2. • Introduction to Studio
Lighting & Practical Lighting
Applications
• Tungsten Lights, Studio Flash
and Available Light
• Control of Contrast, Direction
and Color Balance
3. • Compared to a normal
household lamp, which is
only 100 watts, a tungsten
studio light is 20,000 watts
• There are four major studio
lights:
–
–
–
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Flash
AC Discharge
Tungsten-halogen
Photoflood
4. 1. The Flash
– High intensity & short
duration
– Renders correct color
to daylight
2. AC Discharge
–
–
–
High output but less
heat
Light flickers as
opposed to being a
continuous light
source
Casts a blue tint
3. Tungsten-Halogen
– Most commonly used
artificial light (next to
the flash)
– Emit large amounts of
heat when operating
– Creates an orange tint
4. Photoflood
–
–
Broad soft light source
Can create an orange
tint as the lamp’s glass
fogs with age
5. blue tint
orange tint
• Digital Cameras often read “white” with a cool
or warm temperature: this means that the white
will have an orange or blue tint to it, which can
be unsightly
• You can correct this one of two ways: 1) in the
camera or 2) in Photoshop
• The best way to correct for white balance is to
check for a neutral object (or bring a white
object with you) and change your settings to
match this white object
white balance reference
auto white balance vs. custom setting
6. • DLSRs (and some other digital cameras) can be custom set for
Aperture (f/stop) and Shutterspeed which are related by ratios
• Light is manipulated and used by these parts of the camera
7. • Shutter & Aperture
– Aperture is the AMOUNT of
light allowed into the camera
by SIZE, measured by fnumber or f-stop
– Shutterspeed is the
DURATION of light allowed
into the camera by SPEED or
TIME, measured in fractions of
seconds
• Film Speed or ISO number
refers to the light quality, an
ISO 100 is set for sunny
daylight while an ISO 200 is
set for indoor or cloudy days
8. relationships of f/stops & shutterspeeds
f16 at 1/30 = f/11 at 1/60 =
f/8 at 1/125 = f5.6 at 1/250 =
f/4 at 1/500
• Starting with an ISO 400 and
an f-stop of 5.6 is a good
general rule of thumb
• You can use your LIGHT METER
to adjust the shutterspeed
• To the right you can see a chart
which is a good starting point
for f/stop-shutter-ISO ratios
• the LIGHT METER is an
instrument for measuring the
intensity of light in a certain
place or upon a certain object,
having an adjustable scale for
determining the optimum
relations of shutter speeds and
stops at each intensity
9. overexposed
correct exposure
• using a lightmeter and the chart from the
last slide can help you avoid over or
underexposing your subject
• lights are proportionate to shutter and
aperture: more bulbs or lights increase
stops and shutterspeed
• the light meter will slide back and forth
to indicate proper lighting – a balanced
light reading will give a correct exposure
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underexposed
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10. •
•
•
POINT SOURCE: a spotlight is pointed from above to create shadows and contrast
DIFFUSE SOURCE: a floodlight “fills” the area creating contrast and adding grays
REFLECTION: a reflector is used to soften the light and the contrast
1. spotlight
2. spotlight + diffused light *
3. spotlight + diffused light closer
a light tent (or light box) with lighting
*from reflector
1. spotlight
2. spotlight + floodlight
3. spotlight, floodlight + reflector
1. spotlight only
2. spotlight, floodlight + reflector
11. Posing Models & Compositions
Annie Leibovitz and the Professional Portrait
12. • B. 1949 • she began contributing photographs to
Rolling Stone in 1970
• She was made chief photographer of
Rolling Stone three years later
• She is known for her images of rock
personalities, notably a 1975 Rolling
Stones concert tour series
• She became a principal photographer
for Vanity Fair magazine in 1983
• Her arresting, generally posed, and
technically accomplished images of the
famous and the unknown, in deeply
saturated color or modulated black and
white, represent a broad survey of
American popular culture
13.
14.
15.
16. STEP 1
• Light the
Background/Back
drop first
• Aim the light at
the backdrop
behind the model
17. STEP 2
• Overlight the hair
from above and
behind the model
• Use a softbox to
diffuse some of
the light
18. STEP 3
• Use a “kicker
light” (also known
as the accent
light) to highlight
the opposite areas
highlighted by the
main light or key
light(s)
19. STEP 4
• Use the main light
to add dramatic
shadows and
highlights to the
subject
• Aim this light to
flatter the model’s
natural beauty
20. STEP 5
• Use a fill light to
soften
shadows, soften
hard edges and
control negative
space
21. Final Image
• Setup all five
lights together so
that the model is
completely lit
22. Position & Placement
• the ¾ turn
• 45º angle head-tilt
• projecting the chin out toward the
camera
• using a slightly higher camera position
what not to do
23. Posing the Head & Shoulders
• avoid “football shoulders”
by having the subject turn
to a 45 ⁰ angle
• have the subject sit tall –
no slouching!
• never tip a man’s head to
the high (feminine)
shoulder as he will look
feminine
• women's heads can be
tipped toward either
shoulder, but the feminine
shoulder is more appealing
24. Posing the Full Body
• make the pose look natural
• the legs are almost parallel
to the camera plane
• the shoulders are nearly
perpendicular to the camera
plane and are turned at a
45º angle
• the head (and therefore the
face) are at an angle slightly
off of the shoulder, pointed
to the camera left
what not to do
what to do
25. Posing Groups
• use figure triangles to
organize groups
• use angles and
perspective
• use leading lines
• use
foreground, midground
and background
• vary sizes and use both
horizontal and vertical
space
• keep images dynamic
• create “book-ends” and
symmetry
26. Cropping
• shooting portraits from a
distance will increase your
depth-of-field and blur out the
background (also can be
achieved in Photoshop)
• when cropping an image, there
are several things to keep in
mind: a) crop above or below
joints to avoid “amputated
limbs,” b) leave some
background to avoid
“claustrophobic pictures” and
c) do not crop tops of heads
