Techniques in Studio photography: moving the illumination and reflected light

When the photographer works in the Studio, in the vast majority of cases it puts light on the basis of tasks and taking into account many factors, such as the conditions of the Studio, the lighting, the character models and the like. Creative shooting, give photographers a huge opportunity to experiment, since the task in such cases, you put yourself, not being constrained to any framework that often happens when shooting Commerce. In this article, as an example, we consider the pair of not quite accustomed to your look of the portraits. They are all fantasy, and when it comes about the lighting in these shots, the starting point is always the image that is important to read and use light to create the frame in the right mood.

Example 1. Ethnic motives.

The examples below were taken within the test medium format digital camera Hasselblad X1D-50c. Ethnic image was chosen for the shooting is not accidental. Interesting combination of colors, textures, the author's jewelry — it all looks very interesting, but this image looks great on the camera with high detail. When you such a fancy way, in the pictures you want to consider it down to the smallest detail. This can be put in the frame great octobox and photograph the model, for example, as follows:

© Alexander Khokhlov

However, such lighting in the shot I was not very happy. The image clearly lacks emphasis, because of the abundance of colors and textures look randomly jumps across the frame. The model's face looks too flat and wide, so it is clearly desirable to make narrower. But most importantly — the frame is not enough drama and atmosphere, and to remedy the situation I decided to resort to a radical change of the nature of light:

Технические приемы в студийной фотосъемке: скользящее освещение и отраженный свет
© Alexander Khokhlov

If we compare the two examples shown above, you will see between them a fundamental difference which was due to the change of lighting in the frame. Let's see what has changed. First, the new scheme used the other light shaping tool. Instead of octobox I used a silver beauty dish with honeycombthat allowed you to create accented, more harsh and contrasty lighting. Cell focused light beam, creating in the frame I needed the emphasis on the model's face and massive decoration. The portrait plate was hung vertically down the face of the model almost at zero angle. Such coverage is called sliding, and it allows more to reveal the texture of the object, what I wanted to achieve when shooting this portrait. As you can see, in both examples, we used only one light source, but the difference in shaping the nozzles and in the arrangement of the light source relative to the model made both pictures are completely opposite perception.

Example 2. Air beauty.

Example, which you'll see below, for several years, but I still like this spectacular photo. When you take the shot, I wanted to slightly go beyond the usual beauty, add color and volume to create a “disco” atmosphere with a slight bias to retro. Instead of the usual many directed light painting I used reflection: over the head model at an angle of 45 degrees was assigned to a small silver reflector, close to which was mounted monobloc with reflector and warm conversion filter. When you synchronize a light candy bar gets in the reflector, then reflect falling on the model's face. It is possible to obtain uniform light on the model's face without bright light spots (“hotspots”). For this figure it was important since the makeup artist when shooting use eye shadow with glitter (sequins), which are very capricious behave when directional lighting, randomly beating white point. Due to the mild reflection, this effect was offset.

Технические приемы в студийной фотосъемке: скользящее освещение и отраженный свет
© Alexander Khokhlov

The color in the shot was created through the use of the backlight light source — monobloc with reflector, which was fixed purple color filter. To bring both sources to the same color temperature, white balance when shooting was set manually to 3200K. The source is a backlight was disabled svetosavska, so left painted exclusively a pilot. For added artistic effect, I used a long exposure time is about 1 s, and during exposure, moving the camera to create the frame visible, colored traces, which were formed from the light reflected from the ornaments on the neck and face.

To solve the problem with extra volume and effect disco I smeared protective lens filter with hair gel, which got a big beautiful reflections in the foreground, simulating the effect of illumination.

The author of the article and photos: Ambassador Hensel, photographer Alexander Khokhlov;
Make-Up: Natalia Pavlova, Anna Walk-UPS;
Model: Angelique Conte, Julia Kulik.

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