Just the thought of "Studio Lighting" setups can make some photographers cringe and back away in fear. There is all the technical "stuff" you need to know to shoot in the studio, like the "inverse square law," "reciprocity," and that "angle of incidence/angle of reflection" thing. Then there is all that expensive equipment you NEED to buy, and learn to use, before you can even get started.
Let's face it, if you just wait for a nice day, not too sunny, not too cloudy, you can grab your model, go outside, find an interesting background and get some beautiful shots. Right?
All you need to do is be patient, and wait for the right weather conditions...hopefully the model will also be available when that occurs. You can wind up with great shots, without the technical hassle, and save a bundle at the same time. What's wrong with that approach? ANSWER: You give up all control to fate, circumstance, luck. You can't really control the time of the shoot because you don't know what the weather is going to be like that day - at that time. Is it going to be sunny, or cloudy and overcast? Is it going to rain? Windy?
If you are a serious photographer, you need to know how to shoot in the studio. Believe me when I tell you this, with a little practice, you will come to love the control you have and the results you get . So let's start with the simple stuff. The least complicated place to begin, is with a one light set-up. That single light system will provide an endless reservoir of great imagery. Most of you have been shooting with a flash, this will just take that idea to the next level.
In studio lighting, it's the transition of light to shadow that provides depth, beauty and interest to your photos. Do you want a hard transition with a distinct line and harsh contrast separating the lights and shadows, or do you see it as a soft, gradual melting of the two? This transition zone is what should be the focus of your attention when getting into studio lighting, because you can control it.
The distance your light is from your subject, and the size of the modifier on the light will determine how these shadows change. These are concepts that need to be experimented with and understood and the best way to do it is to practice. So let’s go ahead and give you a place to get started and begin to nurture your studio skills.
Keep it Simple
The best way to get started with studio lights is to keep it simple. This means one light and one light only. That way if you don’t like what you see while you are shooting, you only need to adjust, move, or tweak one thing. You will not be fiddling around with everything and getting lost in the set-up. You will be able to keep your attention on your subject and the shoot. Also, use a large, diffuse light modifier that throws light like a hand grenade at your subject such as a shoot through umbrella (no smaller than 36 inches).
Light Source
My favorite light modifier is a Westcott 7 foot Parabolic Umbrella. I recommend using a large light source so that you can light both your subject and your background at the same time. I also recommend using a diffuser on the light source to soften the quality of the light and prevent extreme hot spots on your subject. These Westcott umbrellas produce an incredibly beautiful, soft light, and they are really inexpensive...around $100. Okay, we have picked a light source, now where do we place it?
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STUDIO SHOOTS . . . APRIL 2015
STUDIO SHOOTS
MASTER YOUR LIGHTING SETUP
--Dave Stabley