Large Family Portrait Lighting

[Livin The Dream]

My usual work tends to be small groups of no more than 4 but typically I've got a little project that will include 6 adults and 5 children. I know most of the basic principles but trying to get away on a budget this side of xmas without buying too much more. Largest softbox I have is 95cm, so was thinking of buying some larger brollies as a cost alternative (have 85cm versions at present), thinking I could have two together as key just off to one side and might play with a fill either from below or on axis.

Largest softbox for one of my D-Lites would be the 135 octa which I could stump up for at a real push (shame the lencarta on offer is too heavy for my D-Lite ) - could do with something larger at some point.

How would you approach this with the kit I have or not too much layout? I'm going to utilise the local village hall and so space won't be an issue; all the other elements are in hand.

 

[HoppyUK]

I think it's very difficult to get too creative with lighting large groups, especially when young children are involved. Unless you have an alternative brief or want to do something different, I would simply try to get decently attractive light on the group, stick two softboxes together and shoot between them. Concentrate on a good arrrangement, with clear faces to camera, and nobody blinking. Think more about clothes and colours and poses, that very important kind of non-technical stuff. That's a lot of people to organise and these situations can get a bit stressful from both sides of the camera, so have everything pre-planned and ready to go smoothly.

 

[Livin The Dream]

I think it's very difficult to get too creative with lighting large groups, especially when young children are involved. Unless you have an alternative brief or want to do something different, I would simply try to get decently attractive light on the group, stick two softboxes together and shoot between them. Concentrate on a good arrrangement, with clear faces to camera, and nobody blinking. Think more about clothes and colours and poses, that very important kind of non-technical stuff. That's a lot of people to organise and these situations can get a bit stressful from both sides of the camera, so have everything pre-planned and ready to go smoothly.

Thanks Richard and I think you've got the gist of my mini dilemma - I'd like to have a creative slant on it but it's probably impractical.

You say stick two softboxes together, I assume you mean on axis, either side of camera position and high to eliminate shadow? How large a softbox would you go for these? Any fill?

 

[HoppyUK]

Thanks Richard and I think you've got the gist of my mini dilemma - I'd like to have a creative slant on it but it's probably impractical.

You say stick two softboxes together, I assume you mean on axis, either side of camera position and high to eliminate shadow? How large a softbox would you go for these? Any fill?

With 11 people, I would play this kind of situation very safe. Sorry, I know this is the lighting forum, but I think there are other priorities. I just want attractive soft light, coming from a fairly central position, that will look good pretty much however I shape the group, or how people move or which way they look.

As I said, a couple of softboxes or umbrellas side by side, above the eye-line, camera around the eye-line shooting between the two stands. I wouldn't worry if one was square and the other octagonal, set to same brightness so they look like one big softbox. I have four 66x66cm softboxes I use for this (that I collected in Elinchrom kits) and use them in pairs either side by side, or one above the other, or even all four together as a huge softbox with 4x the power available if needs be.

Being more creative, and if you have both some extra kit and room to manoeuvre, I would think about the background and maybe add a colour or something, with a light on it from behind the group, or perhaps a couple of small gridded lights either side from behind as hair lights. That kind of thing, but keep the front key-light nice and simple.

ps I would have the camera on a tripod, fired by remote control, while I directed and engaged the group face to face. This can have a big effect on cooperation, reactions and expressions - which is what it's all about IMHO

 

[stevewestern]

I would have the camera on a tripod, fired by remote control, while I directed and engaged the group face to face. This can have a big effect on cooperation, reactions and expressions - which is what it's all about IMHO

I totally agree. I take a lot of school class pictures, and 30-odd (not that they are all odd..) children respond to a face better than a disembodied voice from behind a camera. I've spent too many hours trying to copy an open pair of eyes into an otherwise acceptable shot..

 

[juggler]

If you've got space and a large white wall (or a draped sheet) to one side try bouncing one head - with a standard reflector - off that and using a big shoot through brolly near the camera position for fill. Maybe add a large white reflector on the shadow side. Which is pretty much what you were suggesting.

This was just a test shot but shows the technique. It gives nice natural looking light which covers a large area but still retains some dimensionality and depth. The key light (camera left) was aimed to bounce off a wall above head height and just out of shot.



I did recently do a group shot where every subject had their own gridded or snooted light but it took hours and I couldn't recommend it for a family shot with kids or uncles who are impatient to get to the bar

I totally agree. I take a lot of school class pictures, and 30-odd (not that they are all odd..) children respond to a face better than a disembodied voice from behind a camera. I've spent too many hours trying to copy an open pair of eyes into an otherwise acceptable shot..

The other advantage of shooting from a tripod is that you can easily composite different expressions together should the need arise.

One trick to avoid blinks which is sometimes useful for groups: get everyone to close their eyes and then open them all at the same time on your count. Don't do it for every shot in case it produces rabbits-in-the-headlights expressions.

 

[Livin The Dream]

Thanks fellas.

I am thinking of utilising the pitched roof for fill. The walls aren't up to much from memory but the ceiling is certainly work-able.

 

[HoppyUK]

Lots of good advice here and a great example from Simon. To me, it shows the importance of the background/location/environment, plus a creative approach to posing - rather than a technical emphasis on lighting

That kind of thing is more difficult with a large group - might look more like a rugby scrum - but once you've got the banker shots in the can, something like that could be a fun way to end the shoot and you might just get lucky If it's appropriate*, get them to hit a silly pose or funny face, or throw hats in the air - that kind of thing. Kids especially respond well but the chances of 11 good poses and expressions are greatly reduced. If you don't nail it in the first few attempts, the novelty wears off quickly. If you're up for a bit of compositing in Photoshop (swapping heads from different frames) then that can work wonders, but it's hard to get natural-looking blends with anything more dynamic than fairly static poses.

*Be warned - if you go for this, the family will definitely want to see the results and possibly have unrealistic expectations. You could set yourself up for disappointment.

 

[Livin The Dream]

Considering two of the lencarta 100x100 softboxes as they're on offer, instead of brollies, reckon that could work better than what I have.