video: episode 14, the classic three light portrait
Last week we looked at creating portraits with just one light. This week’s video is a natural progression, building upon the foundation of one light portraits. Adding additional lights should serve a purpose and here they help add greater detail and dimension, as explained in the video. There’s also a web gallery of the still photos that helps show the progression.
The most obvious purpose of this video is to further explain portrait lighting. I hope, though, that the video also helps increase your awareness of how light affects a subject, whether you’re shooting with natural light or lighting you’ve created yourself. Once you understand the principles of lighting they can be applied to many different situations.
Subscribers view video here
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As for equipment shown, the “flip reflector” (slang) I referred to is officially called the 42″ (107cm) Translucent White ZipDisc with Cover. And once again, the lighting was built around the Genesis 200 1-Light Kit
, only this time multiplied.
And it’s hard for me to believe, but I was just reminded that this is the 15th original video posted here on prophotolife.com. Even though we’re talking about using three lights today the exact same principles apply as in the very first stick-in-a-can video…light is light, no matter where it comes from. All of the videos (from day one) are easily referenced in the video library, so if there’s something here on the site that can help a fellow photographer, I hope you won’t hesitate to let them know about prophotolife.com.
Thank you again for your videos! I really like your style of transfering knowledge and how you present everything step by step so that I can see what each light does.
Greets,
Martin
Nice, love the red triangle from my last suggestion
Really informative video and once I can cough up money for additional flashes I am looking forward to try this out!
On the web site Digital Photography School, there is a page called “4 Quick Tips for Portraits”. (http://digital-photography-school.com/blog/4-quick-tips-for-portraits/)
One of the tips, is to shoot from slightly below the subjects eyeline. In your video, it appears that you have the camera slightly above. Is this an optical illusion, or is this a conscience choice?
Thank you for another nice video. I appreciate the methodology of starting simple and getting more complex. Other web-videos seem to jump right into the middle of things with a certain about of implied pre-knowledge. I’ve seen the same kind of shots before in other videos, but this one helped to connect some of the missing dots for me. Keep up the good work, Jim.
By the way, what is that thing/boom that you have your camera mounted on? And how are you triggering the flashes?
Hi Danny, thanks for the link to the Digital Photography School tips, they’ve been providing great instruction for a really long time and have a wealth of information. I urge readers to check them out if you haven’t already. And the work on your pbase account is beautiful! You’re an excellent product photographer…maybe we can get you to contribute something to prophotolife soon?
Posing and camera angle for portraits is a huge topic (and one I’m sure we’ll get into). The photographer featured in the Digital Photography School tips has a very distinctive style, a little bit wider lens used closeup in the photos shown. Shooting a little below the subject also works great for his creative, intimate style.
For the more classic style of head and shoulders studio portraiture I most often find myself shooting around eye level or slightly above. This works well with a variety of subjects, especially those who may have a weak or “double” chin, so they can lift their chin a bit to minimize this.
Conversely, a large forehead may be minimized by lowering the camera a bit. It’s always little tweaks that make the difference. For a standard head and shoulders portrait, starting around eye level seems a safe bet, then your personal style and the features of the particular person dictate where to go from there.
I’ll be totally honest: with this particular subject, because she has great features, I wasn’t overly critical with my camera positioning. I was concentrating more on illustrating the lighting, aware that there were no particular flaws that needed worked around. I just wanted to be really consistent as the lights were added so that would be illustrated properly. I hope this is a help!
Dennis, the red triangle was a great suggestion, keep ‘em coming!
I wish I had a nickel for every time I use the phrase “connecting the dots”, Craig. I try very hard to do that so your comment means a lot. As for the big thing the camera is mounted on, that’s a big ol’ camera stand that is heavy and rock solid. It was probably more suited to view cameras and medium format, but it’s great for sturdiness, critical movements and sets that need to stay up for a long time.
If you don’t mind jumping over to the Video 13 comments, the trigger system is discussed there, about halfway down.
Thanks, Jim. I thought that boom mount looked like something made for a view camera, but I had never seen one used with an SLR. It does look sturdy.
I missed the Video 13 comments about your triggering system. Thanks for the links. I’ve added Calumet to my bookmarks for “window shopping”.
Thanks again Jim for a new great video. Step-by-step you are creating too much competence for your studio HAHAHA
You are lucky I am living in Spain ;p
Anyway, I have translated video 14 for spanish audience.
Podeis ver el video en castellano en http://www.nova-foto.net/2008/06/10/prophotolife-com-video-14/
Very informative - I’ve been something of a lurker thus far, but I couldn’t help noticing the blown highlights on the forehead and cheeks of your subject in these sessions. Is that intentional or was this just a side effect of the lighting tutorial? In a perfect world, would you dial the lighting down a bit, or is your suggestion to include the shiny parts?
Hi Jason, thanks for joining in the conversation and good observations on the makeup. “Shiny” and “glittery” seem to be in fashion for the younger set with makeup today so I let it go, thinking it wasn’t inappropriate. I don’t think I’d feel the same if the subject were older, though. The red curve is still within range, so the highlights could be pulled down, if desired.
Hi Jim, I have following your videos since day #1 and really needed to say thank you. Your ability to take apart the subject and deliver it in bite sized chunks without fuss is a perfect way to bring studio photography to a wider audience. I do not think there is a better sequence on the net at the moment and very much look forward to further instalments.
Another great video. I especially like being able to see the progression from one light and adding on the second and third light.
Thanks, and keep up the good work!
I’ve always spent HOURS upon HOURS removing those pesky shadows, becoming way too familiar with Photoshop in the process. Yesterday, I reviewed your videos, bit the bullet and set everything up. This was a HUGE success and I would love to share, even though I have a ways to go. The only Photoshopping I needed to do was to remove the bruise on a forehead! Thanks for all of your hard work! I can tell you that I appreciate the time it takes on your part to share your knowledge in this way. It’s being put to good use!
hello jim, it is me again, thank you for show how to take potrait photo and i already made it for my clien is the same like you do but in here see your video i m sure that i do it right think he he he..
thanks again
dewo - Hamburg
Hi Jim,
Thanks for your time and effort in making the videos, great stuff.
I just received my Genesis 200 setup and like it very much so far.
I do have a question about white balance. What white balance setting should I be shooting on using the Genesis? Would it be better using a grey card custom balance or one from using the Expodisc rather than the in camera settings.
Thanks again for your work.
Chris
Dade City, FL
Hey Jim,
Just found one of your videos on You Tube, and just spent a few hours watching the rest of them on this site!
Just got to tell you that the videos are VERY insightful and the techniques you are teaching are clear and concise.
I look forward to your next installment!
Till next time and thanks again !
Wayne Austin
Chris, congrats on the Genesis! I’d suggest using a grey card until you get used to the light and the different modifiers you may use on it (reflector, softbox, umbrella). Notice if the different modifiers affect your color much. If not then you may find the flash WB on your DSLR is just fine for most situations (it works well with our Canons). I’ve never actually used the ExpoDisc, though I know many people swear by them.
Let me know how the light works out…
Brilliant videos, just came across them on Youtube and spent the rest of the afternoon watching them.
I have posted details of your site and the Videos on the talk photography forums http://www.talkphotography.co.uk/forums and suspect many more photographers will visit.
As for Danny’s comments about shooting height, one of the additional benefits of shooting from very slightly higher than the models position is that it usually causes the model to fully open her eyelids giving the impression of larger eyes.
Although I have been involved in photography since the late 1970s and was a full time social & wedding photographer in the early 1990s I still find that there are things to be learnt. My preferance now is to try different subjects (purely for personal pleasure) and I am concentrating on subjects and genres that I previously had little interest in. I do still like to take the odd portrait though!
I’m really glad I found your site - all of these videos are tremendously useful. Thanks for sharing your insight!
Went to this episode’s gallery to see the photos. Is it possible to provide the camera settings (ISO, Shutter Speed, Aperture F/?? settings on the photos. Also, what was the light’s temperature. I’ve having some issues with my settings, and want to compare them with a real live example as I’ve seen it in the episode.
Thanks.
Hi Jim,
I found your website by accident yesterday and love the content so far. I have the opportunity to work in a commercial photography studio anywhere between 1 - 4 hours a week and this will be very helpful.
Two days ago, I had to take 4 portraits in the studio. The head photographer helped me set up lighting and used a card for the fill, but I’m still curious about fill light placement when you use an actual light. I’ve read it should be slightly above the camera and opposite the main. In practice, I have trouble with the light stand legs competing with the camera tripod (or stand in my case). Am I trying too hard to get to close to the camera?
Thanks for your help and sorry if you’ve addressed this in the past and I missed it.
Daniel, you might be trying too hard to get the fill light too close to the camera. The trick is to avoid double shadows so you do have a little leeway to work with, especially if you’re using a soft source like a white umbrella. How did the photos turn out for you? Did you consider the light flattering? Feel free to post a photo for us to check out if that help.
Jim,
Thanks for the tip. It’s good to hear from a pro rather than second guessing myself. I tried asking our head photographer but they are so quick it’s hard to keep up.
Fortunately, in our studio we don’t have to worry to much about the shadows because a designer will take the image and create a clipping path or clipping mask to get a true white background. Regardless, here’s a sample of one shot I took trying to cram the fill up next to the camera to my left with the key light about 45° to my right.
Feel free to critique. I’ll admit, I didn’t realize one roll was Spanish on one side until I was leaving the studio so
Hi Jim, great videos! learned a lot about photography. I recently bought the Genesis 200 2 light kit (lured by your videos LOL!). I’ve noticed that your “Modeling Light” is bright white? and is different from what is included in the box. Did you change it? if so what type did you use? does the local hardware store carry it?
Thank you so much.
Hi Loey, thanks for compliments and congrats on your new light kit, it really is a great value. I’m using the standard modeling lamp included with the kit…I’m not sure why it might appear to be different in the video. The video exposure may make it appear to be brighter than what you’re experiencing but it’s all “straight out of the box”. Sorry there’s no magic trick on this one!
Hi Jim,
How do you preview your pictures on a computer instead on the camera’s LCD? A special software / cable perhaps? Thanks.
Hi MicheGinny, check out video #29: computer tethered photo capture for more info.
Hi Jim, this is my first comment on your website so I would like to start off by saying thank you. These are absolutely brilliant videos and very informative. You have done a fantastic job. I’ve just purchased two Genesis 200 2 light kits, but as I am over seas I have to wait until Christmas to test them out. All of your videos on studio lighting have been invaluable, but I was wondering if you had, or knew where to find, more information on light ratios and metering studio setups using a light meter. I have already learnt so much from your videos, so again I say thank you.
Congrats on the lights, Michael, and thanks for tuning in! A lighting ratio / meter video is something I really want to do when I can get back to producing lighting videos. We’re in the new studio but still living out of boxes. Hopefully after the first of the year there will be some down time to get on it.
As for other instruction, check out shootsmarter.com , I’ve always been impressed with Will Crockett’s articles. Let me know if you find something cool I can refer…
Great, thanks for the advice. If I find anything else I’ll definitely let you know. I forgot to congratulate you on your new space. I admire people who are willing to downsize in order to get more intimate with the art that they love. Good for you, and I hope you are the inspiration for many more.
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