Light and-shadow

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Copyright © 2017 by Tony Corbell.
All rights reserved.
All photographs by the author unless otherwise noted.
Published by:
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ISBN-13: 978-1-6820-3143-8
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Contents
About the Author
Introduction
1. Equipment for Lighting in the Studio
Studio Strobe Basics
Power Pack Lights (or Generator Lights)
Monolights (or Self-Contained Lights)
Recycle Time
Flash Duration
Color Balance in the Studio
Methods of Firing Studio Strobes
Continuous Light
2. Light Shaping Tools in the Studio
The Basics
You Don’t Need Everything
Standard and Parabolic Reflectors
Umbrellas
Softboxes
Beauty Dishes
Octabanks/Octaboxes
Honeycomb Grids and Egg Crate Grids

Collapsible Reflectors
Ring Flashes
3. Backdrops and Props in the Studio
Backgrounds
Lighting the Background
Draping
Types of Backgrounds
Props
4. Light Control in the Studio
The Theory of Lighting Relativity

The Shadow Edge
The Highlight
The Relationship Between Light and Shadow
In Conclusion
5. Metering and Exposure Controls in the Studio

Light Meters
Shutter Speed
6. Creating Traditional Portraits in the Studio
Posing the Traditional Portrait
Lighting the Traditional Portrait
Depth in the Traditional Portrait
Enhancing the Depth with Accent Lights
7. Creating Contemporary Portraits in the Studio
Lifestyle Images
Background Selection
Lighting the Contemporary Portrait
The Main Light
Fill Light
Additional Depth
Hair Light
8. One Light, Two Lights, Red Lights, Blue Lights
The One-Light Portrait
Adding a Scrim
The Two-Light Portrait
The Control of Color Gels
9. Practical Examples
Thr Traditional Two Light
Tony’s Twins
Big Wall of Light
Three Points of Light
The Scrim Light
The Glamour Light
Profile Light
10. Homework Assignments
Assignment 1: Variations in Contrast

Assignment 2: The Eyes Have It
Assignment 3: Tradition
Assignment 4: The Contemporary
Assignment 5: Black & White
Assignment 6: The One-Light Portrait
Assignment 7: The One-Light Still Life
Assignment 8: Add Colored Gels
APPENDIX
Working with Clients
Building a Lifelong Relationship
A Heartfelt Gesture
A Thank-You Snapshot
Don’t Get Caught Up in the Technical Stuff
Show That You Are Invested in Success
Make Small Changes, Watch the Details
Index

About the Author
For more than twenty years, Tony Corbell has educated and inspired photographers throughout the
world. His sold-out lectures and workshops have been seen in twenty-four countries and forty-nine
U.S. states. His articles on lighting controls and theory have been regularly published in textbooks,
magazines, and trade publications. He is also the author of several books. Today, after thirty-five
years as a working professional, Tony remains an active member of the photographic community,
serving as Lighting Evangelist and continuing to teach and lecture throughout the world. He is also the
author of Light and Shadow: Dynamic Lighting Design for Location Portrait Photography
(Amherst Media®), the companion volume to this book.

T
Introduction
he studio is a special area where magic can take place—and often does. It is where men, women,
and children go every day to have their portraits taken. Some want a family portrait, others need a
business headshot, and still others are looking to document an anniversary or birthday. In the studio,
there are school portraits taken daily, as well as images of brides and grooms—all for the sole
purpose of preserving memories.
Making people look and feel their best is the primary goal of the studio photographer. Posing is
important in achieving this. But the lighting of the portrait subject can either make or break the image
—and understanding the numerous controls, tools, and creative possibilities of lighting contributes
greatly to the success of any studio photographer’s work.
Portrait photographers in big cities and small towns have been actively documenting lives in their
communities for more than a hundred years. In a new digital world, with billions of cell phone images
being taken annually, there is still something special about the ability of professional studio
photography to reveal a deeper essence of someone’s personality—or to tell a story centered around
a desired quality, style, or mood. As a young teenager, I vividly recall my mother’s excitement as we
all got dressed and prepared for our family portrait sessions. Those portraits, from more than forty
years ago, are some of my most prized possessions. I keep them in a labeled box that will be the first
thing I grab in the event of a fire, earthquake, or other disaster.
I have been teaching about lighting for a while now, and it is my hope that this book will help you
with lighting techniques and teach you how to control the outcome from each of your sessions. I want
to help you create something truly meaningful. Most importantly, I hope that the lessons and examples
in this book will reinforce for you the importance of creating exceptional work when you take on the
role and responsibility of producing lasting images and family heirlooms.

A
1. Equipment for Lighting in the Studio
s we begin to tackle the topic of studio lighting, we have to start with the single most elementary
aspect of this kind of work: the equipment. Working in the studio requires very specific tools
designed to perform the necessary functions needed in portrait photography. As with anything else,
there are choices—choices in quality, features, and brands. Before you begin working in the studio
you’ll have to make some decisions about what kind of equipment you will likely use. This may be
influenced by your photographic training, your mentors, or perhaps other photographers in your area.
At the same time, you must also factor in the type of work you plan to produce, which may have
special requirements.
Figure 1-1. Most photographers choose to use strobes in their daily work.

Figure 1-2. Shooting with strobe helps to eliminate any subject movement and keep your images
looking sharp.
Studio Strobe Basics
Advantages. Most studio portrait photographers choose to use studio strobes ( figure 1-1 ) in their
daily work; there are a number of reasons for this. First, working with strobes makes it much easier to
freeze your subjects. The near-instantaneous burst of light from a flash helps to eliminate any
movement that could make the image appear a bit soft or slightly out of focus ( figure 1-2 ). For
example, if you are taking a family portrait and there is a small child in the photo, he might be a little
anxious about being in the studio and could be swaying left or right or possibly wiggling a foot as he
sits on his parent’s lap. That subtle movement would appear as blurred motion—if you were not using
strobe lights. Studio strobes will also allow you to work at a wider variety of apertures for
increasing or decreasing the depth of field, depending upon your specific need for the image and
subject.
Power Output. Most brands of studio strobe lighting are available in different power output

levels, measured in watt/seconds or joules. This refers to the amount of flash output from the unit; a
rating of 400–500ws per individual lighting head seems about average for most portrait studio
applications. Certainly, lights are available with more or less power, and each unit is adjustable from
full power down to ½, ¼, ⅛, and even power. Some photographers who work in smaller, more
confined studio spaces can work with less power—say 200ws. Even speedlights work in some studio
situations, but there are trade-offs: the maximum output can be less than needed and, without a
modeling lamp, it can be harder to focus and to predict the results you will get when using light
shaping tools.
Price and Value. I have always found that the price you pay for a specific piece of photographic
lighting equipment is a good predictor of the value of the equipment. In other words, if you spend a
little less you will probably receive fewer features and a bit of a lesser product in terms of durability.
If you spend a bit more, you will usually find more features, a more durable light, and a more
consistent color temperature. It is all about a fair exchange of value—and only you know what types
of features you need, how the equipment might be used (whether daily or weekly), and the travel
conditions your work might entail. Also, you are the only one who knows your budget to spend on
lighting. If you are working in a small home studio you can spend less than if you need equipment that
might be used for heavy travel, large output, and more professional needs.
The price you pay for a specific piece of photographic lighting
equipment is a good predictor of the value.
The brand that I have had the most consistent and long-term relationship with is Profoto ( figure
1-3 ). They continually create well-made, professional products. While some might consider them a
bit expensive, I have always found that they hold up extremely well to the rigors of daily use in
professional applications. They are durable, made of the highest quality materials, and employ
cutting-edge technology in their electronics. I have also used—and, at different times of my career,
been connected to—Bowens (UK) as well as Elinchrom and Broncolor (Switzerland). These are all
quality brands with a great series of accessories and long-term respect throughout the world. Also,
they each began as a family business.

Figure 1-3. Quality lighting equipment can be a significant investment but it offers great long-term
value. Image courtesy of Profoto .
A Quick Burst of Light . Most studio strobes are designed to produce a daylight-balanced burst
of light at a high-speed flash duration that is hard to beat for general portrait work. The amount of
time that it takes the flash to peak at full strength then dip down to dark again is quite fast. This can
range from second flash duration all the way up to second. This comes in handy for taking
photos of dancers in motion or when you need to freeze the motion of a falling drop of milk for a
commercial advertisement image.
The Flash Tube . Studio strobes are equipped with two separate lights within each individual
lighting fixture or light head. First is the flash tube, which is designed to create the exposure. This is a
glass tube filled with xenon gas in a vacuum and includes a small wire filament ( figure 1-4 ). When
a sync cord or remote sync completes or closes the circuit, the wire filament receives an electrical
charge and the gas is fired. This triggers a quick, controlled mini-combustion. The control of
brightness or output is achieved by dialing the power up or down on the flash head, depending upon
the type of picture you are taking and at what lens aperture you need to work.
Figure 1-4. Studio strobes contain two light source. The first is the flash tube.

The Modeling Lamp . A second lamp within the lighting fixture is the modeling light ( figure 1-5
). This is designed simply to aid in focusing and approximating what the image will look like when
the actual exposure is made. Modeling lamps can be tungsten, halogen, or quartz bulbs. While
modeling lamps are not often bright enough to aid in making the actual exposure, the image cannot be
made effectively without one—at least in a darkened studio. Focus is a critically important step in
studio portrait work and the modeling lamp makes it possible. In chapter 2 we’ll take a look at light-
shaping devices, but for now it’s important to note that what they do with the light and shadow can
only be previewed on our subjects thanks to the modeling lamp. I have had students ask what the
color balance (or Kelvin temperature) of the modeling lamp is. That really does not come into play
unless you are using it as the light source for your actual exposure—or in instances when you’re using
a very slow shutter speed that could cause it to affect the exposure. Keep in mind that the exposure
settings when shooting with flash are based on the strobe or flash tube, not the modeling light.
Figure 1-5. The second light source in a studio strobe is the modeling lamp.
Power Pack Lights (or Generator Lights)
This type of strobe system consists of a power pack (generator) and multiple heads (lamps) that are
connected to it via cables. The electronics, capacitors, and controls are all located in the generator (
figures 1-6 and 1-7 ). This means that the heads only need to house the modeling lamp and a flash
tube, so they can be quite small and lightweight. (Usually, these heads have an on/off switch for the
modeling lamp, but not much else in terms of functionality.) Once the heads are plugged into the
power pack, the power is distributed to each light based on power-pack setting that allows for
control of the output level and symmetrical vs. asymmetrical output.

Figures 1-6 and 1-7. The power pack contains the electronics, capacitors, and controls for this type

of light.
This generator-style strobe is capable of great power output, which makes it a good choice for
many photographers. Commercial photographers and many portrait photographers also like that the
lightweight heads are easy to position. Another benefit to shooting with this kind of light is that it
needs only one A/C power cord to plug into the wall outlet. Each head ( figure 1-8 ) is connected to
the power pack, which is then plugged into the wall.
Figure 1-8. The heads are connected to the power pack, which is plugged into the wall.
Some of the higher quality power pack lighting equipment is designed to offer the photographer
variable color temperature settings. This feature may have been more important in the days of film
(especially with transparency/slide film) than it is in today’s world of digital editing capabilities. But
it is a feature, nonetheless, that some photographers find useful. Also, some models feature extremely
short flash durations designed to freeze moving subjects—even with high-output settings. Again, this
can be extremely helpful (and versatile) for advertising work, when photographing pours and
splashes, freezing dancers in motion, and in some forensic photography as well.
Monolights (or Self-Contained Lights)
Just as the name implies, monolights can stand on their own. They are designed to include all of the
electronics and controls within each individual strobe head. This gives the photographer tremendous
control over the output of each head since they are not dependent upon the power pack to distribute
power. This has made them very popular—and, in fact, the number-one choice in studio lighting for
portrait and people photography. However, there is a trade-off for this kind of control: the heads are
heavy. These heads have to perform all of the same functions found in the entire power pack lighting
system—but in each individual head. Also, each individual head requires its own A/C power cord.
This means that if you have four monolights on a photo shoot, there will be four power cords that will
each need to plug into wall outlets or power strips. The upside? You gain the precise control, down
to stop, on each separate head.

Figures 1-9 and 1-10. In a monolight system, each head has its own electronics, capacitors, and
controls.
Figure 1-11. Each monolight has its own controls and power cord, making it easy to position and

control.
I have been using monolights exclusively for almost twenty-five years ( figure 1-11 ). For me,
they are the most effective means of controlling light quickly and efficiently in the studio and I have
learned to work around the heavier weight issue. And having stop control on each individual head
on the set means having total control over my picture.
Recycle Time
Each time the strobes fire, there is an inherent delay in getting the capacitors built back up to the
preset output power level. This delay is called the recycle time and it will vary based on the power
level. Obviously, the higher the output, the longer the recycle time will be. In today’s world of higher
quality camera sensors and fast ISOs (with little to no degradation of quality), it is entirely possible
to set your strobe to a lower output than in the past and increase the ISO setting. This yields two
positive results: much faster recycle times and (when using battery powered lighting units) much
longer battery life.
Flash Duration
Flash duration is the actual amount of time it takes the flash to fire—from the time the flash pops and
reaches its maximum output until it goes off. In most cases, in portrait work, this is insignificant.
Again, there are times when a very fast flash duration can be quite helpful. For example, it can be
very useful when you need to freeze the action of a jumping dancer. In ambient light photography, this
is something you would control for by using your camera’s shutter speed. When shooting with flash in
the studio, however, the shutter speed cannot exceed the camera’s flash sync speed, which is typically
in the to second range. That will not properly freeze a fast moving subject ( figure 1-12 ). In
these cases, the flash duration takes over and can help tremendously. Some flash units have flash
durations as short as second. If this is something you are in need of or interested in exploring, get
online and read all of the lighting manufacturers’ specs on their products. You’ll find many that offer
very fast flash durations.
Color Balance in the Studio
In digital photography, we are responsible for making sure that the color balance in our work is true
and accurate. In most portrait circumstances, our job is to present a “complimentary likeness”—and
part of that is great skin tones and true clothing colors. In the previous film generation, our color
outcome rested firmly in the hands of the professional color labs that both processed and printed our
negatives. But that area of responsibility now rests with us.

We are responsible for making sure that the color balance in our work is
true and accurate.
Happily, one of the great things about studio strobes is that (for the most part) they all have the
same color balance. They have all been manufactured to give a daylight color balance when the flash
tube is fired. While some brands might be a little biased towards warmer or cooler tones, they are
very close to the same color from brand to brand. Using the small “sun” icon as your camera’s white
balance setting will render true color in most cases.
One important aspect to color that has to be discussed here, however, is the quality of your
lighting equipment. The color output of some brands might drift as the output setting shifts from full
power to ½, ¼, or even ⅛ power. The stability, consistency, and accuracy of the color balance can be
a major selling feature for products in the more expensive range—and it can also be a determining
factor in your choice of lighting equipment.
Figure 1-12. The short duration of flash makes it ideal for working with moving subjects like
dancers.

For absolute color fidelity and instances where the garments or props must meet rigid standards
of color accuracy, it is common practice for professional photographers to create a custom white
balance. This can be accomplished by shooting a color checker chart in the scene. In post-processing,
the color can be precisely balanced to match the color picker. That same set of adjustments can then
be applied to all of the other images taken with the identical lighting setup.
There are many ways to create perfect color. In fact, there are entire books on the topic, so I
won’t dig much deeper here. Suffice to say that creating color that simply makes people look like they
look is really important and yet not as difficult as you may have been led to believe.
Methods of Firing Studio Strobes
In order for your lights to actually flash when you take a picture there has to be communication
between the camera and the lights. There are several different methods for generating the electrical
charge to close the loop on the circuit and make the flash units fire.
Flash-Sync Cords. The sync cord supplied by virtually all lighting manufacturers is the simplest
and least expensive way to synchronize the firing of your flash. This cord plugs into the camera on
one end and into one of the lighting units (or, in the case of power pack lights, directly into the power
pack) at the other end.
The financial benefits are terrific, especially if you are first starting out and will just be working a
few sessions a year (maybe even out of your home). The one major drawback is that the camera is
now physically connected to the lights by a long cord, and this can limit your camera movement. At
times, it can also create a bit of a danger—especially if there are small children on your set or in your
studio. They can easily trip over the cord in a dark room, hurting themselves and/or damaging your
equipment. This is a big issue that has caused trouble for numerous photographers (including myself,
early on).
The one major drawback is that the camera is now physically connected
to the lights by a long cord . . .
Flash-Activated Trigger. Many strobes and flashes have a built-in cell that is used to detect
another flash firing and trigger the light. This is terrific if you have a small light on or near the camera
that can be fired by the camera and be “seen” by the other lights without adversely affecting the
exposure or the integrity of the image you are creating at the time.
Radio Remote Trigger. Finally, the most popular among professional photographers is the radio
remote trigger. Radio remote controls are highly accurate and, since they operate on radio signals,
they can “see” through walls, around corners, and accurately fire with reliability. This allows the
photographer to place lights in areas that are more distant than a cord would allow or out of the direct
line of sight required when using a flash-activated trigger.
There are numerous popular brands such as PocketWizard, RadioPopper, and the newest entry
into the arena, Phottix. They each have their own sets of different features, but suffice to say these are

terrific tools that just about all pros use every day in their work.
For many years, I used PocketWizard triggers and have many of them on hand, but I recently began
using the more dedicated remotes designed to work with my specific brand of lighting ( figure 1-13 ).
There are great features offered by staying “within” the brand. I personally like the Profoto Air-
Remote for all of the remote features as well as accurate TTL control for my Canon cameras.
Figure 1-13. The Profoto Air Remote TTL.
Continuous Light
For many years, long before we had electronic studio strobes and portable flash/speedlight units,
photographers worked with the light from continuous sources. Window light is obviously a great
choice for available or continuous light images, but it can be quite limiting in terms of portability and
output.

Figure 1-14. Fluorescent light fixtures for photography have become popular in recent years.
However, many photographers working today find there is a distinct advantage to using a
continuous light source for some specific needs. This might include photography that needs to provide
visual motion (as opposed to freezing it with strobe), to help with subjects who blink (often the case
with animals and children, plus many adults), and more. Also, new photographers who don’t want to
invest in strobes may find these units offer an affordable entry point into studio lighting.
Is there a right choice? Not really. In portrait photography, the issue of strobes vs. continuous light
sources is something you’ll hear discussed at all the photo events these days. Some people swear by
their continuous lights sources; others will never work without their studio strobes.
There is one major advantage to using continuous light. With strobe lighting, the modeling lamp
will approximate what you see when the strobes fire and the image is captured. But when using
continuous light sources, what you see is exactly what you get; there’s no guesswork and no
wondering.
Figure 1-15. LED light panels are a popular choice for today’s studio photographers.

Figure 1-16. Tungsten light is a classic choice for photography and continues to be popular.
When using continuous light sources, what you see is what you get;
there’s no guesswork and no wondering.
Fluorescent ( figure 1-14 ) and LED ( figure 1-15 ) light sources have really taken off as the most
popular continuous light sources in recent years. There are numerous brands, of course, and many
different sizes and shapes. They are all really helpful and easy to use. The ease of use is the big
benefit, coupled with the small size and light weight.
Tungsten lighting ( figure 1-16 ) was used for many years as a choice in continuous lighting—
mostly because it is bright, easy to use, and fairly common to find. The color temperature (or Kelvin
temperature) is an almost consistent 3200 degrees.

P
2. Light Shaping Tools in the Studio
hotographers often project their own personal style into a portrait session. The more successful
ones will also ensure that the images reflect the style and personality of their clients/subjects. I
recommend spending quite a bit of time with your client discussing what the portrait should be about,
determining what it will be used for, and—more importantly—who they are as individuals. It is only
with this in mind that you can effectively begin the task of deciding how you will approach lighting
the subject. This discussion should guide how you use the equipment we just discussed in chapter 1
and how you might best create the image that both you and your client want.
Only with this in mind can you effectively begin deciding how you will
approach lighting the subject.
The Basics
Light shaping tools are aptly named as their function is simply to change the size and shape of the light
source. This, in turn, changes the light quality (how hard or soft the light is) and can help determine
the mood and feel of a portrait. For example, a large light modifier produces soft light and a more
gentle feel. A small light produces harder light with sharp shadows that might offer an edgier, more
focused style.
You Don’t Need Everything
Every lighting product has a right to exist. However, not every photographer needs every tool. For
example, a commercial food photographer might need a specific spotlight that would have no real
role in the work of a portrait photographer. Likewise, wedding photographers need portable
equipment but may not have as much use for a 4×6-foot softbox.

Figure 2-1. Large light shaping tools produce soft lighting and can help establish a gentle mood.
Let’s take a look at a number of different lighting tools and identify some of their best attributes.
Standard and Parabolic Reflectors
A small reflector head ( figure 2-2 ) is supplied with nearly all lights, regardless of brand. They
usually are from 6 to 8 inches in size and are often used as a general tool to light up a large area.
However, in a portrait situation they might be a little harsh.

Figure 2-2. Standard reflector.
They also create a very broad swath of light when they are not controlled in some way; they tend
to light up the floor, walls, background, and even the ceiling. This makes them good for some things
(like large areas that need to be lit). A rigid grid ( figure 2-3 ) is often available as an accessory and
is helpful for constraining how much spill there is from the light (also known as the area of light
coverage). However, the controlled light needed for quality portraits is still not their strength—at
least as a main light source.
Figure 2-3. Rigid grid.
For some brands of lights, the standard reflector is used for another purpose: to harness the light
enough to bounce it into an umbrella. This will eliminate any problems with light spilling outside of
the edge of the umbrella.
The parabolic reflector ( figure 2-3 ) was used for many years as a traditional portrait lighting
tool of choice. The most popular was a 16-inch unit from Photogenic. When placed in the hands of a
master, this became a great tool to craft beautiful lighting for faces. It allows nice space for highlights
and depth for shadows to help tell the story. The parabolic was so popular that literally everyone in
my friend/peer group used this at one time or another on their portrait lighting journey. The idea was
to use this great product with a pair of barn doors, which were used to limit where the light could

spill. Basically, you could use the barn doors to “gobo” the light off of the background or create a
nice falloff effect in the lower area of the portrait, helping draw the viewer’s attention to the face of
your primary subject.
Figure 2-4. Parabolic reflector.
Many photographers have a misconception that the “great master” painters/artists they pattern
themselves after used large, soft window light all of the time in their work. The fact is, they used
more directional, harder-edged light to achieve more of a “sculpted” effect in their work. You can see
this in many artists’ paintings from the Italian Renaissance—as well as from the well-respected Dutch
painters. The parabolic reflector is a terrific tool to replicate this kind of look.
Umbrellas
One of the most misunderstood lighting tools is the umbrella figure 2-5 . I think the reputation they
have for not being very important might be because they are generally inexpensive and often come
free as part of a lighting set or kit. However, umbrellas serve a few really wonderful purposes that
other lighting tools simply can’t.
Admittedly, umbrellas are a challenge at times in the studio because they have a tendency to send
light everywhere. They are not easy to control if you are working to confine the light to a specific
area of your photograph, such as the background. This is especially true if you are in a small studio. If
the angle to the camera from an umbrella is too extreme it can also cause lens flare that can be a big
problem. The very clever Profoto SpillKill ( figure 2-6 ) is one accessory that can help to eliminate
any issues of flare when using their D1 strobe head.
Nothing compares to an umbrella for lighting a large group of people or a large area. When
shooting studio portraits of a large family, using umbrellas produces an even lighting and exposure

level that simply cannot be accomplished as efficiently with another modifier. There are a lot of
location photographers, certainly interior and architectural folks, who cannot work without a few
umbrellas in their arsenal of equipment. Recently, I have been working with the entire family of really
large umbrellas ( figure 2-7 ) because they offer the great benefit of a large light source but with the
added feature of very large areas of coverage—something I cannot get from a large softbox, for
example.
Figure 2-5 . Umbrella.

Figure 2-6. Profoto SpillKill.
Figure 2-7. Really large umbrellas are powerful lighting tools.
Figures 2-8 through 2-11 are several examples of umbrellas doing what they do best.

Figures 2-8, 2-9, 2-10, and 2-11 . Portraits created in the studio using umbrellas.

Figures 2-12 and 2-13. There are different sizes and shapes of softboxes (above) to suit different
portrait lighting styles (left).

Softboxes
There aren’t any lighting tools that have become more important to working portrait photographers
than the softbox. This versatile and almost standard piece of equipment is ideally suited to work with
portrait subjects because a softbox can almost always make a face look great. Softboxes are available
in a variety of sizes and shapes for all kinds of different tasks ( figures 2-12 and 2-13 ). The 3×4-foot
softbox (often called “medium”) is one of the most widely used for many portraits as it provides light
that is both soft and directional, based on its position.
There are many successful studios that only use softboxes. They are reliable, easy to control, and
consistent—all things that combine to make it a great choice in lighting the portrait. However, while
softbox lighting can be quite forgiving, understanding the role of adjusting its distance and angle
relative to the subject remains important for producing quality results.

Figures 2-14 and 2-15. Softboxes are extremely versatile light modifiers for studio portraiture.

Figure 2-16. The gentle light from a softbox can make skin look so nice that little or no
postproduction is required.
When used at a 45 degree angle to the camera, a softbox yields really pretty results on the face. It
can be aimed directly at your subject or “feathered” slightly toward the background, which can add a
subtle brightness to the background. Or it can be slightly turned away from the background to
minimize any light on the background.

Figures 2-17 and 18. A softbox can be masked to function as a strip light.
Most of the images used in this section, as examples of portraits that were taken with a softbox,
were not retouched to correct any lighting or skin issues. Most were directly out of the camera—just
as you see them here. With proper exposure, color balance, and quality lighting control, a large
majority of your work can be shown and often delivered to the client with no further postproduction
needed, other than a little basic cleanup. Can you even imagine how much time that could save you in
a single session—never mind over the course of a year?
Standard shapes of rectangular and square softboxes are the most often used in portrait work.
There are also strip boxes, which (as you can imagine) are ideal for long, slender accents and for
lighting narrow beams of all kinds. Square boxes can also be masked to produce the same effect (
figures 2-17 and 2-18 ). Adding an accessory soft egg-crate grid helps to offer the ultimate control
over portrait lighting ( figure 2-19 ).

Figure 2-19. Egg crate on a softbox.
Figures 2-20 and 2-21. Beauty dishes.
Beauty Dishes
Of all the different types of light shapers available to photographers, the beauty dish is by far the most
unique. What I mean by that is that it is a wonderful light source when used properly. When not used
properly? Not so great.
Of all the different types of light shapers available to photographers, the
beauty dish is by far the most unique.

The beauty dish ( figures 2-20 and 2-21 ) looks as if it is a large parabolic reflector that has been
flattened out to a more shallow depth. Often, these modifiers come equipped with a small reflective
cover in the center. This deflector covers the flash tube and bounces the light back into the “bowl” of
the dish. This creates a light that is still concentrated but not quite as hard and sharp as a smaller or
more direct light source.
While the placement of most light shapers in a portrait situation doesn’t have to be extremely
precise, the beauty dish is different. It is the only light source that I use by watching the face of my
subject very closely while moving the beauty dish up and down and in and out until the exact “mask”
of the face seems to almost glow. If you watch the face while you place the beauty dish you will see
there is some light position where the face really does seem to come to life and look its very best (
figure 2-22 ). Stick with positions that are approximately 3 to 4 feet from the face. If you place the
beauty dish any farther away from the subject, it becomes another just light source.
Figure 2-22. A portrait shot with a beauty dish.
However, I must give a brief word of caution here. A beauty dish is designed to make a really
great face look even greater. If your subject’s face has wrinkles or imperfections they’d prefer to see
minimized, they won’t likely benefit from the beauty dish. I once heard a photography speaker say the

beauty dish is truly great for a beautiful face. I think he was right.
Octabanks/Octaboxes
I am now in my thirty-fifth year as a photographer, and I can say without hesitation that this has easily
become my favorite light source. I avoided the octabank for almost twenty years before finally
deciding that my problem with an octagonal shaped catchlight in the eyes was really not a big deal or
detrimental to the image at all. For me, the quality of the light far outweighs anything that could be
thought of as a shortcoming. This light source does a great job on the face and, in fact, lighting more
than one person and more than just a face. Full-length portraits are beautiful with an octabank, which
provides soft yet directional lighting ( figure 2-23 ).
This has easily become my favorite light source.
The octabank can be used as a contemporary portrait light for one person and does a beautiful job.
But it is also quite a nice light source for four, five, or even six people. Due to the nature of its size,
there is an inherent softness as long as it is used close to the subject. As with any source, if you move
it back a long distance from the subject, the quality of the highlights and shadows start to diminish.
There is an inherent softness as long as it is used close to the subject.
Figure 2-23. Portrait created with an octabox.

Figure 2-24. Octabox.
Octaboxes ( figure 2-24 ) generally come in three sizes, regardless of the brand: small, medium,
and large. There is also a very large version of the octabank specific to some brands, such as
Elinchrom, Broncolor, and Profoto. These ultra-sized giant light sources are often used in
sophisticated fashion shoots and editorial location work. While they are easy to use, they require a lot
of ceiling height and a larger studio or shooting area.
Honeycomb Grids and Egg Crate Grids
Designed as tools to restrict the spread of light, honeycomb grids are hard, metallic accessories that
fit onto the head of smaller reflectors and beauty dishes. They come in different degrees of restriction,
rated in degrees; 20, 30, 40, and even 50 degrees of coverage angle are the standard types. These
tools are in almost every photographer’s bag of tricks because they are very helpful in maintaining
control over the areas that are being illuminated by a light source.
A related light modifier accessory is the larger, soft, egg crate grid that is often used with large
softboxes for the same purpose as the smaller grids. Typically, these devices attach to the front of a
softbox with Velcro fasteners. They are the best tools possible to help channel the light from a large
source, giving it direction and controlling it without diminishing its size. These tools are essential for

minimizing light spill onto backgrounds and are chiefly used when lighting with accent lights from
behind the subject. Lights in this position are usually aimed forward to light the hair and shoulders,
separating the subject from the background. Adding an egg crate grid to these lights helps minimize
the risk of lens flare, but it also requires that you use more exact light placement. When placed
properly, gridded lights like this can add a great degree of dimension to your portraits.
When placed properly, gridded lights like this can add a great degree of
dimension to your portraits.
Collapsible Reflectors
These widely used reflectors are often sold in a package with white, silver, black, and gold fabric.
They also are occasionally sold with a translucent or diffusion material as well. Portability is the
name of the game here, as you can easily use these collapsible reflectors on location and they pack
down into small bags or cases. Every photographer I know uses these little beauties. They save time,
offer subtle or more dramatic change, and can really make a difference in an image.
I am one of the few still photographers who utilizes the black fabric reflector a lot in my work (
figure 2-25 ). I tend to feel strongly about what some call “negative fill” (or “subtractive lighting”)
which means eliminating light on the shadow side of the subject to offer a more dramatically lit
image. The black fabric is also great for minimizing overhead light.
The standard white reflector ( figure 2-26 ) is probably the single most used lighting tool in
photography of all kinds—from portraits and weddings, to fashion and commercial work, all the way
to macro and still life imaging. This is one very useful product and one that most photographers can’t
do without.
Figure 2-25. Collapsible reflector used for subtractive lighting.

Figure 2-26. Collapsible reflector used for additive lighting.
When placed properly, gridded lights like this can add a great degree of
dimension to your portraits.
Its cousin, lined with highly reflective silver, is very similar and is also used for many of the
same things as the white reflector. Silver does tend to produce a little more shine on the skin than
white fabric, but it is also much easier to redirect or reflect lower light levels. Gold fabric is also
very popular and adds a nice bit of warmth—but it comes at the risk of adding a lot of shine. The gold
is never flat or dull but always metallic and shiny, just like the silver fabric. Again there are many
instances where this can be highly useful if used correctly and at the right time. For example, I love to
add a touch of warmth to my subject’s hair when working outdoors. A gold reflector is ideally suited
for this and is quite helpful when used to eliminate the cool blue look in an outdoor portrait lit by the
open, blue sky.
Finally, the translucent or diffused fabric is tremendously helpful for softening any small, bright
source like the sun, a small strobe head in the studio, or a speedlight. They usually have a density in
the 1- to 1.5-stop range. This is really a helpful product and one that has many different uses.
Ring Flashes
As the name implies, a ring flash is a circular flash accessory. The photographer places the camera’s
lens through the ring when shooting. The effect is highly contemporary, giving very bright, clear, and
circular catchlights in the eyes. Since it is in direct line with the lens, it also eliminates any shadows
on the face. This modifier has gained tremendously in popularity over the past ten years or so.
When using a ring flash, the portrait subject’s skin takes on an almost luminous look as each pore
is filled with light—since there is no defined light direction ( figure 2-27 ). Another very fun result of

the ring flash is that, if you are within a few feet of a background, you will see a small, well-defined
shadow outlining the subject. Fashion and glamour photographers often use this light-shaping tool to
draw attention to the eyes of the subject.
Fashion photographers often use this light-shaping tool to draw
attention to the eyes of the subject.
Figure 2-27. Ring light.

T
3. Backgrounds and Props in the Studio
here are so many different choices of styles and techniques portrait photographers can use when
creating portraits in the studio ( figure 3-1 ). Some photographers love to create traditional
portraits that reflect the style and grace of artists of the past—artists like the great Dutch painters or
the masters of the Italian Renaissance, like Michelangelo, DaVinci, and Raphael. Other photographers
prefer styles that are more contemporary to their own time. They tend to look to today’s magazines
and movies for inspiration on style, clothing, and lighting. Still others are photographers working in
middle America who simply want to capture whatever look is requested by their clients ( figures 3-2
and 3-3 ). While clothing and posing will often help to establish the “look,” it is often the
backgrounds and props that represent the primary difference. A dramatic background or a specific
prop will do more to help set the tone for the portrait being presented by the photographer than just
about any other portrait elements.
There are so many different choices of styles and techniques portrait
photographers can use.

Figure 3-1. Any style you can imagine can be created in the studio.

Figures 3-2 and 3-3. For many photographers, the determining factor is the style that their client

desires.
Backgrounds
There are many comparisons made between photography and music. Many of my photography friends
have music in their personal history and so, for me, it seems natural to think of the background of a
portrait like the foundation or score of a piece of music ( figure 3-4 ). The tone is instantly set, even
though it may be secondary to the primary focal point. The background should serve to support the
subject in your portrait; it should not compete for the viewer’s attention.
Figure 3-4. A painterly background helped set the mood for this graceful dancer.

Figures 3-5, 3-6, and 3-7. Even backgrounds that make a fairly impactful visual statement will fall
into a secondary role when all of the other elements of the portrait are well conceived and executed.
Relying on a powerful background to “make” your image would be too easy and would, in fact,
only serve to take away from the primary objective of the portrait: the person whose image you are
creating. Clearly, the background is an element of your portrait that should be discussed with the
client. As the photographer, however, you should try to be persuasive about how the portrait look they
want can be most effectively designed. Strive to make good choices for the subject and create a truly
complimentary likeness.
Lighting the Background
When lighting backgrounds, the first and possibly most important thing to keep in mind is the
brightness or exposure. If you select a background out of a catalog, it will be presented as it truly
appears under normal daylight conditions. However, by adding more or less light to a specific
background, based on how you expose for the primary subject, you can entirely change the way the
background will record in your image. I have a few backgrounds that I prefer when they are
underexposed by 1 or 2 stops; there’s another one that I especially like when overexposed by 2 stops.
It does require some experimentation on your part and some practice time to figure out how best to
work with your backgrounds.
For variety, I will sometimes move a background light very close to the background to create a
more focused or spotlight appearance. One great rule of thumb to keep in mind is that the closer the
light source to the background, the more rapid the falloff of light will be. I often like to create a
gradient splash of light on my backgrounds. This can easily be accomplished by lighting from one
side only; adjust the size of source and its distance until the desired look is achieved. You can also

create a couple of bursts of light on a smooth surface. That yields a nice look.
Draping
Draping the background fabric can also add an element of depth and help to direct the viewer’s
attention. Simply roll up the background on one side next to the background stand and clamp it to the
stand. The resulting folds in the fabric can be lit with a small source for harder shadows or a larger
source to reveal softer shadows. This is a quick and easy way to add interest.
Figures 3-8 and 3-9. A graduated splash of light can spice up a simple background.

Figure 3-10. Draping the background creates texture and added interest.

Figure 3-11. Backgrounds can be made of muslin, canvas, or other fabrics.
Types of Backgrounds
Backgrounds can be made from muslin fabrics, canvas material, or even a blended wrinkle-free
fabric. I have several from White House Custom Colour that I use because they always look fresh and
crisp without wrinkles. You can paint your own backgrounds, splatter a piece of plywood with wild
colors of paint, or use a set of mini-blinds. There are so many opportunities out there! One of my
photo buddies likes to follow a painter’s truck until they stop for lunch (or to work) and will offer to
buy their old drop cloths used to cover floors and furniture during house painting. This is a great idea,
since the colors are fantastic and they can be picked up for very little money ( figure 3-11 ).
The colors are fantastic and they can be picked up for very little money.
Several of my favorite backgrounds are 8×10-foot wrinkle-free polyester fabrics from White

House Custom Colour. If the backdrop is suspended on a cross bar then raised to be just off the floor,
you can create the look and feel of a living room or bedroom by using a piece of painted trim from the
hardware store to create a trim at the bottom of what can look like a wall ( figure 3-12 ). To set this
trim in place, I use a couple of clamps and a small L-bracket. Then, I add a small weight of some type
to hold the L-bracket in place and keep it from tipping over. One fast and easy solution for the weight
is to cover a small bag of rice with gaffer’s tape; the gaffer’s tape makes it look much more
professional. A great tip to keep in mind is that this illusion will be even more effective if there is a
great looking floor meeting the edge of the trim. The flooring should look like it belongs in the same
“room” you are creating.
Figure 3-12. A cleanly hung polyester background was paired with a baseboard to create the look of
being in a home, rather than a studio.

Figures 3-13 and 3-14. Positioning a baseboard at the bottom of a backdrop.
Figures 3-15 and 3-16. The A-clamp secures the backdrop, baseboard, and an L-bracket. A weight

on the L-bracket helps keep the baseboard in place.
Figures 3-17 and 3-18. Covering a bag of rice with gaffer’s tape to make a quick weight.
Another fun way to create a fast and variable background, based on the subject and their clothing,
is with poster boards. I have multiple colored poster boards that can easily be arranged behind my
subjects. Bright or subtle colors and geometric shapes can be added—as long as you are careful with
your framing or cropping. This is has the added advantage of not requiring too much planning; you can
set it up and refine it quite quickly.
Bright or subtle colors and geometric shapes can be added . . .
Color gels also add a lot in terms of giving you a variety you might otherwise not have available.
Back in chapter 2 , we already saw a photo from one of my favorite recent commercial shoots—with
Nicholas, the coolest model of the year. I used Hollywood glamour lighting on the subject, then added
green-gelled light to create bold color and interesting shadows on the seamless background. As you
can see, this normal warm-tone background was totally transformed when a bright green gel was used
( figures 3-19 and 3-20 ).

Figures 3-19 and 3-20. A golden-brown background was gelled bright green for an eye-popping
effect.
Figures 3-21 through 3-24 show some different background styles. First, this fun background from
White House Custom Colour is made to look like a steel door and bricks ( figure 3-21 ). The next
ones ( figures 3-22 through 3-24 ) show some more unusual options from Backgrounds by Maheu.

Figure 3-21. This backdrop from White House Custom Colour presents a realistic-looking steel door
and bricks for an “urban grunge” look.

Figures 3-22 and 3-23. These images by Dave Junion for Backgrounds by Maheu show some really
interesting background options.
Props
Support props and materials have always been used as far back as portraits and portrait art have been
recorded. Chairs, tables, the edge of a stairway handrail, window ledges, and more have graced the
background and foreground areas in countless works of art. These props are intended to help set the
stage for the portrait and support everything it stands for. If you decide to integrate props, ensure that
they remain exactly what they should be: support material. Use great care not to “over prop” any
portrait, whether traditional or contemporary.
Using subtle and well-controlled lighting can help to add interest with props without drawing too
much attention. In low key photography (meaning darker tones in the background and subject’s
clothing choice), darker more moody props add a tremendous amount of interest. Portrait
photographers who enjoy higher key work (white backgrounds and lighter toned clothing) often use
white or light-colored props.
Again, the props should be selected simply to support the primary subject. They will be best
received by the viewer when the attention on them is secondary.

Figure 3-24. This image by Dave Junion for Backgrounds by Maheu shows another interesting
background option. Notice, too, the nice use of the chair as a prop to help create this engaging pose. It
adds interest without distracting from the subject.

I
4. Light Control in the Studio
have been teaching light control workshops for many years and, as such, have been forever linked to
lighting education and light theory. When I am asked why I have chosen to stay focused on light, I
respond that lighting education is one of the most overlooked and yet most important aspects of
gaining a well-rounded knowledge of photography. There are factors that are present in lighting that
can be subtle, artistic nuance—but there are others that are pure science and physics. Personally, I
enjoy trying to find ways to master both. There are many who describe the practice of photographic
lighting as engaging two sides of the brain: the left side of for analytical thought processes and the
right side more for creative thinking. It is a great exercise to try to use both effectively.
Bright or subtle colors and geometric shapes can be added . . .
The Theory of Lighting Relativity
Dean Collins, one of my greatest friends and mentors, used to teach that almost everything in
photography is based on relativity. Everything is relative to the next thing. With this in mind, think
about the size of just about any given light source. Its physical size is obviously a fixed value, but its
effective size actually varies relative to its distance from the subject. As a light source gets closer to
a subject, it becomes larger relative to the subject. This seems pretty simple and makes sense, right?
But what is important is how that change in distance affects the way the light looks on the subject.
There are three primary changes that occur whenever the relative size of the light changes. For the
sake of this discussion, let’s assume we are using a standard medium-size softbox. As you move the
softbox closer to the subject ( figures 4-1 through 4-3 ), three things happen:

Figure 4-1. A medium softbox placed far from the ball is small relative to the subject and creates a
small, well-defined shadow.
Figure 4-2. The same medium softbox is moved closer. It becomes larger relative to the subject and
creates a larger, slightly softer shadow.
Figure 4-3. The same medium softbox is moved even closer. It becomes still larger relative to the
subject and creates a big, relatively soft shadow.
1. The edge of the shadow becomes softer
2. The size of the actual highlight increases
3. The brightness of the actual highlight diminishes
Here’s the thing to consider with the above three actions. Physics plays such a big role in this area of
control that it is fairly easy to understand once you know what is taking place. The good news is that

it does exactly the same thing and reacts the same way each and every time you repeat an action. If
there is something you want or need to do for a specific picture, this means it should be fairly easy to
figure out what you need to do to achieve that look. You can also start with a specific look and then
alter the shadow or the highlight with predictable results. In order to produce depth in your work,
remember that both shadows and highlights must be present. In his writings, Leonardo DaVinci
expressed that “the artist who avoids the shadows may be said to avoid the glory in art.” So, let’s
first take a look at the shadow side of the equation.
It should be fairly easy to figure out what you need to do to achieve that
look.
The Shadow Edge
The only way you can effectively change the sharpness of the edge of a shadow is to change the
effective size of the light source—either by selecting a physically larger/smaller source or by
adjusting the distance of the light source relative to the subject. The light gets softer as the physical
size increases or as the light gets closer to the subject. The shadow gets sharper and more crisp-
looking when you diminish the physical size of the light source or move it further away from the
subject. Think about the shadow from the direct sun on a clear day. Even though the sun in physically
very large, its vast distance from a subject here on earth results in shadows that are extremely sharp
and almost cutting. However, if a cloud makes its way in front of the sun, the shadow edge becomes
instantly softer. The cloud is actually physically smaller than the sun, but it’s also much closer , so its
effective size is much larger.
Hard, cutting-edge shadows look great with portrait subjects who have really smooth skin (when
concealing blemishes or wrinkles is not a concern). Conversely, hard shadows can really make a
fabulous look for an elderly person in terms of a character study portrait. Accentuating the skin texture
can, in this case, help illustrate the long miles the person has traveled in their life. Understanding how
to refine this look by making changes in the distance/size of your light source is a great tool to have at
your disposal.
Shadows have dictated the subtleties of portrait lighting patterns on the face for many years. Most
portrait photographers have been taught the four primary light patterns, which are all directly related
to the shadow formed by the subject’s nose on their cheek or lip. In fact, their names are literally
descriptions of the shape of that shadow.
Shadows have dictated the subtleties of portrait lighting patterns on the
face for many years.
In split lighting, the face is literally lit on one side and not on the other. So half of the face is in
shadow and the other is lit for a true exposure of the skin tone ( figure 4-4 ).

Figure 4-5. Loop lighting.
In loop lighting, the shadow from the nose makes a small loop of shadow from the nose onto the
cheek, illustrating good depth ( figure 4-5 ).
The Rembrandt lighting pattern (also known as modified loop lighting) occurs when the shadow
from the nose in the loop position is moved until it touches the shadow area on the cheek. This creates
a small triangle of light on the cheek, surrounded by shadow ( figure 4-6 ).
In butterfly lighting (also known as Paramount lighting), the shadow from the nose is directly
below the nose and the shadow on the lip has the shape of butterfly wings ( figure 4-7 ).
It is helpful to understand each of these four basic light patterns. Just keep in mind that they are
based on shadows. When photographing a subject with a darker complexion, the shadows may be less
obvious. Instead, you may want to conceptualize your lighting based on the highlights; these tend to be
more useful sculpting elements when you are lighting to show the contours of a subject with darker
skin tones.
Figure 4-6. Rembrandt lighting.

Figure 4-7. Butterfly lighting.
The Highlight
In portrait and commercial photography, the highlight can become an integral part of the image,
illustrated as almost a design element. In a portrait, the catchlights in the eyes reflect the highlight
created by the light source. As the light source gets larger or closer, the highlight becomes larger.
Oddly, as the highlight becomes larger it also becomes less bright at the same rate that the size
increased. See if this makes sense. If (without changing the light’s physical size or output setting) you
make the highlight it produces four times larger, the brightness of the highlight will also diminish to ¼
the original brightness. This is because the output of the light is the same, but now it is spread over a
larger area. This is one of the single, most important lessons I learned about photography. It has made
me better and more respected—and it has saved more pictures than I can remember! Try this and you
will see how important the role of the relative size of the light is in the look of the highlights. In fact,
at the end of this book you will be given a little homework to practice this.

Figures 4-8 and 4-9. On dark and/or shiny subjects, the highlights become an integral part of the
image.
Imagine you are shooting a portrait and the subject is holding a glass of red wine. Now, the
reflective value of the glass adds another element to the portrait and must be controlled ( figures 4-8
and 4-9 ). The size and shape of the softbox will now play a significant role in the lighting on the face
but it will be especially obvious in the highlights on the glass. Paying great attention to details like
this will improve your photography more than just about anything else you can do (with the exception
of improving your client interaction).
This will improve your photography more than just about anything else
you can do.

The Relationship Between Light and Shadow
The relationship between light and shadow is one of the most personal and subjective controls you
have available. The brightness of the highlight side of the face, or the darkness of the shadow side,
can be anything you want if it helps to tell the portrait story. There are instances where you will want
more or less shadow depending on the client, the clothing, and how the image might be used ( figures
4-10 through 4-14 ). As you can see in these examples, lighting ratios that range from 1:2 (a 1-stop
difference between the shadows and highlights) to 1:4 (2-stop difference) or even 1:8 (3-stop
difference) are all good choices—but there will usually be one ratio that is just the right one in each
portrait session.
Figures 4-10 and 4-11. What is the right balance between the shadows and the highlights? It depends

on the story you are trying to tell in your image.

Figures 4-12, 4-13, and 4-14. What is the right balance between the shadows and the highlights? It
depends on the story you are trying to tell in your image. More on these images in chapter 6 .
Now, let’s look at two pairs of images, figures 4-15 /4-16 and figures 4-17 /4-18 . In each of
these examples, I used a simple white reflector to add a bit of fill light into the shadow side of the
face. One thing to be very careful about is the placement of the reflector. Most photographers place
the reflector much too far back. To optimize it, move the reflector forward. This will produce a much
more flattering look on the face, especially along the bridge of the nose and in the eye on the shadow
side of the face.

Figures 4-15/4-16 and 4-17/4-18. In the images on the left, you see the effect of the main light only.
To reduce the shadow, I added a simple white reflector. This produced the effects seen on the right.
Figures 4-19 and 4-20. Don’t put the reflector too far back (top). Moving it forward (bottom) will
produce a more flattering look.
In Conclusion

As we finish up this chapter please again notice how the size of the light source makes all of the
difference in shadow edge, highlights in the eyes and the overall lower contrast look and feel of the
image ( figures 4-21 and 4-22 ). Also, keep in mind that the success of an image is often not
determined only by the contrast of your light; the direction of light will also play an important role.
For example, for figure 4-23 the light was very high and almost behind the subject, aimed forward.
Figures 4-21 and 4-22. A relatively small light source (top) produces a very different look than one
that is large relative to the subject (bottom).

Figure 4-23. The direction of the light also plays an important role in the look of an image.

I
5. Metering and Exposure Controls in the
Studio
n all of my workshops, and in every article or book in which I have been involved, there are three
primary areas of discussion that I try to focus on. Those are:
1. Light quality
2. Light quantity
3. Light direction
We also have to possess an understanding of light quality as described in chapter 4 in order to excel
at our craft. Part of that includes light direction, which we will discuss in detail in a later chapter.
For now, however, we need to have a clear and detailed discussion of light quantity and how to
make sure that what we capture needs no additional time in post-production in order to repair a
incorrect exposure. My personal goal during a shoot is to make my exposures in such a way as to
eliminate any need for “global” adjustments in the image editing process. Editing an image to enhance
a good image is not only okay but I feel a desired aspect of the work. On the other hand, editing an
image to fix an exposure error made at the time of capture is a waste of time and has to be a tiring
proposition for any photographer, especially a professional. If you get the most you can out of your
knowledge of exposure and metering every time you make an image, you can minimize those efforts.
This will serve to give you more time later to spend experimenting on your images.
Editing an image to fix an exposure error made at the time of capture is
a waste of time.

Figure 5-1. A good image starts with an accurate exposure that suits your vision and helps tell the
story.
Light Meters
I believe that light meters, specifically those that will read flash as well as ambient light, are critical
to the success of a studio photographer. There are some photographers who feel that meters are no
longer necessary with today’s digital cameras. For those people, that is fine. However, I am most
interested in getting accurate exposure information from my meter before I make the exposure—
without trying to target-correct the exposures after taking the picture.
This has some important advantages. First, you are making your client wait while you fool around
trying to get the correct exposure by shooting, making an adjustment, shooting, making another
adjustment, shooting, and making another adjustment, etc. Second, there is an inherent confidence you
will personally gain in your work—and a confidence the client will sense in your abilities—when the
session moves along without hesitation because something needs to be adjusted each time you change
the position of a light.

All hand-held incident light meters, regardless of brand, have a spherical dome to gather light.
The light passes through this in order to register a value of brightness. Basically, you set the ISO you
will use in your camera, then set the shutter speed to one that will sync with your particular camera. I
always use second in the studio because it is slow enough (on all of my cameras) to sync with the
flash, but still fast enough to help minimize any concerns I might have with ambient light.
Editing an image to fix an exposure error made at the time of capture is
a waste of time.
Figures 5-2 and 5-3. Handheld light meters by Sekonic offer unique approaches for metering flash or
strobe as well as ambient and mixed lighting.

Figure 5-4. I always use the incident meter with the dome or sphere aimed directly toward the
primary source of illumination.
My light meter of choice is the Sekonic L758DR. It takes extremely accurate light readings with
ambient light and flash in the incident mode and also takes 1-degree reflective spot readings with
ambient and flash. It is the single most complete meter I know, and one that is consistently accurate
and true in its readings.
I know that a lot of photographers choose not to use light meters at all. Certainly, in
photojournalism work or any work that is fast-moving you really do not have time to measure the light
for each frame you take. But when you are in a controlled situation such as the studio, in an
executive’s office, or shooting something like a room interior, you do have that luxury. Take the time
to measure the light and you will save yourself many hours in postproduction.
I’ve always found the best exposures when using flash in the studio are when I point the dome of
the meter (sphere) directly at the main or key light and do exactly what is says. My meter is properly
calibrated and I have tested my camera, my lights, the histogram in my camera and in Lightroom, and
it is all accurate and true. The target histogram yields a small gap on the right side of the histogram
window which represents the highlight side, and a small gap on the left, representing the shadow side.
The gaps on each side assure me of a full tonal-range image with detail throughout.

Figures 5-4 and 5-6. The histogram has small gaps at either end, indicating I’ve captured a full range
of tones.
Aiming the dome of the meter at the primary light source assures me that one thing is certain. My
exposure will be based on the amount of light that falls on the subject. This is precisely the definition
of an incident meter—and knowing this reading is all I need it to provide. There are other
photographers who prefer to aim the dome of the meter directly at the camera; this will also work fine
if the main light on your subject is less than 45 degrees from the camera. If your light is more than 45
degrees off-axis, it will not hit the whole dome if you aim the meter at the camera. That will lead to
an overexposure. Turning the dome and aiming it at the main light will result in the most accurate and
consistent exposures.
Once you have accurately dialed in your camera and metering system and everything is exposure
managed, you can’t miss. In fact, I’d be willing to state that if you do what your meter tells you to do
you won’t miss an exposure again. You just have to pay attention.

Figures 5-7 and 5-8. The histogram has small gaps at either end, indicating I’ve captured a full range
of tones.
Shutter Speed
To further clarify the process of exposing in the studio, there is keep one important piece of
information in mind. The shutter speed with which you work in the studio has no real bearing on the
strobe exposure. The proper/correct exposure, as given to you by taking the flash meter readings, is
based almost entirely on the aperture—unless there is a high level of ambient light. In that case, the
shutter speed could be bumped up higher to minimize any influence (do not, however, exceed your
camera’s maximum flash sync speed). For the bulk of your studio work, shutter speed is not a factor;
only the ISO and aperture need to be adjusted.

I
6. Creating Traditional Portraits in the Studio
f you look back at the great old master portraits, there is quite a distinct flavor and an almost regal
feel in their styling. While contemporary portrait photography sells well all over the world, there is
still something about the traditional portrait ( figures 6-1 through 6-5 ). It is usually posed brilliantly,
lit perfectly, and propped just right.
Clothing selection is greatly important in order to produce a likeness that will direct the viewer’s
attention to the face while, at the same time, be wholly in keeping with the mood. Likewise, the
background helps set the stage for an image that will have “staying power.” It is generally harmonious
with the theme of the clothing or feel/mood of the session. Like the clothing, it is selected as a way to
support the portrait without overpowering it ( figure 6-6 ). Usually, a darker, more low-key approach
is used in traditional portrait photography—but this in no way should be thought of as a rule. There
are those who are drawn to lighter tones, as I am from time to time. The client gets to choose what
they like and our job as professional photographers is to give them what they want.

Figures 6-1 and 6-2. Traditional portraits have a refined, almost regal look.

Figures 6-3, 6-4, and 6-5. Traditional portraits focus your attention on the subject’s face.
Figure 6-6. Harmony between the clothing and background help keep the emphasis on the subject.
One thing that most traditional portraits have in common is that the arrangement of tones and
colors immediately directs your eye to the subject’s face ( figure 6-7 ). Our gaze is drawn to the
brightest area in an overall darker image or to the darkest area in an overall light image. One of my
mentors taught that it was a good idea to squint your eyes until almost closed and look at your print.
This helps you check just the tones, without considering other detail. Does your attention go to the
thing you want to emphasize or is it distracted by something—say, the white collar on the subject’s

shirt? Managing all these elements (including the clothing selection, in consultation with the client) it
is especially important for a traditional portrait.
Posing the Traditional Portrait
Traditional portraits are meticulously crafted ( figure 6-8 ) with careful attention paid to refining the
hand, body, and head positions, getting just the right facial expression, and choosing the right subject
placement in the frame. The biggest area where I feel many of today’s photographers could improve
is in posing. Paying attention to posing detail is one of the things that separates the accomplished
professionals from the newer folks in the field.
Figure 6-7. Our eyes instantly seek contrast in the frame. Here, the subject’s face is the only light area
in an otherwise relatively dark frame—so it’s the first thing we see.

Figure 6-8. Graceful hand posing and a nice expression make this portrait a winner.
There are so many inspiring photographers teaching workshops and the opportunities to learn are
literally in every city and town in the country coupled with hundreds of thousands of on-line learning
opportunities. However, solid fundamental posing is an area without a lot of how-to information.
Fortunately, more than thirty books to instruct on posing are available in the “posing” search area at
www.amherstmedia.com . Many of the top portrait folks in the country are authors under this
publisher and they have done a masterful job of covering all genres in portrait photography in terms
of posing. Specifically, Michelle Perkins has a series of books called 500 Poses; check out the
specific titles for areas of work you are interested in and you’ll find a lot of posing help. It can really
improve your portrait photography. And don’t forget that primary or even secondary props can help
inspire a good pose and help to tell a story about the subject ( figure 6-10 ).
Arthur Rainville, a good friend and Master Photographer, once said, “A photograph is of someone
but a portrait is about someone.” The portrait, and particularly the traditional portrait, can best be
used to illustrate who someone is. These images often become family heirlooms. Many people list
their photographs among the things they would first try to save in the event of a fire. They are the most
treasured things most of us have in our homes. Their importance cannot be overstated.

Figure 6-9. Refined posing is one of the things that sets seasoned pros apart from newer
photographers.

Figure 6-10. Adding a prop like a violin can also suggest natural poses.
Figure 6-11. Portrait with a 2:1 ratio.
Figure 6-12. Portrait with a 4:1 ratio.

Figure 6-13. Portrait with an 8:1 ratio.
Lighting the Traditional Portrait
In terms of lighting, most traditional portraiture is centered around the use of directional light in order
to produce depth, shape, and form. Traditional portrait artists tend to work with Rembrandt or loop
lighting patterns, as seen in the work of the great painters.
Often, this directional light is misunderstood. If the contrast from highlight to shadow is strong, it
can make for a dramatic result. However, sometimes the more gentle look of a lower contrast setup
(without creating an image that is flat or lacking depth) is needed to tell the right story. The key is to
have just the right amount of highlight and shadow based on the subject, the setting, and the desired
effect.
Let’s take a look at a series of ratios and put a number on these variations of contrast to best
determine the feel or “look” we most like for portraits:
The first example ( figure 6-11 ) reveals a ratio that is 2:1; the highlight is twice as bright as the
shadow (a 1-stop difference between the two sides of the face).
The second example ( figure 6-12 ) shows s a 4:1 ratio, meaning the highlight is four times
brighter. There is a 2-stop difference between the two sides of the face.
The third example ( figure 6-13 ) has an 8:1, which means the highlight is eight times brighter
than the shadow. There is a difference of 3 stops between the two sides of the face.
If these numbers don’t make a lot of sense to you it might be helpful to remember that everything
in photography progresses exponentially, meaning that each value is doubled (i.e ., 1, 2, 4, 8, 16, 32),
as opposed to arithmetically adding one to each previous number (1, 2, 3, 4, 5, 6, etc.). The falloff or
building up of light can be measured on a logarithmic curve. The Inverse Square Law describes how
light falls off in inverse proportion to the square of the distance. For example, if I move a light from a
position 5 feet from the subject to a position 10 feet from the subject, I am doubling the distance.
However, the amount of light on the subject would be reduced to 1/4 of its previous intensity.
Likewise, look back at my descriptions of light ratios at the start of this section and remember that
each +1-stop difference in the light actually means that it has been doubled (likewise, each –1-stop
change would mean it had been halved). In the portrait with a 2:1 ratio, the light on the highlight side
is twice as bright as the light on the shadow side; it is doubled once (1 to 2), so there is a 1-stop
difference. In the 4:1 portrait, the light has been doubled twice (1 to 2; 2 to 4), so there is a 2-stop

difference. In the 8:1 portrait, the light has been doubled three times (1 to 2; 2 to 4; 4 to 8), so there is
a 3-stop difference. The same math applies when using a filter for your camera lens; a filter factor of
eight means there is a 3-stop reduction in the amount of light entering the lens.
Traditional portrait photographers tend to work at light ratios between 3:1 and 4:1 in order to
help produce directional lighting yet maintain full detail in the highlights and shadows. As illustrated
in the 8:1 example ( figure 6-13 ), shadows will tend to block up at a 3-stop difference. While this is
not always a bad thing, it is something to keep in mind.
Traditional portrait photographers tend to work at light ratios between
3:1 and 4:1.
Depth in the Traditional Portrait
Creating dimension and depth in a portrait can be as simple as creating and controlling the lighting
direction ( figure 6-14 ). Directional light will also enhance the appearance of texture as the light
skims across skin, fabrics, and other textured surfaces. This means you have to pay attention to any
scars, acne, or wrinkles that your subject would prefer not to have emphasized in their portrait. With
lighter complexions, wrinkles will appear as shadows; on darker skin tones, they can appear as
highlights. Either way, you can control how these small shadows or highlights appear by using your
understanding of the relative size of light source (as we discussed in chapter 4 ), as well as through
the light direction and ratio control. With well-planned lighting, you can soften or almost erase these
problematic textures, saving you lots of time in postproduction.

Figure 6-14. In old-style Hollywood glamour looks, the shadow is as important as the main highlight
—and perhaps even more important!

Figure 6-15. Dimension comes from a mix of shadow, highlight, and true tonality areas.

Figure 6-16. Creating dimension is impossible without shadows.
Throughout the 1980s and 1990s, the great photographer Dean Collins taught the importance of
understanding three-dimensional contrast. As Collins taught, the form and texture of a subject are
revealed by three elements (the highlights, the shadows, and the true tonality of the subject) and the
transitions between these zones. The better you understand these controls, the more quickly your work
will progress.
The true tonality of your subject is its realistic color and lightness/darkness as perceived by our
eyes. Once you accurately determine that exposure level, the highlights (areas lighter than the true
tonality) and shadows (areas darker than the true tonality) help to reveal the textures and actual shape
of the subject. They also help to convey drama, personality, and mood.
A highlight, specifically a specular highlight, is essentially a mirrored image of the light source
that created it. If you light a shiny, highly reflective object you will see a reflection of the light source,
the device creating the highlight (refer back to chapter 4 for more on this). When photographing
people, this specular can usually be seen clearly in the eyes of the subject and is commonly known as
the catchlight. The catchlight will always tell you how a subject was lit—the position, size, and shape
of the light are perfectly reflected. Highlights from the light source can also be seen as subtle
reflections on the tip of the nose, the cheekbones, forehead, and on the brighter side of the face.

Figure 6-17. The true tonality (also known as the diffused highlight), the specular highlight, and the
edge of the shadows, where the highlight transfers into shadow. This transfer edge can be soft or hard.
Enhancing the Depth with Accent Lights
Once the lighting is properly adjusted for the face, creating depth and dimension based on the
highlight and shadow, I like to add one or more accent or “kicker” lights. These lights come from
behind the subject (on one or both sides) and are directed toward the subject to add highlights on their
hair, shoulders, arms, waist, or legs. These lights also help to separate the subject from the
background. This subtle gesture is another example of a small act that can pay big dividends in terms
of the image quality; it can help set you apart from the rest of the pack ( figure 6-18 ).
This subtle gesture is another example of a small act that can pay big
dividends . . .
The exposure of any accent lighting is critical. It can easily be overdone and made too bright. Don
Blair, one of my great friends, used to describe his accent light as a “garlic light.” He said when
garlic is just right, it adds so much taste to food; if it overdone, no one enjoys it. Accent lighting can
be the same way. We have discussed metering and exposure in chapter 5 , but let’s talk specifically
about how to place the brightness of the accent.
First, set your exposure as previously discussed by aiming the sphere of the light meter at your
main light. Then, position the accent light where you want it to appear. From the back of the subject,
aim the meter directly at the light source. You want it to read at least 1 to 2 stops below whatever the

reading is for the main light in order to have detail ( figure 6-19 ). As the angle of the light coming
forward, toward the subject, it will be too bright if you set it equal in output to the main light—and
you will see that your histogram information is pushed against the right edge, indicating loss of
highlight detail.
Figure 6-18. Accent lights added shine on her hair and enhanced the sense of depth in this image.

Figure 6-19. Set the kicker 1 to 2 stops below the main light level to add accents while retaining
highlight detail.
I do want to add that there are no rules, but I consider this a good place to start for traditional
portraits. More contemporary photographers sometimes like their highlights from the accent lighting
to be very bright and will often go 1 stop above whatever the main light reads on the subject. Some
say a bright accent edge light can make it easier to make a subject selection in Photoshop when you
want to swap in a different background. I will agree—there are times when this does come in handy.
It’s all a matter of personal taste.

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7. Creating Contemporary Portraits in the
Studio
any photographers love contemporary people photography for its excitement, creativity, energy,
color, drama, and more. There are classes at most schools and universities about contemporary
portrait photography and there are many, many talented photographers working today who exemplify
this type of work. Portrait clients often want this kind of look because it is what they see in
magazines, on television, or in the movies. Young portrait photographers especially are connecting
with their own age groups and bringing them exactly the portrait styles they are requesting.
Portrait clients often want this kind of look because it is what they see
in magazines . . .
As with all other kinds of photography, there are opinions about what is or is not contemporary.
Everyone has the right to their own opinions of what looks good to them and what they like or dislike.
The great news is that everyone is correct. Photography is subjective; people like what they like. This
can be based on personal experience, a specific style you favor aesthetically, or a particular lighting
tool you like to work with.
Lifestyle Images
Lifestyle images, usually light and airy with big smiles, are often part of this type of portraiture,
especially when working on location. In the studio, we can create the same flavors but kick it up a
notch by taking our lead from advertising, commercial, and fashion photography. This gives us much
more to capture than just high energy on white backgrounds!

Figure 7-1. Contemporary portraits often have more even lighting on the background than traditional
ones.
Background Selection
If backgrounds play an important role in traditional portrait photography it is doubly important in
photography with a more contemporary look. Colors, patterns, light/dark tones, fabric textures and
drapes—each element can add emphasis for a more contemporary look.
In this kind of work, the background is typically given rather flat lighting ( figure 7-1 ). To do
this, put a 6- or 8-inch reflector on a strobe head and position it on a small stand directly behind the
subject. If you keep it a distance of 6 to 8 feet from the background, you can usually get even light.
Moving it closer will create a light area with darker corners and give you a bit of a vignette effect.
A gradient can also be a nice touch and is accomplished by lighting the background from one side.
I started using a large softbox for this a few years ago and really liked the results. One word of
warning though: seamless background paper has a bit of a texture. You will never see these with little
peaks and valleys when the paper is flat lit or viewed straight on—especially when you first roll it

out. But when you send light skimming across the surface at a sharp angle, you will immediately see
the texture pop out as highlights and shadows. Larger lights will minimize the imperfections and
smaller lights will maximize these peaks and valleys, making them more pronounced. The effect you
choose is up to you.
Figures 7-2 and 7-3. Gradient backgrounds are simple to light and create another contemporary look.

Figures 7-4 and 7-5. The “double burst” background lighting effect.
Another interesting background look to try is the “double burst” effect ( figures 7-4 and 7-5 ). I
stumbled onto this and really like the effect for some images. For the effect to work, there cannot be
any light hitting the background from your main or fill lights. The light from the twin background lights
in different positions is most effective when they are the only significant light striking the background.
Lighting the Contemporary Portrait
While flat or even lighting can be desirable on backgrounds, this should not be confused for a need
for overall flat lighting in contemporary portraits—especially when it comes to lighting the subject.
There is much to talk about here and so many different ideas, options, and techniques ( figures 7-6 ,
7-7 , and 7-8 ).
Lighting for this particular style of work can be as tricky or as simple as you like. I know a lot of

people who make a decent living working with their lights in almost in the same position—day in and
day out. Are they wrong to do this? Not at all. Whatever works for them is great with me. As long as
it really does work and they are happy with the results.
The Main Light
A lot of photographers use octaboxes for their primary light source these days; they are a good
lighting choice for one, two, or more people. I always like the look octaboxes produce, especially
when used close to the subject. But in this area of work, smaller, harder shadows can also be a good
thing. I encourage you to back up the light and watch the shadow edges get sharper as the light
becomes smaller relative to the subject. This very user-friendly light can also help to light the
background if placed correctly and angled a little.
In this area of work, smaller, harder shadows can also be a good thing.

Figures 7-6, 7-7, and 7-8. What makes a portrait “contemporary” is a matter of opinion—but the only
two opinions that really matter are the client’s and your own.

Figures 7-9 and 7-10. A beauty dish is a great choice for contemporary portraits of subjects with
smooth skin.
Depending on the desired effect, a beauty dish can be another good choice—but only if your
subject has fairly smooth skin and the light is within 3 to 4 feet ( figures 7-9 and 7-10 ).
A traditional softbox will always be a good choice. I often use a 3×4-foot softbox for all-around
portrait work. They are not too expensive and can be useful with small product work, as well. Also,
since I have two softboxes in this size, I sometimes position them side-by-side to make a sort of
customized 4×6-foot softbox.
Fill Light
Low contrast light on the face tends to be the norm with this kind of work. These lower ratios can be
produced by placing a fill light at the camera position or on-axis with the subject’s nose. This
produces an overall level of brightness—a foundation of light. Then, you can sculpt the face and
create more dimension by adding the key light, set 1 stop higher than the fill light.
The fill light can be as large as you want, but don’t make it too small or you might find an
objection to the small, bright highlights it will sometimes produce. These highlights can be seen on
the tip of the nose, between the eyes, on the center of the chin, and (in some cases) on both cheeks.
Subjects with dark complexions are more susceptible to these negative impacts of smaller highlights.

Additional Depth
As we discussed earlier, accent lighting can enhance the depth and boost the perceived quality of an
image. Certainly, it offers a more contemporary look if the accent is clean and bright—and perhaps
not as subtle as in traditional portraiture ( figure 7-11 ). I am seeing a lot of contemporary sports
portraits these days that have really great highlights around the edges of the hair, cheeks, shoulders,
and arms. As in traditional portraiture, getting just the right exposure or brightness is the key.
Hair Light
A hair light is a kind of accent light that can add a really nice touch. In fact, until just a few years ago
you never saw a portrait without a hair light. As long as there is decent separation from the
background, I feel that the hair light has done its job.
One challenge with setting the hair light is that most people have low ceilings—or at least
ceilings that don’t allow them to put a large softbox over the subject’s head very easily. As a result,
many photographers resort to using smaller lights. However, there is an inherent problem when you
decrease the size of any light, especially when the light is coming from slightly behind the subject. It
will tend to get very bright and actually lose detail, creating a “clipped” highlight in your histogram.
If you have the space, a small or medium softbox works very well for a hair light in most
situations and it does not really matter if the hair color is blonde, brunette, or black. Just remember
that the darker the hair the more prominent the highlights and the lighter the hair, the more prominent
the shadows. We live in a world of contrast in every photograph we take. And what some
photographers have not yet figured out is that we control how much or little contrast we add to our
work.
A few years ago I stumbled upon another workable solution for the problem of low ceiling height.
I placed a 4×8-foot sheet of white foam core on the ceiling and aimed a smaller light source up at the
foam core from behind the subject (between them and the background), creating a larger bounced
light. It worked really well. As you position the light higher and lower and light more or less of the
foam core you will also change the effective size, making it sharper or softer.
This technique is something I use with reflectors, too. Often I will add a light to the side of a set
in order to brighten a white wall or a large white foam core used in the background. Again, moving
the light closer to or further from the bounce surface will change the effective size, thus changing the
look of the lighting.

Figure 7-11. Accent lighting from camera left added nice separation on her arm and picked up the
texture of her hair.

8. One Light, Two Lights, Red Lights, Blue
Lights
Whether taken on by necessity (you only have one light) or by choice, one-light portraiture can be
some of the most beautiful work you will ever produce. The simplicity of spending quality time with
your subject, capturing the perfect expression in an almost quiet manner, will always find a way to
speak to those who view the portrait. A well-placed medium or large softbox will often be the best
choice in one-light work.
One-light portraiture can be some of the most beautiful work you will
ever produce.

Figures 8-1 and 8-2. Examples of one-light portraits.

Figures 8-3, 8-4, 8-5, and 8-6. Examples of one-light portraits.
If you want to try something different or maybe more dramatic, classic Hollywood lighting can be
accomplished with a smaller light source with a grid spot on the face. The hard-edged shadows from
the eyelashes will really draw the viewer in and the spotlight effect can be stunning.
Classic Hollywood lighting can be accomplished with a smaller light
source with a grid spot on the face.
I was always a big fan of master photographer Irving Penn. He was a terrific fine-art
photographer but he is probably most remembered for his fashion work in the 1960s and his product
photography for Clinique cosmetics. As illustrated in his beautiful book Passage (Alfred A. Knopf,
1991), Penn also did some truly beautiful portrait work with only one light. Often posing a subject in
a corner, he would create beautiful images that were simply about the people and the expression. He
did not allow complex lighting to get in the way of telling the story.
Contemporary photographers like Chicago’s own Marc Hauser like this trick, too. If you want to

try it, a “fake” corner is easy to achieve by painting and texturing two sheets of foam core then taping
them together on one side, creating a hinge. Place the subject inside the V-shaped unit and start to
experiment with light placement and poses.
You can also create one-light portraits against a flat background. By varying the distance from the
subject to the background, you can control how much (or how little) of the main light’s output spills
past them onto the background. The brightness, or “key,” of the background will also help to
determine its brightness, of course. You can also “feather” the light slightly to one side in order to
either lighten the background (by turning the light toward it) or darken it (by turning the light away).
Adding a Scrim
It can be quite useful to add a scrim or diffuser panel to your one-light setup. I can place a light
behind a scrim and allow most of the light to go through the diffused fabric. But I can also swivel the
strobe head slightly toward the background to control the brightness of the background based on how
much or little light I send past the edge of the diffuser. Effectively, I am letting soft light come through
the diffuser onto the subject sending direct, less diffused light onto the background.
It can be quite useful to add a scrim or diffuser panel to your one-light
setup.
This opens up some opportunities because it makes one light function basically like two different
sources. For example, you could allow undiffused light to go past the top of the scrim, then use a
reflector to re-direct this light back down onto the hair, shoulders, or the edge of the face. This
basically makes the main light do double-duty as an accent light. It’s a clever trick—and one that can
actually be quite useful at times.

Figures 8-7 and 8-8. Examples of two-light portraiture with umbrellas.
The Two-Light Portrait
Adding a second light to your setup increases your options dramatically ( figures 8-7 and 8-9 ).
Virtually every lighting company I know offers a two-head lighting kit in their product offerings. Most
kits come with free umbrellas, either silver or white. Instead of thinking these must not be very useful
because they were free, let’s find things they are designed to do well.
Silver and white reflective umbrellas have proven to be very similar in my testing, with the silver
being slightly more specular and about ½ stop brighter in terms of exposure. As we’ve already
discussed, specular highlights are mirrored images of the light source. In most portrait photography,
the only true specular highlights are in the eyes (the catchlights). This means we can get away with
using just about any size or shape of light source. However, you would have a very difficult time
getting away with using umbrellas if your subject happened to be holding a glass of red wine. The
highlight would be a huge, distracting reflection on that dark, shiny surface.

Figure 8-9. Portrait with two umbrellas.
Umbrellas are the right choice for a lot of work that other sources cannot do very well. For
example, umbrellas are perfect for large groups, because the spread light over a large area. They are
not very good if you’re trying to control the light in a small studio; they just spread too much light.
Umbrellas are the right choice for a lot of work that other sources
cannot do very well.
For the main light in portrait photography, an umbrella will work fairly well ( figure 8-9 ).
Remember: the closer you place it to your subject, the softer it will be. Of course, some people worry
that it will “blow out” the subject—but we are talking about light quality here. Metering the light
quantity will prevent exposure problems.
Placing the second umbrella slightly behind the subject and aimed forward as an accent light is
one way to add depth. The side of the subject where you choose to place it will make a big
difference. If you put the second light on the same side of the subject as the main light, they will

almost take on the appearance of a single light source, especially if the highlights overlap. If you
place the second on the opposite side of the main light and slightly behind the subject it will be seen
very clearly as a secondary source on the shadow side.
The side of the subject where you choose to place it will make a big
difference.
Working with two lights can also be interesting if you have two softboxes that you can place side
by side ( figure 8-10 ). I call it creating a “wall of light.” One of the great music and record
producers of the 1960s created what was known as the “wall of sound,” and in many ways it changed
the way in which music was recorded. For me, light is the same type of thing; we can create a
beautiful, large and soft light quality that is still directional. You have the option of keeping the output
brightness of these two lights perfectly even, or you can vary them slightly. If one is less bright, it will
function as more of a fill light ( figure 8-11 ). Either way, it makes a beautiful source and is quite
easy to do. As my mentor once told me, “It not always the tools that matter, but the knowledge and
use of the tools that matter.”

Figure 8-10. A “wall of light” portrait.

Figure 8-11. Portrait with two softboxes.
I have recently been using twin umbrellas behind my portrait subjects.
I also stumbled upon another new technique (well, new to me, at least!) when working with a
model this year. I have recently been using twin umbrellas behind my portrait subjects, halfway
between my subject and the background ( figure 8-12 ). When the two umbrellas are placed on
opposite sides of the set, I can literally aim them directly at each other. They will both light half of the
background (essentially lighting the entire background) and they give great highlights on the subject’s
hair, arms, and shoulders. It has proven to be a very helpful discovery and one that I often use with a
third light on the subject’s face. Typically, I will adjust the power output of the umbrellas so that it is
slightly less than the main light on the subject. This is also a great way in which to light a white
seamless roll of paper as the lighting basically becomes non-directional and even.
They give great highlights on the subject’s hair, arms, and shoulders.

Figure 8-12. Portrait with two umbrellas.

Figures 8-13, 8-14, and 8-15. Portraits with colored gels.
The Control of Color Gels
Photographers and cinematographers have used color theatrical gels for many years ( figures 8-13
through 8-15 ). They are made by many different companies, such as Lee Filters and Roscoe, and can
offer both creative solutions and color correction options. You can also use gels to direct attention to
a subject or to divert the viewer’s attention away from a subject. Some are made with a thicker base
density and offer heat resistance for working with “hot” lights; others are thin and ideal for using with
strobes.
You can also use gels to direct attention to a subject . . .
An almost universal issue occurs when trying to re-create the true color of a gel. Often, the color
looks darker or brighter and there is a pastel or low contrast look. Let me start by saying that this
problem is not caused by too little light going through the gel; rather, there is just too much light
hitting the background from other sources. No matter what kind of background you are using, paper or
fabric, if you can make the surface appear as black before you turn on the background light with the
gel, you will easily be able to control the resulting color. With the background light turned off (and
the main and all of the other lights turned on), I make sure there are 3 stops less light on the
background than the main light on the subject; then, the background will appear as black. Once the
background is black, you can then turn on the background light(s) with the gel and add the color. You
will see nothing but pure, rich, true color ( figures 8-16 through 8-18 ). If the aperture setting from the

main light on your subject (with an incident flash meter reading) is the same as you get on the
background (with a reflective flash meter reading with the gel in place), then the color on the
background will exactly match the original color of the gel. Remember that the background tonality
can vary from white to gray or even black; using a reflective reading compensates for this and gives
you predictable results regardless of the surface color. With my first shot I can always perfectly
match the color of the gel.
I make sure there are 3 stops less light on the background than the main
light on the subject . . .

Figures 8-16, 8-17, and 8-18. Start with the background underexposed by 3 stops, then add the gelled
background light for bold, accurate color.
If you are in a small or bright studio, it will be harder to bring the background to black before
adding the color. You can try switching to a darker background, moving the main light and the subject
further from the background, using a egg crate grid on the main light, and even angling it to one side

away from the background to prevent it from hitting the background surface.

Figures 8-19 and 8-20. Examples of portraits with colored gels.
Back in the eighties, Dean Collins taught a technique he called “Chromazones.” This involved
making a “swatch book” of gel colors, like the paint color swatches at the hardware store. You tested
the gelled background results and got the exact color, then made it brighter or darker until you could
create a book of colors from which client could select. This is a great tool when used properly.

9. Practical Examples
In this chapter, I have included a number of diagrams and the resulting image in order to illustrate a
few new and unique ways of using lighting. I find that those who are new to photography (or not
currently working with studio lighting) can often benefit from seeing the graphic and the resulting
image together.
The Traditional Two Light

Profile Light

10. Homework Assignments
Assignment 1: Variations in Contrast
Assignment Goal: Learn to adjust shadow density with the aid of a properly placed reflector (white
or silver) to result in a variety of looks or moods.
Assignment Details: Create a series of three pictures that are identical in their lighting and posing—
with one exception. Without changing the exposure settings, adjust the amount of shadow on the side
of the subject’s face opposite the main light by moving a reflector close to the face, then a little
further away, then a little further away again.
Assignment 2: The Eyes Have It
Assignment Goal: Create three different portraits that showcase the eyes of your subject/model.
Assignment Details: Using the techniques you learned in earlier chapters, utilize a variety of light
shaping tools, light directions, and light qualities to create a series of images designed specifically to
produce unique or interesting catchlights in your subject’s eyes—catchlights that draw the viewer in.
This might include small, bright sources for intense catchlights; large, soft sources for larger, more
subdued catchlights; a silver reflector for highlights in the bottom parts of the eyes, etc. Be creative
and think in terms of reflective eyes. Anything you place in front of the subject will indeed be
reflected in the eyes so be creative and test, test, test something new. (How about including a small
silhouette of yourself in front of a very large light source?)
Assignment 3: Tradition
Assignment Goal: Create two formal portraits suitable for framing and hanging in the finest of
homes. These should tell a story about your subject.
Assignment Details: Work to produce two images (one full-length and one three-quarter-length) that
harken back to the work of the great portrait artists of the past. To inspire your lighting, posing, and
overall style, you can use painters from the Italian Renaissance period, the Dutch Masters, or even the
more current photographers working in a traditional manner (William Branson III, Greg Daniel, or
Tim Kelly, to name a few). Rather than something trendy, make these images worthy of being passed
down through generations.

Assignment 4: The Contemporary
Assignment Goal: Create two images of the same subject dressed in clothing and accessories that
reflect the current styles.
Assignment Details: From the background, to the lighting, to the posing, create a couple of different
images that would be appropriate to use in an advertisement for either the clothing or the accessories
(hat, purse, shoes, etc.). When planning for this series, make sure to choose a subject that fits your
“assignment” in terms of his/her looks, hair style, personality, mood, etc.

Assignment 5: Black & White
Assignment Goal: Create an image of your subject dressed all in white on a white background. Then,
edit the shot to make it black & white.
Assignment Details: This assignment is designed to help you understand that, with lighting, you can
control tonal contrast in an image where there is no color contrast. Working on a white background
with white clothing and in black & white is a great exercise in overall control and lighting
management.
Assignment 6: The One-Light Portrait
Assignment Goal: Create two portraits using only one light.
Assignment Details: Work to produce two images designed to illustrate your command of both
lighting quality and your communication with the client. Use eye contact, facial angles, and overall
mood to enhance the feel and result of the images. Give yourself plenty of time on this one and don’t
think that one light is fast and easy to use. A successful one-light portrait requires finesse and proper
light placement. Consider the one-light portraits of photographers Mark Seliger, Irving Penn, and
Marc Hauser.

Assignment 7: The One-Light Still Life
Assignment Goal: Create one image designed to explore the simplicity of fine art or commercial
table-top photography.
Assignment Details: Working with one light overhead and slightly behind your subject, explore
approaches to controlling the highlights and shadows using the single source and also by introducing a
reflector at the front of the set.
Explore approaches to controlling the highlights and shadows using the
single source . . .
Assignment 8: Add Colored Gels
Assignment Goal: Create two images featuring the use of color gels on the accent light(s) or
background light(s).
Assignment Details: Work to understand the relationship between the gelled lights and the non-
gelled lighting. The incident and reflective meters each play a significant role in achieving success
with this type of image.

I
APPENDIX
Working with Clients
f you are already engaged in the work of studio portrait photography, then you have a good
understanding of the importance of getting to know your client—and, more importantly, making them
feel good about being in the studio with you. It’s not overstating it to say that the experience of the
overall portrait process (from planning, to shooting, to ordering) can be nearly as important as the
images themselves. Of course, I do not recommend offering less than top-quality work as a business
plan, but as the quality of your work improves so should the quality of your relationships.
Building a Lifelong Relationship
There are so many photographers, in cities all over the world, who are the family photographer for
their communities. Many clients have long-running relationships with photographers—ones that have
been developed over years or even decades. They wouldn’t dare call anyone but “their photographer”
when a new child arrives, a teen is ready for senior portraits, the family portrait needs updating, etc.
There is a trust factor that is very difficult to break. This is when the relationships you create in the
studio truly pay off.
A Heartfelt Gesture
Consider the small things you can do that mean a lot to the client but don’t cost you much in financial
terms. For example, I once had a client who was a well-known author. In addition to the planned
images, I was able to capture a quiet moment between him and his little daughter—one where they
were looking at each other and he was consoling her because she was sad. After I got home, I went
through the files, found the image, made a print, had it matted and framed as a nice 5×7. I sent it to
him with a handwritten note that said, “From one dad to another.” That gesture helped get me more
business than any single bit of marketing I could have done. Their family told everyone about me and
what it meant to them to have me as their photographer. Going out of your way for them matters, and
so does making a genuine connection. They’ll get it.
Consider the small things you can do that mean a lot to the client . . .

A Thank-You Snapshot
Here’s another small thing I feel is a great idea. When you are finished with a portrait session and
your client is leaving the studio, consider taking a quick cell phone image of you with them. The
snapshot can then be posted (by them, or you, or both) right away. It doesn’t matter whose phone is
used, just text it to each other and post it to everyone’s social media—and be sure to add a note of
appreciation and say how much you enjoyed working with them. It goes such a long way when they do
the same and tell all of their friends and contacts how much they enjoyed the session.
Don’t Get Caught Up in the Technical Stuff
Once you are in the studio with your client, do not allow yourself to get caught up in all the technical
aspects of your craft. The time for that has passed. When you have a client in front of you, that social
interaction should get every bit of your attention. Don’t take the time to look at the back of your
camera after each frame, spend too much time moving and adjusting lights, or checking on your
exposures. That should be mostly set before they arrive. Give them the most friendly, interesting, and
most efficient experience they have ever had from any photographer and you will create a client for
life.
When you have a client in front of you, that social interaction should get
every bit of your attention.
Show That You Are Invested in Success
As you talk to your client and direct them on posing, pay close attention to being present . What I
mean by that is to be sure they know you are interested only in them and making them look great. I
heard a cinematographer once say that the objective of photographing and lighting people is to “create
an environment in which our subjects can be stellar.” Reassure them that they are doing a great job.
Get the smiles that most people think look best, but also strive to elicit the small, subtle expressions
and smile that light up the subject’s eyes. Eye contact is important, but it’s not always the most
important thing. Managing the overall expression is the key—and if you are communicating and
interacting with your clients in the best way possible, you’ll get the best expressions possible.
Make Small Changes, Watch the Details
As you direct the client, ask them to make just small, specific moves to refine their hand positions,
adjust the tilt of their face, relax their shoulders, etc. Through quiet conversation and eliminating
distractions, you can help to relax your clients and get better images. Also, pay close attention to the

dad if it is a family portrait. Usually, he is the last one who wants to be there; if you can help him to
enjoy the experience, his wife will appreciate the effort (and, after all, she is probably the one who
will be making the spending decisions . . . ).
You can help to relax your clients and get better images.

Index
A
Accent lights, 82–84 , 92
Angle, light to subject, 31 , 38 , 53–63 , 79–81
Aperture, 69
Assignments, 118–21
B
Background lighting, 44–45 , 86–88 , 90 , 105–9
Backgrounds, 39–51 , 73 , 86–88 , 102 , 105–9
Baseboards, 48
Beauty dishes, 32–34 , 90
Bowens, 11
Broncolor, 11
Butterfly lighting, 57
C
Catchlights, 34 , 38 , 58 , 81–82 , 99 , 118
Ceiling height, 92
Clients, working with, 122–24
Clothing selection, 70–73
Collins, Dean, 53 , 81 , 109
Color balance, 12 , 16–18 , 21
Contemporary portraits, 85–93
Continuous light, 12 , 20–21
Contrast.
See Lighting ratios
D
Depth, enhancing sense of, 79–84 , 92 , 101
Diffuser, 37 , 98

Direction.
See Angle, light to subject
Distance, light to subject, 32 , 35 , 37–38 , 53–63 78–79
Double burst effect, 88
E
Edge light, 82–84 , 92
Egg crate grids, 31 , 35–36
Elinchrom, 11
Exposure, 64–69 , 82–84 , 100
Expression, 75–76 , 98 , 124
F
Feathering the light, 31 , 98
Fill light, 91–92 .
See also Lighting ratios
Flash duration, 16
Flash tube, 11–12
G
Gels, color, 49 , 105–9
Gradient effect, 87
Grids, 31 , 35–36
Grid spot, 96
H
Hair light, 82–84 , 92
Hauser, Marc, 98
High key portraits, 52 , 98
Highlights, 58–62 , 78–79 , 81–84 , 91–92
Histogram, 68
Hollywood lighting, 49 , 80 , 96
Honeycomb grids, 31 , 35–36
I
ISO setting, 15 , 69

J
Junion, Dave, 51 , 52
K
Kicker lights, 82–84 , 92
L
Lifelong relationships, 122
Lifestyle images, 85–86
Lighting ratios, 59–62 , 78–79 , 91–92
Lighting relativity, 53–54 , 59–62 , 78–82
Light meters, 64–68
Light modifiers, 22–38
Loop lighting, 56–57 , 78
Low key portraits, 52 , 73 , 98
M
Maheu, Dave, 50–52
Metering, 64–68 , 82–84 , 100
Modeling lamp, 12 , 20
Monolights, 14–15
Motion, freezing, 9 , 11 , 16
O
Octabanks, 34–35 , 89
One-light portraits, 94–98
P
Parabolic reflectors, 24–25
Penn, Irving, 96–98
PocketWizard, 19
Posing, 74–78 , 123–24
Power output, strobe, 10
Power pack strobes, 12–14
Profoto, 11 , 13 , 15 , 19 , 20 , 24 , 25 , 28 , 31 , 32 , 35
Props, 52

R
RadioPopper, 19
Rainville, Arthur, 76–78
Ratios, lighting.
See Lighting ratios
Recycle time, strobe, 15
Refining your portraits, 124
Reflectors, 36–37 , 61–62 , 92
Rembrandt lighting, 57 , 78
Remote triggering, flash, 12 , 18–20
Ring flashes, 37–38
S
Scrims, 37 , 98
Separation, 82–84
Shadows, 55–58 , 59–62 , 78–79 , 81 , 90
Shutter speed, 9 , 11 , 16 , 69
Skin texture, 34 , 79 , 90
Skin tone, 57 , 92
Softboxes, 28–31 , 90
Specular highlight, 81–82 , 99 .
See also Catchlights
Split lighting, 56
Standard reflectors, 24–25
Strip lights, 31
Strobes, studio, 9–20
Subtractive lighting, 36–37
Sync, flash, 12 , 18–20 , 69
T
Traditional portraits, 70–84
True tonality, 81
Two-light portraits, 99–103
U
Umbrellas, 25–27 , 99–101 , 102–3

V
Vignette, 87
W
Wall of light technique, 101–2
White balance.
See Color balance
White House Custom Color, 46 , 47 , 50 , 51

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