Tuesday, December 23, 2008
A master of technique walks us through a series of situations and explains how to craft illumination
Place the big area light (1) as low as possible. Your light gets very soft and nicely graduated with a heavy falloff toward the legs. The scene can be filled in differently, but only a Para FB (defocused) shapes the body this perfectly. The camera was rather low, about as high as the model’s knees. The result was an elegant, tall body. Using a large aperture (ƒ/8) avoided visible structure (like footprints and crinkles) on the background, as it was far out of focus.
A remote-controlled Grafit A4 was used to feed the Cumulite. The second one was for the Para FB.
For this completely diffused portrait, the solution wasn’t an indirect illumination, but a huge softbox and a reflector placed very close to the model.
In addition, I chose to place the light shaper below the model and the reflector above her to ensure that I got enough light in the eyes and under the chin and nose. (This technique should only be used with very soft and diffused lights, however.)
As I have only one reflector but no active light shaper above the model, an additional Pulsoflex EM 30x110cm was used as a hair light.
The lights were very close to the model—a powerpack with a large power range had to be used. A Grafit A2 was the best choice in this situation.
Page 2 of 5