Transformations with Portrait Lighting A Web Photo School Lesson by Ben Clay Setup shots by Kristine Sparow

In the world of fashion and high-end portrait photography, lighting is the key to professional-looking images. Having the ability to control the light that falls on your subject allows you many different ways of expressing an idea photographically. It can also greatly transform the way your subject comes across in a photograph. In this lesson, I will illustrate differences between hard and soft lighting, positioning of light sources and the importance of developing the shot. (Click on any image below for an enlarged view.)

EQUIPMENT USED Camera and Media Olympus E-10 (4.0 megapixel) Olympus C-3030Z (for set-up shots) 2 - Olympus 64MB SmartMedia cards Computer Equipment AppleG4, 450mhz Olympus Camedia USB SmartMedia Reader-Writer Software Adobe Photoshop 6.0 software Olympus Camedia 4.5 software Tripod Manfrotto 3036 with a 3039 head Lighting Equipment 1 - 7-foot Photoflex OctoDome

1 - Profoto Compact Plus mono-head strobe 1 - Photoflex Profoto/OctDome connector 1 - 39x74" Photoflex Soft Gold/White Litedisc 1 - Photoflex Litedisc Holder 2 - Photoflex LS-2232 Litestand 2 - Photoflex 22mm Casters Background

9-foot roll of Superior hand-painted seamless paper Gaffer's tape

To demonstrate, we arranged a portrait shoot in the Web Photo School studio with a local model and a hair and makeup stylist. Once everyone arrived, we discussed the objectives of the shoot. The first thing I wanted to do was show the difference between a small and large light source, so first I took a shot of our model with the camera's built-in flash. (fig 1).

Figure 1 Next, I positioned a 7-foot Photoflex OctoDome directly behind me (maintaining the same direction of light as the first shot) and adjusted the camera settings. I set the aperture to f-4 and the shutter speed to 1/125th of a second and adjusted the power on the Profoto mono-head until I arrived at a good exposure. As with most digital cameras, the Olympus E-10 has a playback mode where you can check your image immediately after taking it. This is a tremendous advantage in securing the proper exposure, focus and composition, particularly when you are working fast. I took a few shots and reviewed them on the camera's LCD screen (fig 2 & 3).

Figure 2 Figure 3 Although the light hitting our subject is traveling in the same direction in both shots, the difference between the two shots is dramatic. Notice how her skin in the first shot appears shiny and uneven compared to this one. Similarly, the eyes and hair are dark and flat in the first, whereas here they are bright and dimensional. These differences can be attributed to a basic rule of lighting: the larger the light source, the softer the light. (And the closer the light source is to the subject, the larger it becomes.) As is demonstrated here, soft lighting is typically more flattering than hard lighting. The dynamic range of a camera (still or motion) is much narrower than that of the human eye and because of this it is often necessary to "smooth out" the skin and "stylize" the hair to make the subject appear more natural. In addition, it is important to remember that viewing a twodimensional object (photograph) is quite different from viewing a scene in real life: every section of a photograph is subject to scrutiny because it supports the overall structure of the image.

It is therefore advantageous, if not necessary, to have a stylist on board to help shepherd these elements. Whether it's a fashion, product, food or architectural shoot, the biggest unsung hero is the stylist. While the photographer is working to capture a certain look or mood, it is the stylist's job to make sure the details of the shot (hair, makeup, clothing, props) are all working. A good stylist can really help to bring the shot to the next level. You can find stylists in the yellow pages, at hair salons, at theater departments of high schools and colleges, and even on the Web (fig 4). Figure 4

Once makeup was applied, our model came back out to the same spot on the set and we took some more shots at the same f-stop and shutter speed (fig 5).

Figure 5 When you compare her skin in this shot to the one previous, it is even smoother, and her hair, eyes and lips have all been accentuated and clearly defined. After studying the shots we all agreed the hair, although styled beautifully, was a little too distracting. So our stylist went about modifying her look. While they worked on the hair, my assistant stood in for the model while I adjusted the lighting setup. I had her move in a little closer to the background paper and I swung the OctoDome around to the side for a more dimensional look. Once the model was back on the set, we all agreed that that her hair looked much better. I had her turn her body to the side a little to make the pose more interesting and not so "square-on". Since the distance between the model and the softbox didn't change, I kept the same f-stop and shutter speed, and took some more shots (fig 6 & 7).

Figure 6 Figure 7 The results showed a great tonal range in the model's face, while also keeping a smooth "wraparound" lighting effect. It is important to remember that a smaller light source set at this angle could cause unflattering shadows across the face and make the overall shot high in contrast. Some people look great under these conditions; it largely depends on the architecture of their

face. But if you use a large light source as we did here, these shadows will be greatly softened and more of the face will be illuminated. To brighten and warm up the left side of our model's face, we brought in an oval Soft Gold Litedisc reflector to the left side to serve as a warm fill. As I took shots, my assistant adjusted the placement of the Litedisc until the contrast ratio looked good (fig 8 & 9).

Figure 9 Figure 8

EQUIPMENT USED Camera and Media Olympus E-10 (4.0 megapixel) Olympus C-3030Z (for set-up shots) 2 - Olympus 64MB SmartMedia cards Computer Equipment AppleG4, 450mhz Olympus Camedia USB SmartMedia Reader-Writer Software Adobe Photoshop 6.0 software Olympus Camedia 4.5 software Tripod Manfrotto 3036 with a 3039 head Lighting Equipment

1 - 7-foot Photoflex OctoDome 1 - Profoto Compact Plus mono-head strobe 1 - Photoflex Profoto/OctDome connector 1 - 39x74" Photoflex Soft Gold/White Litedisc 1 - Photoflex Litedisc Holder 2 - Photoflex LS-2232 Litestand 2 - Photoflex 22mm Casters Background

9-foot roll of Superior hand-painted seamless paper Gaffer's tape

There are many decisions to make when creating a headshot. You can decide to shoot indoors or outdoors, to use available or artificial lighting (or a combination of both), or to position your subject in front of an available or custom background. This lesson examines some basic camera and lighting techniques for an indoor location headshot. (Click on any image below for an enlarged view.)

Topics Covered Creating a simple portrait set on location Setting image quality and resolution in a digital camera for optimal prints Manual camera setting techniques Shooting with an Olympus E-20 digital camera Using lighting ratios to knock out the background naturally Experimenting with different poses and outfits

EQUIPMENT USED Camera and Media Olympus E-20 digital camera Olympus 128MB SmartMedia cards

 Olympus USB SmartMedia reader Sturdy tripod Lighting Equipment Medium Photoflex Starlite Kit Small Photoflex Starlite Kit Basic Photoflex Starlite Kit Photoflex Weight Bag Photoflex 42" MultiDisc Photoflex LiteDisc Holder Photoflex LS-2218 LiteStand

We arrived at a local dance studio one afternoon to take a headshot for one of their dancers. We set up the lighting equipment in one of the dance studios that wasn't being used. For the background we clipped a sheet of tan muslin cloth to a Photoflex Boom and secured it to a Photoflex LiteStand. This is very similar to a house painters canvas ground cloth that you can find at any paint or hardware store. We then set up a Photoflex Small Starlite Kit and positioned it off to the right of the dancer to serve as the main light source (figures 1 & 2).

Figure 2 Figure 1

The dancer wanted to have a high-resolution 8x10" headshot that she could submit for auditions, so we set the Olympus E-20N to capture images at its largest size and highest quality. We dialed the Resolution setting to TIFF, which has a capture resolution of 2560x1920 pixels. While this setting would afford high quality print images, they would also take up a lot of SmartMedia card space. Consequently, we used high capacity SmartMedia cards (128MB) for this session (figures 3 & 4).

Figure 3

Figure 4

Since we wanted to have sharp focus mostly on the model's eyes and not so much on the background, we needed to open the aperture relatively wide to create selective focus. From the Main dial, we set the aperture to f/4 and then adjusted the Sub dial to change the shutter speed to 1/125th of a second to accommodate a good exposure. After checking focus, we took a shot (figures 5 & 6).

Figure 5

Figure 6

Figure 6 shows a natural-looking result that gives an effect similar to that of a window light. The light is even and diffused, and wraps around the face gradually. Notice the soft shadows cast from the model's nose and cheek. Next, we decided to fill in the shadow a little using a Photoflex 32" MultiDisc with the Soft Gold side showing. Our assistant attached the MultiDisc to a LiteDisc Holder and LiteStand and positioned it so that the light from the Starlite Kit would be reflected into the shadow side of her face (figures 7 & 8).

Figure 7

Figure 8

We kept the same camera settings and took another exposure. Notice now how the shadows are much less pronounced. By filling in the shadows, we have minimized the contrast, and yet there is still a sense of dimension to the shot (figure 9).

Figure 9

Next, we decided to change the lighting somewhat. We wanted to light up the background and pull up the texture of the muslin background, so we set up an Extra Small Starlite Kit and positioned it low between the model and the muslin. For this set-up, the assistant pulled the MultiDisc out of the set while we concentrated on the main light source. We replaced the Small Starlite Kit in front with a Medium Kit to create an even softer light for the main light. (Remember, the larger the light source, the softer the light.) This helped to minimize the shadows even more. We then swung the Small Kit around to the side about 90-degrees to light up the right side of the model's hair. Once everything was in place, we took another shot (figures 10 & 11).

Figure 10

Figure 11

Again the result shows a nice transition from light to dark on the model while the background light helps to create separation from the muslin fabric. Then, the assistant brought in the MultiDisc back in and used it to fill in the shadows and lighten the left side of her hair. Once everything was in place, we took several exposures from which she could choose following the photo-shoot (figures 12 & 13).

Figure 12

Figure 13

EQUIPMENT USED Camera and Media Olympus E-20 digital camera Olympus 128MB SmartMedia cards

 Olympus USB SmartMedia reader Sturdy tripod Lighting Equipment Medium Photoflex Starlite Kit Small Photoflex Starlite Kit Basic Photoflex Starlite Kit Photoflex Weight Bag Photoflex 42" MultiDisc Photoflex LiteDisc Holder Photoflex LS-2218 LiteStand

Using a Telephoto Lens for Outdoor Portraits A Web Photo School staff lesson Photos by Ben Clay - Set up shots by Gene Kester

EQUIPMENT USED Camera and Media Contax 645 Carl Zeiss 350mm f-4 lens Carl Zeiss 80mm f-2 lens Contax Polaroid back Heavy duty tripod

 Olympus 2100 (for set-up shots) Lexar 64MB CompactFlash card Lighting Equipment Photoflex 77x77 Litepanel frame w/ White/Translucent fabric Photoflex 42 Soft Gold Litedisc Photoflex Litedisc Holder Photoflex LS-2200 Litestand

In order to demonstrate the basics of outdoor portraiture, we brought a local model and our photography crew to a beautiful nearby beach. Careful planning and the right equipment allowed us to achieve stunning results. Being equipped with a range of lenses for your camera enables you to achieve the exact cropping and background you want. A telephoto lens is particularly useful for outdoor portraits because it has a longer focal length than a standard or wide lens, allowing you to minimize your background. It also prevents the distorted perspective that can happen with a shorter lens. To illustrate this, we first shot our model with a standard 80mm lens on a Contax 645 medium format camera (fig 1 & 2).

Fig 1

Fig 2

Our result demonstrates a perspective and an angle of view similar to that of the human eye with both the model and the background in sharp focus (fig 3). As you can see, the large pilings diminish rapidly in size while the model is relatively small in the frame.

Fig 3

To change the look of the shot, we replaced the standard 80mm lens with a 350mm telephoto lens. Putting on a longer lens acts like a telescope in that it magnifies your subject and makes it appear much closer. This brings attention to your subject while eliminating much of the background. Because this lens is so powerful, we had to move away from our model to create a greater distance between her and the camera (fig 4 & 5).

Fig 4

Fig 5

To reflect a warm light into the shadowed areas of the model, our stylist positioned a Photoflex 42 soft gold Litedisc just below the cameras field of view (fig 6 & 7). This filled in the shadows with a warm, even light.

Fig 6

Fig 7

The result looked good, but the highlights were still too bright. To knock down the highlights in the models hair, our assistants held a Photoflex 77x77 translucent Litepanel over the models head to diffuse the bright afternoon sun. The result shows an evenly lit shot with a warm summery feel to it (fig 8 & 9).

Fig 8

Fig 9

For our second location, our stylist changed the models outfit and we re-positioned her with the ocean and sand behind her (fig 10). This initial shot shows the results using a standard 80mm lens with direct sunlight. Notice how the light is dramatic, yet provides too much contrast on our model (fig 11).

Fig 10

Fig 11

To reduce the extreme highlights and fill in the shadows, we replicated our previous set up using the Litepanel overhead for diffusion and the soft gold reflector to fill in the shadows. We were able to reduce to amount of background and come in tighter on the model, by switching back to the 350mm lens and backing up 20 feet or so (fig 12).

Fig 12

Changing your background with f-stops By adjusting your f-stop, you can easily change the look of the background. The higher the f-stop (f/11-f/22), the more the background will remain in focus. Conversely, a smaller f-stop (f/2.8-f/5.6) will throw the background more out of focus. Remember that in order to render a good exposure, the shutter speed must be adjusted to accommodate for your f-stop. As with many SLR cameras, the Contax 645 can be set to an Aperture-Priority mode (fig 13). This allows you to choose the f-stop you want and the camera will automatically adjust the shutter speed for the correct exposure. Note: When using Aperture Priority it is important to use the spot metering mode for the best exposure for your subject. To do this, focus on a middle-toned area of your subject (here we focused on the models denim jeans) then press and keep the shutter halfway down to lock the shutter speed. Next, choose the cropping you want and press the shutter the rest of the way down.

Fig 13

You can clearly see the difference this makes in these two shots. The first, shot at f/4, shows a very soft, almost abstract background (fig 14). The second, shot at f/11, makes the background more recognizable (fig 15). Which you choose will depend on your subject and your background.

Fig 14

Fig 15

PHOTO TIPS 1.When shooting film on location, it is always a good idea to use a Polaroid back to check for composition and exposure. It also shows the model, stylist and art director how the shot looks before committing it to film. Once everyone is able to view this preview, adjustments can be made to the lighting, posing, clothing, background and so on. Once these details are finalized, the photographer can then focus on the interaction with the model (fig 16 & 17).

Fig 16

Fig 17

2. A make-up artist, or stylist, can make a tremendous difference in the final outcome of a shot. While you are busy focusing on the models expressions and positioning, the stylist concentrates on the details: hair, make-up, clothing, props, etc(fig 18). Our stylist purchased clothing and props, handled all pre-shoot preparation and was with us on location to attend to details throughout the shoot. If you can afford to use one, we highly recommend it!

Fig 18

EQUIPMENT USED Camera and Media Contax 645 Carl Zeiss 350mm f-4 lens Carl Zeiss 80mm f-2 lens Contax Polaroid back Heavy duty tripod Olympus 2100 (for set-up shots) Lexar 64MB CompactFlash card

Lighting Equipment Photoflex 77x77 Litepanel frame w/ White/Translucent fabric Photoflex 42 Soft Gold Litedisc Photoflex Litedisc Holder Photoflex LS-2200 Litestand

Photographing jewelry can be particularly challenging for a number of reasons: Since most jewelry is highly reflective, the size and placement of light modifiers is crucial. To appreciate the attention to detail of jewelry, it is imperative to use a large, or macro lens. Until recently, the cost of purchasing equipment coupled with the lack of knowledge in how to photograph jewelry has prevented most people from doing it themselves. Large format cameras with long lenses, expensive strobe and lighting equipment, and fundamental approaches to lighting have been the major obstacles. With improvements in camera technology and cost, affordable alternatives to daylight balanced lighting systems, and Internet access to photographic techniques, taking pictures of jewelry for websites, web auctions, print advertising, etc., is no longer exclusive to specialists. To illustrate, we scheduled a photo-shoot in our studio with a local jeweler. (Click on any image below for an enlarged view.)

Topics Coverered Digital shooting techniques in the studio The advantages to using soft, diffused light Close-up work with a macro attachment Transferring images to a computer

 Basic layout techniques in Adobe Photoshop Elements Printing tips for optimal quality EQUIPMENT USED Camera and Media Olympus C-3040 Olympus C-3030 (for set-up shots) Olympus Macro Lens Attachment 2- Lexar 32MB SmartMedia cards Lexar USB SmartMedia Reader Sturdy tripod

Lighting Equipment 2- Photoflex medium Starlite Kits Photoflex LS-2214 Litestand Software/Printing Equipment Adobe Photoshop Elements Epson Stylus 890 Epson Premium Glossy Photo Paper Background Homemade shooting table made of PVC pipes and foam core 4-foot white seamless paper A-Clamps Ghee (mixture of kneaded eraser and modeling clay)

The Vault Gallery is a jewelry store here in Santa Cruz that sells beautiful jewelry and fine glass works. On my initial visit to their showroom, I discovered they had a website, which I later checked out. The site was well designed, but one thing I noticed was that the quality of images varied from excellent to adequate. When I brought this up to Joy and Doug (the owners) on a later visit, they explained that the artists themselves supplied most of the slides, prints, and scans. While most of the images were great, there were some that did not do justice to the effects of the actual pieces. In addition, there were many pieces without images that they could put on their site. Joy mentioned that it was not in their budget to hire a professional photographer to shoot all of their jewelry, and therefore they had to take what they could get.

Figure 1

I suggested we might have a possible solution for them, and we set up an appointment for them to come to our studio to take some shots with a relatively inexpensive digital camera and lighting set-up. Before they arrived at the studio the next week, I set up a shooting table and attached a roll of white seamless paper to it. I then set up two medium sized soft boxes with 500-watt Starlites in them and positioned them on either side of the table. I set an Olympus 3040 digital camera on a tripod, turned it on and selected the manual settings (figures 1, 2 & 3).

Figure 2

Figure 3

To ensure that I would have the greatest depth of field and that the jewelry would be in sharp focus, I chose the camera's smallest aperture setting, f/11 using the arrow buttons on the back of the camera (figure 4).

Figure 4

I set the White Balance to match the color temperature of the Tungsten lights (3200 degrees Kelvin). The "White Balance" feature in a digital camera allows different color temperature settings for different lighting conditions. The brighter (and more cool in color) the light, the higher the color temperature number will be. At noon on a clear day, the color temperature from the sun is about 5500 degrees Kelvin. On a cloudy day the number will be closer to 6500 degrees or so (cooler color temperature). Indoor (Tungsten) lights are much warmer and can vary in the range of 3200 degrees. The Olympus 3040 has settings for each of these temperatures represented by specific icons in the White Balance menu list (figure 5).

Figure 5

Once they were in the studio, we placed the jewelry on a small table near the set (figure 6).

Figure 6 First, we placed a group of three rings held by cloth finger displays on the set. When lighting jewelry, a general rule of thumb is to surround the pieces with broad, soft light sources to render even reflections all around. To demonstrate, I positioned a soft box close and to the left of the rings at a 45- degree angle. Bringing the face of a soft box closer to a reflective object increases its area of reflection. It is therefore advantageous to bring the light source in as close as possible. I took a shot, and the LCD on the camera displayed the captured image to confirm

we had the correct exposure (figures 7 & 8).

Figure 7

Figure 8

With just one light, the group shot had a little too much contrast, and the color from the stones and gold were slightly washed out. To improve the lighting, I brought in another soft box to the right side and took another shot. Notice how the tonality of the shot is now more evenly balanced while still maintaining a sense of dimension, and how the colors of the stones and gold are much more apparent (figures 9 & 10).

Figure 10

Figure 9

The finger displays worked well for the group shot, but we wanted to show a ring up close without them. Laying the ring flat would minimize our lighting control, so instead we decided to prop it up with what many photographers call "ghee*" (figure 11).

Figure 11

*Ghee [not to be confused with clarified butter] is a mixture of kneaded eraser and modeling clay. Mixing the two by hand allows you to create your own consistency between malleability and stickiness. Once the ring was in place, I zoomed all the way out on the camera and came in as close as I could before losing focus. I took a shot and as you can see from the crop, it wasn't very close (figure 12).

Figure 12 Fortunately, this Olympus is made to fit a relatively inexpensive optional macro lens attachment, which is exactly what we decided to use next. I attached the lens and brought the camera in closer to the rings (figures 13 & 14).

Figure 13

Figure 14

I then zoomed all the way out, focused on the stones of the ring and took a shot with the same camera settings. The frame is now filled with the images of the ring and even the texture of the platinum is present (figure 15).

Figure 15 We shot several rings that day that Joy and Doug could either post to their website or make prints for in-store promotions and special items to show their customers. I wanted to show them how they could easily print up weekly or monthly "Sale" prints to more effectively market their merchandise. So, I decided to produce a sample counter-card using Adobe Photoshop Elements and an Epson Stylus 890 inkjet printer. We removed the Lexar SmartMedia card from the camera and transferred the images to the computer via a Lexar SmartMedia card reader (figures 16 & 17).

Figure 16

Figure 17

I opened up the image of the blue ring in the Adobe Photoshop Elements program, and created a new file to serve as our layout page that was 8.5x11" at 300ppi by selecting "New" from the File menu (figure 18).

Figure 18

I selected the Move tool from the Toolbox, and clicked and dragged the image of the ring into the new window (figure 19).

Figure 19

Next, I decided to add a variety of type to the new image. I set my foreground color to what I wanted the type to be, clicked on the image, and started typing. To set the type in its own layer, I simply pressed the Enter key. Thanks to the type menu bar that appeared when type was active, editing the font size, style and color was easy and very similar to most word processing applications (figure 20).

Figure 20

Once the layout was set, I chose File>Print. This brought up the Print dialog box where I could choose the number of copies I wanted printed, the resolution and the type of paper on which to print. To achieve maximum clarity in the ring, I set the resolution to its highest (2880dpi) and chose to print on Epson's Premium Glossy Photo Paper (figure 21).

Figure 21

I hit the Print button and within five minutes, we had a simple, elegant sale announcement that could be inserted into a clear display holder to be placed on any counter in the showroom (figure 22).

Figure 22 At the end of the photo shoot, Doug was shaking his head in disbelief as to how do-able this whole process was. He left that day already planning where he was set up his own lighting and printing equipment.

EQUIPMENT USED Camera and Media Olympus C-3040 Olympus C-3030 (for set-up shots) Olympus Macro Lens Attachment 2- Lexar 32MB SmartMedia cards Lexar USB SmartMedia Reader Sturdy tripod

Lighting Equipment 2- Photoflex medium Starlite Kits Photoflex LS-2214 Litestand Software/Printing Equipment Adobe Photoshop Elements Epson Stylus 890 Epson Premium Glossy Photo Paper Background Homemade shooting table made of PVC pipes and foam core 4-foot white seamless paper A-Clamps Ghee (mixture of kneaded eraser and modeling clay)

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