By Steven H Begleiter
This cookbook-style advisor to portrait lighting fixtures comprises the entire components precious for a winning photograph shoot. With 60 two-page spreads highlighting the recommendations used to create gorgeous photographs along the pix themselves, aspiring photographers can have a transparent feel of either the «how» and the «why» of fine lights. tricky questions akin to How am i able to downplay a double chin and darkish shadows below the eyes? and the way am i able to produce a delicate, romantic suppose in a womans portrait? Are addressed and resolved during this no-nonsense advisor to stable lights.
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I set up the ladder and we began shooting. Posing Since this was a low budget shoot—no prop or hair stylist—I had my assistant fan out her hair. I wanted the hair to look as if it were floating on water. I also wanted the image to look playful so I had Hallee hold one of the daisies while her other hand played with her hair. The smirk was by accident but I felt was the right 54 50 LIGHTING SETUPS FOR PORTRAIT PHOTOGRAPHERS softbox on boom stand angled down toward subject reflector camera on ladder Five-Minute Pit Stop CASE STUDY #17 CAMERA: Hasselblad 503c LENS: 50mm FILM: Fuji RDP 100 EXPOSURE: LIGHTING: f/8 at 1/60 second Norman 200B through a white umbrella Assignment rescent lights in the background were a happy acci- Sports figures were also a key group I gathered for my dent; they suggest the idea of movement.
The the- the ticket booth. ater was gorgeous—it was hard to believe it was in Finally, to record the neon marquee I dragged my someone’s home—and Theo was easygoing. I pho- shutter. , but I needed an opening shot for the color cast. article. ” What made sense to me was to place him outside the theater with the posters and ticket booth (I also gobo thought about placing him in the booth, but decided bounced off white ceiling it wouldn’t work). The challenge was shooting in mixed light and with glass in the background.
In addition, you should know how to Before the shoot, Whit gave me a general idea of what lock up your camera mirror to avoid vibration—and the play was about. We agreed it was important to don’t forget your cable release. If you do, shoot using have the Philadelphia skyline in the background and a the self-timer so you are not touching the camera dur- night shot was essential to create the drama. ing the exposure. Since I was working on a bridge and doing a long exposure, I also brought a five-pound Posing weight to steady my tripod—and we waited to shoot In theatrical publicity photography, I find that exag- until there wasn’t any traffic.
50 Lighting Setups for Portrait Photographers: Easy-to-Follow Lighting Designs and Diagrams by Steven H Begleiter