STUDIOANYWHEREAPhotographersGuidetoShootinginUnconventional

LocationsNICKFANCHER

STUDIOANYWHERE:APHOTOGRAPHERSGUIDETOSHOOTINGINUNCONVENTIONALLOCATIONSNickFancher

PEACHPITPRESSwww.peachpit.com

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Manyofthedesignationsusedbymanufacturersandsellerstodistinguishtheirproductsareclaimedastrademarks.Wherethosedesignationsappearinthisbook,andPeachpitwasawareofatrademarkclaim,thedesignationsappearasrequestedbytheownerofthetrademark.Allotherproductnamesandservicesidentifiedthroughoutthisbookareusedineditorialfashiononlyandforthebenefitofsuchcompanieswithnointentionofinfringementofthetrademark.Nosuchuse,ortheuseofanytradename,isintendedtoconveyendorsementorotheraffiliationwiththisbook.

ISBN-13:978-0-134-08417-6ISBN-10:0-134-08417-9

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Thisbookisdedicatedtoanyonestartingwithnothing.Letnoonetellyouthatyoucantcreateyourownpathorthatyouneedtofollowacertainformulatoachievesuccess.Rulesareconstantlybeingbroken,rewritten,andbrokenagain.Enjoyyourjourney.

Acknowledgments

IwanttothanktheteamatPeachpitPress,whomadethisbookareality.Specifically,IdliketothankTedWaittforgivingmeachanceandstickingwithmeastheideaofStudioAnywhereevolved.ThankyoutoValerieWitte,whoseamlesslytookovertheprojectfromTed.ThankstoLindaLaflamme,mypatientandthorougheditor;tothefabulousproductionteamofLisaBrazieal,MimiHeft,andWolfsonDesign,whoperfectlymarriedtheimages,diagrams,andtexttothepage;andtoPatriciaJ.Pane,myproofreader.

AbigthankyoutoLindaRinglerandRickKocks,myhighschoolphotographyteachers,whogavemetotalcreativefreedomandtaughtmemoreaboutphotographyandalternativeprocessesthananyofmycollegeprofessors.Youtrulyareunsungheroes,andIwillneverforgetthepassionandknowledgethatyouinstilledinmyclassmatesandme.

Idalsoliketothankmyfamilyandfriendswhoarenothingifnotsupportiveandencouraging.Iamveryfortunate.

Finally,Idliketothankmywife,Beth,forherfaithinmeandsupportovertheyears.YouareawonderfulmothertoJackandMargotandwisebeyondyouryears.Youhelpkeepmehumbledwithoutcrushingmyspirit.

Contents

Introduction

PARTITHELIVINGROOMSTUDIO

1WhiteLight,WhiteWall

EditforEffect

CheckYourWork

LitBackground

2ItstheMoodThatMakesItGood

AestheticDecisions

FinishingTouchesinPost

OnceMore,WithFeeling

3WindowLight

SubjectDirection

RuggedSophistication

4UsingExistingEnvironments

AestheticDecisions

Editing

Quiz1:DeconstructtheLighting

PARTIITHEBACKYARDSTUDIO

5HeadShots

SoftLight

DirectionalLight

6WhenItsGoodtoBeShallow

LegendaryPinkDots

AlleyCat

7IntheGarage

DirectionalLight

8KiddiePools.WhodaThunkIt?

Blackout

ApplyingtheExperiment

9ShootingProduct

Quiz2:DeconstructtheLighting

PARTIIITHEBASEMENTSTUDIO

10SoftLight

OnWhite

OnGray

11MoodyLight

TheFirstRuleofMoodyLighting

BlackonBlackonBlack

AreYouGellin?

12CreativeBackdrops

NoParis?NoProblem.

Channelingthe80s

PegboardPinlight

13ShootingProduct

LightingaProductwithaReflectiveSurface

ShootingaProductonaReflectiveSurface

Re-creatingWindowLight

Quiz3:DeconstructtheLighting

PARTIVTHEOFFICESTUDIO

14PortraitsonWhite

TravelLight

ItstheWoodThatMakesItGood

15EnvironmentalPortraits

GettingtheDroponNarrowSpaces

CurtainCall

16ShootingProduct

TimetoReflect

PutemontheGlass

Quiz4:DeconstructtheLighting

PARTVTHEPARKSTUDIO

17StillWatersDontNeedtoRunDeep

AftertheRain

BridgeOverDappledWaters

18TransformtheWeather

GettinShiftywithIt

FakeItTilYouMakeIt

19EclipsetheSun

AGunataKnifeFight

Quiz5:DeconstructtheLighting

PARTVITHESTREETSTUDIO

20OntheBeatenPath

DancerintheDark

HomagetoStreet

21GetonUp

UpontheRoof

WelcometotheThunderdome

22ConcreteJungle

CreatingaStory

OneWall,TwoLooks

23ParkingGarages

AGQView

AlwaystheSun

Quiz6:DeconstructtheLighting

EpilogueWhatsNext?

TestingNewWaters

EditYourself

BuildingYourSEO

QuizAnswerKey

Index

Introduction

Whatsyourdefinitionofaphotostudio?Isithavingawhiteseamlessbackdroporacycwall?Maybeitsanyplacewhereyouhavetotalcontrolofalllight.Perhapsitsaplacewhereyoucancreatedynamicproductshots.Inaperfectworld,whereeverydayisabreezy72degreeswithpartialcloudcoverage,wewouldallhavea5,000-square-footstudioinNewYorkorLosAngeles.WedalsohavetheentirecatalogofB&Hinourequipmentlockups.Butthatisntreality.

RealityisthatyouhaveanoutdatedDSLRwithtwodecentlenses(whichtookyouseveralyearstosaveupfor),andyoumanagedtosneakoutofyourofficejobanhourearlytoshootanunderpayingclientinapublicparkonagray,45-degreerainyday.Ormaybeallyouhaveatyourdisposalisanunfinishedbasement.Oragarage.Ortheemptyconferenceroomatyourofficedayjob.ThatsthepointofStudioAnywhere:toshowyouhowtoachievetheshotofyourdreamswhileworkinginsomeofthemostproblematicscenariosimaginable.

NoStudio?NoProblemOvertheyears,Iveslowlydiscoveredthatatraditionalphotostudioisntnecessarytogetstudio-likeresults.Ifyouareshootingaportraitofsomeone,forexample,youneedonlyafewfeetofblankwall(especiallyifitsacroppedshot,suchasaheadshot).Recently,IwasinNewYorkCityonashoot,andIdecidedtotakeanextradaytodoafewtestshootswithmodels.BecauseIdidntknowthecitywell,nordidIhaveapermittoshootonthestreetorthebudgettorentastudio,Ithoughtitwouldbeeasiesttojustmeetthemodelsattheirhomes,shootingbothintheirapartmentsandaroundtheirbuildings.Ilikedtheelementofunpredictability.WhenIpunchedtheaddressesintomyGPS,IdidntknowwhetherIwaswalkingintoapenthousesuitewithanamazingviewofthecity(ithappened)oranunpolishedartlivingspace,occupiedbysevenartistsinWilliamsburg(alsohappened).IknewthatIhadthetoolstoovercomeanylightingissues,however,soIwelcomedthechallengeandwasexcitedtoseewhatkindofscenariosIdencounter.

Theshootthatstarteditall.ItookthisshotatoneofmyfirstshootsinNewYorkCityandrealizedthatIwasbetteroffmeetingmysubjectathisplaceratherthanrentinga

studio.

Thisbookisadiaryofsorts,ofmyexperiencesinworkingwithouttheuseofatraditionalphotographystudio.Whethershootingacorporateportrait,atestshootwithamodel,apromoshootwithaband,orawedding,IalwaysseemtobeonlocationevenbackwhenIhadastudio.Staringatthoserentbillseachmonth,IcametorealizethetimeIdidspendinthatexpensivespacewasspentsittinginfrontofmycomputer,editing,ormeetingwithclients,whichcouldjustaseasilybedoneatcoffeeshops.So,Iditchedthetraditionalstudio.NowwhenIneedtoshootaportraitonablankbackdroporIneedaplacetoshootproductionshots,Igetcreative,asyoullseeinthechaptersahead.

Mygoalinwritingthisbookisnottoteachyouhowtoreplicateoneofmyphotos.Mygoalistogetyoutothinkoutsidethebox,orstudio,inourcase.ThisbookisaplacewhereIsharethetechniques,tips,andshortcutsthatIvelearnedalongtheway.RemembertheendofTheLastCrusade,whenIndianaJonestossedthefistfulofdirtacrosstheinvisiblebridgetomakeitvisible?Thisbookismyfistfulofdirt.

Iseethisbookasaresourcewherephotographerscangleantechnicalinfofrombehind-the-scenesphotosandlightingdiagramsfrommyphotoshoots.However,Idontstopthere.Becausepicturetakingisonlyhalfoftheprocess,IalsolayoutwhatmyLightroomandPhotoshopworkflowlookslike.Finally,IletyouinontheaestheticdecisionsImade;directingaphotoshootismorethansimplyknowinghowtowieldacameraorprocessarawfile.Thisbooktakesaholisticviewofthephotographicprocess,startingatconceptualizationthroughtheexecutionandpost-productiontocompletion.

TakeControl:GearWhetheryouareworkingwithaharsh,sunnyday,agrayrainyday,asmallhallwaywithawhitedropceiling,oralarge,darkroomwithablackceiling,youmustbeabletoovercomeless-than-idealscenarios.Oncetheshootisover,youneedtoknowhowtotaketherawimagesandpolishthem,usingeditingsoftwaresuchasLightroomandPhotoshop.Thismeansthatyouneedtohavetherightgeartoaccomplishthesethings,andyouneedtoknowhowtoproperlyuseit.Thankfully,theresfarlessgearrequiredtoaccomplishthisthanyoumaythink.

Myperspectivehasalwaysbeenoneofusingwhatyouhave.Ifyouarejuststartingout,youhavenothingornexttoit.IboughtmyfirstDSLRatBestBuy,backin2005:aCanon20Dwithakit1855f/3.55.6lensanda1GBmemorycard.Itsajokeofasetupnow,butImadeitwork.Iusedthatsetupexclusivelyforthreeyears,untilIcouldaffordtogetaSigma70200anda430EXstrobe.Istillcouldntaffordadecentwide-anglelensoreventriggersformyflash(thiswasbeforethemarketwassaturatedwithcheapwirelesstriggers).Still,IusedwhatIhad.Occasionally,IwouldbookagigwhereIneededbettergear,soIwouldrenttheadditionalgearfromafellowphotographer,billingtheclientfortheexpense.

Ioftenreceiveanemailfromsomeoneaskingmetorecommendwhatgearabeginnerphotographershouldpurchase.Myresponseisalwaysthesame:Itdepends.Whatsyourbudget?$500?Saveupyourmoney.Ifyoumanagetobookapayinggigandneedgearforit,useyour$500torentthegearfortheshootandbilltheclientfortheexpenses.Youneedatleast$1,000togetahalfwaydecentstartuprig,inmyopinion.Buyaused,full-framesensorDSLR,ifpossible,suchasaCanon5DMarkI,andbuyadecentlens,likeaCanon851.8.Yournextgoalshouldbetopurchaseadecentwide-anglelens,suchasaCanon351.4Loranicezoomlens,likea2470f/2.8L.Afteryouhaveadecentbodyandacoupleofreliablelenses,youcanstarttoconsiderpurchasingaflashsetup.Thatmaybeoddtohear,sinceIamastrobeguy,buthonestly,youcanaccomplishquiteabitwithareflectorandsomesunlight.

Idonthaveatonofgear,butIhaveallthetoolsthatIneedtogetthejobdone.LikeDavidagainstGoliath,IforgolargerweaponsandoptinsteadtousesomethingsimplerwithwhichIamfamiliarandaccurate.AlmosteverypieceofgearIowncanfitinmyPelican1510case,whichat22x14x9inchescanfitintomostairplaneoverheadcompartments(FiguresI.1andI.2).

A.PowerexAAbatteriesandbackupbatteriesB.Backupbatteryandcharger

C.Backupcamera(CanonRebelXS)D.Memorycards(86GB)E.Canon70200F/4LIS

F.SustenanceG.Gelkit

H.ButterflyclipsforstylingI.1/8to1/4syncadaptor

J.SynccordsandflashstandsK.LumoProLP180s

L.PocketWizardPlusXTransceiversM.Canon35F/1.4L

N.CardreaderO.Canon5DII

P.RocketBlasterairblowerQ.Polarizingfilter

R.HonlgridS.Tripodmount

T.VariableNDfilters

FigureI.1Mygear.Itmaynotlooklikemuch,butIvegotitwhereitcounts.

FigureI.2AlmostallofmygearfitsinmyPelican1510case.

Asyoucansee,Ihavetwogoodlenses:onewideprimeandonelongzoom.Ihaveafull-frame,DSLRcamerabodyandacheaperbackupDSLR.Forlighting,IhavethreeLumoProLP180strobes,whicharedurable,manualflashes(noE-TTL).Ialsohavetwoneutral-densityfilters(oneforeachlenssize),acoloredgelpack,astrobegrid,apolarizingfilter,anairblowertoremovesensordust,andatonofAAbatteries.Besideswhatyouseeinthecase,Ialsohaveacouple15-footlightstands,anumbrella,a5-in-1reflector,andatripodthatIrarelyuse.

Tip

AlthoughIpreferPowerexrechargeablebatteries,Ialsokeepabackupstashofdisposablebatteriesinmycase.Bettertohavethemandnotneedthemthanthealternative.

Whetheryoureaseasonedproorjustbeginning,asaphotographer,oneofyourmainprioritiesshouldbetogetpastthenoveltyofyourgear.Whetheryoudontknowhowtoproperlyuseyourgearoryouaremorefocusedongettingtheimagetechnicallyimmaculate,youwilllikelymissoutonthewholepurposeoftheshoot:toconnectwithyoursubjectandcapturetheiressenceasyouperceiveit.

Toillustratemypoint,considerFiguresI.3andI.4,whichfeaturethesamesubjectphotographedwithtwodifferentcamerabodies.ForFigureI.3,Iusedmysemi-probody:aCanon5DII.IshotFigureI.4withaCanonRebelXSi(whichcurrentlygoesforjustunder$200oneBay)thatIkeepinmycaseasanOh,shitbody.The5Dhasafull-framesensorand21megapixels;itsanall-aroundbadasspieceofequipment.Weighinginatjustover10megapixels,theRebelisastartercamerawithacroppedsensor.IfIweretopullthatoutofmycaseatacommercialshoot,theartdirectorwouldlaughatme.WhenusedtocapturegoodlightatalowISO,andincombinationwithadecentlens,however,thecamerabodiesprovidecomparableresults.Evenwhenviewingtheimagesat100%,

itshardtotellthedifferencebetweenthetwofiles,otherthanthe5Dslargerfilesize.

FigureI.3ShotwithaCanon5DII.Takeacloselookatit,andthencomparethisimagetoFigureI.4,whichwasshotwiththeRebelXSi.

FigureI.4ShotwithaCanonRebelXSi.AlthoughtheXSiisafarinferiorcamerabodytothe5DII,youllhaveahardtimetellingtheresultsapartwhenyouuseagood

lensingoodlight.

DeconstructtheLightingWhenitcomestolighting,asmallflashistypicallymorethansufficienttogetthejobdonewell.ThelightingdiagramsincludedinthisbookwillletyouinonhowIlightavarietyofsituationswithnothingmorethansmallflashes.Unfortunately,alightingdiagramorbehind-the-scenesphotowontbeavailableformostimagesthatyoucomeacross.Forthisreason,knowinghowtoproperlydeconstructthelightinginanimage,sometimesreferredtoasreverseengineering,isaninvaluableskill.Ifyouknowhowtoreadthequalityoflightinaphotograph,youllbeabletotellquiteabitabouthowitwascreated,suchashowmanylightswereused,whetherthelightsourcewassoftorhard,andwhetheritwaslargeorsmall.

Somephotoscanberathereasytodeconstruct,especiallywhenyoucandiscernthelight

modifierinthecatchlight(thespecularhighlights)inasubjectseyesorontheshinysurfaceofaproduct.Thetaskgetstrickierifmultiplelightsourcesareinvolvedorifthesubjectisinascenewithmixedlightingnottomentionphotosthatarecomposites,whichopenawholeothercanofpixels.Butpayattentiontoafewoftheseconstants:

Heightanddirectionofthelightsource

Hardnessorpresenceofanyshadows

Numberofapparentlightsources

Onceyouvesharpenedyourskillsatreadinglight,youllbeabletoglanceataphotoandknow,forexample,thatitwaslitwithanumbrellaoverheadandareflectorunderneath,orwithtwosoftboxessandwichedtogetherinfrontofthesubject.Then,ifyouoryourclientwantssimilarresultstoaphotoyousee,youhaveaheadstartonideas,knowingatleastwheretobeginwiththelighting.

ConsiderFigureI.5.Thisisaone-lightportraitwithahardlightsource:justabare-bulbstrobeonalightstand.Theflashheadiszoomedoutto24mm,whichallowsforawider,moreevenlightspread.Notethetinycatchlight,thehardqualitytothelight,andthedefinedshadowsonthesubjectsface.Thesimilarshadowsonthebackgroundmeanthatthesubjectisalsoclosetothebackground,aswell.InFigureI.6,thedistanceoflighttosubjectandfromthesubjecttothebackgroundaswellasstrobeoutputlevelareallthesame,butthezoomisnowsetto70mm.Asyoucansee,thespreadisnotaswide,leavingthecenteroftheflashhotter,orbrighter,thantheedgesofthelight.Thistechniqueofzoomingtheflashheadincanbeusefulifyouareshootingasubjectoutsideorinasettingwithoutabackdrop,wherelightfalloffisnotapparent.Inotherwords,itallowsyoutogetthemostoutofyourflash,becauseitsfocusedintotheareawhereyoursubjectisstanding,ratherthanoffintono-mansland.

FigureI.5Thesubjectisstandinginfrontofawhitebackground,whilethelightsourceisabare-bulbflash,zoomedoutto24mm.Notethetinycatchlight,thehardshadows

belowhisjaw,andhowdefinedandclosehisshadowistohim.

FigureI.6Thesubjectisstandinginfrontofawhitebackground,whilethelightsourceisabare-bulbflash,zoomedinto70mm.Therearestillhardshadowsonthesubject,andhisshadowisstillcloseanddefined.Thelightspreadisstartingtofalloffinthecornersoftheimage,however,leavingaslighthotspotinthemiddleoftheframe.

FigureI.7showstheflashzoomedto105mm,whileFigureI.8zoomsto105mmwitha

gridadded.Thequalityoflightisstillhard,butwiththefocusallthewaytothemiddle,sothereisalmostnolightspread,andthecenterofthelightisnowtwotothreestopsbrighter.Again,thisishelpfultokeepinmindwhenyouareoutside,tryingtooverpowerthesunandyourflashneedsallthejuiceitcanget.Nottomention,ifyoursubjectisoutsideandnotagainstabackdrop,usingawideflashzoomisjustawasteofpower.Instead,focusthezoominandjustworryaboutproperlylightingthesubject.

FigureI.7Thesubjectisstandinginfrontofawhitebackground,whilethelightsourceisabare-bulbflash,zoomedinto105mm.Thelightfalloffinthisimageismuchmore

apparent.

FigureI.8Thesubjectisstandinginfrontofawhitebackground,whilethelightsourceisaflashzoomedinto105mmwithanaddedgrid.Thelightisnowalmostlikea

spotlight.

Whenitcomestosofteningyourlightsource,youhaveseveraloptions.FigureI.9waslitwithastrobezoomedto24mm,justlikeinFigureI.5,butwithawhiteumbrellaaddedtothelight.Whendeconstructingthephoto,lookforacircularshapeinthesubjectseyes(theumbrella)andalsonotethequalityofanypresentshadows.Whenthelightisdiffusedbyanumbrellaoranothermodifier,theshadowswillappearsofter,withtheedgesfeatheredratherthandefined.FigureI.10waslitthesameasFigureI.9,exceptthatthesubjectsshadowisnolongervisibleinthebackground,whichmeansthathesnolongerstandingrightinfrontofthebackdrop.

FigureI.9Thesubjectisstandinginfrontofawhitebackground,whilethelightsourceisaflashzoomedoutto24mmwithanaddedumbrella.Thecatchlightisabitlarger,

andtheshadowsaremuchsofter.

FigureI.10Thesubjectis3feetawayfromawhitebackground,whilethelightsourceisaflashzoomedoutto24mmwithanaddedumbrella.Hisshadowisnolongervisible

becauseoftheincreaseddistancebetweenhimandthebackdrop.

Ifthecatchlightisasquareoranarrowrectangle(FigureI.11),youcandeducethatthelightsourcewasasoftboxorastriplight,respectively.Addasecondlightontheothersideofthesubject,leavingasmallgapbetweenthem,andyouhavealightingeffectsimilartotheoneMartinSchoellerhasmadefamous,asseeninFigureI.12.

FigureI.11Thesubjectis3feetawayfromawhitebackground,whilethelightsourceisaflashzoomedoutto24mmandbouncedintoa40x60-inchwhiteboardtocreatea

largelightbank.Thecatchlightisabitlargerandisshapedlikeasquare.

FigureI.12ThissetupissimilartotheonethatMartinSchoellermadefamous:twosoftboxesplacedinfrontofthesubject,about2feetapart.Itsasoft,flatteringlightthat

leavesacoolcatchlightinthesubjectseyes.

Sometimestheremaybetwocatchlights,onebrighterthantheother,asisthecaseinFigureI.13.Thebrightercatchlightisthelight,andthelessvividshapeisjustareflector.Ifyoumovethesubjectseveralfeetoffofawhitebackground,themainlightwontspillontoitasmuch,turningthewhitetoamediumgraytone,asseeninFigureI.14.Also,

notetheadditionofthehairlightintheshot,whichhelpstoseparatethesubjectfromthedarkerbackground.IfIaimthesecond(hair)lightatthebackground,poweringuptheoutputsothatitshigherthanmymainlight,Inowhaveapurewhitebackground,asseeninFigureI.15.

FigureI.13Thesubjectis3feetawayfromawhitebackground,whilethemainlightiszoomedoutto24mmandshotintoanumbrella,withafillreflectorbelowthesubjectschin.Therearenowtwocatchlights:onecircularandbright,andonewiderandless

vivid.

FigureI.14WhilesimilartotheprevioussetupinFigureI.13,thishasanaddedhairlight,whichseparatesthesubjectfromdarkerbackgrounds.

FigureI.15Hereyouseealargemainlightandanilluminated,whitebackground.

Ofcourse,allthisdeconstructiveadviceisnottosaythatyoucanonlyachievecertainresultsbyreplicatingthelightingortechniquesthatanotherphotographerused,orbyreplicatingwhatyouseeinthepagesofStudioAnywhere.Rather,onceyouunderstandhowlightworksandhowtomanipulatethelightthatsavailabletoyou(beitnaturalor

manufactured),itsyourprerogativetousethatinformationinfreshandcreativeways.Justremembertoalwayscheckthedirectionalandqualityofthelight,andespeciallytheeyes,becausetheeyesdontlie.OnlyPhotoshopdoes.

PartI:TheLivingRoomStudio

Everyhomehasawhitewall.Andquiteoften,thatsallyouneed.Thinkaboutit.Whatsastudio,anyway?Itsabig,openroomwithawhitesweepforshootingseamless,full-bodyportraits,amongstotherthings.Buthowoftendoyouactuallyneedtoshootseamless,full-bodyportraits?Typically,Ishootonlyaheadshot.Orwaistup.Orthesubjectsittinginachair.Sonowinsteadofneedingawhitesweep,Ineedonlyawhitewall.Andevery

homehasawhitewall.

Thisfirstsectionfocusesonthemanyscenariosthatyoucanexecutewithinahome.Whetheryouhaveaccesstospacious,exotichomesfilledwithmood-settingfurnitureortoonlytheworldssmallestapartmentsurroundedbypilesoflaundry,findthewhitewallandusethetipsinthischaptertohelpyou.AndImnotjusttalkingheadshotsonwhite,either.Illbecoveringfull-bodyshots,fashionlighting,naturallight,andstrobeflashprettymuchanyscenariothatyouwouldtypicallyencounterinacontrolledenvironment.

IphotographedmusicianChelseaWolfeonlocationatSargentHouse,herrecordlabel,inLosAngeles.Asyoucansee,allIusedwasawhitewallinthelivingroom.

1.WhiteLight,WhiteWall

Brianhasabigbeard.ButBrianhasasmallapartment300squarefeetsmall,andthatsempty.Iconductedtheshootinhisbedroom/livingroomaccompaniedbyhisbicycle,agiganticconsolestereo,atwinbed,stacksofrecords,andmoundsofclothing.Ihadabout20squarefeetlefttoworkwith,soIneededtobeextracreative.

Ihadbroughtalongfour40x60-inchsheetsof1/2-inch-thickwhitefoamcore,whichIbringtomostofmyhomeshoots,becauseIdontknowwhatIamwalkinginto.IfBrianturnedouttobethefounderoftheTeamEdwardFanClub,witheveryinchofwallspacecoveredinTwilightmovieposters,Idneedtousethosepanelsasmyblankbackdrop.

AscanseefromthesetupinFigure1.1,Briansapartmentwasavampire-freezonebutatinyone.Mybackwasagainstonewall,andjustoutoftheframeontherightwasthecloset.Becausetherewasnoroomtosetupabackdrop,Iproppedupacoupleofthe40x60-inchwhiteboardsagainstthedoortothekitchen.

Figure1.1Thesetupisinanapartmentlivingroom/bedroom.Asyoucansee,spacewassolimitedthatIcouldntevenmovethelightstandoutoftheshot.

Whenitcametosettingupmylight,Ididnthaveenoughspacetomovetheflashmorethan2feetawayfromBrian.Iwantedasoftlightsourceforthisshot,whichrequiresalarge,diffusedlightsource.Itriedusinganumbrellaforabit,butintheclosequartersIcouldntgetthelightstandoutoftheshot.Ideally,Iwouldvehad2or3morefeettotheleftofthesubjectsoIcouldbackoffthestand,lightinghiswholefigure.Asitwas,thelightwasfallingoffaroundhischestandIwasneedingtocropintoaheadshottoavoidhavingthelightstandintheshot.Idecidedtoremovetheumbrellaandturntheflashawayfromthesubjecttobounceitintothewallbyhisbed(Figure1.2).Bingo.Inowhadalarge,softlightsource.BecausetherewasabitofspacebeweenBrianandthewhitepanelbehindhim,thesolesidelightwasabletolightbothhimandthebackgroundwithout

shadow(Figure1.3).Lessonlearned:Ifthewallscloseintoomuchtoplaceyourequipment,useawallinstead.

Figure1.2Thelightingdiagram.Thebare-bulbflashwasaimedatanearbywhitewalltosoftenandenlargethesource.

Figure1.3Therawfile.Itaintpretty.Yet.ButafewquicktweaksinLightroomandBrianwillbefloatingonpurewhite.

EditforEffectIwantedtohaveanicecontrastyfeeltotheimagetohighlightBriansbeardandgeneralruggedness.Toaccomplishthis,IheadedtoAdobePhotoshopLightroom5.IslidtheContrastslideralmostallthewaytotherightandbumpeduptheClarityto+59.Asusual,IdidthemajorityofmyeditingintheCurves,goingintoeachchannel,tweakingtheshadows,midtones,andhighlightsuntilIgottheoverallbalancethatIwanted(Figure1.4).

Figure1.4TheLightroomsettings.Myinitialcolorgradingontheimagebroughtupthedetailintheshadowareasandcorrectedthewhitebalance.Ialsomadeafewgradientadjustmentstothewhitebackground,bringingitclosertopurewhite.

IfIgetalookthatIreallylike,Iwilloftensaveitasapreset.Thisway,thenexttimeIwantasimilarlook,Iclickonthatpresetasaniceshortcut.Tocreateapreset,clicktheplussign(+)iconatthetopofthePresetspanel.IntheNewDevelopPresetdialogboxthatopens,selectwhichfeaturestoincludeinthepreset(Figure1.5).Igenerallyuncheckfeaturesthatarespecifictotheimage,suchasgraduatedfiltersandlenscorrections,andIfocusinsteadonmainlypreservingthecolorgrading.NotethatwhenIusethepresetonadifferentshoot,itwontworkasperfectlyasitdidfortheoriginalimage.Itmerelywillbe

astartingpoint,andIcantweakitfromthere.

Figure1.5Whencreatingapreset,focusonsavingthecolorgradingyouachievedandwanttoreplicate,ratherthanincludingfeaturesthatarespecifictothecurrentimage.

Asyoucansee,theoverallimageisratherdarkandmuddy,butIlikethewayBrianislooking.Becausethebackgroundiswhite,IcaneasilybringuptheshadowsandeliminatethebluecolorcastbyusingtheGraduatedFilter.NoteinFigure1.6thatIsetthegradientadjustmentto+45Exposure.Tomaketheadjustment,IclickedjustoutsidethepictureanddraggedthegradientovertotheedgeofBrian,overlappingeversoslightly.Lightroom5isgreatatdetectingtheedgeofanarea,somyadjustmentdoesntaffectBriansshirt,causingittoblowout.

Figure1.6UsetheAdjustmentBrushtooltopaintspecificareasofthebackgroundtoacleanwhite.

AfterIhavethatfirstadjustmentlaidoutandstillactive(inactiveadjustmentsappearasagraydotwhileactiveadjustmentsappearblack),IcantweaktheslidersifIwanttoincreaseordecreaseanysettings.OnceImhappywiththefirstadjustment,IcanaddmoreadjustmentstotheotherwhiteareasaroundBrian.Lightroomwillapplythesamesettingtoeachadditionalgradientfiltercoolstuff.IfIeverwanttoremoveanadjustment,Iclickitsgraydottomakeitactive,andthenpresstheDeletekey.Done.

Theimageisgettingcloser,butasofthalostillsurroundsBrian.Iactuallykindoflikeit,butforthesakeofeducation,Iwillshowyouhowtoremoveitwithabrushadjustment.BecauseIwanttotakethewhiteallthewaytowhite,IcranktheExposureandHighlightslidersallthewaytotheright.IalsoselecttheAdjustmentBrushtoolsAutoMaskoption,sothatIcanquicklypaintaroundthesubjectwithoutpaintingontohisclothesorbody.

CheckYourWorkAfteryoufinishpaintingoutanarea,youwanttomakesurethatyougoteveryspot.Youmaynotbeabletotellbysimplylookingatyourmonitor,becauseitisilluminated.Itdbeawfultogetaprintoftheimagebackfrompresswithsubtlebrushstrokesonthebackdropthatyoufailedtocatch.Tobeginasafetycheck,selectthetriangleatthetoprightoftheHistogrampanel,betterknownastheShowHighlightClippingIndicator(Figure1.7).Nowanyareathatispurewhitewillshowupasred(Figure1.8).Thereisacatch,though.If,likeme,youmessedaroundwiththehighlightlevelsinCurves,youwonthaveanypurewhites.Toworkaroundthis,toggleofftheswitchatthetopoftheToneCurvepanel.Nowyoucanseeifyoumissedanyspots,whichyouprobablydid.Paintinthoseareassothatallthewhitenowshowsupasred.Whenyouarefinished,toggletheToneCurvebackonandyouregoodtogo(Figure1.9).

Figure1.7Clickthetriangleinthetop-rightcorneroftheHistogrampaneltoturnontheShowHighlightClippingIndicator.

Figure1.8WhentheShowHighlightClippingIndicatoristurnedon,areasthatarepurewhitewillappearasred.Thisallowsyoutomakesurethatyoudidntmissany

spotswhenremovinginformationfromyourwhitebackground.

Figure1.9Thefinalimage.Ourman,Brian,isnowisolatedonaclean,whitebackgroundandnoonecouldeverguessthatthiswasshotinhisbedroom.

LitBackgroundWhenyouonlyhaveasmallamountofspacetoworkwith,keepinmindthatyouarentabletohavebothspacebetweenyouandthemodelandthemodelandthebackground;youhavetooptforoneortheother.Thisistypicallyaproblemifyourplanwastoblowoutthebackdropbehindthemodeltoapurewhite(butisntanissueifyourplanistomakeitpurewhiteinpost,asIdidwithBrian).Letmeexplain.

IfIwasgoingtolightthebackgroundseparatefromthesubject,Iwouldveplacedherabout5to10feetinfrontofthebackgroundtokeepthelightfromspillingontoher.(Lightspillcannotonlycreatediscolorationandwashed-outareasonthesubjectsclothes,butitcanalsocauselensflare.)Iwouldalsoneedabout10feettobackawayfromher,allowingmetousemylonglens,inordertoavoidanywide-angledistortion.ThatwouldmeanIwouldneedabout20feet,whereinreality,IhadabouthalfthatinFigure1.10.SoIdecidedtoputmysubject,musicianOlgaBell,rightagainstthewall.

Figure1.10Thisisthesetupforshootingasubjectonalitwallinasmallspace.

NormallyIsetupmymainlightatathree-quarterangletothesubject,whichkeepsthelightingfromlookingflat.Butif,asinthiscase,thesubjectisrightagainstawall,thatthree-quarterlightwillcastashadowonthebackground.IfIdontwantashadow,myotheroptionistoplacethelighthead-on,whichcancreateflat,uninterestinglightunlessitsfromahighangle.Idecidedtogetreallyhighandlightherfromdirectlyabove,creatingadramaticimageonapurewhitebackground.

NoticeinthesetupshotthatIhavetheflashdirectlyoverOlga,whoisleaningagainstthewhitewall.BecauseOlgawaswearingatranslucent,hoodedwhitejacketinawhiteroomonawhitewall,lightbouncingwasinmyfavor.Shootingtheflashontothewallbehindherandontothetopofherjacketbouncedthelightoffofherjacketandthewallstoilluminateher.Iattachedagridontheflashtokeepdirectlightfromspillingontoherface,becauseIwantedonlysoft,bouncelightonherface.Figure1.11showsthefinishedresult.

Figure1.11Thefinalimage.Allwhiteeverything.

2.ItstheMoodThatMakesItGood

Forthisshoot,ImetChelseaathermodest,one-bedroomapartment.Again,Ibroughtfour40x60-inchwhiteboardswithmetotheshoot,incaseIneededthemasabackdrop.Although(luckyforme)shehadalarge,blankbeigewallinherbedroom,thefloorwascarpeted(notsolucky).BecauseIwantedtheseshotstohaveaclean,high-fashionlook,Ineededtousethewhiteboardsafterall.Iwantedawhiteorreflectivesurfaceforhertostandon,soIstackedallfourwhiteboardsinfrontofthewall.Whyuseastack?Theyweresittingoncarpet,sotheextraboardsaddedstabilitytothesurface,plustheheelsChelseawaswearingpunchedthroughjustoneortwoboards.Finally,theaddedheightofthestackedboardshelpedtoblockoutthedarkbaseboard(Figure2.1).

Figure2.1Thesetup.Onceagainthosewhitepanelscomeinhandy,thistimeasafloor.

AestheticDecisionsOftenwhenIamdoingtestshoots,whichwasthecaseinthisshoot,Idonthaveaconcreteconceptinmindgoingintotheshoot.InevertellmysubjectthatIhavenoideawhatIplanondoing,ofcourse.Puttingyourclientandsubjectateaseisimportant,andiftheyseeyoustutteringabout,theshootisalreadyofftoapoorstart.Becauseofthis,quiteoftenIbeginsimply,justsettingupalightandgettingagoodexposure,talkingtothesubjectasIgo.Whatoftenhappensduringthesefirst5minutesisthatmysubjectwillloosenupabit,Iwillgainabitofconfidence(andmaybeevengetanidea),andIgetanicecandidshotortwointheprocess.

WhenIarrivedatthisshoot,themakeupartisthadalreadybeganworkingonChelseashairandmakeup.Chelseahasavast,amazingwardrobe,soIbeganpickingthroughit,lookingfornicetextures.OnceIhadafewlookspickedout,Istartedtogetideasofhow

tolightthem.Forexample,harddirectionallightwouldadddramatotheimageandwouldnicelyhighlightthetexturesintheclothing.Nottomentionitworkedperfectlywithinthespaceconstraints,becauseIneededhertostandrightagainstthewall.

Isetupabare-bulbstrobe,whichtendstobemystartingpoint.Idecidedtoaddaredgeltothelight;theclothingwasblack,andcreatingamoodwasmoreimportanttomethanaccuratelydocumentingtheappearanceofthegarment,asIwouldforaproductshotofagarment.Iplacedthelightagainstthewall,nearwhereshewasstanding,sotherewouldbeaniceauraoflightthatgraduallyincreasedfromthesourcetothesubject.Theconvenientthingabouthavingyoursubjectrightinfrontofthebackdropisthatyoucanrakeyourlightacrossboththesubjectandbackgroundatthesametime.Ifshehadbeenseveralfeetinfrontofthewall,Iwouldveneededtolightthesubjectandthewallindividually,thusrequiringmorelights.

Iaddedasecond,ungelledlighttotheothersideofherlegs.Itappearedquiteharshincomparisonwiththeredlight,soIaddedacyangelandplaceditinfrontofherlegstomatchlightdirections.Theoutputandzoomofthesecondlightwasthesameasthefirst(SeeFigure2.2forthelightingdiagram.).WhenIzoomedthestrobesouttoawidersettingof35mm,thetwocolorsslightlyoverlappedinthemiddlejustwhatIwanted(Figure2.3).

Figure2.2Thelightingdiagram.Theflashonthestandwasgelledred,whiletheblue-gelledflashsatonthegroundatthebaseofthestand.Theywerepositionednexttothe

wallinordertolightboththesubjectandthewall.

Figure2.3Therawfile.Therearesomeproblemareasintheshot,suchasthepictureframeandtheceiling,butthecolorsandlightarelookinggood.

FinishingTouchesinPostAsyoucanseeinFigure2.4,myLightroomadjustmentswererelativelystraightforward.Icrankedthecontrastallthewayovertotheright,whichnaturallybooststhesaturation.Thismadetheshadowsandblacksfartoodark,however,soIslidthoseovertotherightaswell.Iwantedtoaddaclarityadjustmenttoenhancethetextureofherskirt,butmakingagradientadjustmentacrossthewholeimagewouldvemadeanuglyaura(thinkbadHDR)aroundherbody.Ioptedinsteadtomakeabrushadjustmenttothedesiredarea.Beyondthat,ImadeacoupleofCurveadjustmentsintheRGB,Blue,andGreenchannels,beforeaddingsomewarmthtotheshadowareasandaddingalenscorrection.

Figure2.4TheLightroomsettings.IboostedtheoverallsaturationintheimagebyincreasingtheContrastslider.IalsouppedtheluminanceintheBlueandCyan

channelstokeepitfromlookingdull.

NowtheimagewascolorgradedhowIliked,butIneededtodoabitmoreextensiveclean-upbeforetheimagewasfinished.Someoftheshadowsonthewhiteboardcrossedoverdentsthatwerecreatedbyherheels,whichwerenteasilycorrectedwiththeSpotRemovaltoolinLightroom,whichiseffectiveforlargeareasbuthardtouseonsmall,detailedareas.Therewerealsosomefly-awaysinherhairthatneededtobecarefully

removed,soIexportedtheimageovertoAdobePhotoshoptomakethesechanges.Figure2.5showstheresult.

Figure2.5Thefinalimage.Bye-bye,bedroom.

OnceMore,WithFeelingNotunlikemyshootwithChelseainhersmallapartment,IrecentlyphotographedPriscillainherlivingroom.Althoughithadmoresquarefootage,thespacewasoccupiedbyhernieceandherniecestoys.Onceagain,Idecidedthatmybestapproachtoshootinginthissmallspacewastoputthesubjectrightagainsttheblankwall.Ididntbringthewhitepanelswithmethistime,andthefloorswereonceagaincarpeted(notexactlysynonymouswithfashionportraiture),sotheseportraitswouldbetakenfromthekneesup.

Myfirstsetupwaslitwithanumbrellaonthemainlight(Figure2.6),whichresultedinFigure2.7.WhenshootingFigure2.8,Ireplacedthemainlightsumbrellawithagridandaddedabare-bulbstrobe,gelledred,tothebackground.Ihidthebulbstrobebehindapillowonthefloor(totherightofthesubject),whichalsoservedasaflag,keepingthelightfromspillingontothemodelsface.Withthehelpofathrowpillow,Iwasabletoexecutetwoverydifferentlightingscenariosinonerathersmall(andoccupied)livingroom.

Figure2.6Thesetup.Anotherday,anotherwhitewall.Notethethrowpillowonthefloortotherightofthesubject.Itsservingasaflagforthered-gelledflashhiding

behindit.

Figure2.7Theresultofshootingwithonelightandanumbrella.

Figure2.8Atwo-lightsetup.Themainlighthasagridonit,andthebackgroundlightisabarebulb,gelledredandflaggedoffofthesubject,withapillowborrowedfrom

thecouch.

Beopentoadaptingtowhatyourspaceprovides,andalwaystrylightingyoursubjectandspaceinmorethanoneway.Thetimeittakesyoutoresetyourlightsandchangeexposurewillallowyoursubjecttogetabitmorecomfortable.Meanwhile,youllgainsometimetothinkaboutyournextscenario:Distanceyourselffromyourroleasphotographerforamomenttorememberwhyyouarethere,withthissubject,inthefirstplace.Didyounoticeherhairlookedabitbetterfromtheotherangle?Didyoucatchthatherjackethasacoollinerdetailandthatitmaylookbetterhalfoffhershoulderthanallthewayon?Didyouthinkabouthowahardsidelightmightmakeabetteraccentforthesilhouetteofhermoderndress?Itsbettertotakeafewminutesandgetsomeperspectivebeforeproceedingthanwrappingtheshootearlyandpossiblymissingabettershot.

Pro-Tip:QuicklyExtendBackgroundsinPost

NewerversionsofPhotoshopofferanamazingfeaturecalledContent-AwareFill.

Makeaselection,chooseContent-AwareFill,andPhotoshopwill,ratherquickly,matchyourselectiontotheareasaroundit.Althoughitisntalwaysperfect,itquiteoftenworkswell,savingyouaconsiderableamountoftimeineditingandclean-up.

Figure2.3,forexample,neededcleaningup,suchasremovingthepictureframeandextendingthefloorandwall.Normally,thistaskwouldnthavebeentoodifficult,buttheangularlightandshadowsmadeitharder.Instead,Isimplycroppedintotheimage,pasttheproblemareas(Figure2.9),toleaveatallandskinnycomposition.Next,IgrabbedtheCroptoolandextendedthecanvasbacktotheoriginaldimensions,leavingablackborderaroundtheimage(Figure2.10).

Figure2.9Cropinpasttroubleareas.

Figure2.10Extendthecanvastoyourdesireddimensions.

AfterIselectedtheblackarea,IpressedtheDeletekey,makingsuretoselecttheContent-AwareFilloption(Figure2.11).Content-Awareworkedsplendidly(Figure2.12),leavingonlyacoupleofroughspots,whichIeasilycleanedup.Thiswholeprocesstooklessthanaminute,whereaspreviouslyitwouldvetakenconsiderablylonger.

Figure2.11SelectthenewblankareasandpressDelete,selectingContent-AwareFilloption.

Figure2.12Voil!Youvesuccessfullyextendedyourbackgroundinabout10seconds.

3.WindowLight

Nothingbeatsalarge,indirect,naturallightsource.ForastaffportraitshootofthefilmmakingcrewatOldMachine,Itookadvantageoftheirstudiosbankoflarge,East-facingwindowsbytimingmyshootfortheafternoon,whenthelightwouldbeoverhead(Figure3.1).Iplannedonshootingwaist-upportraitsofthesubjectsonablackbackdrop,soallIbroughtwithme,besidesmycamera,wasablackV-flatanda40x60-inch,silversheetreflector.ThisreflectorispartofareflectorpanelkitmadebyLumoPro.Ididntneedthewholestand,however.Justthesheet,whichfoldsupquitenicelyinmycamerabag.

Figure3.1Thesetup.Alargewindow,areflector,andablackbackgroundcoulditgetanysimpler?

Isatthesubjectsonastool,about3feetawayfromawindow,placingtheblackV-flat2feetbehindthem.At60inches,thebackdropwasntquitetallenough,soIsetitononeofthestudiosdollies.Idrapedthesilversheetoveronesideoftheflatandpositioneditabout2feetfromthedarksideofthesubject(Figure3.2).Asusual,Ioptedtousemylonglens,whichismygo-toforportraiture.Ibackedupabout20feetfromthesubject,zoomingintosuitmyneeds,andIwasrockinandrollin.

Figure3.2Thelightingdiagram.Itsallaboutdistancefromthesubjecttothewindowandfromthereflectortothesubject.

SubjectDirectionWhenitcomestodirectingaportraitsession,Idontthinkthereisasetwayofgoingaboutit.Everyphotographerhandlesitabitdifferently,andbeyourselfisagoodruletofollow(unlessofcourseyoureacreeporanasshole).Nomatterwhatyourstyle,figureouthowtoreadyoursubjectsmood.Isheinabadmood?Issheinahurry?Shy?Nervous?Adjustyourdemeanoraccordingly.Ifindthattalkingtoyoursubjectsforabit,beforeyouevenstartshooting,canhelptoputthematease.

GeorgeLangeisawonderful,seasonedportraitphotographer,whoseclientshaveincludedEntertainmentWeekly,TheLearningChannel,andUSAToday,andheisanexpertatthis.Duringmyfiveyearsashislocalassistant,Ilearnedquiteabitfromwatchinghowheinteractedwithhissubjects.Iftheywerenervous,hedreachoutandholdtheirhandwhilesnappingpics,allthewhiletalkingabouthistwoyoungsons,orhisfavoriteicecreamflavor,orthelatestindierockbandthathewaslisteningto.WhenGeorge(oryou,orI)candistractasubjectfromthetensionofthesituation,sheisabletoforgetherselfforamoment,andthatswhenyoustrike,er,click.

Whateveryoudo,avoidchimping.Youknow,staringatthebackofyourcameraaftereveryframeandexclaimingOoooh,ooooohlikeanescapeefromPlanetoftheApes.Itslowsdowntheshoot,breaksanymomentumyourebuildingwithyoursubject,and,generally,justmakesyoulooklikeanamateur.Soonceyourexposureandlightingisset,shootforaminuteorso,justfocusingonyoursubject,talkingwithhimasyougo,withoutlookingatthebackofyourcamera.Afteraminute,quicklyflipthroughandseewhatyouregetting.Thatgivesyousomeperspectiveastowhetheryouneedtochangethe

pose,adjustthelighting,orsimplyproceedasyouvebeenshooting.

MostoftheadviceIjustgaveisntneededwhenyoursubjectissittingtheresippingbourbon,aswasthecaseinFigure3.3.Iwantedtheseportraitsofthefilmmakerstofeelprofessionalyetaccessible,sowhenAndyaskedwhatheshoulddowhenitwashisturntositinfrontofthecamera,Isaid,Justkeepdoingwhatyouredoing.Isnappedabout20frameswithhisglassesoff,thenIscrolledthroughtheimages.Itoldhimthattheywerelookinggreat,butoptedtotrysomeshotswithhisglasseson.Isnappedafewmore,andthatwasthat.Figure3.3wasanunposedframeIshotrightafterheputhisglasseson,anditendedupbeingmyfavorite.

Figure3.3Therawfile.Itsalreadylookinglikeastudioshot.NowallIneedtodoisaddsomecolorgrading.

RuggedSophisticationWhenIsatdowntoeditthephotos,IknewthatIwantedthemtofeelrugged,yetsophisticated.Becausetheseimageshadagooddealofcontraststraightoutofthecamera,thankstotherimlightingofthewindowandreflector,IdidnthavetoaddmuchclarityorcontrastinLightroom.Asusual,IdidthemajorityofmycolorgradingintheCurves,specificallyintheshadowportionoftheRGBchannel(Figure3.4).IslidtheShadowslideralmostallthewaytotherighttokeepabitofseparationbetweenAndyandthebackground.Ialsodesaturatedthebluesandloweredtheoverallvibranceabit,givingtheimageawarm,slightlydesaturatedlook,whichItypicallyassociatewithmanlyculturalitemssuchaswhiskey,cigars,worn-inleather,denim,andthelike(Figure3.5).

Figure3.4Lightroomsettings.Slightlydesaturatingtheoverallimageandthenaddingabitofwarmthgivestheimageabitofruggedsophistication,notunlikeawhiskeyad.

Figure3.5Thefinalimage.Thisclassicallylit,unposedportraitofafilmmakerhasatimelessfeelingtoit.

4.UsingExistingEnvironments

Ialwayswalkintoahomeshootwiththeexpectationthat,ifnothingelse,Icanshootthesubjectinfrontofablankwall.Evenifapictureframeortwoneedtoberemoved,ablankwallisnthardtofind.Usually,thisisascloseasIhavetoaplan;IrarelyarriveatashootwithaprevisualizedideaofhowIwillphotographthesubject.BecauseIknowhowtolightablankwallinseveraldifferentways,IknowthatIcanstillgetaninterestingportrait,evenifnothingmoreinterestingpresentsitself.

Sometimes,however,Iamluckyenoughtowalkintointerestingandamazinghomesfullofpossibilities,aswasthecaseinthisshootwithHelena.Helenaisamodelaswellasaphotographer,wholivesinanartfullyornateOakland,California,apartmentwithherhusband,Laurent(whoisalsoaphotographer).WhenIwalkedintotheirhome,thefirstthingIsawwasanamazingloveseatsittingunderanintricategoldframe.Iknewimmediatelythatthisiswhereweweregoingtobeginshooting(Figure4.1).ThescenebroughttomymindimagesofoldHollywoodportraitsandlighting.IaskedHelenaifshehadanyclassic-lookinggownsthatwouldfitthatvibe;anotherbonusofshootingatthesubjectshomeishavingaccesstoallofherwardrobe.Asshewentofftoherclosets,Istartedsettingupthelighting.

Figure4.1Thesetup.Sometimes,youjustgetlucky.WhenIwalkedintoHelenashome,Isawthisamazing,vintageloveseatandimmediatelyknewIwasgoingOld

Hollywoodwiththethemeoftheshoot.

Okay,timeforalittledisclosure:FindingHelenawasntentirelyluck.IwasheadedtoSanFranciscoforarelativelyboringcommercialshoot,andwhileIwasinthearea,Iwantedtosqueezeinashootformyself.Abouttwoweeksbeforemytrip,IsearchedModel

Mayhem(www.modelmayhem.com)foractorsintheSanFranciscoarea.Toweedoutamateursandsavemyselfhoursofsearchtime,Inarrowedmycriteriatoveryexperiencedactorswhowouldworkonlyforcompensation.Afterabout45minutes,Ifoundfivecandidates.Iemailedeach,explainingwhoIwasandwhatkindofshootIwantedtodo,thenaskingtheirratesfora1-hourshootattheirhomeoralocationoftheirchoosing.Helenaquicklybecamemynumberonechoice.(Theloveseatandmirrorwerepureluck,however.)

AestheticDecisionsWewereshootingatnight,soIknewthatIdneedtosupplementthedimlight.Becauseoftheornatedesignoftheenvironment,IwasthinkingOldHollywoodforthelighting(thinkGeorgeHurrell).Iwantedmystiqueandglamour,whichcalledforcontained,moodylight.IfIweretostickwithanumbrellaandlightthewholescenewithalarge,softlightsource,mostallofthedramaofthescenewouldbelost(Figure4.2).IoptedinsteadformytrustyHonlgrid,butfoundonegridlightwasfartoodark(Figure4.3).

Figure4.2Thescenelitwithanumbrellalacksdrama.

Figure4.3Asinglegridlightleavesthescenetoodark.

Ididntwanttheuniquenessofthescenetobelost,soIaddedasecondaccentlight.Ihadonlyonegrid,soIjustusedabare-bulbflash,whichIzoomedinto105mmtomakethelightmoreofaspotlight,likethegriddedlight.Ialsohadonlyonelightstandwithme,soIsettheaccentlightonastoolandaimeditatthepictureframeoverthecouch(Figure4.4).NowIwasreadyforHelena.(SeethelightingdiagraminFigure4.5.)

Figure4.4AfterIaddedasecondaccentlightthesceneimproved.

Figure4.5Thelightingdiagram.Thegridonthemainlightcontainedthelighttothesubjectandthelow-outputaccentlightaddedemphasistotheornateframeabovethe

couch.

Helenaissogoodatmodelingthatallshehadtodowasplopdownonthecouchandweweregolden.IsnappedFigure4.6about20clicksaftershesatdown,andIknewthatIhadTheShot.Thatdidntmeanthattheshootwasover,though.Shootingyoursubjectfromdifferentangles,indifferentscenarios,orwithdifferentlightingisalwaysworthatry.Doingsoallowsyoutobackupfromyourworkabit,muchlikeapainterdoes,andseethingsthatyoumayhavepreviouslymissed.

Figure4.6Therawfilefromthefirstscenario.IthadthedramathatIwanted.Allitlackedwasabitofwarmth,whichIcouldaddwhencolorgrading.

AfterIhadtheshotthatIwantedfromthefirstscenario,Itookabriefbreaktowalkaroundtheirapartment.Iimmediatelynoticedanornatedoorthatledtooneoftheirroommatesbedrooms.IaskedHelenatostandinfrontofthedoor,thenmovedthegriddedlighttouseitasthemainlightforthisnewscenario(Figure4.7).Onceagain,thegridmadethelightabittoofocused,causingmostoftheornatedoortogodark.SoIhidabackgroundlightbehindapottedplant,justoutofframetotheright.Notonlydiditaddlighttothebackground,butitalsocastanice,moodyshadow.

Figure4.7Therawfilefromthesecondscenario.Thelightandmoodwasverysimilartothefirstscenario,whichmadetheprocessofcolorgradingthewholeshootmuch

faster.

EditingThemainreasonIstartedusingLightroomyearsagowasitsabilitytobatcheditsimilarphotos.Nomatterhowvigilantlyyoukeepyourexposurethesame,asubjectwillmoveslightlyclosertoorfartherfromthelightsourcethroughouttheshootnottomentiontheinevitableminutefluctuationsinlightoutputfromoneclicktothenext.Despiteyourbestintentions,yourimageswillhaveslightdifferencesinexposurelevelsaswellascolortemperature.EvenwhenusingActionsincombinationwithAdobeBridge,Photoshopofferednoeasywaytofine-tunethesettingsineachslightlydifferentframe.Lightroomchangedallthat.WithLightroom,Icanquicklycolorgradeagroupofsimilarlylitphotostolookcohesive,likethetwodifferentscenarioswithHelena.

Theprocessisrelativelysimple.Ifirstbrowsethroughmyimagesinthefilmstripatthe

bottomoftheDevelopModule(asseeninFigure4.8).IquicklynarrowdownmyselectionbyrankingeachimagethatIlikewithastarrating.(PresstheRightBracketkeytoaddastar,LeftBrackettoremoveone.)Ithenfilterbystarrating(notethestariconinFigure4.8)toseeonlymyselects.

Figure4.8IquicklynarrowdownmyselectsfromashootbyusingtheRightandLeftBracketkeystoaddorremoveastarratingtofiles.ThenIuseafiltertoshowonlythe

imageswithastarrating.

Next,IbrowsethevariouspresetsthatIvemadeforthebeststartingpoint(seeFigure4.9).AsImovethecursorovereachpreset,Icanseeapreviewofhowitwouldlookinthethumbnailatthetopofthepanel.AfterIfindonethatIlikefortheimage,Iclickittoapplyit.Nowthatthefirstimageiscolorgradedtomyliking,Icanquicklyapplymysettingstotheotherimagesinthefilmstripbyoneoftwomethods.Thefirstmethodistoselectthecolor-gradedimage,aswellasalltheotherimagesyouwantinyourselection,thenclicktheSyncbutton(top-rightcornerofFigure4.8).Thesecondoptionistocopythesettings(Cmd/Ctrl+C)andpastethem(Cmd/Ctrl+V)oneachfile,oneatatime.Ipreferthelatter,sothatIcanensureeachimagelooksitsbestandisntmadetoodarkortoolightbythepastedsettings.NomatterwhichmethodIchoose,IalwaysunchecktheSpotRemoval,BrushAdjustment,andCropoptions,becausetheseadjustmentsvaryfromimagetoimageandarebestdoneoneatatime,ratherthansynced(seeFigure4.10).

Figure4.9ThePresetpaneliswhereIoftenbeginwhencolorgradingmyimages.IbrowsethroughthedifferentpresetsthatIvecreated,notingthepreviewthumbnailat

thetoptoseehowmyimagewouldlookwiththeselectedPreset.

Figure4.10Whenyouarereadytosynchronizeyoursettings,selectwhichattributesyouwanttoapplytotheotherimagesusingtheSynchronizeSettingsdialogbox.I

alwaysmakesuretodeselecttheBrushAdjustment,Crop,andSpotRemovaloptionsandopttodothosemanually,oneimageatatime.

Processingthesecondscenarioshotswaseveneasier.TheLightroomsettingsdidntchangemuchfromthefirstscenariotothesecond,becauseIhadntchangedthecameraorflashsettings(Figure4.11).IbumpedtheExposuresliderslightlyto+1.10(Figure4.12),andIwasgoodtogo.Ieditedthewholeshootinabout30minutes,muchtoHelenassurpriseanddisbelief.

Figure4.11LightroomsettingsforHelenasshoot.IaddedthebluetonesfromtheimageandaddedwarmthbyusingtheToneCurvepaneltoincreasetheoverallwarmth

intheimage.

Figure4.12Aftersyncingthesettingsfromthefirstscenariotothesecond,Icouldseethatthesecondscenariowasmuchdarker.ImadeaquickadjustmenttotheExposure

slider,andtheimagelookedgreat.

Onefinalnote:IsolovedbothscenariosthatinhindsightIwishthatIdhadherchangeintoasecondlookforthesecondscenario.Asitstands,Iwouldntdareputbothimagesinmyportfoliobecauseheroutfitisthesame(Figures4.13and4.14).Varietyisimportantinyourportfolio.AsImentionedintheIntroduction,youshouldnarrowdownyourfavoriteimagesfromashoot,puttingtenorfewerinablogpostandnomorethanoneortwoonyourwebsite.Also,makesurethatthesamesubjectsarentappearingtoomanytimesinyourportfolio.Clientswanttoseegoodvarietyinyourportfolio.

Figure4.13Thefinalimagefromthefirstscenario.ItnowhasthemysteryandwarmththatIvisualizewhenIthinkofOldHollywood.

Figure4.14Thefinalimagefromthesecondscenario.AlthoughthesettingintheshotiscompletelydifferentfromFigure4.13,theconsistentcolorgradingaddsacohesionto

theimages.

Quiz1:DeconstructtheLighting

TestyourdeconstructingabilitiesbyidentifyingthelightsourcesinFigureQ1,thenfliptotheanswerkeyatthebackofthebooktoseehowcloseyouwere.Alwaysremembertochecktheeyes.Goodluck!

PartII:TheBackyardStudio

Sometimesthebestplacetoshootis,well,inyourownbackyard.Nowthatyouvebeguntophotographicallythinkoutsidethebox,youwillfindthateverylocationoffersanewpossibility.Thatspotoflightbelowthefireescapeinthealley?Useareflectortolightyoursubject,sothelightingcolorandintensitymatch.Itsrainingoutside,andtheonly

placeyouhavetoshootisintheclientshouse?Noproblem.Movethattableoutoftheway,andshootonthewall.YouseewhatImean?Yourclientswillloveyourversatility.Youreaslavetonothingandnoone.Allthetoolsthatyouneedtoovercomeanyscenariocanfitintoonesmallcameracase.

TheBackyardStudiofocusesonthescenariosthatcanbeexecutedoutsideandaroundanyhomeorapartment,specificallywithouttheuseofalight.Yes,thatsright.Aunaturel,baby.Whetherwearetalkingaboutshootingportraitsorproduct,fashion,orkids,allofitcanbedoneanddonewellinyourbackyard.

Byplacingyoursubjectinfrontofapieceofwhiteorblackfoamcoreintheshadeofabuilding,youhavetheperfectlightforaniceheadshot.Nowallyouneedisareflector.

5.HeadShots

Thisscenario,likeallbutoneoftheBackyardStudioscenarios,wasdoneinavailablelight,withnothingmorethanapieceoffoamcoreandareflector(Figure5.1).Asyoucanseeinthesetupshot,IplacedTrentjustinsidetheshadowofagarage,mostlyblockingthemorningsun.Thebitofthesunlightjustpeakingoverthetopofthegarageservedasthemain/hairlight.Iuseda30x40-inchpieceofwhitefoamcorewitha6-inchholecutoutofthecenterasareflector.Theholeallowedmetoshootthroughtheboardwhilekeepingthereflectorfullyuprightandclosetothesubject.Thisreflectingmethodismoreeffectivethanahandheldreflector,asitallowsforastraight-onlightsource.Atraditionalreflector,whichhasnoholecutout,wouldneedtobeangledbelowthecameralens,thuslightingthesubjectfromunderneath,whichisunflatteringforheadshotsbecauseitcanmakethesubjectappeartolackadefinedchin.

Figure5.1Thesetup.Thekiddietableisnotnecessary,althoughabsolutelyperfect.

SoftLightThemethodofshootingthroughareflectorproducesabroad,evenlight,whichisveryforgivingandthusidealforheadshots.ItsoftensoutwrinklesandblemishesandproducesafantasticcatchlightinTrentseyes(Figure5.2).Whenshootingheadshots,makesuretousealongerlens,aswide-anglelensescandistortfeaturesatclosedistance.Forthisshot,Iusedmy70200mmf/4,shootingat70mm(Figure5.3).ThelonglenshelpstonotonlyflattenoutTrentsfeatures,butalsocreateaniceseparationbetweenhimandthebackground,duetolenscompression.

Figure5.2Therawfile.Thehairandtheeyeslookgood,buthisskinlooksabitmuddledandneedstobeopenedupinLightroom.

Figure5.3Thelightingdiagram.Bycuttingaholeinareflectorandshootingthroughit,youcanlightthesubjectfromhead-on,ratherthanfromunderneath.

Duringediting,ItookthebackgroundtoarichblackbymakingaBrushAdjustmentandreducingtheshadowsto100(Figure5.4).Ialsoreducedtheoverallred/orangecasttohisskin,butyoumaybesurprisedhowIwentaboutdoingthat.

Figure5.4TheLightroomadjustments.TheblackbackgroundwaseasilychangedtoapureblackbymakingaquickBrushAdjustment.

TotargettheexactareasofTrentsskinthatweretoored/orangeandinneedofdesaturating,IusedLightroomswonderfulTargetedActiontool(TAT).ToactivatetheTargetedActiontool,clickthesmallcircle-and-arrowiconthatsitsinthetop-leftcorneroftheCurveorHSLpanel;thecursortransformstolookliketheTATicon.Now,clickandholdontheareathatyouwanttoadjust,thendragitupordowntomakechanges(Figure5.5).Ifyouwanttoadjustanotherarea,justclickanddragagain.Whenyouaredonewiththetool,clickthespotwhereyoufirstactivatedit,andyourcursorwillreturntonormal.

Figure5.5TheTargetedActiontool(TAT),whichiscircledinred,enablesyoutotargetanexactareaforwhichtoquicklyadjustsuchareasasCurves,Hue,and

Saturation.

Forexample,supposeyouwanttoadjustthesaturationinyourimage.SimplyclicktheTATiconintheSaturationsectionoftheHSLpanel,clicktheareayouwanttoadjust,pullthemousedown,andwatchthecolorchannelsthatarerepresentedinyourselectiondecreaseintheSaturationpanel.Thistoolisamazingbecauseitpinpointstheexactareas,orcolorchannelsinthiscase,thatyouwanttoadjust.Itsnolongerjustguesswork.Forexample,whenIwasadjustingTrentsskin,boththeorangechannelandabitoftheredchannelwereaffectedbytheTATtoproduceFigure5.6.

Figure5.6Thefinalimage.Asoft-lightheadshot,completewithhairlight,allfromtheconvenienceofmybackyard.

DirectionalLightSometimeswewantmoredramathanasoft,evenlightsourcecangiveus.Forthatyouneedsomegoodolfashiondirectionallight.ThebestpartaboutaBackyardStudioisthattotallydifferentlightcanbejustafewstepsaway.Forexample,Iwasabletogetacompletelydifferent-lookingimageofTrentbywalking20feetfromwhereweshotintheshade.Insteadofsettingupintheshade,wewereinfullsun.

IpositionedTrentperpendiculartothesun,soitbecameahardsidelight.Ipersonallylikedthehighcontrastandwhatitbroughttotheportrait(Figure5.7).IfIhadwantedto,Icouldhaveneutralizedthebrightlightabititbyaddingareflectortofillintheshadowareaandmakethelight/darkratioabitmoreeven.

Figure5.7Directionallightismuchmoredramaticandcanbeeasilycreatedbychangingthesubjectspositiontothelightsource.Inthiscase,itwascomingfromthe

right.

Itsagooddisciplinetoconsidershootingatleastonemorescenario,evenafteryouthinktheshootisawrap.Often,justinthetimethatittakestomovealightorchangeabackdrop,youwillgetanewideaorrememberonethatyoudforgotten.Sometimesthat

last-minuteideaendsupbeingthebestshotfromtheshoot.Itsbettertoaskfor2moreminutesthantospendthenextweekregrettingyoudidntshootmoreimageswhenyouhadthetime.

6.WhenItsGoodtoBeShallow

Ashallowdepthoffieldismorethanjustabitofprettybokeh(youknow,thosedreamyspotsofout-of-focuscolorandlight).Thinkofitasmakeuporcosmeticsforyourenvironment:Itcancoveramultitudeofsins.Itcantransformamessybackgroundintonothingmorethansplotchesofcolor.Itteachesyoutostartlookingatpossiblebackgroundslikeanimpressionistpaintermight.Tryitout.Pickupyourcamerawithalenslongerthan50mm,andcrankthefocustoitsmostshallowpoint.Nowlookaroundyou.Everythingthatyouseeisapossiblebackdropforyou.Havingashallowdepthoffieldfreesyoufromthelimitationsofwhatissimplyvisibletothenakedeye.

LegendaryPinkDotsInthesetupshot,Figure6.1,youcanseeMinnaonherphoneinmybackyard.Minnaisahospitalsurgeonwhodecidedtomoonlightasamodel(talkaboutwinningthegeneticlottery).Shehiredmetoshootahandfulofoutfitsandscenariostojump-starthermodelingportfolio,orbook.Aftershootingafewscenariosinmybasementonavarietyofbackdrops,Idecidedtoaddsomeairyoutdoorshotstothemix.Itwasstillearlyspringandrathercoldandwetoutside.Movinginandoutofathickcloudcover,theskywasnoticeablyovercastforthemostpart.Butthetreeinmybackyardhadbeguntobloom,andthatmeantpinkflowers.Alotofthem.Sothatswherewemovedtonext.

Figure6.1Thesetup.Minnaisasurgeon,moonlightingasamodel.Heresheisinmyless-than-dramaticbackyard,takingaworkcallasIpreparedtoshoot.

ItoldMinnatostandabout15feetinfrontofthetreeandfaceme.Ibackedupanother15to20feetandcroucheddown,inordertofilltheframebehindherwiththeblurredtreepetals.Shewasstilloncallwiththehospitalandwastakingacallintheyard,butIusedthattimetogetmyexposure.IknewthatIwasgoingtoshootzoomedinascloseto200mmasIcouldget.Althoughmylensopensonlytof/4,Istillcanachievethatsexy

bokehwhenIshootat200mmbecauseoflenscompression(Figure6.2).

Figure6.2Thelightingdiagram.Eventhoughmylensonlyopensuptof/4,bybackingoffofthesubjectandzoomingin,Istillgetanicesoftbackground.

Whenshehungupfrombeingadoctor,sheremovedherhoodtoreturntomodelingwork.Shehadbeenwearingthehoodonlytokeepwarm,butIsaidthatIactuallylikeditupahappyaccident.Isnappedafewframeswhenthesunpeekedoutforamoment,snappedafewmorewithafastershutterspeed,andthatwasthat.WhenIlookeddownatmycamerascreen,IsawthatthefuchsiahighlightsinMinnashairperfectlymatchedthedotsofpinkfromtheflowerpetalsinthebackground(Figure6.3).Thatsright,anotherhappyaccident.

Figure6.3Therawfile.Theshallowdepthoffieldnotonlyconcealedthechaosofmybackyard,butitalsotransformedatreeintoanabstractpatternofpinkandbluespots.

Foreditingtheshot,Ibegan,asusual,withoneofmycustompresets.Again,asusual,Ithendeviatedfromitabittocustomfitthecolorgradingtothesubjectandherbackground.Inthephoto,Ithoughtthatthebitofblueintheskypeekingthroughthetreescomplementedthepinkandredtonesintheimage,soIwantedtopushthatalittlemore.Toaddacolorwashoverawholeimagewithoutaffectingthewhitebalance,usetheSplitToningpanelinLightroom.ForMinnasshot,Ineededtoaddabitofcyantotheoverallimagewithoutchangingthelookoftheshadowtones,soIconcentratedontheHighlightscontrols(Figure6.4).IfirstslidtheHighlightsSaturationcontroloverto+30,andthen

clickedanddraggedtheHighlightsHueslideruntilIgottheexacthuethatIwanted.AfterIhadmatchedthehueoverlaywiththesky,Ibackeddownthesaturationto+10sothatthehueblendednicely.YoucanseethefinalresultinFigure6.5.

Figure6.4TheLightroomsettings.ByaddingasubtlecyanoverlayintheSplitToningpanel,Iwasabletomimicthesubtleblueintheskyandunifytheimage.

Figure6.5Thefinalimage.Bye-bye,backyard.

AlleyCatIveconductedanumberofshootsinmybackyardandthealleybehindmyhouse.Thatbackgroundcanreadasacleanneutralbackgroundinthewintertoawindingpaththroughgreenwoodsinthesummer,allduetothewondermentofdepthoffield.InFigure6.6,forexample,youmightseealittlegirl,alone,onawalkdownanendlessroad,havingwhatappearstobeamomentofself-realizationandacceptanceofarecentdiagnosisofalife-debilitatingillness,whichinevitablywillleaveherwithanewfoundpurposeandreasonforliving.Actually,itsjustalittlegirl,zoningoutbetweentakes,inthealleybehindmyhouse.Butitworks.Likewise,whenIsayalley,yourfirstthoughtprobablyisntbeauty.Withthehelpofashallowdepthoffieldonasunnyday,however,thatspreciselywhereIshotFigure6.7.

Figure6.6IphotographedthisimageofAubriannainmyalleyinthesummer.

Figure6.7Brittanywasphotographedinthealleybehindmygarageinthewinter.Thankstodepthoffield,thegarageinthebackgroundisntevenlegibleinthefinal

image.

Pro-Tip:GettingtheMostOutofOneLocation

Peoplelikeoptions.Sodoclients.SowhenIbookamagazinecovershoot,Iknow

thatIneedtoprovidetheartdirectorwithasmanydifferentbackgroundsandposesasIpossiblycan.ButwhatiftheclientisinNewYork,youareinOhio,andthesubjectyouneedtophotographis3.5hoursawayinLouisville,Kentucky?

WhenIfoundmyselfinthisgeographicpredicament,IknewIcouldntscoutaheadoftime,norcouldIsitdownwiththeclientaNewYork-basedartdirectortochatbeforetheshoot.Ihadtodoalltheplanningoverthephoneandthroughemail.ThecreativedirectionthatIwasgivenwasthattheartdirectorwantedapowerposeofthesubject,butalsoIwastomakesuretocapturethedown-to-earthsideofhim.

Perusual,whenworkingwithsomeoneasimportantasthissubject,Ineededtoworkquicklytoavoidwastingtoomuchofhistime.Imadesuretoarriveattheofficebuildingearlytoscoutforshootlocations.Thebuildingwasrightdowntown,anditwasaperfectsunnydayoutside.Shootingonthesidewalkwasgoingtobeagreatoption.Thelobbyofthebuildinghadabeautifulclassiclooktoitasecondgoodoption.WhenIgotofftheelevator,Isawthatthelobbytohisofficehadsomefantastic,large,West-facingwindows(whichmeantsoft,indirectlight,becausethesunwasstilloverhead),soIknewthatIhadasolidthirdoption.Incasetheartdirectordidntlikeanyofthoseoptions(orIwaslessluckywithweatherandlocations),Ialsobroughtawhitebackdropwithmetophotographhimonaseamlessbackground,ifneeded.Figure6.8illustratesmyresults.

Figure6.8HerearefiveuniqueposesandlocationsthatIprovidedforthemagazinesartdirector.

Wouldntyouknowit,theclientoptedtousetheshotonwhiteseamless(Figure6.9).Mypointintellingyouallthisisnttodiscourageyourcreativeeye,butinsteadtopointoutthatyoucanachieveavarietyofresultsinasinglelocationjustbyturningaroundandfacinganotherdirection.Orbyshootinganimagefirstwithambientlightandthenwithastrobe.Asyoumovefromonescenariotoanother,besuretomakechangestoyoursubjectsposeandwardrobeasyougo,sothatallyourhardworkincreatingdifferentenvironmentsisntmadenullbyhavingthesubjectlookingexactlythesame.

Figure6.9AfterIphotographedthesubjectinfiveuniquescenarios,theclientoptedtousetheshotonwhiteseamless.Oh,well.

7.IntheGarage

Inthegarage,Ifeelsafe.Noonecaresaboutmyways.IfIwanttotakedramaticportraitsonablackbackdrop(withoutevenneedingasinglelight),thegarageismygo-tospot.ItsquitesimilartothesetupinChapter5,andisprobablythesimplestandmostmakeshiftsetupinthebook.AsyoucanseeinFigure7.1,Ihaveapieceofblackfoamcore,foldedintoaV,setinsideagarageonasunnyday.

Figure7.1Thesetup.Thisismymost,ahem,modestsetuptodate.

Althoughyoucanaccomplishthissetuponovercastdays,asunnydayhelpstoincreasethebrightnessofeverythingoutsidethegarageand,thus,increasethecatchlightinthemodelseyes.Thesunnydaylightsceneoutsidethegarageessentiallyactsasagiantreflector,mimickingthereflectorsyouuseinthestudiotoreflectlightunderthemodelschinoraddacatchlightduringabeautyphotographysession.

Agarageisfantasticforheadshotsbecauseitallowsyoutoplaceyoursubjectclosertoorfartherawayfromthebrightoutdoorlight,dependingonhowmuchcatchlightyouwantinyoursubjectseyesorhowevenyouwantthelight.Forexample,ifthesubjectisrightattheedgeofthegarage,justoutofthesun,theexposurewillbeverybright,requiringaveryfastshutterspeed,asmallaperture,orboth,anditwillgivethesubjectseyesalargecatchlight.Notethatasmalleraperturewillcausethesubjecttoappearsharper,fromthetipofhisnosetothebackofhishead.Also,thecloserthesubjectistothebrightoutside,thedarkerthebackgroundwillbeonceyouveadjustedyourexposureforhisskintone.Alternately,placingyoursubjectdeeperintothegarageallowsyoutouseawiderapertureorslowershutter,whichcancreateaflattering,softerdepthoffield,thoughthecatchlightandoveralllightqualitywillchange.

ForheadshotslikeFigure7.2,youwillwanttousealensofatleast50mmorlonger.Anythingwideranglewillleadtodistortionofthesubjectsfeatures.Becauseyouareshootingoutdoors,youhaveunlimitedspacetobackofffromthesubject.So,Iliketousemy70200mmlensforthissortofheadshot(Figure7.3).

Figure7.2Therawphoto.Atfirstglance,thereisntmuchaboutthisshotthatisdramatic.AfterIconvertittoblackandwhiteandstartplayingwiththecolorchannels,

however,itllreallycomealive.

Figure7.3Thelightingdiagram.Byplacingthesubjectjustinsidetheopeningofagarage,outofdirectsunlight,hewillbewelllitwithsoftlight,specificallyhiseyes.

Whenitcomestoprocessingablack-and-whiteimage,youcancontrolthecontrastbytweakingthecolorchannels.First,toggleovertoBlack&WhitemodeintheHSLpanel;thepanelstitlewillchangeBlack&WhiteMix(Figure7.4).Now,experimentbyslidingthedifferentchannelsleftandrightandseeingwhatareasareaffected.TheOrangechanneltypicallycontrolsmostskintonesandtheYellowchanneltypicallycontrolshair(forCaucasians).TheGreenandBluechannelstypicallyaffecttheeyes.IfIwanttoadddramatotheeyes,Imakeabrushadjustment,slidingtheShadowsandHighlightssliderstoaround+60andtheExposuresettingtoaround+10(Figure7.5).Figure7.6showstheresults.

Figure7.4TheLightroomsettings.ByplayingwiththeBlack&WhiteMixinLightroom,youcanvastlycontrolthetonesinanimage.Forexample,increasingthe

Orangechannelopensuptheskininmostsubjects.

Figure7.5Ifyouwanttopunchupthedramaintheeyes,makeabrushadjustment,increasingtheClarity,Contrast,andShadowssettings.

Figure7.6Thefinalimage.Moredramatic,dontyouthink?

DirectionalLightTheonedownsidetosittingyoursubjectinfrontofanopengaragedooristhatyouareessentiallylightingthemwithahead-on,massivewallofsoftlight,whichcanappearflatorboring.Toadddrama,youneedamoredirectionallightsource.Becausewecantmovetheavailablelightsource,wemovethesubject.ForFigure7.7,Iplacedmysubjectperpendiculartotheopengaragedoor.Ithenopenedthesidedoor,shootingthroughit,whichgavemetheextraspaceIneedtobackoffofthesubject,becauseIhadtousetheshorterwidthofthegarageinsteadofthelength.(Figure7.8).

Figure7.7Thesetup.Bychangingthesubjectspositiontothemainlightsource(thelargeopendoor),youaddmoredramatotheimage.

Figure7.8Thefinalimage.Thenicedirectionallightiscourtesyofanopengaragedoor.

8.KiddiePools.WhodaThunkIt?

Ohioisnotanisland.Wedonthaveaccesstoexoticbeaches.Hell,agoodnumberofOhioansprobablydontevenknowwhatthewordexoticmeans.SowhenIwanttoconstructadreamywatersceneforaportraithere,Ineedtogetcreative(Figure8.1).

Figure8.1Thesetup.Byblackingoutakiddiepool,youcangetthemostoutoftheripplesandcolorsofreflections.

Forcreativity,Icanthinkofnobettersourceofinspirationthanthefashionindustry.AlthoughIhardlyconsidermyselfafashionphotographer,Iregularlystudythephotographyinfashionmagazines,whichcontainsomeofthebestlightingandstorytellingtechniques.Ihavealwaysfounditusefultolookatthosewhoaredoingbetterworkthanme,sothatImaygleanfromtheirworkandapplyittomyown.Awordofwarning,however:Studyingphotographersfurtheralongthanyoucanalsobediscouraging.WhenyoutopplefromtheheightsofinspirationdowntheslipperyslopeofIllneverbethatgood,catchyourselfbycomparingyourworktowhatitwasoneyearprior.Aslongasyouregrowing,youaredoingmorethanokay!

Whichbringsmetothisnextscenario.AwhilebackIcameacrossthedreamyfashionworkofFrenchphotographerBrunoDayan.Inparticular,hehaddoneabeautyshootfeaturingjewelryonamodelpartiallysubmergedinwater.Ihadneverseencolorsandtonesquitelikehis.TheyweresimultaneouslysomeofthemostbeautifulandalsothemostdiscouragingimagesIhadeverseen.IwasdeterminedtofigureouthowhehaddoneitsothatIcoulddoit.

BlackoutIdeally,Iwouldhavelikedtoseeabehind-the-scenesphotoofthetoolsandlocationthatDayanused.Alas,Icouldfindnone.So,ItriedtoreadthelightinthephotoandmakeuptherestasIwentalong.Clearly,Ineededwater,soIstartedthere.Lackingabeachandexoticbodyofwatertoexperimentwith,Iturnedtothenextbestthing:aninflatablekiddiepool.Isetupthepoolintheshadowofmyhouse,makingsuretokeepitoutofdirectsunlight,becauseitwasacloudlesssummerday.Isetupmylightsandbeganshootingafewframestocheckthelight,beforethemodelevenenteredthewater.ThefirstissuethatIencounteredwasthatnomatterhowIangledthelightorsettheexposure,thewaterwasntappearingblacklikeintheinspirationpictures.SoIaddedabunchofblacktowelsandsheetstothebottomofthepool.NowIwasontherighttrack.

IdidthisshootbackwhenIwasstillusingHighSpeedSync(HSS)tokillmyambientoutdoorlight.BecauseofthelightoutputthatislostinHSSmode,IhadtogangallfourofmyCanon430EXflashesononelightstandtogetsufficientoutput.(Ivesinceconvertedtousingvariableneutral-density,orND,filtersinstead,asyoulllearninChapter21.)UsingaFourSquarebracketfromLightwareDirect,Iattachedthefourflashestothepoleandsetthemalltohalfpower,allowingforadecentoutputwithoutkillingtherefreshtime.Iwasshootingthroughawhiteumbrella,soabitoftheoutputwaslost,butIwasstillatashutterspeedof1/3200withanapertureoff/1.4.Thisexposureallowedmetosquashtheambientlightandsufficientlylightthemodel.Figure8.2showsthelightingdiagram.

Figure8.2Thelightingdiagram.Forthisshot,IusedHighSpeedSync(HSS)tokilltheambientlight.BecauseofthelightoutputthatislostinHSSmode,Ineededtogang

fourflashesononestandtogetasufficientoutput.

Ihadmyexposure,butIneededmovementinthewater.IvesincededucedthatMr.Dayanmusthavebeenshootinginalakeorpond,wherethewaterisnaturallydarkwithnaturallyoccurringripplesandwatermovement.Atthetime,however,Iwashalfwayintotheshootandallthewaycommittedtogettingagoodshot.Ibegankickingtheedgeof

pool,whichsentripplesacrossthesurfaceofthewater.NowIwasgettingsomewhere,asyoucanseeinFigure8.3.Notethatthepatchesofsoftbluelightinthewavesarereflectionsofthesky.

Figure8.3Therawfile.Togetripplesinthewater,Ihadtokickthesidesofthekiddiepool.Thepatchesofsoftbluelightinthewaveswerereflectionsofthesky.

ImadesuretosnapseveralframeswithgoodripplesbeforeIcalleditawrap(whichIneversayoutloudatashoot).WhenIimportedmyfilesandstartedtocomparethemwithBrunos(notrecommended),Iwasfeelingprettydownthattheexperimenthadfailed.ButthetruthofthematterwasIshouldnthavebeensohardonmyself.Theshootwasnotonlymyfirstattemptatblindlyemulatinghiswork,Iwasalsoworkingsolousingaminimalsetupinmybackyard,whileawholeteamofcreativeswithmuchbetterresourceshadbeenathisdisposal.Afterall,itwasjustafunexperiment,andIstillhadLightroomupmysleeve.

OnceIbeganplayingwiththeLevelsandCurvescontrolsinLightroom,theimagesreallystartedtocomealive.DayansimageslookedlikehehadessentiallypulleduptheshadowsinToneCurve,whichcreatedanicetextureinthewaterripples.So,Ispentmostoftheeditingtimeintheseareas.Ialsowantedtopushanoverallbluetoneontheimage,soIaddeda+64bluetoneintheSplitToningpanelanda+58warmtonetothehighlights,toretainawarmthintheskintones(Figure8.4).Finally,IdecidedthatIlikedtheimagebetterwithaverticalorientation.Icropped,makingsuretoretaintheoriginalcanvasdimensions,andmyexperimentwascomplete(Figure8.5).

Figure8.4TheLightroomsettings.IdidmostofmycolorgradingintheToneCurvepanel,whilealsoimpartinganoverallcoolfeelbyaddingaSplitToneoverlay.

Figure8.5Thefinalimage.AlthoughitsabitdifferentthanDayans,Iamstillhappywiththeresult.Plus,nowIhavemoreknowledgeaboutworkingwithlightingand

water,sothenexttimearoundwillbesmoothersailing.

ApplyingtheExperimentNowthatIwasmorefamiliarwithshootingwaterandmakingitappearblack,Idecidedtoapplytheskillstomyproductphotography.(ThesearethetypesofthingsthatIdoforfun,bytheway.)

IwasinthemiddleofaseriesofexperimentsforwhichIshotthesamebottleofcologneinasmanywaysasIcouldcomeupwith,inordertosharpenmyproductphotographyskills.Thisshootendedupbeingmythirdexperimentandbeganmuchlikethepoolshoot,butonasmallerscale.Thistime,Iusedashallowglassdish,oneblacktowel,andlesswater.Ifirsttriedplacingthetowelbelowtheglassdish,buttheglasscreatedanawful

glare.Movingthetowelintothedishhelpedwiththeglare,butchangedthewaterlevel.

Iwantedjustenoughtocoverthetowelandthebottomportionofthecolognebottle,withoutfullysubmergingit.

Note

Ifyourecuriousabouttherestoftheexperimentalproductshots,myeBook,RunandGunLightingResource(Peachpit),detailstheentireseries.

Idialedinthelighting(andthewater),thenagitatedthedishtocreatewaterripplesaroundthebottle.Intheprocess,Ialsoproducedairbubbles.Tiny,littleairbubbles.Likethousandsofthem.Theywereallovertheinsidethedish,includinginsidethecolognebottlelid(Figure8.6).Itriedremovingthem,oneatatime,usingtheSpotRemovaltoolinLightroombutgaveupafter10minutes,withanotherhourortwoofworkaheadofme.Nowwhat?

Figure8.6Theshotlookedgoodorwould,minusafew(thousand)airbubbles.

Mybubblesolutionmaybethemostimportantlessonoftheshoot:Knowwhentooutsourceyourwork.Weveallbeenthere,withseveraljobsshotandwaitingtobeedited,whenapainstaking,time-suckingmomentliketheremovalofthousandsofairbubblescomesalong,andyouhavetomakeadecision.Fallbehindonotherworkorspeeduptheprocessbyoutsourcingportionsofajob?

Forthebubbles,Ioutsourcedthecleanupworktomyretoucherfriend.Iknowsomephotographerswhohandoffalloftheireditingandcolorgradingtoemployees,interns,orcoworkers,whiletheysticktoshooting.Thereisntanythingwrongwiththis,butIprefertohavemyhandinthewholeprocess.Ifindthatmyphotoshootsaredonealmostequallyinthecameraandtheediting.IletthemoodoftheimagesinfluencehowIcolorgrade

them;Imnotcomfortableleavingthosedecisionsuptoanotherperson.AfterIvealreadyputmysignaturecolorgradingontheimage,however,Ihavenoproblemsendingthefileofftoaretouchertohavethemremovealltheairbubbles(Figure8.7).Decidehowmuchofyourhandneedstobeinvolvedandhowmuchyourecomfortablehandingofftosomeoneelse,soyourenotleftburiedinbubbles.

Figure8.7IappliedwhatIlearnedinthepreviouswaterexperimenttomyproductphotography.Sameprinciples,justonasmallerscale.

9.ShootingProduct

Whenitcomestoshootingproduct,specificallyreflectiveproduct,largelightsourcesareideal,ifnotnecessary.But,thatdoesnotmeanthatyouneedstrobes.Whetheryouredoingafoodshootnexttoalarge,north-facingwindow(whichcreatessoftlightatanytimeofday)or,asinthiscase,abottleofGuccicologneinyourbackyard,availablelightworksjustfine.

InFigure9.1,youcanseemy,ahem,modestsetup.ItsessentiallytwowhiteV-flats,tapedtogethertomakeasquare.InthebottomIlaida12x18-inchsheetofblackplexiglass,whichcreatesanicereflectivesurface.Ipreferusingblackplexoverwhitebecauseitsabitmoreforgiving:Itsdarkwhilestillbeingreflective,whichhelpskeepitfrombeingsuchamirrorimageandallowsthefocustoremainontheproductitself.

Figure9.1Thesetup.Iessentiallyconstructedalighttentoutofapieceofwhitefoamcoreandabedsheet.

Thebackofthelightbox,whichfacesthesun,iscoveredinalight-graybedsheet,whichnotonlyhelpedsoftenthelightbutalsoaddedanicesofttexturetothebackgroundandsurfacereflection.Itaintpretty,butitworked.

Keepinmindthatdependingontheangleandpositionofyourcamerainrelationtotheproductandplexiglass,thereflectionwillchangeconsiderably.WhenIshootfromanelevatedanglelookingdownintotheblackplexiglass,muchmoreofthefabricbackdropisnowvisible,asyoucanseeinFigure9.2.TheblackplexiglassalmostactslikeaNDfilter,darkeningtheotherwiseblownoutfabric,allowingthedetailstobevisible.

Figure9.2Dependingontheangleofthecameratotheproductandplexiglass,thereflectionwillchangeconsiderably.

Thelighttentcreatedasoft,evenlightthatsurroundedtheentireproduct.Thenicethingaboutshootingwithavailablelightratherthanflashesisthatwhatyouseeiswhatyouget(Figure9.3).Thereisnoguessworklikethereiswithflashuse.Therefore,Isimplypositionedandrepositionedtheangleofmycamerauntiltheproductwasevenlylitandmyreflectionwasnolongerseen(Figure9.4).

Figure9.3Thelightingdiagram.Thelighttentkepttheproductsurroundedinsoft,evenlight.

Figure9.4Therawfile.Whenshootingareflectiveproduct,yourmainchallengesaretocreatealargelightsourcethatilluminatesthesurfaceandalsokeepyourreflection

outoftheshot.

OnceIgotmyfileintoLightroom(Figure9.5),IreallycrankedtheClarityovertotheright,whichcomplementstheanglesofaproduct(forportraitshots,notsomuch).Abitofgrasswasstillvisibleinthemetalsurface,butIdesaturatedtheGreenchannelandshiftedthehuetoawarmercolorintheHSLpanel,soitnolongerreadasgrass(Figure9.6).

Figure9.5Lightroomsettings.NotonlydidIquicklyremovedustspotsfromthebottlebyusingtheSpotRemovaltool,butIalsode-emphasizedthepatchofgrassreflectedin

thebottlebyshiftingtheGreensliderintheHueandSaturationpanels.

Figure9.6Thefinalimage.Thepatchofgrassreflectedinthemetalliclidisnolongerrecognizableordistracting.

Ifthisshoothadbeenforaclientratherthanjustanexperiment,Imayhaveclonedoutthatminorreflection,butitdidntbothermetoomuch.Nottomention,onsomeshootsartdirectors(ADs)havesatbesideme,lookingattheimagespoppinguponatetheredmonitor,andnotcaredaboutminorimperfectionslikethisreflection.EveniftheADorclientsdiddecidetheydidntwantitintheshot,quiteoftenwhenshootingcommercialproductwork,theydemploytheuseofaretouchertocleanupsmalldetailslikethat,ratherthanwasteanextrahalfhourtryingtotweakthereflectorsuntilitwasperfect.

Quiz2:DeconstructtheLighting

Testyourdeconstructingabilitiesbyidentifyingthelightsource(s)inFigureQ2,thenfliptotheanswerkeyatthebackofthebooktoseehowcloseyouwere.Remembertochecktheeyesandthedirectionandqualityofthelight.Goodluck!

PartIII:TheBasementStudio

Icanseeitintheireyes.WhenIescortfirst-timeclientsdownmyclaustrophobicstairwellwhilewarningmindyourhead,theyreworryingwhatdidIgetmyselfinto?Mybasementmaybeamusty,low-ceilinged,concreteholeerstudio,butitworksandworkswell.True,theceilingsareunder7feethigh,andtheroomisbarelyover10feetwide.But,Ihave20feetofspacetobackup,andthatsallIneed.Iveusedthisspacetoshooteverythingfromfull-bodyportraitsof6-foot-plusbusinessmentoclassicalclarinetists,fromcommercialfashionsessionstoproductphotography.Onceashootisunderway,however,myclientsbegintorelax,andwhenIshowthemthefirstfewframes,theyaresold.Honestly,Ithinkthatshootingintheshabbyscenariomakestherevealofthefinalimagesthatmuchmorepotent.Thatsmyworldlegitimizingcreepybasement

photographers,oneshootatatime.

10.SoftLight

Modifiersareagreatwaytocreatesoftlight.Unfortunately,commercialmodifiers,suchasumbrellas,softboxes,andoctabanks,canbelarge,andmybasementsetupisprettybarebones.Idonthavethewidthortheheighttoallowforlargelightmodifiers,soIhavetogetcreative.Basically,anythingthatyoucandotomakeyourlightsourcelargerwillhelptosoftenyourlight;evenbouncingyourlightoffawallorceilinggetsthejobdone.

Note

YoucanseemoreonthetechniquesthatIveimplementedtomaximizemysmallbasementstudiointheEpiloguesUsingWhatYouHavesection.

InFigure10.1,youcanseethatIplaceda40x60-inchwhitepanelonatablenearthemodel.Althoughthepanelwasopaque,prohibitingmefromshootingthroughit,itstillservedasafantasticlightsourcebybeingareflector.Tousethistechnique,placethelightseveralfeetinfrontofthesubject,flaggingthesideofthelighttokeeplightspilloffher,andbouncethelightintoalargereflectivesurfaceinfrontofher.Itsbasicallythesameapproachasusingareflectorandthesuntolightyoursubject,onlyinsteadofthesun,youusea$200pieceofplastic.

Figure10.1Thesetup.Bybouncingaflashintoapieceofwhitefoamcore,youcaneasilymakealargesoftlightsource.

OnWhiteTheressomethingsoclassicandtimelessaboutasinglesoftlightsourceonawhitebackdrop.ItwillneverlookdatedwhetheryourelookingatRichardAvedonsportraitsfromthe60sand70s,TimothyGreenfield-Sanderssworkinthe80sand90s,orInezandVinoodhscontemporaryfashionwork.Andtheressomuchversatilitywithinthissetup.Dependingonhowcloseyouplaceyoursubject(andlight)tothewhitebackground,thephotosbackgroundcangofromwhitetograytoblack.CaseinpointisFigure10.2,ashotofactorJeffQuerinthatItookseveralyearsagoonawhitebackdrop.Hewasstandingabout15feetinfrontofthesweep,andIwaslightinghimwithoneflashshotintoa40-inchumbrella.Althoughthebackgroundwaswhite,itreadsasacharcoalgray,andIcouldhaveeasilypushedittoblackinpost.

Figure10.2ActorJeffQuerinisstanding15feetinfrontofawhitebackdropinthisshot.Ifyoursubjectandlightarefarenoughawayfromawhitebackdrop,the

backgroundcangotograyorevenblack.

Morerecently,IusedthistechniquewithAubrianna,a7-year-oldpowerhouse.Sheissimultaneouslyamodelandchild.Therefore,theshotsthatIgetofherareequalpartsexpressionsandposesthatarebeyondheryearsandsillyfaces.Shesamazing,andIcantwaittoseewhatcomesofhercareer.WhenIwassettingupformyshootwithher,Iwantedasimplescenario,onethatwouldallowbothsidesofherpersonalitytoshine.SoIwentwithonesoftlightonawhitesweep(Figure10.3)andgottheresultshowninFigure10.4.

Figure10.3Thelightingdiagram.Thedistanceofthelightandsubjecttothewhitebackgrounddetermineshowdarkorbrightitwillappear.

Figure10.4Therawfile.ThelightappearssoftandlightsAubriannasfullbody,renderingthewhitebackgroundalightgray.

IalsokeptmyLightroomtreatmentprettysimple(Figure10.5).Ididntwanttointerrupttheevenandcleanlightingwithharshclarityadjustmentsandtoomuchdetail.Asusual,IcrankedtheContrastsliderallthewaytotheright,whichgavethecolorsanicepopofsaturation.IthenbroughtuptheShadowslidertocountertheeffectoftheincreasedcontrastontheshadowareas.IalsoplayedaroundwiththeBlueandCyanchannels,usingtheLuminanceandSaturationsliders,togetawarmeroverallfeeltotheimage.

Figure10.5TheLightroomsettings.Imadeafewgradientadjustments,raisingtheexposureonthesidesoftheimagetoevenoutthewhitebackdrop.

Finally,Iaddedafewgradientadjustmentstotherightsideofthebackdrop,helpingthewhitetoappearmoreevenfromlefttorightandproducingtheresultinFigure10.6.

Figure10.6Thefinalshot.AclassicwhitebackdropwasjustwhatIneededtobringoutthematurityandcharacterinAubrianna.

OnGrayAftershootingonwhiteforabit,Iswitchedtoacharcoalgraybackdrop.Aswithwhite,youcancoaxadecentvarietyofshadesandcolorsfromabasicgraybackdrop,justbyplacingyourlightsandsubjectclosertoorfartherawayfromit.IpositionedAubriannaabout3feetinfrontofthesweepforthenextscenario(Figure10.7).Todecreasethelightspread,Iswitchedfromusingapanelreflectortoanumbrella.Ithenaddedareflectortotherightsideofherfacetosoftentheoveralllightonher(Figure10.8).

Figure10.7Thesetup.Iswappedoutthewhitesweepforacharcoalgrayandtradedmywhitebounceforanumbrellaandareflector.

Figure10.8Thelightingdiagram.Onceagain,Ihadmylightandsubjectclosetothebackdroptoallowthelighttoilluminateit.

Fortheediting,ImadeonlyminorexposureadjustmentstotheLightroomsettingsIusedforthefirstscenario,whichmadetheeditingprocesstwiceasfast.Ihadthewholeshooteditedwithinanhour(Figure10.9).Thatswhyitssoimportanttogetaconsistent,goodexposureincamera.Thismeansthatyouneedtokeepaneyeonyourflashoutputaswell.Dependingonthekindoflightyouareusing,theconsistencycanrangefromoneoutputtoanother.Higher-endsystems,suchasProfoto,giveaniceconsistentoutputofboth

colortemperatureandintensity.Cheapersystemsoftenhavefluctuationsintheirintensityandcolortemperaturefromclicktoclick,creatingvariancesfromonerawfiletothenextandmakingtheeditingprocessmuchmoretedious.Somelightswillevenoutputbeforetheyarefullyrechargedfromthepreviousoutput.Forthisreason,Iturnontheaudioindicatoronmyflashes,whichemitsabeepwhentheflashisfullychargedandreadyforthenextshot.ThiswayIcanbesurethatIamgettingthemostconsistentoutputpossible,fromoneshottothenext.

Figure10.9Thefinalshot.ThegraybackdrophelpedAubriannasredhairandblueshirtstandout.

11.MoodyLight

Moodylightismyabsolutefavoritetypeoflight.Itcanbesocinematicandtheatrical.Itslikeplacingmysubjectsonastageandlettingthembecomeacharacter,someoneelse.Thetermmoodylightencompassesanumberofdifferenttechniquescoloredgels,flashgrids,blackingoutthesceneexceptforthesubjectandIllcoverallofthesescenariosinthischapter.

TheFirstRuleofMoodyLightingisyoudonttalkaboutmoodylighting.Okay,Imkidding,butIwasseriouslyaimingtoinvokeTylerDurdenfromFightClubinthisshootIdidwithmodelAlexPrange.Althoughwewerentre-creatingaparticularscenefromthefilm,wewantedtocapturethecharactersbadasspresence.AlexhasthebodyofBradPittinthemovieaswellastheswagger,soallIneededtodowasgetthelightnaileddown.

AsyoucanseeinFigure11.1,Alexwasabout5feetinfrontofawhitevinylbackdrop.Thenicethingaboutavinylorfabricbackdropasopposedtoapapersweepisthatithasanice,wavytexture.Althoughthetexturecanbeplayeddownoroutrighteliminateddependingonthedirectionandintensityoflightonit,Idecidedtohighlightthetextureinthisshot.

Figure11.1Thesetup.AlexispumpedupandreadytogethisFightClubon.Itskindoffittingthatwewereshootinginacreepybasement.

Iplacedmybackgroundlightlowandclosetothebackdrop,aimingupward(itshiddenbehindthesmall,blackV-flat).Ialsomadesurethatthebackgroundlightoutputmatched

theoutputofthemainlight,inordertoretainsomedetailinthewhitebackdrop.(Usually,Imakethebackgroundlight2to3stopsbrighterthanthemainlighttoblowoutthebackgroundtopurewhite.)

Aftersettingupmybackgroundandbackgroundlight(Figure11.2),IaskedAlextostepintothescene.Iplacedhimabout4feetinfrontofthebackdropcloseenoughtogetalittlebitofkickbacklightfallingontotheedgesofhisarmsandprofile.Oneoftheperksofhavingsmallquarterstoshootinisthatlightcanbouncearound,accentingthesubject.(Bouncinglightcanquicklybecomemorecursethanblessingwhenyouwanttocontainyourlight,however,asyoulllearninabit.)

Figure11.2Thelightingdiagram.Mybackgroundlighthadthesameoutputasmymainlight,inordertoretaindetailinthewhitesweep.

Formymainlight,IoptedtousemytrustyHonlgridtogetcontrasty,hardlight.Hardlight,whichcreateshardshadowandbrighthighlights,wasjustwhatAlexsmanymusclesneededtoreallystandout(Figure11.3).Onethingtokeepinmindwhenlightingasubjectwithagridisthatifhemovesmuchatall,thesmallareaoflightwillquicklyfalloffofhim.Sometimesthiscanmakeforcool,unintentionalshotswherethesubjectsfacegoestoshadowwhilehistorsoislit,andsoon.Butifyouwanthisfacetobelit,asmostportraitsrequire,youneedtoinstructthesubjecttostaywithintheconfinedareaoftheflashoutput.

Figure11.3Therawfile.Thehardmainlighthelpedtodefinehismuscles.

Mypostworkonthisimagewasprettysimilartomynormalcolor-gradingroutine,exceptforthisshotIwantedtooutlinethehardlinesofhismuscles.Todoso,IslidtheClarityto+63.Ialsowantedtheshottohaveawarmerlook,soIdesaturatedtheBlueandCyanchannels(Figure11.4).Aftermakingaslightcrop,theimagewasfinished(Figure11.5).

Figure11.4TheLightroomsettingsaremuchlikethoseformynormalcolorgrading,savefortheextraClarity,whichhighlightsthehardlightandmusclesofthemodel.

Figure11.5IamJacksfinalshot.

BlackonBlackonBlackToparaphraseSamuelL.JacksoninJackieBrown,Grids:Whenyouabsolutely,positivelygottokilleverylumenintheroom,acceptnosubstitutes.Havearoomthatyouwanttomakeblack?Youdontevenneedablackbackdroporthedarkcoverofnight.Allyouneedisaflash,agrid,andaroom.Aslongasyoursubjectisntstandingwithin5feetofawall,youwillhavenoproblemkillingalloftheambientlight.

Caseinpoint.IwasdoingashootwithDani,whowasinblackbodypaint,wearingallblackabovethewaist.Iwantedthewholescenetobeblack,saveforDaniandthetextures

ofheroutfit.Itwasaconceptualfashionshoot,thisportionbeingtheHellportionofaHeaven/Hell-themedshoot.(Theas-yet-to-be-shotHeavenscenariowill,fittingly,beallwhite.)

ImetDaniatthemakeupartistshouse,aboutanhouraftertheygotstartedonthemakeup,togivethemaheadstartwiththelengthyapplication.Iknewthatthebasementwasgoingtobeanoptimalshootingspacebecauseitwaswindowlessbutwideopenandbarren(Figure11.6).Iquicklysetupthesoleflash(Figure11.7),andthenwaitedanotherhourwhiletheyputthefinishingtouchesonthemakeupandhair(somuchfortheheadstart).

Figure11.6Thesetup.Thistimewewereshootinginthebasementofmymakeupartistshome.Eventhoughitlackedablackbackdrop,Ihadnoproblemcreatinga

blackenvironmentwiththeuseofmyflashsettings.

Figure11.7Thediagram.Amoderateflashoutputof1/8wasenoughtoknockouttheambientlightinthebasement.Theaddedgridontheflashcontainedthelightfrom

spillingontothenearbywalls,helpingtocreateablackenvironment.

Theshootactuallywentratherquickly(15minutes).AsyoucanseeinFigure11.8,Daniwaswearingacroptop.Althoughherunpaintedabdomenandsweatpantsarevisibleintheshot,thiswasntabigissue.Becausethelightfalloffwassodramaticfromherbusttohertorso,aquickadjustmentinLightroomwouldhavetheimagelookingrightasrain(Figure11.9).

Figure11.8Therawfile.Danismidriffandsweatpantsarevisiblebutcaneasilyberemovedinpost.

Figure11.9TheLightroomsettings.Becausetheimagewas,forallintentsandpurposes,blackandwhite,ItoggledoverintoBlack&Whitemodetoallowfora

quickereditingprocess.

WhenIgotthefileintoLightroom,Ithoughtthattheeditingwouldgoacertainway(easily),butitturnedouttogoatotallydifferentroute(hard).Thehardlightandthetoo-goodcamerasensorcapturedfarmoreorangeyskintonesthanIexpected.Iwasfortunatethattheimagewasrelativelycolorless,soItoggledovertoBlack&Whitemode.Thenicethingabouteditingafileasblackandwhiteisthatthecolorchannelsonlycontrolluminance.ThiswayIcouldlowertheOrange,Yellow,andRedchannels(herskincolor)andcontrolthewaythehighlights,shadows,andmidtonesappeared.Thismethodoftweakingspecificcolorchannelsisabitmorefocusedadjustmentthanjustslidingthe

globalHighlightsorShadowssliders.NowIhaddetailsinboththeshadowsandthehighlights,andDaniwaslookingperfectinpurgatory(Figure11.10).

Figure11.10Thefinalimage.OnceIbroughtdownthehighlightsandbroughtuptheshadows,DanilookedexactlyhowIhadenvisionedshewouldlookinaho