHING YOU NEED TO KNOW ABOUT THE BASICS OF A PHOTOGRAPHIC STUDIO FROM UNDERSTANDING LIGHTING EQUIPMENT TO ACHEIVING DESIRED RESULTS FROM CERTAIN TECHNIQUES THIS GUIDE GIVES A SIMPLE EXPLAINATION TO ASSIST YOU
LUCY BARTLETT IS STUDYING BA (HONS) PHOTOGRAPHY AT COVENTRY UNIVERSITY THIS MANUAL WAS PRO-DUCED AS PART OF THE lsquoWORKING WITH LIGHTrsquo MODULE
Prepared by MagCloud for Lucy Bartlett Get more at lucybartlettphotographymagcloudcom
GETTING TO GRIPS WITH STUDIO EQUIPMENT
Poly boardsReflectors Also known as Flags these can reflect or block light from the subject you are photographing One side is typically white and the other is black They can be easily moved around the studio
23
Soft box This light softens the subject hence the name The main sheet is velcroed onto the head with another small sheet underneath which can also come off if you want a harsher light Soft-boxes come in large and small sizes
GETTING TO GRIPS WITH UNDERSTANDING POWER
In a perment studio it is likely the mains will need to be switched on As the image on the left shows you simply twist the red holder from left to right If you are changing one of the light bulbs it is vital to switch the mains off so you donrsquot electrocute yourself
Before using any equipment in the studio it is important to under how to operate the lighting units and how you can change the power to desired effect This section looks at understanding how to power the lights
24
GETTING TO GRIPS WITH UNDERSTANDING POWER
TIP Flash to release the power if you are decreasing the power to reduce the chances of damaging the power unit
May also say lsquoStopsrsquo instead of lsquoPowerrsquo Increase the power and the flash will be brighter
May also read as lsquoTenthsrsquo instead of lsquoLamprsquo Lower this to make the light dimmer
25
The higher the number the brighter the light The lowest is f50 with f10 the highest Press the arrows beneath it to go updown a stop
Press this green button to flash If it flashes it means power needs to be discharged
STUDIO BASIC EFFECTS
When it comes to working in the studio experiment-ing is key Although the speed of the lights is 1125 so shoot at this shutter speedHere are some examples of what lighting set up achieves what sort of effect
26
By placing the light on the left side of the mod-el you see that only half of the face is lit and the other half in darkness as there is no light coming from theat direction
The light is placed about 1 metre away from the model and the camera also about the same distance
STUDIO BASIC EFFECTS
27
If you add a black reflector directly opposite from where the light is coming from about 1 metre away from the model it will bounce and light this side of the face As it is black which absorbs light it wonrsquot reflect too much back
TIPWhen lighting skin it is better to go 1 stop higher to over expose it slightly or the skin can look a little dark
STUDIO BASIC EFFECTS
If you change the black reflector for a white reflector the model will appear more lit This is because white reflects light The closer you move the white reflector the better lit the model will be
28
With this shot the softbox and white reflector were about 1 metre away from the model with thecamera also about 1 metre away from the model
STUDIO BASIC EFFECTS
If you donrsquot want a dramatic effect with many shadows place the light directly in front of the model and by adding a white reflector under-neath the light should also bounce onto the model
29
A white poly board was used underneath and below the model to bring in more light to her light her with This was about 2 feet away from her The soft box was on f2
LIGHTING WORKING WITH THE BACKDROP
30
Backdrops can dramatically change how we see a photograph The studio typically has a white or black backdrop
To create this a black poly board was positioned behind the model Two soft boxes were placed diagonally facing the model at f1 about 1 metre away Camera on ISO 200 aperture f8 and shutter on 1125 secs
LIGHTING WORKING WITH THE BACKDROP
31
With the previous photographs it appears the back-drop is grey as it is not being directly lit However there is a method to stop this Use a Bowen 500W soft box above the camera set on f3 Using a Bowen 500W light with a spill kill head set on f55 facing the backdrop Place a black reflector in front of this light to block light bouncing back to the model Place a white reflector next to the model as it will help bounce light back to the wall Each reflector should be about 15 metres from the model
LIGHTING BACK LIGHTING HAIR
32
This set up was created with a Bowen 500W Honeycomb head at f2 placed behind at one side of the model A beauty dish placed above the camera at f1 to give the main light source for the face
Backlighting is most often used for beauty and fashion shoots as it creates a more dramatic shot Back lighting hair that is blonde or very light tends to be more effective over darker hair as the two on the right show
LIGHTING BACK LIGHTING HAIR
33
Blonde Hair
Darker Hair
LIGHTING WORKING OUTSIDE
You will needbull A camera that allows sync bull Sync cable for flash Wireless
flash triggerbull 500w or 750w lightsbull Battery pack (to power the light)bull Light meterbull You may also addbull Snootbeauty dishhoneycombbull Power cablesbull Whitesilvergold reflector
Of course using lights are not soley used in an indoor environement This section looks at how to use the travel kits outside where the lighting is more difficult to control in comparison to the studio
34
LIGHTING WORKING OUTSIDE
35
This photograph was taken in an alley way where there was not much light It was intentional to have the railings appearing dark with the scene behind it being fairly lit The model was about 4 metres from the camera and light which was up high
This photograph was created using an aperture of f63 shutter speed of 1125 seconds and and ISO of 200 The Bowen 500W travel kit was used with the light unit set on f5
LIGHTING WORKING OUTSIDE CONT
36
This was created using the Bowen 500W at f2 The light directly bounced off the reflector opposite to light this photograph The aperture was on f16 which helped make the back-ground darker
LIGHTING WORKING OUTSIDE CONT
37
The aim with this was to light the background evenly with the model The Bowen 500W at f2 light the was placed at the model at angle so it could hit the reflector and light the wall at the same time
LIGHTING WORKING OUTSIDE CONT
38
With this one the soft box was placed closely to the model with the gold reflector at the opposite end to reflect the light The backdrop is dark as the aperture is around f16 with the light set on f5 Proves a dramatic set up
LIGHTING WORKING OUTSIDE CONT
39
This was created using 1 light but a gold reflector was placed down below near the model so the light could be reflected The Bowen 500W on f1 had an umbrella with no silver casing facing towards the model to give a fair but dramatic lighting
LIGHTING WORKING OUTSIDE CONT
40
These photographs were taken using the Canon Speedlite 580ex ii Two were used with 1 as the Master and the other as the slave
With this set-up the flash was on full power hence the dramatic lighing but the flash was positioned upwards The slave flash is what creates the majority of the light as it is at head level to the model at the side
LIGHTING WORKING OUTSIDE CONT
41
Here the model moved closer to the slave flash which was set on full power once again The master was not on hence why the only light source in the photograph is coming in directly onto the model Makes for an unusual set-up and for a dramatic effect
NOTES NOTES
42
NOTES NOTES
43
NOTES NOTES
44
NOTES NOTES
45
THIS GUIDE TO LIGHTING COVERS EVERTHING YOU NEED TO KNOW ABOUT THE BASICS OF A PHOTOGRAPHIC STUDIO FROM UNDERSTANDING LIGHTING EQUIPMENT TO ACHEIVING DESIRED RESULTS FROM CERTAIN TECHNIQUES THIS GUIDE GIVES A SIMPLE EXPLAINATION TO ASSIST YOU
LUCY BARTLETT IS STUDYING BA (HONS) PHOTOGRAPHY AT COVENTRY UNIVERSITY THIS MANUAL WAS PRO-DUCED AS PART OF THE lsquoWORKING WITH LIGHTrsquo MODULE
Prepared by MagCloud for Lucy Bartlett Get more at lucybartlettphotographymagcloudcom
GETTING TO GRIPS WITH UNDERSTANDING POWER
In a perment studio it is likely the mains will need to be switched on As the image on the left shows you simply twist the red holder from left to right If you are changing one of the light bulbs it is vital to switch the mains off so you donrsquot electrocute yourself
Before using any equipment in the studio it is important to under how to operate the lighting units and how you can change the power to desired effect This section looks at understanding how to power the lights
24
GETTING TO GRIPS WITH UNDERSTANDING POWER
TIP Flash to release the power if you are decreasing the power to reduce the chances of damaging the power unit
May also say lsquoStopsrsquo instead of lsquoPowerrsquo Increase the power and the flash will be brighter
May also read as lsquoTenthsrsquo instead of lsquoLamprsquo Lower this to make the light dimmer
25
The higher the number the brighter the light The lowest is f50 with f10 the highest Press the arrows beneath it to go updown a stop
Press this green button to flash If it flashes it means power needs to be discharged
STUDIO BASIC EFFECTS
When it comes to working in the studio experiment-ing is key Although the speed of the lights is 1125 so shoot at this shutter speedHere are some examples of what lighting set up achieves what sort of effect
26
By placing the light on the left side of the mod-el you see that only half of the face is lit and the other half in darkness as there is no light coming from theat direction
The light is placed about 1 metre away from the model and the camera also about the same distance
STUDIO BASIC EFFECTS
27
If you add a black reflector directly opposite from where the light is coming from about 1 metre away from the model it will bounce and light this side of the face As it is black which absorbs light it wonrsquot reflect too much back
TIPWhen lighting skin it is better to go 1 stop higher to over expose it slightly or the skin can look a little dark
STUDIO BASIC EFFECTS
If you change the black reflector for a white reflector the model will appear more lit This is because white reflects light The closer you move the white reflector the better lit the model will be
28
With this shot the softbox and white reflector were about 1 metre away from the model with thecamera also about 1 metre away from the model
STUDIO BASIC EFFECTS
If you donrsquot want a dramatic effect with many shadows place the light directly in front of the model and by adding a white reflector under-neath the light should also bounce onto the model
29
A white poly board was used underneath and below the model to bring in more light to her light her with This was about 2 feet away from her The soft box was on f2
LIGHTING WORKING WITH THE BACKDROP
30
Backdrops can dramatically change how we see a photograph The studio typically has a white or black backdrop
To create this a black poly board was positioned behind the model Two soft boxes were placed diagonally facing the model at f1 about 1 metre away Camera on ISO 200 aperture f8 and shutter on 1125 secs
LIGHTING WORKING WITH THE BACKDROP
31
With the previous photographs it appears the back-drop is grey as it is not being directly lit However there is a method to stop this Use a Bowen 500W soft box above the camera set on f3 Using a Bowen 500W light with a spill kill head set on f55 facing the backdrop Place a black reflector in front of this light to block light bouncing back to the model Place a white reflector next to the model as it will help bounce light back to the wall Each reflector should be about 15 metres from the model
LIGHTING BACK LIGHTING HAIR
32
This set up was created with a Bowen 500W Honeycomb head at f2 placed behind at one side of the model A beauty dish placed above the camera at f1 to give the main light source for the face
Backlighting is most often used for beauty and fashion shoots as it creates a more dramatic shot Back lighting hair that is blonde or very light tends to be more effective over darker hair as the two on the right show
LIGHTING BACK LIGHTING HAIR
33
Blonde Hair
Darker Hair
LIGHTING WORKING OUTSIDE
You will needbull A camera that allows sync bull Sync cable for flash Wireless
flash triggerbull 500w or 750w lightsbull Battery pack (to power the light)bull Light meterbull You may also addbull Snootbeauty dishhoneycombbull Power cablesbull Whitesilvergold reflector
Of course using lights are not soley used in an indoor environement This section looks at how to use the travel kits outside where the lighting is more difficult to control in comparison to the studio
34
LIGHTING WORKING OUTSIDE
35
This photograph was taken in an alley way where there was not much light It was intentional to have the railings appearing dark with the scene behind it being fairly lit The model was about 4 metres from the camera and light which was up high
This photograph was created using an aperture of f63 shutter speed of 1125 seconds and and ISO of 200 The Bowen 500W travel kit was used with the light unit set on f5
LIGHTING WORKING OUTSIDE CONT
36
This was created using the Bowen 500W at f2 The light directly bounced off the reflector opposite to light this photograph The aperture was on f16 which helped make the back-ground darker
LIGHTING WORKING OUTSIDE CONT
37
The aim with this was to light the background evenly with the model The Bowen 500W at f2 light the was placed at the model at angle so it could hit the reflector and light the wall at the same time
LIGHTING WORKING OUTSIDE CONT
38
With this one the soft box was placed closely to the model with the gold reflector at the opposite end to reflect the light The backdrop is dark as the aperture is around f16 with the light set on f5 Proves a dramatic set up
LIGHTING WORKING OUTSIDE CONT
39
This was created using 1 light but a gold reflector was placed down below near the model so the light could be reflected The Bowen 500W on f1 had an umbrella with no silver casing facing towards the model to give a fair but dramatic lighting
LIGHTING WORKING OUTSIDE CONT
40
These photographs were taken using the Canon Speedlite 580ex ii Two were used with 1 as the Master and the other as the slave
With this set-up the flash was on full power hence the dramatic lighing but the flash was positioned upwards The slave flash is what creates the majority of the light as it is at head level to the model at the side
LIGHTING WORKING OUTSIDE CONT
41
Here the model moved closer to the slave flash which was set on full power once again The master was not on hence why the only light source in the photograph is coming in directly onto the model Makes for an unusual set-up and for a dramatic effect
NOTES NOTES
42
NOTES NOTES
43
NOTES NOTES
44
NOTES NOTES
45
THIS GUIDE TO LIGHTING COVERS EVERTHING YOU NEED TO KNOW ABOUT THE BASICS OF A PHOTOGRAPHIC STUDIO FROM UNDERSTANDING LIGHTING EQUIPMENT TO ACHEIVING DESIRED RESULTS FROM CERTAIN TECHNIQUES THIS GUIDE GIVES A SIMPLE EXPLAINATION TO ASSIST YOU
LUCY BARTLETT IS STUDYING BA (HONS) PHOTOGRAPHY AT COVENTRY UNIVERSITY THIS MANUAL WAS PRO-DUCED AS PART OF THE lsquoWORKING WITH LIGHTrsquo MODULE
Prepared by MagCloud for Lucy Bartlett Get more at lucybartlettphotographymagcloudcom
GETTING TO GRIPS WITH UNDERSTANDING POWER
TIP Flash to release the power if you are decreasing the power to reduce the chances of damaging the power unit
May also say lsquoStopsrsquo instead of lsquoPowerrsquo Increase the power and the flash will be brighter
May also read as lsquoTenthsrsquo instead of lsquoLamprsquo Lower this to make the light dimmer
25
The higher the number the brighter the light The lowest is f50 with f10 the highest Press the arrows beneath it to go updown a stop
Press this green button to flash If it flashes it means power needs to be discharged
STUDIO BASIC EFFECTS
When it comes to working in the studio experiment-ing is key Although the speed of the lights is 1125 so shoot at this shutter speedHere are some examples of what lighting set up achieves what sort of effect
26
By placing the light on the left side of the mod-el you see that only half of the face is lit and the other half in darkness as there is no light coming from theat direction
The light is placed about 1 metre away from the model and the camera also about the same distance
STUDIO BASIC EFFECTS
27
If you add a black reflector directly opposite from where the light is coming from about 1 metre away from the model it will bounce and light this side of the face As it is black which absorbs light it wonrsquot reflect too much back
TIPWhen lighting skin it is better to go 1 stop higher to over expose it slightly or the skin can look a little dark
STUDIO BASIC EFFECTS
If you change the black reflector for a white reflector the model will appear more lit This is because white reflects light The closer you move the white reflector the better lit the model will be
28
With this shot the softbox and white reflector were about 1 metre away from the model with thecamera also about 1 metre away from the model
STUDIO BASIC EFFECTS
If you donrsquot want a dramatic effect with many shadows place the light directly in front of the model and by adding a white reflector under-neath the light should also bounce onto the model
29
A white poly board was used underneath and below the model to bring in more light to her light her with This was about 2 feet away from her The soft box was on f2
LIGHTING WORKING WITH THE BACKDROP
30
Backdrops can dramatically change how we see a photograph The studio typically has a white or black backdrop
To create this a black poly board was positioned behind the model Two soft boxes were placed diagonally facing the model at f1 about 1 metre away Camera on ISO 200 aperture f8 and shutter on 1125 secs
LIGHTING WORKING WITH THE BACKDROP
31
With the previous photographs it appears the back-drop is grey as it is not being directly lit However there is a method to stop this Use a Bowen 500W soft box above the camera set on f3 Using a Bowen 500W light with a spill kill head set on f55 facing the backdrop Place a black reflector in front of this light to block light bouncing back to the model Place a white reflector next to the model as it will help bounce light back to the wall Each reflector should be about 15 metres from the model
LIGHTING BACK LIGHTING HAIR
32
This set up was created with a Bowen 500W Honeycomb head at f2 placed behind at one side of the model A beauty dish placed above the camera at f1 to give the main light source for the face
Backlighting is most often used for beauty and fashion shoots as it creates a more dramatic shot Back lighting hair that is blonde or very light tends to be more effective over darker hair as the two on the right show
LIGHTING BACK LIGHTING HAIR
33
Blonde Hair
Darker Hair
LIGHTING WORKING OUTSIDE
You will needbull A camera that allows sync bull Sync cable for flash Wireless
flash triggerbull 500w or 750w lightsbull Battery pack (to power the light)bull Light meterbull You may also addbull Snootbeauty dishhoneycombbull Power cablesbull Whitesilvergold reflector
Of course using lights are not soley used in an indoor environement This section looks at how to use the travel kits outside where the lighting is more difficult to control in comparison to the studio
34
LIGHTING WORKING OUTSIDE
35
This photograph was taken in an alley way where there was not much light It was intentional to have the railings appearing dark with the scene behind it being fairly lit The model was about 4 metres from the camera and light which was up high
This photograph was created using an aperture of f63 shutter speed of 1125 seconds and and ISO of 200 The Bowen 500W travel kit was used with the light unit set on f5
LIGHTING WORKING OUTSIDE CONT
36
This was created using the Bowen 500W at f2 The light directly bounced off the reflector opposite to light this photograph The aperture was on f16 which helped make the back-ground darker
LIGHTING WORKING OUTSIDE CONT
37
The aim with this was to light the background evenly with the model The Bowen 500W at f2 light the was placed at the model at angle so it could hit the reflector and light the wall at the same time
LIGHTING WORKING OUTSIDE CONT
38
With this one the soft box was placed closely to the model with the gold reflector at the opposite end to reflect the light The backdrop is dark as the aperture is around f16 with the light set on f5 Proves a dramatic set up
LIGHTING WORKING OUTSIDE CONT
39
This was created using 1 light but a gold reflector was placed down below near the model so the light could be reflected The Bowen 500W on f1 had an umbrella with no silver casing facing towards the model to give a fair but dramatic lighting
LIGHTING WORKING OUTSIDE CONT
40
These photographs were taken using the Canon Speedlite 580ex ii Two were used with 1 as the Master and the other as the slave
With this set-up the flash was on full power hence the dramatic lighing but the flash was positioned upwards The slave flash is what creates the majority of the light as it is at head level to the model at the side
LIGHTING WORKING OUTSIDE CONT
41
Here the model moved closer to the slave flash which was set on full power once again The master was not on hence why the only light source in the photograph is coming in directly onto the model Makes for an unusual set-up and for a dramatic effect
NOTES NOTES
42
NOTES NOTES
43
NOTES NOTES
44
NOTES NOTES
45
THIS GUIDE TO LIGHTING COVERS EVERTHING YOU NEED TO KNOW ABOUT THE BASICS OF A PHOTOGRAPHIC STUDIO FROM UNDERSTANDING LIGHTING EQUIPMENT TO ACHEIVING DESIRED RESULTS FROM CERTAIN TECHNIQUES THIS GUIDE GIVES A SIMPLE EXPLAINATION TO ASSIST YOU
LUCY BARTLETT IS STUDYING BA (HONS) PHOTOGRAPHY AT COVENTRY UNIVERSITY THIS MANUAL WAS PRO-DUCED AS PART OF THE lsquoWORKING WITH LIGHTrsquo MODULE
Prepared by MagCloud for Lucy Bartlett Get more at lucybartlettphotographymagcloudcom
STUDIO BASIC EFFECTS
When it comes to working in the studio experiment-ing is key Although the speed of the lights is 1125 so shoot at this shutter speedHere are some examples of what lighting set up achieves what sort of effect
26
By placing the light on the left side of the mod-el you see that only half of the face is lit and the other half in darkness as there is no light coming from theat direction
The light is placed about 1 metre away from the model and the camera also about the same distance
STUDIO BASIC EFFECTS
27
If you add a black reflector directly opposite from where the light is coming from about 1 metre away from the model it will bounce and light this side of the face As it is black which absorbs light it wonrsquot reflect too much back
TIPWhen lighting skin it is better to go 1 stop higher to over expose it slightly or the skin can look a little dark
STUDIO BASIC EFFECTS
If you change the black reflector for a white reflector the model will appear more lit This is because white reflects light The closer you move the white reflector the better lit the model will be
28
With this shot the softbox and white reflector were about 1 metre away from the model with thecamera also about 1 metre away from the model
STUDIO BASIC EFFECTS
If you donrsquot want a dramatic effect with many shadows place the light directly in front of the model and by adding a white reflector under-neath the light should also bounce onto the model
29
A white poly board was used underneath and below the model to bring in more light to her light her with This was about 2 feet away from her The soft box was on f2
LIGHTING WORKING WITH THE BACKDROP
30
Backdrops can dramatically change how we see a photograph The studio typically has a white or black backdrop
To create this a black poly board was positioned behind the model Two soft boxes were placed diagonally facing the model at f1 about 1 metre away Camera on ISO 200 aperture f8 and shutter on 1125 secs
LIGHTING WORKING WITH THE BACKDROP
31
With the previous photographs it appears the back-drop is grey as it is not being directly lit However there is a method to stop this Use a Bowen 500W soft box above the camera set on f3 Using a Bowen 500W light with a spill kill head set on f55 facing the backdrop Place a black reflector in front of this light to block light bouncing back to the model Place a white reflector next to the model as it will help bounce light back to the wall Each reflector should be about 15 metres from the model
LIGHTING BACK LIGHTING HAIR
32
This set up was created with a Bowen 500W Honeycomb head at f2 placed behind at one side of the model A beauty dish placed above the camera at f1 to give the main light source for the face
Backlighting is most often used for beauty and fashion shoots as it creates a more dramatic shot Back lighting hair that is blonde or very light tends to be more effective over darker hair as the two on the right show
LIGHTING BACK LIGHTING HAIR
33
Blonde Hair
Darker Hair
LIGHTING WORKING OUTSIDE
You will needbull A camera that allows sync bull Sync cable for flash Wireless
flash triggerbull 500w or 750w lightsbull Battery pack (to power the light)bull Light meterbull You may also addbull Snootbeauty dishhoneycombbull Power cablesbull Whitesilvergold reflector
Of course using lights are not soley used in an indoor environement This section looks at how to use the travel kits outside where the lighting is more difficult to control in comparison to the studio
34
LIGHTING WORKING OUTSIDE
35
This photograph was taken in an alley way where there was not much light It was intentional to have the railings appearing dark with the scene behind it being fairly lit The model was about 4 metres from the camera and light which was up high
This photograph was created using an aperture of f63 shutter speed of 1125 seconds and and ISO of 200 The Bowen 500W travel kit was used with the light unit set on f5
LIGHTING WORKING OUTSIDE CONT
36
This was created using the Bowen 500W at f2 The light directly bounced off the reflector opposite to light this photograph The aperture was on f16 which helped make the back-ground darker
LIGHTING WORKING OUTSIDE CONT
37
The aim with this was to light the background evenly with the model The Bowen 500W at f2 light the was placed at the model at angle so it could hit the reflector and light the wall at the same time
LIGHTING WORKING OUTSIDE CONT
38
With this one the soft box was placed closely to the model with the gold reflector at the opposite end to reflect the light The backdrop is dark as the aperture is around f16 with the light set on f5 Proves a dramatic set up
LIGHTING WORKING OUTSIDE CONT
39
This was created using 1 light but a gold reflector was placed down below near the model so the light could be reflected The Bowen 500W on f1 had an umbrella with no silver casing facing towards the model to give a fair but dramatic lighting
LIGHTING WORKING OUTSIDE CONT
40
These photographs were taken using the Canon Speedlite 580ex ii Two were used with 1 as the Master and the other as the slave
With this set-up the flash was on full power hence the dramatic lighing but the flash was positioned upwards The slave flash is what creates the majority of the light as it is at head level to the model at the side
LIGHTING WORKING OUTSIDE CONT
41
Here the model moved closer to the slave flash which was set on full power once again The master was not on hence why the only light source in the photograph is coming in directly onto the model Makes for an unusual set-up and for a dramatic effect
NOTES NOTES
42
NOTES NOTES
43
NOTES NOTES
44
NOTES NOTES
45
THIS GUIDE TO LIGHTING COVERS EVERTHING YOU NEED TO KNOW ABOUT THE BASICS OF A PHOTOGRAPHIC STUDIO FROM UNDERSTANDING LIGHTING EQUIPMENT TO ACHEIVING DESIRED RESULTS FROM CERTAIN TECHNIQUES THIS GUIDE GIVES A SIMPLE EXPLAINATION TO ASSIST YOU
LUCY BARTLETT IS STUDYING BA (HONS) PHOTOGRAPHY AT COVENTRY UNIVERSITY THIS MANUAL WAS PRO-DUCED AS PART OF THE lsquoWORKING WITH LIGHTrsquo MODULE
Prepared by MagCloud for Lucy Bartlett Get more at lucybartlettphotographymagcloudcom
STUDIO BASIC EFFECTS
27
If you add a black reflector directly opposite from where the light is coming from about 1 metre away from the model it will bounce and light this side of the face As it is black which absorbs light it wonrsquot reflect too much back
TIPWhen lighting skin it is better to go 1 stop higher to over expose it slightly or the skin can look a little dark
STUDIO BASIC EFFECTS
If you change the black reflector for a white reflector the model will appear more lit This is because white reflects light The closer you move the white reflector the better lit the model will be
28
With this shot the softbox and white reflector were about 1 metre away from the model with thecamera also about 1 metre away from the model
STUDIO BASIC EFFECTS
If you donrsquot want a dramatic effect with many shadows place the light directly in front of the model and by adding a white reflector under-neath the light should also bounce onto the model
29
A white poly board was used underneath and below the model to bring in more light to her light her with This was about 2 feet away from her The soft box was on f2
LIGHTING WORKING WITH THE BACKDROP
30
Backdrops can dramatically change how we see a photograph The studio typically has a white or black backdrop
To create this a black poly board was positioned behind the model Two soft boxes were placed diagonally facing the model at f1 about 1 metre away Camera on ISO 200 aperture f8 and shutter on 1125 secs
LIGHTING WORKING WITH THE BACKDROP
31
With the previous photographs it appears the back-drop is grey as it is not being directly lit However there is a method to stop this Use a Bowen 500W soft box above the camera set on f3 Using a Bowen 500W light with a spill kill head set on f55 facing the backdrop Place a black reflector in front of this light to block light bouncing back to the model Place a white reflector next to the model as it will help bounce light back to the wall Each reflector should be about 15 metres from the model
LIGHTING BACK LIGHTING HAIR
32
This set up was created with a Bowen 500W Honeycomb head at f2 placed behind at one side of the model A beauty dish placed above the camera at f1 to give the main light source for the face
Backlighting is most often used for beauty and fashion shoots as it creates a more dramatic shot Back lighting hair that is blonde or very light tends to be more effective over darker hair as the two on the right show
LIGHTING BACK LIGHTING HAIR
33
Blonde Hair
Darker Hair
LIGHTING WORKING OUTSIDE
You will needbull A camera that allows sync bull Sync cable for flash Wireless
flash triggerbull 500w or 750w lightsbull Battery pack (to power the light)bull Light meterbull You may also addbull Snootbeauty dishhoneycombbull Power cablesbull Whitesilvergold reflector
Of course using lights are not soley used in an indoor environement This section looks at how to use the travel kits outside where the lighting is more difficult to control in comparison to the studio
34
LIGHTING WORKING OUTSIDE
35
This photograph was taken in an alley way where there was not much light It was intentional to have the railings appearing dark with the scene behind it being fairly lit The model was about 4 metres from the camera and light which was up high
This photograph was created using an aperture of f63 shutter speed of 1125 seconds and and ISO of 200 The Bowen 500W travel kit was used with the light unit set on f5
LIGHTING WORKING OUTSIDE CONT
36
This was created using the Bowen 500W at f2 The light directly bounced off the reflector opposite to light this photograph The aperture was on f16 which helped make the back-ground darker
LIGHTING WORKING OUTSIDE CONT
37
The aim with this was to light the background evenly with the model The Bowen 500W at f2 light the was placed at the model at angle so it could hit the reflector and light the wall at the same time
LIGHTING WORKING OUTSIDE CONT
38
With this one the soft box was placed closely to the model with the gold reflector at the opposite end to reflect the light The backdrop is dark as the aperture is around f16 with the light set on f5 Proves a dramatic set up
LIGHTING WORKING OUTSIDE CONT
39
This was created using 1 light but a gold reflector was placed down below near the model so the light could be reflected The Bowen 500W on f1 had an umbrella with no silver casing facing towards the model to give a fair but dramatic lighting
LIGHTING WORKING OUTSIDE CONT
40
These photographs were taken using the Canon Speedlite 580ex ii Two were used with 1 as the Master and the other as the slave
With this set-up the flash was on full power hence the dramatic lighing but the flash was positioned upwards The slave flash is what creates the majority of the light as it is at head level to the model at the side
LIGHTING WORKING OUTSIDE CONT
41
Here the model moved closer to the slave flash which was set on full power once again The master was not on hence why the only light source in the photograph is coming in directly onto the model Makes for an unusual set-up and for a dramatic effect
NOTES NOTES
42
NOTES NOTES
43
NOTES NOTES
44
NOTES NOTES
45
THIS GUIDE TO LIGHTING COVERS EVERTHING YOU NEED TO KNOW ABOUT THE BASICS OF A PHOTOGRAPHIC STUDIO FROM UNDERSTANDING LIGHTING EQUIPMENT TO ACHEIVING DESIRED RESULTS FROM CERTAIN TECHNIQUES THIS GUIDE GIVES A SIMPLE EXPLAINATION TO ASSIST YOU
LUCY BARTLETT IS STUDYING BA (HONS) PHOTOGRAPHY AT COVENTRY UNIVERSITY THIS MANUAL WAS PRO-DUCED AS PART OF THE lsquoWORKING WITH LIGHTrsquo MODULE
Prepared by MagCloud for Lucy Bartlett Get more at lucybartlettphotographymagcloudcom
STUDIO BASIC EFFECTS
If you change the black reflector for a white reflector the model will appear more lit This is because white reflects light The closer you move the white reflector the better lit the model will be
28
With this shot the softbox and white reflector were about 1 metre away from the model with thecamera also about 1 metre away from the model
STUDIO BASIC EFFECTS
If you donrsquot want a dramatic effect with many shadows place the light directly in front of the model and by adding a white reflector under-neath the light should also bounce onto the model
29
A white poly board was used underneath and below the model to bring in more light to her light her with This was about 2 feet away from her The soft box was on f2
LIGHTING WORKING WITH THE BACKDROP
30
Backdrops can dramatically change how we see a photograph The studio typically has a white or black backdrop
To create this a black poly board was positioned behind the model Two soft boxes were placed diagonally facing the model at f1 about 1 metre away Camera on ISO 200 aperture f8 and shutter on 1125 secs
LIGHTING WORKING WITH THE BACKDROP
31
With the previous photographs it appears the back-drop is grey as it is not being directly lit However there is a method to stop this Use a Bowen 500W soft box above the camera set on f3 Using a Bowen 500W light with a spill kill head set on f55 facing the backdrop Place a black reflector in front of this light to block light bouncing back to the model Place a white reflector next to the model as it will help bounce light back to the wall Each reflector should be about 15 metres from the model
LIGHTING BACK LIGHTING HAIR
32
This set up was created with a Bowen 500W Honeycomb head at f2 placed behind at one side of the model A beauty dish placed above the camera at f1 to give the main light source for the face
Backlighting is most often used for beauty and fashion shoots as it creates a more dramatic shot Back lighting hair that is blonde or very light tends to be more effective over darker hair as the two on the right show
LIGHTING BACK LIGHTING HAIR
33
Blonde Hair
Darker Hair
LIGHTING WORKING OUTSIDE
You will needbull A camera that allows sync bull Sync cable for flash Wireless
flash triggerbull 500w or 750w lightsbull Battery pack (to power the light)bull Light meterbull You may also addbull Snootbeauty dishhoneycombbull Power cablesbull Whitesilvergold reflector
Of course using lights are not soley used in an indoor environement This section looks at how to use the travel kits outside where the lighting is more difficult to control in comparison to the studio
34
LIGHTING WORKING OUTSIDE
35
This photograph was taken in an alley way where there was not much light It was intentional to have the railings appearing dark with the scene behind it being fairly lit The model was about 4 metres from the camera and light which was up high
This photograph was created using an aperture of f63 shutter speed of 1125 seconds and and ISO of 200 The Bowen 500W travel kit was used with the light unit set on f5
LIGHTING WORKING OUTSIDE CONT
36
This was created using the Bowen 500W at f2 The light directly bounced off the reflector opposite to light this photograph The aperture was on f16 which helped make the back-ground darker
LIGHTING WORKING OUTSIDE CONT
37
The aim with this was to light the background evenly with the model The Bowen 500W at f2 light the was placed at the model at angle so it could hit the reflector and light the wall at the same time
LIGHTING WORKING OUTSIDE CONT
38
With this one the soft box was placed closely to the model with the gold reflector at the opposite end to reflect the light The backdrop is dark as the aperture is around f16 with the light set on f5 Proves a dramatic set up
LIGHTING WORKING OUTSIDE CONT
39
This was created using 1 light but a gold reflector was placed down below near the model so the light could be reflected The Bowen 500W on f1 had an umbrella with no silver casing facing towards the model to give a fair but dramatic lighting
LIGHTING WORKING OUTSIDE CONT
40
These photographs were taken using the Canon Speedlite 580ex ii Two were used with 1 as the Master and the other as the slave
With this set-up the flash was on full power hence the dramatic lighing but the flash was positioned upwards The slave flash is what creates the majority of the light as it is at head level to the model at the side
LIGHTING WORKING OUTSIDE CONT
41
Here the model moved closer to the slave flash which was set on full power once again The master was not on hence why the only light source in the photograph is coming in directly onto the model Makes for an unusual set-up and for a dramatic effect
NOTES NOTES
42
NOTES NOTES
43
NOTES NOTES
44
NOTES NOTES
45
THIS GUIDE TO LIGHTING COVERS EVERTHING YOU NEED TO KNOW ABOUT THE BASICS OF A PHOTOGRAPHIC STUDIO FROM UNDERSTANDING LIGHTING EQUIPMENT TO ACHEIVING DESIRED RESULTS FROM CERTAIN TECHNIQUES THIS GUIDE GIVES A SIMPLE EXPLAINATION TO ASSIST YOU
LUCY BARTLETT IS STUDYING BA (HONS) PHOTOGRAPHY AT COVENTRY UNIVERSITY THIS MANUAL WAS PRO-DUCED AS PART OF THE lsquoWORKING WITH LIGHTrsquo MODULE
Prepared by MagCloud for Lucy Bartlett Get more at lucybartlettphotographymagcloudcom
STUDIO BASIC EFFECTS
If you donrsquot want a dramatic effect with many shadows place the light directly in front of the model and by adding a white reflector under-neath the light should also bounce onto the model
29
A white poly board was used underneath and below the model to bring in more light to her light her with This was about 2 feet away from her The soft box was on f2
LIGHTING WORKING WITH THE BACKDROP
30
Backdrops can dramatically change how we see a photograph The studio typically has a white or black backdrop
To create this a black poly board was positioned behind the model Two soft boxes were placed diagonally facing the model at f1 about 1 metre away Camera on ISO 200 aperture f8 and shutter on 1125 secs
LIGHTING WORKING WITH THE BACKDROP
31
With the previous photographs it appears the back-drop is grey as it is not being directly lit However there is a method to stop this Use a Bowen 500W soft box above the camera set on f3 Using a Bowen 500W light with a spill kill head set on f55 facing the backdrop Place a black reflector in front of this light to block light bouncing back to the model Place a white reflector next to the model as it will help bounce light back to the wall Each reflector should be about 15 metres from the model
LIGHTING BACK LIGHTING HAIR
32
This set up was created with a Bowen 500W Honeycomb head at f2 placed behind at one side of the model A beauty dish placed above the camera at f1 to give the main light source for the face
Backlighting is most often used for beauty and fashion shoots as it creates a more dramatic shot Back lighting hair that is blonde or very light tends to be more effective over darker hair as the two on the right show
LIGHTING BACK LIGHTING HAIR
33
Blonde Hair
Darker Hair
LIGHTING WORKING OUTSIDE
You will needbull A camera that allows sync bull Sync cable for flash Wireless
flash triggerbull 500w or 750w lightsbull Battery pack (to power the light)bull Light meterbull You may also addbull Snootbeauty dishhoneycombbull Power cablesbull Whitesilvergold reflector
Of course using lights are not soley used in an indoor environement This section looks at how to use the travel kits outside where the lighting is more difficult to control in comparison to the studio
34
LIGHTING WORKING OUTSIDE
35
This photograph was taken in an alley way where there was not much light It was intentional to have the railings appearing dark with the scene behind it being fairly lit The model was about 4 metres from the camera and light which was up high
This photograph was created using an aperture of f63 shutter speed of 1125 seconds and and ISO of 200 The Bowen 500W travel kit was used with the light unit set on f5
LIGHTING WORKING OUTSIDE CONT
36
This was created using the Bowen 500W at f2 The light directly bounced off the reflector opposite to light this photograph The aperture was on f16 which helped make the back-ground darker
LIGHTING WORKING OUTSIDE CONT
37
The aim with this was to light the background evenly with the model The Bowen 500W at f2 light the was placed at the model at angle so it could hit the reflector and light the wall at the same time
LIGHTING WORKING OUTSIDE CONT
38
With this one the soft box was placed closely to the model with the gold reflector at the opposite end to reflect the light The backdrop is dark as the aperture is around f16 with the light set on f5 Proves a dramatic set up
LIGHTING WORKING OUTSIDE CONT
39
This was created using 1 light but a gold reflector was placed down below near the model so the light could be reflected The Bowen 500W on f1 had an umbrella with no silver casing facing towards the model to give a fair but dramatic lighting
LIGHTING WORKING OUTSIDE CONT
40
These photographs were taken using the Canon Speedlite 580ex ii Two were used with 1 as the Master and the other as the slave
With this set-up the flash was on full power hence the dramatic lighing but the flash was positioned upwards The slave flash is what creates the majority of the light as it is at head level to the model at the side
LIGHTING WORKING OUTSIDE CONT
41
Here the model moved closer to the slave flash which was set on full power once again The master was not on hence why the only light source in the photograph is coming in directly onto the model Makes for an unusual set-up and for a dramatic effect
NOTES NOTES
42
NOTES NOTES
43
NOTES NOTES
44
NOTES NOTES
45
THIS GUIDE TO LIGHTING COVERS EVERTHING YOU NEED TO KNOW ABOUT THE BASICS OF A PHOTOGRAPHIC STUDIO FROM UNDERSTANDING LIGHTING EQUIPMENT TO ACHEIVING DESIRED RESULTS FROM CERTAIN TECHNIQUES THIS GUIDE GIVES A SIMPLE EXPLAINATION TO ASSIST YOU
LUCY BARTLETT IS STUDYING BA (HONS) PHOTOGRAPHY AT COVENTRY UNIVERSITY THIS MANUAL WAS PRO-DUCED AS PART OF THE lsquoWORKING WITH LIGHTrsquo MODULE
Prepared by MagCloud for Lucy Bartlett Get more at lucybartlettphotographymagcloudcom
LIGHTING WORKING WITH THE BACKDROP
30
Backdrops can dramatically change how we see a photograph The studio typically has a white or black backdrop
To create this a black poly board was positioned behind the model Two soft boxes were placed diagonally facing the model at f1 about 1 metre away Camera on ISO 200 aperture f8 and shutter on 1125 secs
LIGHTING WORKING WITH THE BACKDROP
31
With the previous photographs it appears the back-drop is grey as it is not being directly lit However there is a method to stop this Use a Bowen 500W soft box above the camera set on f3 Using a Bowen 500W light with a spill kill head set on f55 facing the backdrop Place a black reflector in front of this light to block light bouncing back to the model Place a white reflector next to the model as it will help bounce light back to the wall Each reflector should be about 15 metres from the model
LIGHTING BACK LIGHTING HAIR
32
This set up was created with a Bowen 500W Honeycomb head at f2 placed behind at one side of the model A beauty dish placed above the camera at f1 to give the main light source for the face
Backlighting is most often used for beauty and fashion shoots as it creates a more dramatic shot Back lighting hair that is blonde or very light tends to be more effective over darker hair as the two on the right show
LIGHTING BACK LIGHTING HAIR
33
Blonde Hair
Darker Hair
LIGHTING WORKING OUTSIDE
You will needbull A camera that allows sync bull Sync cable for flash Wireless
flash triggerbull 500w or 750w lightsbull Battery pack (to power the light)bull Light meterbull You may also addbull Snootbeauty dishhoneycombbull Power cablesbull Whitesilvergold reflector
Of course using lights are not soley used in an indoor environement This section looks at how to use the travel kits outside where the lighting is more difficult to control in comparison to the studio
34
LIGHTING WORKING OUTSIDE
35
This photograph was taken in an alley way where there was not much light It was intentional to have the railings appearing dark with the scene behind it being fairly lit The model was about 4 metres from the camera and light which was up high
This photograph was created using an aperture of f63 shutter speed of 1125 seconds and and ISO of 200 The Bowen 500W travel kit was used with the light unit set on f5
LIGHTING WORKING OUTSIDE CONT
36
This was created using the Bowen 500W at f2 The light directly bounced off the reflector opposite to light this photograph The aperture was on f16 which helped make the back-ground darker
LIGHTING WORKING OUTSIDE CONT
37
The aim with this was to light the background evenly with the model The Bowen 500W at f2 light the was placed at the model at angle so it could hit the reflector and light the wall at the same time
LIGHTING WORKING OUTSIDE CONT
38
With this one the soft box was placed closely to the model with the gold reflector at the opposite end to reflect the light The backdrop is dark as the aperture is around f16 with the light set on f5 Proves a dramatic set up
LIGHTING WORKING OUTSIDE CONT
39
This was created using 1 light but a gold reflector was placed down below near the model so the light could be reflected The Bowen 500W on f1 had an umbrella with no silver casing facing towards the model to give a fair but dramatic lighting
LIGHTING WORKING OUTSIDE CONT
40
These photographs were taken using the Canon Speedlite 580ex ii Two were used with 1 as the Master and the other as the slave
With this set-up the flash was on full power hence the dramatic lighing but the flash was positioned upwards The slave flash is what creates the majority of the light as it is at head level to the model at the side
LIGHTING WORKING OUTSIDE CONT
41
Here the model moved closer to the slave flash which was set on full power once again The master was not on hence why the only light source in the photograph is coming in directly onto the model Makes for an unusual set-up and for a dramatic effect
NOTES NOTES
42
NOTES NOTES
43
NOTES NOTES
44
NOTES NOTES
45
THIS GUIDE TO LIGHTING COVERS EVERTHING YOU NEED TO KNOW ABOUT THE BASICS OF A PHOTOGRAPHIC STUDIO FROM UNDERSTANDING LIGHTING EQUIPMENT TO ACHEIVING DESIRED RESULTS FROM CERTAIN TECHNIQUES THIS GUIDE GIVES A SIMPLE EXPLAINATION TO ASSIST YOU
LUCY BARTLETT IS STUDYING BA (HONS) PHOTOGRAPHY AT COVENTRY UNIVERSITY THIS MANUAL WAS PRO-DUCED AS PART OF THE lsquoWORKING WITH LIGHTrsquo MODULE
Prepared by MagCloud for Lucy Bartlett Get more at lucybartlettphotographymagcloudcom
LIGHTING WORKING WITH THE BACKDROP
31
With the previous photographs it appears the back-drop is grey as it is not being directly lit However there is a method to stop this Use a Bowen 500W soft box above the camera set on f3 Using a Bowen 500W light with a spill kill head set on f55 facing the backdrop Place a black reflector in front of this light to block light bouncing back to the model Place a white reflector next to the model as it will help bounce light back to the wall Each reflector should be about 15 metres from the model
LIGHTING BACK LIGHTING HAIR
32
This set up was created with a Bowen 500W Honeycomb head at f2 placed behind at one side of the model A beauty dish placed above the camera at f1 to give the main light source for the face
Backlighting is most often used for beauty and fashion shoots as it creates a more dramatic shot Back lighting hair that is blonde or very light tends to be more effective over darker hair as the two on the right show
LIGHTING BACK LIGHTING HAIR
33
Blonde Hair
Darker Hair
LIGHTING WORKING OUTSIDE
You will needbull A camera that allows sync bull Sync cable for flash Wireless
flash triggerbull 500w or 750w lightsbull Battery pack (to power the light)bull Light meterbull You may also addbull Snootbeauty dishhoneycombbull Power cablesbull Whitesilvergold reflector
Of course using lights are not soley used in an indoor environement This section looks at how to use the travel kits outside where the lighting is more difficult to control in comparison to the studio
34
LIGHTING WORKING OUTSIDE
35
This photograph was taken in an alley way where there was not much light It was intentional to have the railings appearing dark with the scene behind it being fairly lit The model was about 4 metres from the camera and light which was up high
This photograph was created using an aperture of f63 shutter speed of 1125 seconds and and ISO of 200 The Bowen 500W travel kit was used with the light unit set on f5
LIGHTING WORKING OUTSIDE CONT
36
This was created using the Bowen 500W at f2 The light directly bounced off the reflector opposite to light this photograph The aperture was on f16 which helped make the back-ground darker
LIGHTING WORKING OUTSIDE CONT
37
The aim with this was to light the background evenly with the model The Bowen 500W at f2 light the was placed at the model at angle so it could hit the reflector and light the wall at the same time
LIGHTING WORKING OUTSIDE CONT
38
With this one the soft box was placed closely to the model with the gold reflector at the opposite end to reflect the light The backdrop is dark as the aperture is around f16 with the light set on f5 Proves a dramatic set up
LIGHTING WORKING OUTSIDE CONT
39
This was created using 1 light but a gold reflector was placed down below near the model so the light could be reflected The Bowen 500W on f1 had an umbrella with no silver casing facing towards the model to give a fair but dramatic lighting
LIGHTING WORKING OUTSIDE CONT
40
These photographs were taken using the Canon Speedlite 580ex ii Two were used with 1 as the Master and the other as the slave
With this set-up the flash was on full power hence the dramatic lighing but the flash was positioned upwards The slave flash is what creates the majority of the light as it is at head level to the model at the side
LIGHTING WORKING OUTSIDE CONT
41
Here the model moved closer to the slave flash which was set on full power once again The master was not on hence why the only light source in the photograph is coming in directly onto the model Makes for an unusual set-up and for a dramatic effect
NOTES NOTES
42
NOTES NOTES
43
NOTES NOTES
44
NOTES NOTES
45
THIS GUIDE TO LIGHTING COVERS EVERTHING YOU NEED TO KNOW ABOUT THE BASICS OF A PHOTOGRAPHIC STUDIO FROM UNDERSTANDING LIGHTING EQUIPMENT TO ACHEIVING DESIRED RESULTS FROM CERTAIN TECHNIQUES THIS GUIDE GIVES A SIMPLE EXPLAINATION TO ASSIST YOU
LUCY BARTLETT IS STUDYING BA (HONS) PHOTOGRAPHY AT COVENTRY UNIVERSITY THIS MANUAL WAS PRO-DUCED AS PART OF THE lsquoWORKING WITH LIGHTrsquo MODULE
Prepared by MagCloud for Lucy Bartlett Get more at lucybartlettphotographymagcloudcom
LIGHTING BACK LIGHTING HAIR
32
This set up was created with a Bowen 500W Honeycomb head at f2 placed behind at one side of the model A beauty dish placed above the camera at f1 to give the main light source for the face
Backlighting is most often used for beauty and fashion shoots as it creates a more dramatic shot Back lighting hair that is blonde or very light tends to be more effective over darker hair as the two on the right show
LIGHTING BACK LIGHTING HAIR
33
Blonde Hair
Darker Hair
LIGHTING WORKING OUTSIDE
You will needbull A camera that allows sync bull Sync cable for flash Wireless
flash triggerbull 500w or 750w lightsbull Battery pack (to power the light)bull Light meterbull You may also addbull Snootbeauty dishhoneycombbull Power cablesbull Whitesilvergold reflector
Of course using lights are not soley used in an indoor environement This section looks at how to use the travel kits outside where the lighting is more difficult to control in comparison to the studio
34
LIGHTING WORKING OUTSIDE
35
This photograph was taken in an alley way where there was not much light It was intentional to have the railings appearing dark with the scene behind it being fairly lit The model was about 4 metres from the camera and light which was up high
This photograph was created using an aperture of f63 shutter speed of 1125 seconds and and ISO of 200 The Bowen 500W travel kit was used with the light unit set on f5
LIGHTING WORKING OUTSIDE CONT
36
This was created using the Bowen 500W at f2 The light directly bounced off the reflector opposite to light this photograph The aperture was on f16 which helped make the back-ground darker
LIGHTING WORKING OUTSIDE CONT
37
The aim with this was to light the background evenly with the model The Bowen 500W at f2 light the was placed at the model at angle so it could hit the reflector and light the wall at the same time
LIGHTING WORKING OUTSIDE CONT
38
With this one the soft box was placed closely to the model with the gold reflector at the opposite end to reflect the light The backdrop is dark as the aperture is around f16 with the light set on f5 Proves a dramatic set up
LIGHTING WORKING OUTSIDE CONT
39
This was created using 1 light but a gold reflector was placed down below near the model so the light could be reflected The Bowen 500W on f1 had an umbrella with no silver casing facing towards the model to give a fair but dramatic lighting
LIGHTING WORKING OUTSIDE CONT
40
These photographs were taken using the Canon Speedlite 580ex ii Two were used with 1 as the Master and the other as the slave
With this set-up the flash was on full power hence the dramatic lighing but the flash was positioned upwards The slave flash is what creates the majority of the light as it is at head level to the model at the side
LIGHTING WORKING OUTSIDE CONT
41
Here the model moved closer to the slave flash which was set on full power once again The master was not on hence why the only light source in the photograph is coming in directly onto the model Makes for an unusual set-up and for a dramatic effect
NOTES NOTES
42
NOTES NOTES
43
NOTES NOTES
44
NOTES NOTES
45
THIS GUIDE TO LIGHTING COVERS EVERTHING YOU NEED TO KNOW ABOUT THE BASICS OF A PHOTOGRAPHIC STUDIO FROM UNDERSTANDING LIGHTING EQUIPMENT TO ACHEIVING DESIRED RESULTS FROM CERTAIN TECHNIQUES THIS GUIDE GIVES A SIMPLE EXPLAINATION TO ASSIST YOU
LUCY BARTLETT IS STUDYING BA (HONS) PHOTOGRAPHY AT COVENTRY UNIVERSITY THIS MANUAL WAS PRO-DUCED AS PART OF THE lsquoWORKING WITH LIGHTrsquo MODULE
Prepared by MagCloud for Lucy Bartlett Get more at lucybartlettphotographymagcloudcom
LIGHTING BACK LIGHTING HAIR
33
Blonde Hair
Darker Hair
LIGHTING WORKING OUTSIDE
You will needbull A camera that allows sync bull Sync cable for flash Wireless
flash triggerbull 500w or 750w lightsbull Battery pack (to power the light)bull Light meterbull You may also addbull Snootbeauty dishhoneycombbull Power cablesbull Whitesilvergold reflector
Of course using lights are not soley used in an indoor environement This section looks at how to use the travel kits outside where the lighting is more difficult to control in comparison to the studio
34
LIGHTING WORKING OUTSIDE
35
This photograph was taken in an alley way where there was not much light It was intentional to have the railings appearing dark with the scene behind it being fairly lit The model was about 4 metres from the camera and light which was up high
This photograph was created using an aperture of f63 shutter speed of 1125 seconds and and ISO of 200 The Bowen 500W travel kit was used with the light unit set on f5
LIGHTING WORKING OUTSIDE CONT
36
This was created using the Bowen 500W at f2 The light directly bounced off the reflector opposite to light this photograph The aperture was on f16 which helped make the back-ground darker
LIGHTING WORKING OUTSIDE CONT
37
The aim with this was to light the background evenly with the model The Bowen 500W at f2 light the was placed at the model at angle so it could hit the reflector and light the wall at the same time
LIGHTING WORKING OUTSIDE CONT
38
With this one the soft box was placed closely to the model with the gold reflector at the opposite end to reflect the light The backdrop is dark as the aperture is around f16 with the light set on f5 Proves a dramatic set up
LIGHTING WORKING OUTSIDE CONT
39
This was created using 1 light but a gold reflector was placed down below near the model so the light could be reflected The Bowen 500W on f1 had an umbrella with no silver casing facing towards the model to give a fair but dramatic lighting
LIGHTING WORKING OUTSIDE CONT
40
These photographs were taken using the Canon Speedlite 580ex ii Two were used with 1 as the Master and the other as the slave
With this set-up the flash was on full power hence the dramatic lighing but the flash was positioned upwards The slave flash is what creates the majority of the light as it is at head level to the model at the side
LIGHTING WORKING OUTSIDE CONT
41
Here the model moved closer to the slave flash which was set on full power once again The master was not on hence why the only light source in the photograph is coming in directly onto the model Makes for an unusual set-up and for a dramatic effect
NOTES NOTES
42
NOTES NOTES
43
NOTES NOTES
44
NOTES NOTES
45
THIS GUIDE TO LIGHTING COVERS EVERTHING YOU NEED TO KNOW ABOUT THE BASICS OF A PHOTOGRAPHIC STUDIO FROM UNDERSTANDING LIGHTING EQUIPMENT TO ACHEIVING DESIRED RESULTS FROM CERTAIN TECHNIQUES THIS GUIDE GIVES A SIMPLE EXPLAINATION TO ASSIST YOU
LUCY BARTLETT IS STUDYING BA (HONS) PHOTOGRAPHY AT COVENTRY UNIVERSITY THIS MANUAL WAS PRO-DUCED AS PART OF THE lsquoWORKING WITH LIGHTrsquo MODULE
Prepared by MagCloud for Lucy Bartlett Get more at lucybartlettphotographymagcloudcom
LIGHTING WORKING OUTSIDE
You will needbull A camera that allows sync bull Sync cable for flash Wireless
flash triggerbull 500w or 750w lightsbull Battery pack (to power the light)bull Light meterbull You may also addbull Snootbeauty dishhoneycombbull Power cablesbull Whitesilvergold reflector
Of course using lights are not soley used in an indoor environement This section looks at how to use the travel kits outside where the lighting is more difficult to control in comparison to the studio
34
LIGHTING WORKING OUTSIDE
35
This photograph was taken in an alley way where there was not much light It was intentional to have the railings appearing dark with the scene behind it being fairly lit The model was about 4 metres from the camera and light which was up high
This photograph was created using an aperture of f63 shutter speed of 1125 seconds and and ISO of 200 The Bowen 500W travel kit was used with the light unit set on f5
LIGHTING WORKING OUTSIDE CONT
36
This was created using the Bowen 500W at f2 The light directly bounced off the reflector opposite to light this photograph The aperture was on f16 which helped make the back-ground darker
LIGHTING WORKING OUTSIDE CONT
37
The aim with this was to light the background evenly with the model The Bowen 500W at f2 light the was placed at the model at angle so it could hit the reflector and light the wall at the same time
LIGHTING WORKING OUTSIDE CONT
38
With this one the soft box was placed closely to the model with the gold reflector at the opposite end to reflect the light The backdrop is dark as the aperture is around f16 with the light set on f5 Proves a dramatic set up
LIGHTING WORKING OUTSIDE CONT
39
This was created using 1 light but a gold reflector was placed down below near the model so the light could be reflected The Bowen 500W on f1 had an umbrella with no silver casing facing towards the model to give a fair but dramatic lighting
LIGHTING WORKING OUTSIDE CONT
40
These photographs were taken using the Canon Speedlite 580ex ii Two were used with 1 as the Master and the other as the slave
With this set-up the flash was on full power hence the dramatic lighing but the flash was positioned upwards The slave flash is what creates the majority of the light as it is at head level to the model at the side
LIGHTING WORKING OUTSIDE CONT
41
Here the model moved closer to the slave flash which was set on full power once again The master was not on hence why the only light source in the photograph is coming in directly onto the model Makes for an unusual set-up and for a dramatic effect
NOTES NOTES
42
NOTES NOTES
43
NOTES NOTES
44
NOTES NOTES
45
THIS GUIDE TO LIGHTING COVERS EVERTHING YOU NEED TO KNOW ABOUT THE BASICS OF A PHOTOGRAPHIC STUDIO FROM UNDERSTANDING LIGHTING EQUIPMENT TO ACHEIVING DESIRED RESULTS FROM CERTAIN TECHNIQUES THIS GUIDE GIVES A SIMPLE EXPLAINATION TO ASSIST YOU
LUCY BARTLETT IS STUDYING BA (HONS) PHOTOGRAPHY AT COVENTRY UNIVERSITY THIS MANUAL WAS PRO-DUCED AS PART OF THE lsquoWORKING WITH LIGHTrsquo MODULE
Prepared by MagCloud for Lucy Bartlett Get more at lucybartlettphotographymagcloudcom
LIGHTING WORKING OUTSIDE
35
This photograph was taken in an alley way where there was not much light It was intentional to have the railings appearing dark with the scene behind it being fairly lit The model was about 4 metres from the camera and light which was up high
This photograph was created using an aperture of f63 shutter speed of 1125 seconds and and ISO of 200 The Bowen 500W travel kit was used with the light unit set on f5
LIGHTING WORKING OUTSIDE CONT
36
This was created using the Bowen 500W at f2 The light directly bounced off the reflector opposite to light this photograph The aperture was on f16 which helped make the back-ground darker
LIGHTING WORKING OUTSIDE CONT
37
The aim with this was to light the background evenly with the model The Bowen 500W at f2 light the was placed at the model at angle so it could hit the reflector and light the wall at the same time
LIGHTING WORKING OUTSIDE CONT
38
With this one the soft box was placed closely to the model with the gold reflector at the opposite end to reflect the light The backdrop is dark as the aperture is around f16 with the light set on f5 Proves a dramatic set up
LIGHTING WORKING OUTSIDE CONT
39
This was created using 1 light but a gold reflector was placed down below near the model so the light could be reflected The Bowen 500W on f1 had an umbrella with no silver casing facing towards the model to give a fair but dramatic lighting
LIGHTING WORKING OUTSIDE CONT
40
These photographs were taken using the Canon Speedlite 580ex ii Two were used with 1 as the Master and the other as the slave
With this set-up the flash was on full power hence the dramatic lighing but the flash was positioned upwards The slave flash is what creates the majority of the light as it is at head level to the model at the side
LIGHTING WORKING OUTSIDE CONT
41
Here the model moved closer to the slave flash which was set on full power once again The master was not on hence why the only light source in the photograph is coming in directly onto the model Makes for an unusual set-up and for a dramatic effect
NOTES NOTES
42
NOTES NOTES
43
NOTES NOTES
44
NOTES NOTES
45
THIS GUIDE TO LIGHTING COVERS EVERTHING YOU NEED TO KNOW ABOUT THE BASICS OF A PHOTOGRAPHIC STUDIO FROM UNDERSTANDING LIGHTING EQUIPMENT TO ACHEIVING DESIRED RESULTS FROM CERTAIN TECHNIQUES THIS GUIDE GIVES A SIMPLE EXPLAINATION TO ASSIST YOU
LUCY BARTLETT IS STUDYING BA (HONS) PHOTOGRAPHY AT COVENTRY UNIVERSITY THIS MANUAL WAS PRO-DUCED AS PART OF THE lsquoWORKING WITH LIGHTrsquo MODULE
Prepared by MagCloud for Lucy Bartlett Get more at lucybartlettphotographymagcloudcom
LIGHTING WORKING OUTSIDE CONT
36
This was created using the Bowen 500W at f2 The light directly bounced off the reflector opposite to light this photograph The aperture was on f16 which helped make the back-ground darker
LIGHTING WORKING OUTSIDE CONT
37
The aim with this was to light the background evenly with the model The Bowen 500W at f2 light the was placed at the model at angle so it could hit the reflector and light the wall at the same time
LIGHTING WORKING OUTSIDE CONT
38
With this one the soft box was placed closely to the model with the gold reflector at the opposite end to reflect the light The backdrop is dark as the aperture is around f16 with the light set on f5 Proves a dramatic set up
LIGHTING WORKING OUTSIDE CONT
39
This was created using 1 light but a gold reflector was placed down below near the model so the light could be reflected The Bowen 500W on f1 had an umbrella with no silver casing facing towards the model to give a fair but dramatic lighting
LIGHTING WORKING OUTSIDE CONT
40
These photographs were taken using the Canon Speedlite 580ex ii Two were used with 1 as the Master and the other as the slave
With this set-up the flash was on full power hence the dramatic lighing but the flash was positioned upwards The slave flash is what creates the majority of the light as it is at head level to the model at the side
LIGHTING WORKING OUTSIDE CONT
41
Here the model moved closer to the slave flash which was set on full power once again The master was not on hence why the only light source in the photograph is coming in directly onto the model Makes for an unusual set-up and for a dramatic effect
NOTES NOTES
42
NOTES NOTES
43
NOTES NOTES
44
NOTES NOTES
45
THIS GUIDE TO LIGHTING COVERS EVERTHING YOU NEED TO KNOW ABOUT THE BASICS OF A PHOTOGRAPHIC STUDIO FROM UNDERSTANDING LIGHTING EQUIPMENT TO ACHEIVING DESIRED RESULTS FROM CERTAIN TECHNIQUES THIS GUIDE GIVES A SIMPLE EXPLAINATION TO ASSIST YOU
LUCY BARTLETT IS STUDYING BA (HONS) PHOTOGRAPHY AT COVENTRY UNIVERSITY THIS MANUAL WAS PRO-DUCED AS PART OF THE lsquoWORKING WITH LIGHTrsquo MODULE
Prepared by MagCloud for Lucy Bartlett Get more at lucybartlettphotographymagcloudcom
LIGHTING WORKING OUTSIDE CONT
37
The aim with this was to light the background evenly with the model The Bowen 500W at f2 light the was placed at the model at angle so it could hit the reflector and light the wall at the same time
LIGHTING WORKING OUTSIDE CONT
38
With this one the soft box was placed closely to the model with the gold reflector at the opposite end to reflect the light The backdrop is dark as the aperture is around f16 with the light set on f5 Proves a dramatic set up
LIGHTING WORKING OUTSIDE CONT
39
This was created using 1 light but a gold reflector was placed down below near the model so the light could be reflected The Bowen 500W on f1 had an umbrella with no silver casing facing towards the model to give a fair but dramatic lighting
LIGHTING WORKING OUTSIDE CONT
40
These photographs were taken using the Canon Speedlite 580ex ii Two were used with 1 as the Master and the other as the slave
With this set-up the flash was on full power hence the dramatic lighing but the flash was positioned upwards The slave flash is what creates the majority of the light as it is at head level to the model at the side
LIGHTING WORKING OUTSIDE CONT
41
Here the model moved closer to the slave flash which was set on full power once again The master was not on hence why the only light source in the photograph is coming in directly onto the model Makes for an unusual set-up and for a dramatic effect
NOTES NOTES
42
NOTES NOTES
43
NOTES NOTES
44
NOTES NOTES
45
THIS GUIDE TO LIGHTING COVERS EVERTHING YOU NEED TO KNOW ABOUT THE BASICS OF A PHOTOGRAPHIC STUDIO FROM UNDERSTANDING LIGHTING EQUIPMENT TO ACHEIVING DESIRED RESULTS FROM CERTAIN TECHNIQUES THIS GUIDE GIVES A SIMPLE EXPLAINATION TO ASSIST YOU
LUCY BARTLETT IS STUDYING BA (HONS) PHOTOGRAPHY AT COVENTRY UNIVERSITY THIS MANUAL WAS PRO-DUCED AS PART OF THE lsquoWORKING WITH LIGHTrsquo MODULE
Prepared by MagCloud for Lucy Bartlett Get more at lucybartlettphotographymagcloudcom
LIGHTING WORKING OUTSIDE CONT
38
With this one the soft box was placed closely to the model with the gold reflector at the opposite end to reflect the light The backdrop is dark as the aperture is around f16 with the light set on f5 Proves a dramatic set up
LIGHTING WORKING OUTSIDE CONT
39
This was created using 1 light but a gold reflector was placed down below near the model so the light could be reflected The Bowen 500W on f1 had an umbrella with no silver casing facing towards the model to give a fair but dramatic lighting
LIGHTING WORKING OUTSIDE CONT
40
These photographs were taken using the Canon Speedlite 580ex ii Two were used with 1 as the Master and the other as the slave
With this set-up the flash was on full power hence the dramatic lighing but the flash was positioned upwards The slave flash is what creates the majority of the light as it is at head level to the model at the side
LIGHTING WORKING OUTSIDE CONT
41
Here the model moved closer to the slave flash which was set on full power once again The master was not on hence why the only light source in the photograph is coming in directly onto the model Makes for an unusual set-up and for a dramatic effect
NOTES NOTES
42
NOTES NOTES
43
NOTES NOTES
44
NOTES NOTES
45
THIS GUIDE TO LIGHTING COVERS EVERTHING YOU NEED TO KNOW ABOUT THE BASICS OF A PHOTOGRAPHIC STUDIO FROM UNDERSTANDING LIGHTING EQUIPMENT TO ACHEIVING DESIRED RESULTS FROM CERTAIN TECHNIQUES THIS GUIDE GIVES A SIMPLE EXPLAINATION TO ASSIST YOU
LUCY BARTLETT IS STUDYING BA (HONS) PHOTOGRAPHY AT COVENTRY UNIVERSITY THIS MANUAL WAS PRO-DUCED AS PART OF THE lsquoWORKING WITH LIGHTrsquo MODULE
Prepared by MagCloud for Lucy Bartlett Get more at lucybartlettphotographymagcloudcom
LIGHTING WORKING OUTSIDE CONT
39
This was created using 1 light but a gold reflector was placed down below near the model so the light could be reflected The Bowen 500W on f1 had an umbrella with no silver casing facing towards the model to give a fair but dramatic lighting
LIGHTING WORKING OUTSIDE CONT
40
These photographs were taken using the Canon Speedlite 580ex ii Two were used with 1 as the Master and the other as the slave
With this set-up the flash was on full power hence the dramatic lighing but the flash was positioned upwards The slave flash is what creates the majority of the light as it is at head level to the model at the side
LIGHTING WORKING OUTSIDE CONT
41
Here the model moved closer to the slave flash which was set on full power once again The master was not on hence why the only light source in the photograph is coming in directly onto the model Makes for an unusual set-up and for a dramatic effect
NOTES NOTES
42
NOTES NOTES
43
NOTES NOTES
44
NOTES NOTES
45
THIS GUIDE TO LIGHTING COVERS EVERTHING YOU NEED TO KNOW ABOUT THE BASICS OF A PHOTOGRAPHIC STUDIO FROM UNDERSTANDING LIGHTING EQUIPMENT TO ACHEIVING DESIRED RESULTS FROM CERTAIN TECHNIQUES THIS GUIDE GIVES A SIMPLE EXPLAINATION TO ASSIST YOU
LUCY BARTLETT IS STUDYING BA (HONS) PHOTOGRAPHY AT COVENTRY UNIVERSITY THIS MANUAL WAS PRO-DUCED AS PART OF THE lsquoWORKING WITH LIGHTrsquo MODULE
Prepared by MagCloud for Lucy Bartlett Get more at lucybartlettphotographymagcloudcom
LIGHTING WORKING OUTSIDE CONT
40
These photographs were taken using the Canon Speedlite 580ex ii Two were used with 1 as the Master and the other as the slave
With this set-up the flash was on full power hence the dramatic lighing but the flash was positioned upwards The slave flash is what creates the majority of the light as it is at head level to the model at the side
LIGHTING WORKING OUTSIDE CONT
41
Here the model moved closer to the slave flash which was set on full power once again The master was not on hence why the only light source in the photograph is coming in directly onto the model Makes for an unusual set-up and for a dramatic effect
NOTES NOTES
42
NOTES NOTES
43
NOTES NOTES
44
NOTES NOTES
45
THIS GUIDE TO LIGHTING COVERS EVERTHING YOU NEED TO KNOW ABOUT THE BASICS OF A PHOTOGRAPHIC STUDIO FROM UNDERSTANDING LIGHTING EQUIPMENT TO ACHEIVING DESIRED RESULTS FROM CERTAIN TECHNIQUES THIS GUIDE GIVES A SIMPLE EXPLAINATION TO ASSIST YOU
LUCY BARTLETT IS STUDYING BA (HONS) PHOTOGRAPHY AT COVENTRY UNIVERSITY THIS MANUAL WAS PRO-DUCED AS PART OF THE lsquoWORKING WITH LIGHTrsquo MODULE
Prepared by MagCloud for Lucy Bartlett Get more at lucybartlettphotographymagcloudcom
LIGHTING WORKING OUTSIDE CONT
41
Here the model moved closer to the slave flash which was set on full power once again The master was not on hence why the only light source in the photograph is coming in directly onto the model Makes for an unusual set-up and for a dramatic effect
NOTES NOTES
42
NOTES NOTES
43
NOTES NOTES
44
NOTES NOTES
45
THIS GUIDE TO LIGHTING COVERS EVERTHING YOU NEED TO KNOW ABOUT THE BASICS OF A PHOTOGRAPHIC STUDIO FROM UNDERSTANDING LIGHTING EQUIPMENT TO ACHEIVING DESIRED RESULTS FROM CERTAIN TECHNIQUES THIS GUIDE GIVES A SIMPLE EXPLAINATION TO ASSIST YOU
LUCY BARTLETT IS STUDYING BA (HONS) PHOTOGRAPHY AT COVENTRY UNIVERSITY THIS MANUAL WAS PRO-DUCED AS PART OF THE lsquoWORKING WITH LIGHTrsquo MODULE
Prepared by MagCloud for Lucy Bartlett Get more at lucybartlettphotographymagcloudcom
NOTES NOTES
42
NOTES NOTES
43
NOTES NOTES
44
NOTES NOTES
45
THIS GUIDE TO LIGHTING COVERS EVERTHING YOU NEED TO KNOW ABOUT THE BASICS OF A PHOTOGRAPHIC STUDIO FROM UNDERSTANDING LIGHTING EQUIPMENT TO ACHEIVING DESIRED RESULTS FROM CERTAIN TECHNIQUES THIS GUIDE GIVES A SIMPLE EXPLAINATION TO ASSIST YOU
LUCY BARTLETT IS STUDYING BA (HONS) PHOTOGRAPHY AT COVENTRY UNIVERSITY THIS MANUAL WAS PRO-DUCED AS PART OF THE lsquoWORKING WITH LIGHTrsquo MODULE
Prepared by MagCloud for Lucy Bartlett Get more at lucybartlettphotographymagcloudcom
NOTES NOTES
43
NOTES NOTES
44
NOTES NOTES
45
THIS GUIDE TO LIGHTING COVERS EVERTHING YOU NEED TO KNOW ABOUT THE BASICS OF A PHOTOGRAPHIC STUDIO FROM UNDERSTANDING LIGHTING EQUIPMENT TO ACHEIVING DESIRED RESULTS FROM CERTAIN TECHNIQUES THIS GUIDE GIVES A SIMPLE EXPLAINATION TO ASSIST YOU
LUCY BARTLETT IS STUDYING BA (HONS) PHOTOGRAPHY AT COVENTRY UNIVERSITY THIS MANUAL WAS PRO-DUCED AS PART OF THE lsquoWORKING WITH LIGHTrsquo MODULE
Prepared by MagCloud for Lucy Bartlett Get more at lucybartlettphotographymagcloudcom
NOTES NOTES
44
NOTES NOTES
45
THIS GUIDE TO LIGHTING COVERS EVERTHING YOU NEED TO KNOW ABOUT THE BASICS OF A PHOTOGRAPHIC STUDIO FROM UNDERSTANDING LIGHTING EQUIPMENT TO ACHEIVING DESIRED RESULTS FROM CERTAIN TECHNIQUES THIS GUIDE GIVES A SIMPLE EXPLAINATION TO ASSIST YOU
LUCY BARTLETT IS STUDYING BA (HONS) PHOTOGRAPHY AT COVENTRY UNIVERSITY THIS MANUAL WAS PRO-DUCED AS PART OF THE lsquoWORKING WITH LIGHTrsquo MODULE
Prepared by MagCloud for Lucy Bartlett Get more at lucybartlettphotographymagcloudcom
NOTES NOTES
45
THIS GUIDE TO LIGHTING COVERS EVERTHING YOU NEED TO KNOW ABOUT THE BASICS OF A PHOTOGRAPHIC STUDIO FROM UNDERSTANDING LIGHTING EQUIPMENT TO ACHEIVING DESIRED RESULTS FROM CERTAIN TECHNIQUES THIS GUIDE GIVES A SIMPLE EXPLAINATION TO ASSIST YOU
LUCY BARTLETT IS STUDYING BA (HONS) PHOTOGRAPHY AT COVENTRY UNIVERSITY THIS MANUAL WAS PRO-DUCED AS PART OF THE lsquoWORKING WITH LIGHTrsquo MODULE
Prepared by MagCloud for Lucy Bartlett Get more at lucybartlettphotographymagcloudcom
THIS GUIDE TO LIGHTING COVERS EVERTHING YOU NEED TO KNOW ABOUT THE BASICS OF A PHOTOGRAPHIC STUDIO FROM UNDERSTANDING LIGHTING EQUIPMENT TO ACHEIVING DESIRED RESULTS FROM CERTAIN TECHNIQUES THIS GUIDE GIVES A SIMPLE EXPLAINATION TO ASSIST YOU
LUCY BARTLETT IS STUDYING BA (HONS) PHOTOGRAPHY AT COVENTRY UNIVERSITY THIS MANUAL WAS PRO-DUCED AS PART OF THE lsquoWORKING WITH LIGHTrsquo MODULE
Prepared by MagCloud for Lucy Bartlett Get more at lucybartlettphotographymagcloudcom