Focus On Lighting Photos Focus on the Fundamentals.pdf

Chapter 6: So, Where Do We Put This
Light for Portraits?
there are a lot of things happening in this
picture of Civil War reenactors, but none
of those things is very difficult or complicated.
Two lights and a couple of gels.
We’ll start, however, by talking about a
few of the simplest parts, and then we’ll
go on from there.
Learning to control the light is what
this book is all about, and that control
works with glass, metal, flowers,
mountains, oceans, donkeys, and most
other things. Still, we’ll stick with the
studio portrait for now. That’s because
most of us can find a subject willing
to cooperate. (The sunlight over the
mountain may not cooperate and your
pet donkey certainly will not.) Also, the
portrait is a fairly simple subject that
we can deal with in a fairly small space
with our own light.
We’re going to assume you have one
big light, maybe a window, maybe an
external flash, plus a fill light: the little
light built into your camera. We’ll also
hope you sometimes have a third light.
The third light doesn’t need to be an
expensive electronic device: a large
silver or white reflector indoors, the sun
coming from just the right direction to
do something good along with your
external flash.
Portraiture, while challenging, can
be wonderfully rewarding. There are
various lighting styles to choose from.
We need to learn them all, but not
all at once. Learn one, master it, and
move on to the next. The style we use
depends on whom we are shooting
for: ourselves, an art director, or the
subject? The approach that is right for
one may not be right for another. Art
directors may want the subject to look
angry, silly, or meaner than all get-out.
People looking for a portrait to give to
their mother usually want to look pretty
or handsome and sweet. A professional
athlete may want to look as tough and
nasty as possible.
So, Where Do We Put This Light for Portraits?
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