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p.2 #4 · p.2 #4 · Old Norman studio set-up : anything I need to know before purchasing used kit? | |
The background light in the set-up shot is hidden behind the mat board on the floor. Aiming key and fill towards the background help to light it evenly.
I use a 16 x 22 SB with circle mask and 40° fabric grid for the hair light. I initially used metal grids but found it too harsh, specular and out of context with the frontal lighting.
I used the reflectors on the side because I only have 4 lights and wanted highlight from the sides on the white comfirmation dress.
When I set the lights I adjust fill visually for shadow detail using the camera feedback. If using rim lighting I want any skin or white clothing it hits to have detail so I raise it until I see clipping then back down. The RAW file has more detail than the playblack of the camera, but allowing for changes in PP from 16 bit to 8-bit JPG the camera warning predicts what the final JPGs will look like. Key light on front also gets adjusted to the point of clipping then backed down to where it looks slightly darker than the rim lighting on the back side if the white clothing and skin. The final step in that set up was nuancing the look with the reflectors which were bouncing both key and fill.
I also have and use a meter for set-ups but after doing the same set-up in the same space many times I know what power levels I need to rough in the ratio and then just tweek by eye with a few test shots. My controller for the lights is next to the camera so I can fire off the test shots and adjust the lights faster than walking back and forth with the meter.
Ultimately it's the perceptual feel of the lighting and how it matches the age, gender and implied mood of the subject that matter to me not what the numerical ratio is. Starting with key = fill results in a light shadowed, soft shadow look I find flatters young kids and women of all ages when I want them to look soft and feminine.
Setting key 1-stop brigher (3:1 reflected) is similar to what we normally see by eye so it works well for general photography like candid shots, portraits of men and boys when I want them to look mature.
What happens perceptually when lighting ratios get darker than the "looks normal" 3:1 ratio is that is tells the viewer the environment isn't average or normal, and by inference the mood if the subject is serious, sad, etc.
Color balance works similarly, perceptually. A warm bias creates a warm, safe vibe. Adjusting the WB to the cool side can be used to convey a darker mood, or the fact the subject is freezing their butt off.
What is important for the photo to fire on all cylinders if for the clues created with ratio and WB to match the expression on the face. A happy smiling face with dark shadows and shaded eyes and cool WB sends a mixed message to the viewer. But if the intent is to show a kid throwing a tantrum a tucked down chin and shaded eyes, cooler WB and darker shadows are exactly what you'd want to create that impression in the mind of the viewer.
Start with a clear goal for the emotional reaction you want in the mind of the viewer, then plan the lighting strategy around it. Experience will teach you what clues create different impressions. Just pay attention to how you react to photos and scenes in movies then notice the lighting ratios and color balance to connect the dots. Once you consciously understand how you've been reacting all your life subconsiously you'll know how to create that same reaction in the mind of the viewer in your photos.
To solve your power adjustment problem you could cut the power of your light with ND gel. Each .30 = 1 stop You can buy in in sheets and rolls at B&H. Cinematographers use big rolls of ND and color gels to cover windows in exterior shots to balance the scene outside the window with the indoor tungsten lighting.
wrightm wrote:
That is fantastic! I love the pics....do you not use a background light? I noticed today that with a white background, my flash head was too powerful to simply blow out the background and I could not power it down any more, nor move it back. The background light was reflecting too much back onto the subject and was really effecting the contrast.
I ended up using another head plugged in pointed away from the subject to stop the head down to half the power (the normans don't have stop down
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