OCF Lighting Tutorials by David Lloyd, CPP II by David Lloyd

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CREATING AN ENVIRONMENTAL PORTRAIT DRAWS SIGNIFICANTLY ON ONE’S CREATIVE VISION

CHAPTER 1

INTRODUCTION & PURPOSE

ALL CONTENT AND IMAGES © DAVID LLOYD PHOTOGRAPHY 2014

CREATIVE OCF LIGHTING TECHNIQUES:

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TELLING A VISUAL STORY A captivating environmental portrait begins with a pre- visualized idea, a concept inspired by a personal creative vision. When placing your subject in an environment for a portrait, not only is it important to create a visual story, the lighting for the subject and background illumination should create a believable blend of light values.

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“a creative vision sets the stage for all artistic endeavors”

INTRODUCTION AND PURPOSE

his eBook has been designed as a progressive tutorial with the idea of guiding you into the creative world of Off Camera Flash. Of course, there are several elements to consider when working with small shoe mount flash units or Speed Lights, as they are often referred to. While they are essentially light sources and as such, can be used in a very similar way as other light sources, they do have specific characteristics. So along with guiding you into a personal discovery of creative lighting, the

specific characteristics of Speed Lights will also be explored. Beginning in Chapter One, the tutorial process will present and describe several of my personal notions about the character and nature of light and how, by defining it’s direction and quality, you can affect the mood and feeling of your portrait. It might be well to say that this eBook is primarily concerned with portraiture and the lighting tools which will provide you with a flexible pallet for personal expression and creativity. 2

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In principle, Off Camera Flash is a straight forward concept. The opportunity for it to take on an artistic direction, speaks towards the romance of excellence within the heart of the photographer.

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David Lloyd 2014

Once you begin to grasp the possibilities presented through the examples and descriptions noted within the pages of this eBook, I would recommend that you allow your imagination to whisk you into your own world of creativity and personal assignments. In this way, there is a kind of kinesthetic learning which occurs. As you study and peruse through the materials in this eBook, it is my sincere hope that what you find will inspire you to discover and pursue your own creative vision. David Lloyd, CPP

Fig. 3 Sony

99 w/David Lloyd Signature Portable Lighting Kit

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BEGIN EVERY PHOTO PROJECT WITH A VISUAL STORY IN MIND

CHAPTER 2

A LUMINOSITY OF LIGHT

ALL CONTENT AND IMAGES © DAVID LLOYD PHOTOGRAPHY 2014

A LUMINOSITY OF LIGHT

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It goes without saying, that photography requires light. Therefore, as a photographer, it is essential to understand how to see and create light. Just as the conductor of a symphony orchestra illustrates the moods and feelings flowing through the soul of the composer, through interpretation, the adventure of learning the creative process of lighting will ultimately bring forth your soul and mingle it with that of whomever views and experiences your work. David Lloyd 2014

UNDERSTANDING LIGHT THE CHARACTER OF LIGHT: In the movie, “The Lake House” Christopher Plummer, in speaking with his son, played by Keanu Reeves, describes the light in Italy as being the only place a particular architectural project could be built, quoting, “It is all about the Light.” In simple terms, light has direction, color and character. Character describes the quality of light and how it falls upon and envelopes what it illuminates. Natural light quality, as it might be defined, has very much to do with the way in which the atmosphere may modify

the light emanating from the sun. That is, skylight, the light being added by atmospheric conditions and the sun’s angle of incidence to the atmosphere. Direct sunlight, while it transverses the arc from 10:00 am to 2:00 pm, produces bright highlights and hard shadow transitions. At lower angles, the light from the sun passes through a greater length of atmosphere, modifying the color and deepening the character of it’s light. This atmospheric element can produce distinct shadows with a luminous glow when the sun is low in the horizon and the atmosphere contains moisture. 5

DIRECT AND INDIRECT LIGHT:

of light and shadow provide our eyes and brain with the sense of Â light direction and depth.

Direct light, such as from the sun is considered to be a point source and creates crisp, sharp and well defined shadows, as it illuminates a landscape or the features of the human face and body. Indirect Light, is light that is reflecting off of an adjacent surface before it illuminates the subject being viewed, photographed or painted. Diffused Light, is light that is being interrupted and modified in character by something that transmits light, such as atmospheric conditions, like an overcast day or a lacy curtain covering a window. An artificial source, such as a soft box spreads out a point source of light through itâ&#x20AC;&#x2122;s internal construction and with diffusion material creates a panel of even illumination. Softboxes, windows, umbrellas and reflectors can produce a softer transition across the gradient of highlight to shadow. This is due to the fact that a larger area of light, in relationship to the subject being illuminated, tends to wrap the light around the subject, impinging light on the edges of the shadows and softening their edge transition. LIGHT AND SHADOWS: When translating three dimensional space onto the surface of a photograph, the relationships and positions

A LUMINOSITY OF LIGHT 6

As such, that relationship is very essential in sculpting and revealing the contours of the subject(s) being photographed. Therefore when evaluating light quality, it is not just the nature of how soft the shadows appear, it is also the breadth of the highlights, that define the quality of the light source. Highlight size of the contour of a surface, is most evident when photographing reflective objects, cars, jewelry, etc. However, portraiture is also sensitive to highlight size and as the curved surfaces of the face focus and reflect the light source, the highlight areas become dull or luminous, depending on the size and distance of the source of light in relationship with the subject. This can be easily observed by walking your portrait subject closer to and further away from window light. I like to describe the nature of highlight reflection as being dull or luminous. LIGHT MODIFIERS: As we are inclined to mimic the light we find in nature when illuminating a portrait subject, it is well to understand the character, quality and nature of light and how it may be modified. A bare flash tube from a studio strobe, as well as the reflector-lens combination of a shoe mount flash, resembles a point source of light and creates hard edged and distinct shadows. Light modifiers, such as umbrellas, reflectors and soft boxes, optically modify the

character of the light emitting from the flash tubereflector-lens assembly. It is essential to understand just how each type of light modifier, shapes the light and imparts character to it. It is also important to understand how the relative size and distance of the light source from the subject, affect the shadow edges and luminosity of the highlights. THE BALLOON ANALOGY: Given a window or a softbox as the illumination source, tie a balloon to a chair at the approximate height of a personâ&#x20AC;&#x2122;s face sitting in the chair. A specular highlight or direct reflection of the light source will appear on the surface of the balloon. The size of the reflection will increase or decrease as you move the chair and balloon closer or further from the source of light. This analogy directly translates into the way in which the light source is reflected on the surfaces of the human face and describes what I like to refer to as highlight luminosity. (Thank you Tony Corbell) SOME COMMON MISCONCEPTIONS: 1. A small plastic diffuser placed over the head of a shoe mount flash, softens the light. Y/N

Essentially, placing a small plastic diffuser over the end of a shoe mount flash causes it to optically resemble a frosted light bulb. It is very easy to mentally visualize holding a bare light bulb in front of someoneâ&#x20AC;&#x2122;s face. Consider the balloon analogy above. The small diffuser is still a point source of light and produces hard edged shadows and hot spots on the curved surfaces of the face. Nearby reflective surfaces can, however, bounce some light back to the subject and depending upon the size and distance from the flash and the subject, effectively create a larger light source. However, the plastic diffuser, when used as a Bare Bulb light in the vicinity of ambient lighting, can, when set correctly, gently lift the shadow values to bring down the contrast ratio. In this role, it can be an effective fill light. 2. A soft box produces the same quality of light as window light. Y/N The resemblance between the two is the rectangular shape and size. The light quality, however, is significantly different. While a soft box produces a panel of light, the character of a soft box differs from that of a north lit window. Letâ&#x20AC;&#x2122;s examine the optics at play here. A north facing window is being illuminated by the expanse of the sky and the parallel rays of the skylight pass through the window, which acts as an aperture, constricting and direct-

ing the light. The light from a softbox, is being generated by a point source of light reflecting off of four trapezoidal surfaces, producing an even panel of light, which becomes the light source, scattering the light 180 degrees from the surface. True north window light, has a greater source distance and falls off less rapidly in intensity. For a softbox, the source becomes the diffusion material, for the north lit window, the source is the sky, unless the window is frosted or is covered by a lacy curtain. The difference here may seem subtle, however, window light produces a porcelain like quality to the skin. 3. Window light and skylight produce the same quality of light: Y/N Window light could as well be skylight flowing through a doorway or an archway. Once again, the aperture, through which the light is flowing, creates direction and sculpts the light. This is particularly true, due to the often, absence of light directly behind the subject, producing subtractive light on the shadow side. Open sky light, while producing very beautiful light, is far more subtle in shadow sculpting and unless passing through an aperture of trees, buildings or clouds, wraps around the subject considerably more, minimizing the sculpting and shaping of the shadows, yet lovely in its own right.

4. Parabolic reflectors produce hard light: Y/N The primary purpose of a parabolic reflector is to direct the light from a point source forward, and as such is far more efficient in directing light than a bare bulb, for obvious reasons. Parabolic reflectors are common and have many applications. Typically used, a point source of light is positioned at the apex or focal point and the reflector emits parallel rays of light forward. The modified parabolic reflector of a shoe mount flash and the often supplied small parabolic reflectors of studio strobes are common applications. Because these reflectors are relatively small in comparison with the subject being illuminated, it is natural to assume that the light they produce results in hard edged shadows. Increase the size and in an ideal sense, the parallel rays of light from a stippled parabolic reflector, can closely resemble the light quality from a north lit window. Most umbrellas have a parabolic shape and can produce virtual skylight by placing the light source at the focal point. A 7â&#x20AC;&#x2122; foot parabolic umbrella can be purchased from Westcott and Paul C. Buff. A defocused parabolic reflector or umbrella narrows or spreads the beam of light. WHEN ON LOCATION: Considering the above character of light sources, venturing out on location for a photo session, can be an ex-

citing adventure. You may have pre-scouted the scene, you may know the person to be photographed. You may even have a good idea of how the surrounding architecture and foliage will direct the light and indicate camera angles. You may have a good idea about the quality of light to expect. However, the task at hand is to create an environment of dimensional lighting and pose and position your subject(s) within that environment. FIVE INGREDIENTS: To Consider for Dimensional Lighting on Location: 1. The Background or scene and how it supports the mood of the image. 2. The Foreground. What is your subject looking towards? Having your subject(s) look into a darker foreground allows their eyes to look natural,not squinting. Are there, natural catchlights from the foregrou 3. The Main Light Direction and Quality. 4. The Hair, Rim or Side light source. 5. The Fill Light. That is the light source which will lift the shadows produced by the main light, such that there will be shadow detail.

exploring portrait lighting...

lluminating the landscape of the face with light, such that the resulting portrait takes on a universally appreciated life of it’s own, has been the goal of portrait artists since the great Dutch Masters of the early 1,600’s. They had discovered that the placement of the main light source, relative to the position of the subject to be painted, held the power to evoke emotion, drama, mystery and in particular, reveal beauty. Rembrandt Harmenszoon van Rijn, a renowned painter during the Dutch Golden Age of the 1,600’s often used a remarkable lighting pattern in his portraits. It is said that he fashioned a small a door leading to the attic which cast a beam of light to a specific area of his studio. When his subject was placed in the beam of that projected light, the steep angle of the light produced a downward sloping shadow, cast by the subject’s nose. Specifically the general idea was to create a small inverted triangle of light on the shadow side of the sub10

ject’s cheek, directly opposite the light source. This produces a very flattering lighting pattern which beautifully sculpts the face and is created when the shadow cast by the subject’s nose intersects the cheek shadow opposite the source of light. See photo to the right.

ows, greatly adding to the mood of the scene. Due to the steep angle, however, this dramatic lighting did have one

You have to play with the light a bit to ensure that there is a definite triangle on the subject’s far cheek as well as insure that there is light reaching both eyes for well defined catchlights. A TRICK FROM THE 40’S The Golden Age of movies in the 40’s produced an exceptional look for the stars of that period. The movie sets were illuminated with hot lights, focused by Fresnel Lenses mounted high in the rafters. Each position on the stage where the actors were to play out their scene was carefully lit for the greatest theatrical effect. As Hollywood wanted the movie going audience to fall in love with their stars, the still photographs, glamour photos and artwork of the movie posters, depicted the actors in the same dramatic lighting, as occurred on the movie sets. As the lights were positioned well above the view of the cameras, the lights produced long dramatic shad-

A LUMINOSITY OF LIGHT 11

drawback. Unless the actor was tilting their face upwards, there was often an absence of catchlights in the eyes of the actors. To solve this dilemma, floor level lights served two purposes, filling the shadows produced by the main lights and creating beautiful catch lights in the eyes of the actors. The photographs to the left are a perfect example of this technique. MATERIALS COVERED As you explore the chapters in this eBook, the quality and character of typical light sources will be presented along with photo examples and accompanying lighting setup photos. Each setup will be examined for lighting positions, output power settings and camera settings. An accompanying story will bring you and your imagination to the scene as it was photographed and will guide you through the thought process used in creating the images as depicted. I sincerely hope this eBook brings you as much enjoyment as it has been to write and share these topics with you. David Lloyd, CPP

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UNVEILING THE MYSTERY OF OFC PORTRAIT LIGHTING

CHAPTER 3

A REMARKABLE DISCOVERY

ALL CONTENT AND IMAGES © DAVID LLOYD PHOTOGRAPHY 2014

A REMARKABLE DISCOVERY

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THE MYSTERY OF LIGHT When embarking on the journey of lighting a portrait, there are many thoughts which come into play, as they draw on your imagination. As an artist, you see in a very particular way and are visually and emotionally drawn to the possibilities presented to you; by your photographic subject, the lighting and the environment, which will surround them. You are telling a visual story, and light is your paintbrush. As you look around, to select the setting, you will observe how the light is falling on the surroundings. You may place your subject in different places and watch how the light begins to evolve your vision and define the setting; background, foreground, composition.

You are aware of the traditional lighting patterns from classical portraiture and you look for the angles and directions that the light is naturally falling in the scene. You ask yourself to describe the qualities of light that are naturally present. And then you begin to explore how you might augment the light. In this chapter, we will explore how the camera angle will affect and change the character of the lighting. That is, we will look at the subject from the perspective of the main light. What does the main light see, and from the camera angle, being displaced from the angle of the main light, what does the camera see? To be Continued... 14

CHAPTER 4

LIGHTING FOR BEAUTY

MODEL: SHANNON FEENEY WARDROBE: 1940 NAVY WAVE UNIFORM

ALL CONTENT AND IMAGES © DAVID LLOYD PHOTOGRAPHY 2014

Model Elizabeth Riley poses for the lighting setup.

A PERFECT LIGHTING FORMULA

hen youâ&#x20AC;&#x2122;re photographing an environmental portrait, creating and capturing beautiful light is essential. By following these six basic steps, you can set a stage that will allow you to easily learn how to illuminate your images. MODEL RIGHT: ELIZABETH RILEY MODEL LEFT: TESSA ALEXANDER WARDROBE: NOSTALGIC BOUTIQUE

THE SIX BASIC STEPS ARE AS FOLLOWS:

PHOTOGRAPHY BY DAVID LLOYD

1. Select your setting (backdrop). 2. Compositionally position your model and select your camera angle.

16 16 16

3. Define the pose, facial position and direction for your model to look. 4. Measure the ambient light value. 5. Selectively position your lights. 6. Set the output power for the desired ratio.

FLASH EXPOSURE CHART FIG#1

PREMISE: Unlike naturally occurring light -- that is, the light which is ambient to the setting at the time of creating your portrait -- the exposure and quality of light for portable OCF lighting, is sensitive to the following factors. • Light to subject distance. • Light value reduction from the light modifier. • Flash output power or guide number. For the purpose of keeping this instruction set simple, a lighting formula and exposure chart will be provided to allow for a quick, guess-free setup. With some practice, the use of this formula will provide you with very consistent results, helping you to develop a kind of intuitive second nature, allowing: a. b. c. d. e.

A quick evaluation of the brightness of a scene. Knowing where to place your subject. Knowing where to place your lights. Setting the flash and ambient exposure values. Creative Composition and photography.

THE SIX BASIC STEPS EXPANDED: 1. Select a Suitable Backdrop Note: Your backdrop will frame and set the stage for your portrait, therefore select a colorful or picturesque setting, preferably in open shade, where the ambient light is nondirectional. 2. Model Position and Camera Angle Position your model within the scene and determine a good camera angle. 3. Pose Your Subject Set the pose, facial position and direction for your model to look.

Note: This step is essential as it will define the placement of your lights. You can find excellent posing ideas in fashion magazines. 4. Measure the Ambient Light Level Note: You will be measuring the ambient light value of the scene with your camera. a. Set your camera to AV, Aperture Priority Mode. b. Set the ISO for 100. Set the aperture for f5.6 c. Note the resulting shutter speed, as indicated by the camera meter, while viewing and framing the scene to be photographed. 5. Position the Lights

10 feet

Fig. 1.

Hair Light 10 O’clock

Subject

Main Light 4 O’clock

In order to provide an accurate and easy way to remember lighting positions, we will use the analogy of a clock, with our subject in the center and reference the camera as position 6 o’clock. The camera distance will be based on the angle of view desired to capture the scene and the distance from the subject is independent once the lights are set. The diagram shows the formula based lighting positions and respective distances from the subject, residing in the center of the diagram. 4 O’Clock - The Main Light (5 feet) The purpose of the main light is to create the portrait shadow patterns and illuminate the subject.

Camera

5 feet

7 feet Fill Light 6:15 O’clock

Fig#2

a. From the center of the imaginary clock, have your subject turn their body to face a 7 or 8 o’clock position and then turn their face back towards the camera position of 6 o’clock. b. Now set the main light for a position of 4 o’clock.

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MODELS: CALI TITMAS TESSA ALEXANDER PHOTOGRAPHY: DAVID LLOYD WARDROBE: NOSTALGIC BOUTIQUE

THE ARIZONA WING OF THE COMMEMORATIVE AIR FORCE AVIATION MUSEUM

B-17 SENTIMENTAL JOURNEY THE ARIZONA WING OF THE COMMEMORATIVE AIR FORCE AVIATION MUSEUM MODEL: ALEX MAJESTY PHOTOGRAPHY: DAVID LLOYD HAIR: JAN McCARTHY MAKEUP: KRISTY BROWN WARDROBE: PERSONAL WEDDING DRESS

CIRCA 1953 ROMAN HOLIDAY MODEL: MADDIE ROSE HOLLER WRADROBE: NOSTALGIC BOUTIQUE PHOTO: DAVID LLOYD

MODEL: ELENA TSYKOVA WARDROBE: GEORGIE GIRL PHOTO: DAVID LLOYD

c. Next, raise the height of the main light to about a 30-degree angle above your subject’s eyes.

d. Set the distance from the main light to the subject to 5 feet. 6:15 O’Clock - The Fill Light (7 feet) The purpose of the fill light is to lift the value of the shadows created by the main light. As the main light is oﬀ camera axis, it will produce shadows, whose direction and length describe the classic portrait lighting patterns. Ideally the fill light should not produce secondary shadows. This is accomplished by placing it very near the camera lens axis and at the eye level of the subject. a. Depending on the relative value (day shot) or absence (night shot) of ambient light in the scene, the depth of shadows created by the main light will vary. b. Often during the day, the fill light will be provided by the existing ambient light. Nonetheless, it is important to learn how to control it. c. Place the fill light close to the camera at a distance of 7 feet from the subject, approximately eye level with your subject.

a. Typically and for the purpose of this example, the hair light will be placed directly opposite the main light, in the 10 o’clock position, 10 feet behind the subject. b. While a light modifier, such as a snoot can be placed over the hair light to restrict unwanted light from splashing in the scene, the snoot does not reduce the light output. c. The hair light should be set for the same exposure value as that of the main light and elevated to a 60-degree angle above the subject. d. As the light is direct from the flash, the power setting will be derived from the left hand side of the exposure chart. 6. Setting the Output Power of the Lights In flash photography, the light from the flash is used to illuminate the subject. The flash guide number (GN) is a measure of the distance at which the light from the flash unit is suﬃcient for optimal exposure. The Guide Number formula is as follows:

10 O’Clock - The Hair Light (10 feet)

(GN)=distance (feet) × aperture (f-number)

The purpose of the hair light is to create a subtle rim of light on the back of the hair and shoulders of the subject to help separate the subject from the background and create a sense of dimension.

To find desired aperture or new distance divide the GN value on the exposure chart by either the desired distance or aperture. Main Light Power Setting (f5.6 LV - 1/4 power)

a. Using the exposure chart, note that the power setting to achieve proper illumination for an aperture setting of f5.6,

is listed as 1/4 power on the right-hand side of the exposure chart. b. That is, modifying the flash with a small umbrella or soft box, attenuates the light such that it will produce a correct exposure value at a distance of 5 feet from the subject, for an aperture of f5.6 at a power setting of 1/4. Note: The exposure chart is based on a flash unit with a Guide Number (GN) of 58 meters at a zoom setting of 105mm at full power (1/1). This is similar to the Nikon SB910 and the Canon 580 EX II and 600 RT EX models. For the purposes of this example formula, the exposure chart has been calculated for 70mm (straight flash) and 14mm (flash into umbrella) There are two sides of the chart: a. Straight Flash (left side of chart) b. Modified Flash (right side of chart)

MODEL: ARLIN GUADIAN PHOTOGRAPHY: DAVID LLOYD WARDROBE: NOSTALGIC BOUTIQUE

Fill Light Power Setting (f5.6 LV - 1/4 power) a. In order that the fill light not erase the shadows produced by the main light, the fill light should contribute less light to the portrait than the main light. b. This diďŹ&#x20AC;erence in exposure or illumination value is defined as the main to fill lighting ratio. That is the diďŹ&#x20AC;erence in brightness between the highlight and 23

shadow areas of the subject. Typical lighting ratios are 1:2, 1:3 and 1:5. Note: The position of the main light is such that it only illuminates the highlight side of the face, establishing the shadow or lighting pattern. Conversely, the fill light position is such that it illuminates both the shadows and the highlights. c. For the purpose of this example, the fill light will be set to produce one stop less light than the main light, for a 1:3 lighting ratio. d. This can be achieved by setting the output of the fill light to half that of the main light, or by simply increasing the distance of the fill light from the subject. e. For the example of this article, the distance of the fill light will be increased to 7 feet from the subject, as the means to reduce it’s light value and the main and fill lights will both be set for 1/4 power. Hair Light Power Setting (f5.6 LV - 1/8 power) a. Noting from the lighting diagram of Fig. 1. the hair light is positioned at 10 O’clock at a distance of 10 feet from the subject. b. The hair light should also be elevated to about a 60-degree angle above the subject to push light down and minimize the opportunity of the hair light being in the camera frame.

c. This elevation also minimizes the opportunity for the hair light to glance oﬀ of the curved surface of the subject’s shoulders, back into the camera lens as glare. d. As the hair light is direct flash, the left side of the exposure chart will be used to provide the power settings. e. Therefore to achieve an exposure value of f5.6, the hair light output is set for 1/8 power.

Fig. 3 Sony

99 w/David Lloyd Signature Portable Lighting Kit

The power settings as defined by the exposure chart in Fig. 1 on pg 17 may vary due to the actual flash units, modifiers, and reflectivity of the subject’s clothing, hair color and skin complexion. The positions of the lights, as presented in this article, and graphically represented by Fig. 2 on page 18, are a general guide to positioning the three lights described.

AUTHORâ&#x20AC;&#x2122;S NOTE My personal gear of choice used in creating the photographs for this article are displayed in Fig. 3 Sony A99 Camera, Sony-Carl Zeiss f2.8 24mm-70mm lens and my Signature Portable Lighting Kit. To learn more about me, my Portable Lighting Kit and my series of Photographic Lighting Workshops, please visit: www.digitalweddingblog.net You can also reach me by phone or email to schedule a personalized Lighting Tutorial, Group Workshop or to inquire about my Portable Lighting Kit.

David Lloyd, CPP (480) 284-5516 david.lloyd@mac.com Certified Professional Photographer and Tutor

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CREATING AN ENVIRONMENTAL PORTRAIT DRAWS SIGNIFICANTLY ON ONE’S CREATIVE VISION

CHAPTER 5

CONSTRUCTING THE ENVIRONMENT

Model poses (left); while Assistant holds gobo (right)

ENVIRONMENTAL PORTRAITS

captivating environmental portrait begins with a pre-visualized idea, a concept inspired by a personal creative vision. When placing your subject in an environment for a portrait, not only is it important to create a believable visual story, the lighting for the subject and background illumination, should create a believable blend of light values. MODEL: GABRIELLE ARCILLA WARDROBE: PERSONAL WARDROBE

PHOTOGRAPHY BY DAVID LLOYD

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AN OUTLINE OF THE STEPS: 1. Selecting the Backdrop The backdrop or setting for your portrait will act as a framework to support and add a sense of dimension and location for the subject in your portrait. Â That is, your backdrop will either describe a setting or, depending upon lens focal length and aperture, will define your subject with a blend of color and out of focus shapes. When selecting the environment, being thoughtful of the range of naturally occurring ambient light in the scene will help to set the stage for how you will ultimately be lighting your subject. When the scene is backlit, the lighting can be accomplished with reflected light. Supplemental lighting will be required, however, when the scene or backdrop is dark and does not contain directional lighting back towards the camera. 2. Defining the Ambient Light Level The ambient light level is the illumination value which is naturally present in the scene, that is the environment for your photograph. Determining the backdrop or scene illumination level will provide the basis for setting the light value contribution for your auxiliary light source(s). The goal is to achieve a balance be-

tween the background and foreground illumination levels, such that the subject in the portrait stands out or is visually defined from the background. This is achieved by compositional position and subject/background illumination levels. Thus identifying the subject of the portrait as the visual point of interest. Step One: The first step in this process is to determine the ISO, aperture and shutter speed combination required to correctly establish the base or ambient light exposure. For example on a sunlit day where the subject is in the shade, an example for the base ambient light exposure might be, ISO 100, f5.6 and 1/200th second. Step Two: As we will ultimately be working with ratios of light, the base exposure value might be also considered as One Unit of Light. In this way, the backdrop illumination level will then provide the basis for setting the light contribution for the auxiliary light source(s). That is, the power setting and distance for the Off Camera Flash unit(s). Or in the case of using a reflector for the auxiliary light source to visually balance the subject illumi-

nation the point is to raise the value of light on the subject such that the subject is the visual point of interest. 3. Compose and Pose The next goal for the environmental portrait is to position the subject within the composition of the backdrop. Rule of Thirds: Typically, the subject should reside within the rule of thirds, within the composition. That is, dividing the frame into thirds horizontally and vertically, the intersecting points of these imaginary lines, define natural positions that the eye wants to travel to and rest, within the composition of the frame. These intersections tend to be ideal placement points for the subject, within the portrait. Preset the Stage: Lighting a Micro-Environment By posing your subject as a compositional element within the setting of the backdrop, and thus defining the composition and pose, you will then be able to set the lights, to properly illuminate your subject. Essentially, you will be creating a micro-environment of light to illuminate your subject within the macro-environment of the scene.

Use of a Tripod: While it is not entirely necessary, placing your camera on a tripod and pre-defining the framing for the background, can be helpful to ensure that the composition remains constant while you are adjusting the position and light value contributions of the auxiliary lighting. Balancing Exposure: Unlike ambient light, which is visible on a continuous basis, electronic flash illumination is momentary and can only be adequately seen, once the exposure is made. While it is possible to measure the ambient and flash illumination levels with a light meter, it is ultimately the visual result which will artistically define the subject as the main point of visual interest. Balancing the ambient light with supplemental lighting is an artistic judgement, ultimately based on your vision as an photographic artist. 4. Placing the Main Light. Keep in mind that the quality of light and itâ&#x20AC;&#x2122;s relative brightness, are factors of the size of the light source and itâ&#x20AC;&#x2122;s distance from the subject. These two factors, size and distance, will also describe shadow edge transition and highlight luminance, as relative descrip29

MODEL: OLESYA DRUMMOND PHOTOGRAPHY: DAVID LLOYD

THE ARIZONA WING OF THE COMMEMORATIVE AIR FORCE AVIATION MUSEUM

tors of the softness or hardness of the light, falling on the subject. An Analogy for Highlight Luminosity: Using the analogy of photographing a balloon, which is similar in shape and size as the human face, the size of the highlight, being a reflection of the light source, is specifically a factor of the distance and size of the light source from the subject. This reflection will characterize the size and luminosity of the reflected highlights on the curved surfaces of the face. Further, the shadow edge transitions cast by the features of the face are also defined by the relative size and distance of the light source from the subject. Highlight luminosity, shadow edge transition and the brightness tone value difference or highlight-shadow brightness ratio, are the primary factors which translate into the apparent qualities of the softness or hardness of the light source. Light Direction: Classical Portraiture as defined by the Dutch Masters of the Renaissance period of Art, describe light as the brush which sculpts the landscape of the human face and form. By placing the main light source 45 deg to the side of the camera position and 30 deg above the subject, the projected light will produce

downward sloping shadows that sweep across the features. Much like the afternoon sun, stretching shadows across the landscape, this angular position of the Main light, with respect to the camera position, will produce alternating patterns of highlight and shadow, gently or dramatically sculpting the facial features and form of the body. These transitions from highlight to shadow create a sense of dimension and as long as the shadows are not overly diminished, hold the key to creating a sense of visual and emotional mystery. Relative Brightness: Keep in mind that the light value from an artificial light source, in this case a small shoe mount flash unit, falls off in brightness with distance. This factor is described by the Inverse Square Law. That is for a point source of light, doubling the light to subject distance, reduces the light value falling on the subject by a factor of four, or by two stops. Conversely, halving the distance increases the value by two stops. This is due to the fact that light from a point source spreads with distance. That is, if one unit of light is projected onto a one foot square card at one foot from the light source, that unit of light subsequently will spread out to an area of four square feet, at a distance of two feet from the light source, thus dividing the light value by a factor of four. 31

Height and Angular Placement: The Main light angular position and height from the camera axis, will define the portrait lighting pattern. From the description on the previous page, the idea is to position the main light such that it will cast a downward sloping nose shadow and produce alternating highlights and shadows across the face. Therefore if we consider the face as a sundial, with the nose as the pointer. The cast shadow from the Main Light should be positioned between 4 o'clock and 8 o'clock for traditional portrait lighting patterns; Rembrandt, Loop and Butterfly. Rule of Thumb: Distance With the above factors in mind, a useful starting place for the placement of your Main light can be at a distance of approximately twice the diameter or diagonal measurement of the light source. That is for the 26â&#x20AC;? softbox, in the Lighting Kit, the placement distance from the subject can be around 52 inches or 4.5 feet. This is also the distance described in the flash power setting chart. Rule of Thumb: Angular Position To create the desired lighting pattern, that is, the desired clock position of the nose shadow, place the bot32

MODEL: SAMANTHA ANDERSON PHOTOGRAPHY: DAVID LLOYD WARDROBE: FLIGHT CAPTAIN UNIFORM

THE ARIZONA WING OF THE COMMEMORATIVE AIR FORCE AVIATION MUSEUM

tom edge of the 26â&#x20AC;? softbox at eye level to the subject or slightly higher, depending on the desired length of the nose shadow. Set the light directly above the nose for Butterfly Lighting, rotate approximately 30 degrees to the side for Loop Lighting and about 45 degrees for Rembrandt Lighting. Lighting Tip - Rembrandt Lighting: To pre-visualize the actual lighting pattern, pose your subject in the scene with the desired facial position and ask them to look at a fixed reference point. Then, look at the subject from the Main light position, noting where their nose is positioned with reference to their far cheek, opposite the Main Light. Adjust the radial position of the Main Light for the desired lighting pattern. Example: Adjusting the position of the Main Light such that the tip of the nose intersects, the edge of the far cheek, as seen by the Main light, will always produce Rembrandt Lighting, an upside down triangle of light cast on the far cheek.

broad. Broad Lighting sets the Main light on the wide or broad side of the face as seen from camera view. Change the camera view to look into the shadow side of the face, that is opposite the Main Light. This then is termed Short Lighting and creates a sense of mystery. 5. Positioning the Fill Light. Set the Fill Light to the opposite side of the camera from the Main Light, about six feet from your subject. As this will be filling shadows cast by the Main Light, keep it close to the camera position and set the height to be very slightly above the eye level of your subject to insure a well defined catch light, in case, due to facial structure and Main Light height, the Main Light eye reflection or catch light is hidden. To be Continued...

Short Lighting - Creating a Sense of Mystery: When photographing your subject in a 3/4 view, the distance from the center point of the nose to either check edge, as seen from camera view, will describe two relative distances, one short and one wide or 34

Chapter 6

CHAPTER 6

DAVID LLOYD,CPP

CERTIFIED PROFESSIONAL PHOTOGRAPHER AND TUTOR AIRCRAFT: SENTIMENTAL JOURNEY B-17 MODEL: ALEX MAGESTY WARDROBE: PERSONAL WEDDING DRESS

DAVID LLOYD PHOTOG RAPH Y

“

It is essential as a photographer to understand the nature of light and how to shape it.

“

(480) 284-5516 DAVID.LLOYD@MAC.COM WWW.DAVIDLLOYDPHOTO.COM

Growing up in the ‘50s, David Lloyd’s interest in photography and the technology of electronics was shaped at an early age, building experimental vacuum tube radios and spending evenings and weekends in the school darkroom. He was further inspired by his uncle Julian Ely, who was stationed in Japan during WWII and became the editor and chief photographer for the Pacific Stars and Stripes newspaper. Along with earning exclusive rights to photograph the Emperor during the rebuilding ofJapan, Lloyd’s uncle gave him his first camera, a Kodak Brownie Hawkeye. “The whole process of taking pictures, developing the film and then projecting the image onto photographic paper, totally fascinated me,” says Lloyd. “Along with building my own radios, I was truly instilled with the idea that I could build anything I wanted to. To me, photography and electronics were the ultimate do-ityourself projects and propelled me into the field of electrical engineering and professional photography.” Lloyd’s career in professional photography oﬃcially began in 1975 as a new product design engineer for

Vivitar Corp. in Santa Monica, Calif. Deeply inspired by his interest in photography, Lloyd instituted a photography instruction course for the Vivitar engineering staﬀ. As his course evolved, the curriculum included trips to Hollywood Fashion Studios. “I wanted to instill the engineering staﬀ with a personal interest in photography, to stimulate their design ideas,” says Lloyd. “We were a think tank in those years and Vivitar

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products were very hot items amongst amateur and professional photographers alike.” Lloyd soon focused on designing a modular flash system based around components of the Vivitar 283 and 365 flash units. “The idea was to create an expandable portable lighting system for the wedding photographer,” says Lloyd. Through this work he experimented, taught and designed with a focus on designing the ultimate portable lighting system. Years later, many of Lloyd’s design ideas, including a U.S. Patent for electronic flash, have entered today’s market in the ever-expanding field of oﬀ-camera flash, focused on the use of small shoe-mount flash units for on-location lighting.

Workshops, which include Get Image Ready Photo Shoot & Personal Branding events and a yearly Hollywood ‘40s workshop. David Lloyd’s Photographic Lighting Workshops are posted online at: http://www.meetup.com/PhotographicLighting-Workshops/ Lloyd also oﬀers private one-on-one tutoring sessions in studio and outdoor lighting, digital imaging processing with Photoshop and Lightroom as well as e-book publishing with unique hands-on teaching style, designed to focus on the specific tools each client desires to learn.

“It is essential as a photographer to understand the nature of light and how to shape it,” says Lloyd. It’s for this reason that he has developed simple lighting techniques to replicate iconic eras of photography and has created a rich curriculum of Photographic Lighting Wo r k s h o p s t o s h a r e t h e s e i d e a s w i t h o t h e r photographers. “My background in engineering, technology and computers allowed for an easy transition to digital photography,” says Lloyd. “I augmented my professional photography business with teaching college courses in digital photography and became the go-to digital guru for local photographers making the digital transition.” Today, Lloyd’s continuing passion for photographic lighting has launched the creation of a unique portable Lighting Kit and a series of Photographic Lighting

Sony

99 w/David Lloyd Signature Portable Lighting Kit

• Schedule a One on One Tutoring Session • • • •

by calling (480) 284-5516 Sign up for a Photographic Lighting Workshop and view David’s photography at the following links: David’s Lighting Workshops David’s Lighting Portfolio David’s Wedding Photography