The Studio Lighting Thread

One thing I noticed is how in the first photo the arm that stretches upwards, the hand caught much more light than the rest of the model, it's overexposed. I'm aware of the fact that this was during a lighting test and she unexpectedly started to do ballet and the lights were not set up for that. But I was wondering when you have a subject like that, somebody dancing, stretching, jumping high, how would you keep light even across the board? The only thing I (not a studio photographer AT ALL), could think of was one or several of those very tall, narrow softboxes, a fair distance away. You would probably need powerful strobes for that.
 
Levina de Ruijter said:
One thing I noticed is how in the first photo the arm that stretches upwards, the hand caught much more light than the rest of the model, it's overexposed. I'm aware of the fact that this was during a lighting test and she unexpectedly started to do ballet and the lights were not set up for that. But I was wondering when you have a subject like that, somebody dancing, stretching, jumping high, how would you keep light even across the board? The only thing I (not a studio photographer AT ALL), could think of was one or several of those very tall, narrow softboxes, a fair distance away. You would probably need powerful strobes for that.
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That level of overexposure is recoverable. It can be carefully burned to match her skin tone. For this case, turn off the hair light or move it to behind the background up high looking over it for that rim-type of light. 6 foot striplights work well in this case. I do have a mask for striplights so I get a 2 inch “slice” of light from it too. Makes for a very narrow striplight. I’d definitely use it for a dancing type of shot.
 
ImageMaker said:
Had no idea she could dance/ballet. Studio lighting was not set up for dance type shots. Still decided to post some shots for some discussion. I dont recall exactly how this was lit. We were ending the session for the day and had changed a lot of lighting along the way. These shots are not edited or ready for prime time. I did like her dress in these shots. But let’s discuss…

Can you envision from these how she could be lit? The emotion you can build with lighting? Part of lighting is evaluating what’s done and how it can be improved or modified top best show a shot.

So - here’s the question…. Using your creativity, how would you light this subject? Start with a vision, then with what and how you could make it happen. Sometimes existing gear is all you need. Sometimes, you need to hack something to get the lighting just right. What would you do?

Example: Perhaps lighting with two spots far left and right as hard lights. Spots focused to full length. A hair light not directly above but behind the background creating a slight rim light. Maybe change the background & floor to dark grey or black.

Your turn. How would you light it?

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i think the lighting is just fine. im sure there are other ways to do it... maybe cross, side lighting? just the background for a silhouette... (i can NEVER spell that word correctly)...
 
Just playing with lighting looking for different effects. Here’s a more subdued shot using the Para 222 camera left 10-12 feet from the model, low powered striplights in back left and right, - and a gridded low powered light on the background. It’s a gray vinyl 12 x 20 background. Vinyl lasts for years. Soapy sponge to clean. Pretty simple.

IMG_8984.webp
 
It’s the eyes…. Set up was Broncolor Para 133 in front of studio, camera - went to models right side to get this shot. Para is off to the right, and a 180 cm gridded striplight is off to the left. It’s OK to move around the studio for shots, not just in front as per usual. Exposure remains the same at the model regardless.

jpeg - ig_ayden_sadie_shot 1_01062.webp
 
ImageMaker said:
It’s the eyes…. Set up was Broncolor Para 133 in front of studio, camera - went to models right side to get this shot. Para is off to the right, and a 180 cm gridded striplight is off to the left. It’s OK to move around the studio for shots, not just in front as per usual. Exposure remains the same at the model regardless.

View attachment 78490
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Beautiful shot of a beautiful model!
And I was admiring how you managed to separate her dark sweater from the dark background.
 
Levina de Ruijter said:
Beautiful shot of a beautiful model!
And I was admiring how you managed to separate her dark sweater from the dark background.
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Always more than one way…. Lazy day today. Sitting at a Starbucks with a coffee at a large shopping center here in Taipei. Gotta meet some folks after dinner. Also excitedly awaiting a custom watch to be completed in February. I’ve grown tired of apple watches and want a professional “guy” look instead.
 
ImageMaker said:
Always more than one way…. Lazy day today. Sitting at a Starbucks with a coffee at a large shopping center here in Taipei. Gotta meet some folks after dinner. Also excitedly awaiting a custom watch to be completed in February. I’ve grown tired of apple watches and want a professional “guy” look instead.
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A custom watch? With a “guy” look! I can’t wait to see it! <wink wink>
 
The Broncolor Para 133 is a superb tool. It is capable of so much. In this shot, the Para 133 is just inches from the model centered on her head. The strobe is set in its defocused position just barely off camera. Just had to carefully meter the light and the Para did it’s magic.

jpeg - ig-may model shoot 0616.webp
 
mjp3210 said:
Looks closer to 90 degree sidelight to me... or just a few degrees less (with no reflector on the dark side). For Rembrandt lighting, the light is usually placed at around 45 degrees.
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Yes, it is 90 - using a 133cm/4 foot round Para… The shot a few pics above is more Rembrandt-ish
 
Shooting guys seems to take less TLC. Well…. that means a taking different approach. You still need to get their mind off the camera/studio to get a nice relaxed shot. They do sit with more confidence though. It’s more like directing their energy the way it needs to be to get that shot.

Here we’re set up with a Broncolor Para 133 directly above camera. The camera lens is literally touching the bottom of the Para at 6 o’clock. In back are two 5 foot gridded striplights. Background is the same gray vinyl. You can control the lighting hitting the background by how close the subject gets to it. First shot he’s closer to the background so there’s more light spill hitting it from the Para. The second shot we’ve moved just a bit further away.

JPEG - IG_BrianScott 22716.webp
JPEG - IG_BrianScott 22797.webp
 
ImageMaker said:
Shooting guys seems to take less TLC. Well…. that means a taking different approach. You still need to get their mind off the camera/studio to get a nice relaxed shot. They do sit with more confidence though. It’s more like directing their energy the way it needs to be to get that shot.

Here we’re set up with a Broncolor Para 133 directly above camera. The camera lens is literally touching the bottom of the Para at 6 o’clock. In back are two 5 foot gridded striplights. Background is the same gray vinyl. You can control the lighting hitting the background by how close the subject gets to it. First shot he’s closer to the background so there’s more light spill hitting it from the Para. The second shot we’ve moved just a bit further away.

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Beautiful portraits, Don.
 

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