well I have tried my new studio lights on humans....

Steve-B

Steve-B

Suspended / Banned
Messages
419
Edit My Images
Yes
I purchased some lencarta 300 ep's recently to replace some ebay cheapies that I already had, I got them mainly for photgraphing stuff on my still life table , but knew that I wanted to have a go at photographing people..

I have had a couple of short sessions over the last couple of weeks , but last night I managed to talk the missus in to standing still for long enough for me to set my lights up and take a few images..

I am really new to this people photography lark and still have a lot to learn, but I did quite like this one ( apart from the reflection on the bottom of the crash helmet, which I didn't see untill afterwards )and perhaps she could clean the bugs of her leather jacket and lid for next time..

I had a softbox about three foot to the R/H side and three foot infront and high above my missus as you look at the image .....and a reflective brolly about three foot to the left as you veiw the image and three foot behind, the brolly was not quite as high as the softbox..am I going along the right lines ???

steve.

stellabiker700.jpg
 
nice pic there
you can tell the quality of the studio lighting
nice
 
Hi Steve,

nice work and good equipment to work with. You may get a different effect by lowering the brolly light to give a little more shade to the left hand side of the face and turning it to shoot through? It is presently a little too even?

Malcolm
 
Thanks for the replies, I just had a thought and I am pretty sure the power on both lamps that were angled on onto my missus were set at the same power and I suppose were the same distance away from her..so would I be correct in thinking that I should have turned the brolly light power down somewhat to get more shadows.
 
It's a good start Steve but IMO it's lacking real moody and depth. The shadows are there (the jacket is showing some deep shadowing that gives the folds depth) but there's very little on the face. It's a good set-up but it lacks drama and I think that is in part down to the fact you've gone for what some would call a 'chavground' (i.e. pure white background).

I feel that leather jacket, which has some great reflections and texture in it, would work so much better with a darker background. You say you have a brolly shooting from behind - with a darker background it would accentuate this back light.

There are many theories on what good lighting is but one those that rings true is controlling the amount of light you put into a shot Flood the place with the light and you fill very shadow and you kill the mood and depth. Put a tiny bit in and you can accentuate certain aspects of the subject.

It's all about ratios in reality; have equal amounts of light hitting the subject and thing go flat. Have a much higher power out ut on one light to another and then you start to control the amount of highlight and shadow.

I'm no expert on studio lighting by any means but a very easy ay to create mood is to use one light and then work from there. One light can create some striking shadow areas and can really pick out the detail in skin an clothing. Once you do that, then you can start adding in more lights into the places you want light. Just adding light in for the sake of it leaves you with nowhere to go.

As said, it's a good start but I think you can ditch the white background (a medium grey to create a gradient maybe) and start shaping the light better, using it in a more directional fashion :)
 
Last edited:
Thanks for the reply and info, I will have another go at the same shots with either a black or grey background and play about with the lighting..wil post some more up when I get them..



specialman said:
It's a good start Steve but IMO it's lacking real moody and depth. The shadows are there (the jacket is showing some deep shadowing that gives the folds depth) but there's very little on the face. It's a good set-up but it lacks drama and I think that is in part down to the fact you've gone for what some would call a 'chavground' (i.e. pure white background).

I feel that leather jacket, which has some great reflections and texture in it, would work so much better with a darker background. You say you have a brolly shooting from behind - with a darker background it would accentuate this back light.

There are many theories on what good lighting is but one those that rings true is controlling the amount of light you put into a shot Flood the place with the light and you fill very shadow and you kill the mood and depth. Put a tiny bit in and you can accentuate certain aspects of the subject.

It's all about ratios in reality; have equal amounts of light hitting the subject and thing go flat. Have a much higher power out ut on one light to another and then you start to control the amount of highlight and shadow.

I'm no expert on studio lighting by any means but a very easy ay to create mood is to use one light and then work from there. One light can create some striking shadow areas and can really pick out the detail in skin an clothing. Once you do that, then you can start adding in more lights into the places you want light. Just adding light in for the sake of it leaves you with nowhere to go.

As said, it's a good start but I think you can ditch the white background (a medium grey to create a gradient maybe) and start shaping the light better, using it in a more directional fashion :)
Click to expand...
 
Just reduce the background light Steve, this will change the white to grey, no need to switch back drops.
 
specialman said:
It's a good start Steve but IMO it's lacking real moody and depth. The shadows are there (the jacket is showing some deep shadowing that gives the folds depth) but there's very little on the face. It's a good set-up but it lacks drama and I think that is in part down to the fact you've gone for what some would call a 'chavground' (i.e. pure white background).

I feel that leather jacket, which has some great reflections and texture in it, would work so much better with a darker background. You say you have a brolly shooting from behind - with a darker background it would accentuate this back light.

There are many theories on what good lighting is but one those that rings true is controlling the amount of light you put into a shot Flood the place with the light and you fill very shadow and you kill the mood and depth. Put a tiny bit in and you can accentuate certain aspects of the subject.

It's all about ratios in reality; have equal amounts of light hitting the subject and thing go flat. Have a much higher power out ut on one light to another and then you start to control the amount of highlight and shadow.

I'm no expert on studio lighting by any means but a very easy ay to create mood is to use one light and then work from there. One light can create some striking shadow areas and can really pick out the detail in skin an clothing. Once you do that, then you can start adding in more lights into the places you want light. Just adding light in for the sake of it leaves you with nowhere to go.

As said, it's a good start but I think you can ditch the white background (a medium grey to create a gradient maybe) and start shaping the light better, using it in a more directional fashion :)
Click to expand...
Hey, I coined the term 'chavground' and demand royalties if anyone else uses it:lol:
And yes, the chavground has caused problems and detracted from the image, destroying contrast and interest. Quite simply, there's too much light on the background, which is why the edges of her hair have been destroyed and why the black jacket isn't black...

And putting that second light where it is has lit both sides of her face, which always makes the face look fat. Move it to where the camera is, or turn it down a lot, or take it away all together - or in other words, just experiment - but start off with the principle that there is only one light outside and that you aren't going to use more than one light inside unless you absolutely need to, which means that you start off with one light and try various positions to create the shadows you want. THEN, and only then, add a second light, if necessary. Set it at minimum power and experiment with increasing the power gradually until you have the effect you want - don't start off with more than one light.
 
Garry - I thought you'd pick up on this :thumbs: You must have a computer algorithym that make a big warning light flash every time that phrase is used on the Internet :lol:
 
Cheers Garry, I have noted your advice along with all the others posters and will give it another go.......I didnt purchase the lights from you for doing people photography, but now I have tried it I fancy doing some more...

steve.
 
After looking at the info you guys have given me ( thanks ) I have had another play about with the lights this morning, and took a couple of hundred shots with out any light on the background to get a mid grey background...this time I tried different combinations..1 light and softbox.. on light with soft box and reflector, 1 light softbox, reflector and snoot on the back of the head, all of which produced a softer and less harsh result than the white ( or chav background as Garry calls it )

below is on of the first from the session ( so I thought I would post it before I go out and will see what else I ended up with when I get back )

Better or worse than my last attempt, just noticed the nose shadow :(

stellagrey2web-1.jpg


stellagrey3700.jpg
 
Last edited:
A great improvement Steve. Now you are getting the right idea about using the light and should improve as you go. Well done

Malcolm
 
I think you're doing great mate

The best thing is that you are just going for it and learning by actually doing it

Best way to learn - keep experimenting and nipping on for ongoing advice and encouragement

The new lights look great btw
 
hopefully without hi-jacking this thead as it follows a previous suggestion..

with making the background grey, what is the best technique to do this so that you make it grey but still knock out the creases and marks in the paper?

I tend to find that if I don't light the background, or light it gently, you can see marks or creases that need to be taken out in post, which isn't always ideal if you have a lot of images to process..
 
Steve your moving in the right direction, one of the quickest ways to learn is actually just to keep shooting and then working out what you want to look differently in the photo, adjust something you think will work and then try again.

softness and edge of light is something you need to be looking at soon to create fall off which creates interest.

One question, what are your end goals ? is your photography for fun or in the end are you looking at charging people for portraits ? the reason i ask is there is a different path for both when it comes to lighting

dp
 
Malcolm, thanks for the reply, I can see a bit of an improvement so thats going to give me the encouragement to put some more time in.

Neil, the background is a wexpro collapsable from warehouse express and is a reasonable bit of kit for the money..

Bluesilver, all that I done to get the grey in the above images was use the white/ greyish side of my wexpro double sided background and made sure I kept most of the light off it..

David, thanks for the reply I am normally into wildlife and motorsport stuff, but This has got me really interested in this sort of stuff, so I will be playing as much as I can...

I am only doing this for fun, but if someone wants to pay me for it in the future I wont be saying no..interested to know David what are the diffent paths when it comes to lighting ?

Thanks all, Steve.
 
bluesilver said:
what is the best technique to do this so that you make it grey but still knock out the creases and marks in the paper?
Click to expand...

Choose a aperture that knocks it out of focus & ensure you have enough distance between the subject and the background
 
Steve - wow! That is a massive improvement and one that really gives the image impact and interest. That background is nice; works well with the deep shadow and only helps to bring out the texture and detail in the jacket. Taking her shades off have also helped - I find sunglasses in a portrait of this kind can detach the viewer from the subject. Not all cases but in this instance, it works well.
 
Thanks for the reply, Cant wait to talk the other half in modeling again, so as I can have another go and maybe try the lights from different positions...hopefully all good practice for a bit of outside stuf with speedlites...Iv'e got a couple of nice bikes that I would like to make a nice job of photographing in the right location...

specialman said:
Steve - wow! That is a massive improvement and one that really gives the image impact and interest. That background is nice; works well with the deep shadow and only helps to bring out the texture and detail in the jacket. Taking her shades off have also helped - I find sunglasses in a portrait of this kind can detach the viewer from the subject. Not all cases but in this instance, it works well.
Click to expand...
 
I think you can now see how much easier it is without the chavground - the improvement to just the leather jacket is pretty dramatic.

So keep trying, and remember the logical sequence...
1. Decide exactly what you want to achieve - you could photograph her as a biker, as your partner, maybe as a mother, maybe as a daughter - each will show her differently and will require different facial expressions, pose, camera height, clothing etc.
2. Take ONE light and position it wherever it produces the result you want, in terms of modelling and shadow position. Don't worry if the shadows are too strong for your taste.
3. IF the shadows are too strong for you, try adding a reflector where it will pick up 'spare' light, and direct it back into the shadow areas. Moving it closer/further from the subject will dramatically make it more or less effective.
4. If that doesn't work, add a fill light, as close to the lens as you can get it if her face is towards the camera, or dead in line with her face if it's pointing somewhere else. Start with it at very low power and gradually increase the power until you're happy with the result.

That should get you started.
 
Thanks for the advice garry, I will keep plugging away with it untill I get it right, I was really surprised how much light you can pick up with a reflector, certainly an eye opener..

very pleased with the 300 ep's
 
Garry Edwards said:
I coined the term 'chavground'
Click to expand...

So what does it mean ? are you implying that everyone who has a photo taken on a white background is a chav ? or the person who takes the photo is ? :lol: just curious, as i seen it for the first time on here, the other day.
 
As I understand it, 'chavground' (wonderful term BTW :) ) is the pure/blown white backdrop. Popular with high-street walk-in 'studios'.
I think it's not as popular with photographers. Who don't buy them ;)
 
TG. said:
So what does it mean ? are you implying that everyone who has a photo taken on a white background is a chav ? or the person who takes the photo is ? :lol: just curious, as i seen it for the first time on here, the other day.
Click to expand...

As I understand it, 'chavground' (wonderful term BTW ) is the pure/blown white backdrop. Popular with high-street walk-in 'studios'.
I think it's not as popular with photographers. Who don't buy them
Click to expand...

Chavground - a 'professional' pure white portrait background, chosen not because it suits the subject but because it makes the shot look like a proper studio shot.

May or may not also involve fake sheepskin rugs, a big camera with a long lens, especially if it has a red 'L' on it (but not a lens hood because lens hoods aren't shiny and expensive).

If some of the best fashion photographers in the world can do it, and if Venture can half do it, then I can do it in my boxroom. Just to make absolutely sure that the background is properly white, I will overexpose it by at least 2 stops (but 4 stops is even better) and will get rid of all the pointless detail, like the edges of the subject, shadow, contrast and colour saturation - some of which I can re-create in PS.
To add to the unique qualities of my shots, I often use a 10mm lens too, it really brings out the wrap and flare. And of course my UV filter helps too.

My clients love my professional shots. The stupid ones who think that they look fat in them just don't understand that it has nothing to do with my technique, it's because they ARE fat. I offer to stretch them in PS, which is another of my professional techniques.
:lol:
 
Dont forget to add a lot of saturation pp ;)
 
Triggaaar said:
Holy thread bounce TG
Click to expand...

To be honest i hadn't even looked at how old the thread was, i just remember seeing the "chavground" mentioned and did a search :lol:

Steve-B said:
I purchased some lencarta 300 ep's recently to replace some ebay cheapies that I already had, I got them mainly for photgraphing stuff on my still life table , but knew that I wanted to have a go at photographing people..

I have had a couple of short sessions over the last couple of weeks , but last night I managed to talk the missus in to standing still for long enough for me to set my lights up and take a few images..

I am really new to this people photography lark and still have a lot to learn, but I did quite like this one ( apart from the reflection on the bottom of the crash helmet, which I didn't see untill afterwards )and perhaps she could clean the bugs of her leather jacket and lid for next time..

I had a softbox about three foot to the R/H side and three foot infront and high above my missus as you look at the image .....and a reflective brolly about three foot to the left as you veiw the image and three foot behind, the brolly was not quite as high as the softbox..am I going along the right lines ???

steve.

stellabiker700.jpg
Click to expand...

Steve-B said:
After looking at the info you guys have given me ( thanks ) I have had another play about with the lights this morning, and took a couple of hundred shots with out any light on the background to get a mid grey background...this time I tried different combinations..1 light and softbox.. on light with soft box and reflector, 1 light softbox, reflector and snoot on the back of the head, all of which produced a softer and less harsh result than the white ( or chav background as Garry calls it )

below is on of the first from the session ( so I thought I would post it before I go out and will see what else I ended up with when I get back )

Better or worse than my last attempt, just noticed the nose shadow :(

stellagrey2web-1.jpg


stellagrey3700.jpg
Click to expand...

I think the difference in these photos is dramatic, with the dark background shots looking so much better, and creative, just my thoughts :)
 
TG. said:
I think the difference in these photos is dramatic, with the dark background shots looking so much better, and creative, just my thoughts :)
Click to expand...
Dark backgrounds normally look better with such dark clothing.
 
You must log in or register to reply here.
Back
Top