Taking a portrait and working with light for beginners

Taking a portrait and working with light for beginners

Very often, people who have recently picked up a camera complain: “I would really like to start taking portraits, but I don’t have not only a studio for this, but even decent, let alone good, equipment...”. They sincerely believe that in order to do portrait photography, you need expensive lighting, tripods, multiple backgrounds and much more. And sometimes they don’t even have an external flash. But, nevertheless, it is absolutely impossible to refuse experiments in portrait photography, even in such meager conditions. There are a huge number of other, much simpler ways to create good photographic portraits and simple lighting options.

Most often, novice amateur photographers have a camera with a so-called on-camera, or, in other words, a built-in flash. If your camera is equipped with a flash with a rotating head, this is very good. Such a flash will easily allow you to use the TTL (Through The Lens) system, that is, a method of measuring exposure directly through the shooting lens of the camera. And the rotating flash head will give you the opportunity to use reflected light when shooting.

In order to photograph a model with reflected light, you need to rotate the flash head so that the light flux emanating from its pulse does not fall on the model itself, but on some surface that can “work” as a reflector. Simply put, a uniformly painted wall or ceiling. Such surfaces usually have a good reflective effect. Once on such a surface, the light flux from the flash will be reflected from it and, in a diffuse, even form, will softly illuminate the person you are photographing. This type of lighting is much more attractive than head-on lighting. The possibility of getting bad pictures when photographing with reflected light is reduced to almost zero. For experience, you can photograph your model twice: with frontal flash lighting and with reflected light. And, as they say, “feel the difference.”

Reflected light, falling on the subject not from the source itself, but from a reflective surface, greatly expands your possibilities. If instead of a wall or ceiling you use, for example, just a sheet of whatman paper, a piece of foam plastic or something similar, or even an ordinary newspaper, then you can get even better results. The light from such a reflector can be directed in any way you want. You can even make several reflectors of different shapes and sizes yourself. You just need to paint them white or light gray.

Using just one light source, it's not difficult to create the illusion in your photo that you were photographing your model with multiple lighting fixtures. How to do it? Very simple! The subject should be positioned in the corner of the room in which you are filming, and the light source, a flash, for example, should be directed at the side wall. And even better - at an angle into the ceiling. This angle must be chosen in such a way that the light reflected from the ceiling hits your model’s hair. At the same time, the light, which in this case will also be reflected from the wall, will also give the effect of another light source. But when photographing under this lighting scheme, you need to be very careful. Here you should pay special attention to the position of the model’s face. It should form a beautiful light-shadow pattern.

Professional photographers often use softboxes when shooting portraits. These are special devices that allow you to make the light flux from lighting fixtures much softer and direct it the way you need. To the point of illuminating only part of the person being portrayed, for example, the forehead or eyes. Softboxes can be purchased in specialized stores. There are various versions of them on sale, even those developed by manufacturers specifically for on-camera flashes.

In portrait photography, it is also good to use special reflective umbrellas. They are also sold in stores. Umbrellas provide soft and diffused lighting over a larger area than softboxes, almost covering the entire room. This is precisely the difficulty of working with them, and not only this, but also the fact that when shooting with an umbrella it is difficult to control the direction of the light.

Here we should remind you of one more thing. From your school physics course, you should remember that the larger the area of ​​the light source, the softer the lighting that comes from it. Compare, for example, the light from a large window and the light from a small halogen lamp. Same goes for umbrellas and softboxes. For example, using a large softbox when shooting, you will receive a wide beam of soft light that will seem to envelop your model.

Now let's say a few words about working with an off-camera, external flash. There are practically no problems with them now. Both flashes themselves and SLR cameras are so advanced today that they allow you to work without any cables that get tangled under your feet. A remote control flash can be placed anywhere in the room where you are working. But let us remind you once again: be careful! The light from the flash is quite hard, and therefore you should not point it directly at the subject. We recommend softening this light with softboxes, umbrellas or reflectors.

When shooting with softboxes and off-camera flash, you need to first experiment, or, more precisely, find such a position of the light source and its combination with the softbox so that the light-shadow pattern on the model’s face would be interesting and attractive. Unsuccessful, incorrect use of a softbox can only ruin the portrait, and the model will be very unhappy with your work. Alternatively, we can recommend placing the light source and softbox to the side and slightly above the model.

In our case, the softbox acts as the main light source. This light can be a modeling light, or simply work as a highlight, for example, of hair or something else. The main thing, no matter how you use the softbox, is to install it so that the face of the subject is well and beautifully lit.

If you are shooting a portrait outdoors, then natural sunlight can be combined with artificial lighting, including flash with a softbox. A flash with a softbox can, for example, illuminate the background. But in such cases, it is better to take photographs not in an open area where the sun shines very brightly, but somewhere in the shade. In this case, the softbox should be used in exactly the same way as when shooting indoors - like artificial lighting, and natural light will highlight the model’s hair.

When shooting indoors, a softbox alone will sometimes not provide sufficient lighting. Here an umbrella or reflector will help you, which will act as a second light source.

Let us remind you once again that before you start working with the subject, you need to very carefully prepare for the shooting, prepare the room, set up and check all the equipment. You can even practice putting a beautiful and correct light on one of your friends or family members. Try moving light sources from place to place, placing the model in different points of the room. For example, closer or further from the wall or from the window. You can turn the chandelier on or off, hang a tulle curtain on the window or remove it. There are plenty of options. As light sources, you can use a table lamp or an ordinary flashlight... You can take a good portrait without a flash... Modern cameras today operate at high photosensitivity values, and this allows you to shoot, including portraits, even just by the light of a candle flame.

I would like to think that everything we told you about today will allow you to draw some conclusions that good photographs are obtained not by those who can afford to buy expensive and good photographic equipment, powerful and modern lighting devices, but by those who who knows how to approach any task creatively. Never forget that it is not the camera that takes photographs, but the photographer. We hope that this article will give you an incentive to improve your photography skills and a push for new creative discoveries. Good luck to you!

Shooting a male portrait in the studio. Three simple lighting patterns

Women's photo shoots are more popular than men's, but everyone needs a good portrait - for a resume or portfolio. Today we will look at shooting a studio male portrait. This article will be useful for those who have never photographed in a studio or have encountered some difficulties in the process of creating studio portraits.

Musicians from the bands Subcultura and Scarfs took part in the photo shoot for this article.

Preparation

There are two types of studios: interior and background. For beginners, it is better to find the simplest studio possible so that you can practice and understand how to work with light.

Ask the model to send photos of clothing to create several looks. After that, determine what kind of background you will need, think about the poses and emotions of your hero.

At the beginning of the shoot, you need to establish contact with the model: ask about hobbies, tastes in cinema and music. You can simultaneously set the light, set up the camera, and choose the background. Communication helps to relax, which is important, because a photo shoot is an exciting event, especially for those who find themselves in the studio for the first time. During the shooting process, explain to the model where to look. This will help you get a good angle. For example, when the gaze is not directed at the camera, more atmospheric photographs are obtained.

Make sure that the model does not hunch over, lift up or lower her head too much. The chosen poses should look natural in the frame.

What to shoot with

Studio photography is not so demanding on photographic equipment. You can work with amateur cameras Nikon D3300, Nikon D5500 and get excellent results. It is convenient to use prime lenses: AF-S 35mm f/1.8G ED Nikkor and AF-S 50mm f/1.8G Nikkor for full-length portraits, and AF-S 85mm f/1.8G Nikkor for waist and chest shots. You can also shoot with zoom lenses. My arsenal includes a Nikon D600 camera and an AF-S 50mm f/1.8G Nikkor lens.

Camera settings for studio shooting

When using flash lighting in the studio, it is worth shooting at the minimum sensitivity values: ISO 100 or ISO 200. The shutter speed is fixed at 1/125 s. If we make it shorter (1/160, 1/200), we will get a black stripe in the photo because the light from the flash will not keep up with the shutter speed. Shutter speed, of course, depends on your camera model, but 1/125 sec is universal in most cases. The aperture changes depending on the brightness of the light. It is better to adjust white balance manually. For studio shooting, values ​​of 5260 or 5560 K are good for accurately conveying skin color.

So, the main parameters:

• shutter speed: 1/125 s;
• aperture: depends on the situation, usually from F7;
• ISO: the lower the better;
• White balance: 5260, 5560 K.

Types of light-forming attachments

Let us immediately note that the nozzles in the studio are changed by administrators and it is better not to try to do this yourself, as you may inadvertently bend the lamp or break the protective flask.

Light sources and timing

As for light sources, the main thing is to choose the flash power: through the display or through mechanical knobs. Take a couple of test shots. Is it dark in the frame? Add more power or move the source closer to the model. Overexposure? Turn down the power or move the light source away and check the aperture value.

Synchronization of the shutter and studio flashes is carried out using a synchronizer. It is installed in the external flash connector, and the receiver is installed in the light source socket. This equipment is always available in the studio.

Light schemes

Let's look at several lighting schemes that can be used when shooting a studio male portrait.

The choice of lighting scheme depends on your goals and the wishes of the model. For example, if you need drama, then you need sharp shadows, if you want lightness in the frame, you need soft light without shadows.

Do not place the model directly in front of the background, ask them to take a couple of steps towards you. This will give you more options to work with light.

Scheme 1: one octabox

Let's consider a scheme suitable for all ages and all moods. It is quite simple because it uses only one light source - a large octabox.

You need to think about clothes and choose a background, since such light looks boring on a regular white wall.

The large octabox creates soft lighting and provides strong shadow filling. They often imitate sunlight and are ideal for light subjects.

During the shooting process, ask the model to smile and think about something good.

Scheme 2: “Rembrandt” + backing

When creating a male portrait, you can use a harder shadow, as it gives masculinity and expressiveness. I propose this scheme:

Place a softbox or octabox to the left of the model, adjust its height and lower the head with the attachment slightly to the floor (tilt angle 45°). This black and white drawing is called “Rembrandt”. Place a stripbox behind your back to the right to get a backlight on your cheek and shoulder.

Make sure that light and shadow do not divide the face in half into an overexposed part and a part that falls into the shadow. Experiment: Move the softbox to the right of the model so that a triangle is formed between the nose and cheek.

Pattern 3: One side light source

This scheme is optimal for working with the model’s emotions.

Place the stripbox to the side. You can turn the model to face the light, and you get an interesting effect with a sharp shadow.

In this case, the light should not fall on the background. You will get a contrasting photo.

This lighting scheme fits perfectly into male portraits, but do not forget that excessive darkness in portrait photography is not always justified.

Conclusion and tips

Studio photography requires practice and experimentation with light. Don’t get hung up on the technical aspects of shooting or lighting. Work with the model's emotions to get different shots, choose suitable poses in advance. Examples of successful poses can be saved in your phone and shown to the model to make it easier for her to navigate.

Recommendations for setting up light for portrait photography

As you know, light is the basis of photography, so when shooting portraits, it is important not only to understand how light works, but also to be able to manipulate it, creating the desired mood in the frame. Without going into too much physics, in this tutorial I'll try to give you some tips and tricks on how to work with light most effectively in portrait photography.

What do you want to achieve?

The first thing you need to figure out for yourself is what kind of picture you want to get, what the purpose of the shooting is. This is a fairly important question, and you need to decide it before the shooting process begins, so that you know in advance what shooting methods and techniques you will need to use in order to ultimately get the desired shot. Try to pick a few other people's photos that you would like to emulate, and spend a little time studying how the people in those images are lit.

Was natural light or studio light used, how much was the subject illuminated and from what angles? This is very helpful in assessing and understanding what exactly you will need for your own work. And this, in turn, will give you a much greater chance of getting the desired result.

Natural light

Using natural light can be a very good option if you want to achieve delicate, subtle, and natural-looking portraits. One of my favorite lighting schemes for portrait photography is one in which the model is positioned near a window, and the main and only source of illumination is the light coming into the room from the street. The amount of light can be controlled by using blinds or curtains, as well as by changing the angle and proximity of the object in relation to the window.

When working outdoors, you should be extremely careful when choosing the time of day for shooting. Avoid periods when the sun is high in the sky, as it is quite difficult to work in such bright directional lighting. Choose morning and evening hours for shooting, when the light from the sun is softer and not as harsh as at midday. This will not only make your work easier, but will also avoid strong contrasts, deep shadows and loss of detail in bright light.

When working with natural light, a reflector can be quite useful. With it, you can redirect some of the light onto your subject's face, highlighting her key features without blinding her or causing her to look directly into the sun.

Studio light

Shooting in studio lighting has its own characteristics, but there is nothing complicated about it. Although for many photographers who only work with natural light, the prospect of moving into the studio and starting to use different lighting setups can seem quite daunting.

Artificial lighting has many benefits, so it would be foolish not to devote time to it and familiarize yourself with all its intricacies.

The main advantage of studio lighting is that you can control the light, its strength and the angle at which it hits your subject. This opens up a whole world of creative possibilities that are simply not available when using natural light.

You might want to start with one light and experiment with its placement in relation to your model, seeing how those movements affect your shots. I am sure that you will get pretty good shots, at least no worse than those obtained with natural light, since a single light source in the studio is almost the same as the sun outside. But in this case, you have more control over the light, and this gives you a better chance of achieving the desired result.

Angle of light

When shooting in a studio, using even one light source, you can actively control the angle and amount of light directed at the subject. You will find that even the smallest changes will have a significant impact on the final result, so don't make drastic changes in angle, just experiment: take a few shots, adjust the light, shoot again, etc.

Multiple light sources

Once you feel comfortable with one light source in the studio, move on to more complex lighting designs using two or more light sources. In this case, you have many more options, and although there are standard lighting schemes, the placement of lighting fixtures largely depends on your imagination and on what goals you are pursuing.

The main task of a portrait photographer is to convey, using a chiaroscuro drawing, the main features, character and mood of a person within one frame, which, in turn, requires a lot of skills and, perhaps, even a little luck. You should always strive to hide imperfections and emphasize the characteristic features of the face, that is, to present the person in an advantageous light.

Make sure there is not too much light in the frame. The portrait must contain various shadows, dictated by the features of the face, and if there is an excess of lighting, they may well disappear, and you will lose that natural lively interest and depth of the photo.

Good shadows and bad shadows

When using powerful light sources, cast shadows may appear on walls and ceilings. This is not necessarily a bad thing, for example, using them intentionally can bring a gloomy and gloomy mood to the frame, add mysticism or drama. However, if you do not pursue such goals, then the presence of such shadows in the picture will be highly undesirable. Therefore, during the shooting process, do not forget to monitor all the cast shadows and exclude their appearance in the frame or use them advantageously to achieve your goals.

Shooting angles

When changing lighting angles, do not forget that you can also change shooting angles. Your model will look completely different depending on the angle you shoot from above, below, from the side or overhead. To find out which angles are best for a particular shoot, don't be afraid to wander around the model, shooting her from different angles.

The point and angle of shooting can have a decisive influence on the final result. By experimenting with them, you will not only add variety to your photos, but the shooting process itself will become much more fun for you and your clients.

Eye contact

Making eye contact between the person in the photograph and the audience is one of the golden rules of portrait photography. In order for the photograph to attract the viewer's eye, the eyes of the person being portrayed must be visible in the portrait. And it is not at all necessary that the model look directly at the camera, because when using studio light, and, consequently, various shadows, tones and angles, you can convey the desired mood even without direct gaze. Of course, there are many beautiful portraits in which the person’s eyes are not visible at all, but this is rather the exception to the rule.

Well, now it's your turn! I hope my tips have given you an idea of ​​how simple and yet effective different lighting techniques can be for portrait photography. To give yourself a little confidence in your actions, rent a studio for a couple of hours, take a friend with you as a model and try out different lighting options using the lighting equipment available there.

This will allow you to put into practice all the above tips and analyze the results of your work, and will also give you the opportunity to decide which lighting equipment you prefer to work with.

The Secrets to Achieving High-Quality Portraits: Proper Studio Lighting

The recommendations of professional photographer Julia Kuzmenko McKim outlined in this article will be useful for those who like to shoot portraits using artificial lighting.

The main problem that often faces people working in this genre is the discrepancy between the dynamic ranges of the human eye and camera sensors, which have a much lower range. To obtain a high-quality and realistic portrait, the total brightness of the frame should correspond as closely as possible to what the photographer sees. In general, the situation is reminiscent of when, using a lens, we need to convey the stereo image that we receive in life thanks to our eyes.

Julia Kuzmenko McKim

In theory, the laws of light work the same everywhere, but when it comes to lighting in photography, our main goal is to increase dynamic range. This is achieved by better filling the dark areas of the frame and fixing the key subject of photography at the same time in the shadows and in bright light (with the exception of the use of original lighting schemes, implemented against all the rules of photography to embody an unusual creative idea).

Many novice photographers believe that strict adherence to the rules of photography does not allow them to fully realize their existing creative ideas. Undoubtedly, experiments have a positive effect on portrait photography, but the rules were not invented just like that. Often, photographers, analyzing their mistakes, begin to understand that they would not have made them if they had followed the basic laws of working with light. Therefore, to conduct successful portrait photography, it is important to be able to distinguish between a bold experiment and a ridiculous idea that cannot lead to anything outstanding.

Using Light Modifiers

The most popular among portrait photographers are softboxes and reflectors of various types and sizes. All other existing devices for changing the nature and direction of lighting can also significantly improve the quality of photography, provided they are used correctly. The choice of a specific light modifier depends primarily on the personal preferences of the photographer, but it is also influenced by a number of the following criteria:

• how large an area you want to illuminate - the type and size of the modifier directly depends on whether you are shooting a close-up of a face or making a full-length portrait;
• skin condition of the photographed subject - if your model does not have skin problems, then the lighting can be made strong enough, which allows you to achieve an interesting play of light and shadow. When photographing an elderly person or a person with problematic skin, the selection of a lighting scheme must be approached delicately. The best way to hide existing imperfections is a softbox, which allows you to get soft lighting;
• number of models – if you are shooting a group portrait and have not yet seen the future models in person, then it would be wisest to start shooting with a softbox. This will avoid problems with post-processing photos if one of the models may have problem skin.

Those who want to shoot truly high-quality portraits need to learn to read light patterns in other people’s works, distinguish the shape of the highlights in the model’s eyes, the degree of lighting hardness, and most importantly, understand which modifiers were used to achieve this or that effect.

Using a Beauty Dish

A beauty dish was used to take this photograph. The silver reflector helped fill in the deep shadows under the model's nose and chin. Her skin was practically flawless, and after the work of a makeup artist, it became perfect. This made the use of strong light quite acceptable in this situation. If you've never shot with a beauty dish, now is the time to try it. Despite its simplicity, this accessory can change a lot in the frame for the better.

Using a softbox

The next two photos were taken using the same lighting setup as the previous photo, but using a large softbox as the main light source. More than ten models took part in the photo shoot, and it was decided to use just such a light modifier. This made it possible to equally advantageously show the hairstyles and faces of all participants, avoiding possible difficulties with problematic skin of some of the girls.

Unless you have experience using a beauty dish and a softbox, you may not notice how these photos differ from the previous photo. This border is quite subtle, but the more you shoot, the easier it will be for you to notice it.

As a rule, an experienced photographer can easily determine which light modifier was used to obtain a particular photograph, and whether it is possible to achieve better results in the given situation. This skill helps you set up lighting correctly and avoid making mistakes yourself. First, learn to determine the depth and degree of hardness of the shadows under the nose and chin of the model. This will make it easier for you to decide which light modifier is best to choose.

Application of silver reflector

The silver reflector has gained wide popularity among portrait photographers. It practically does not change the shades of light, while making it direct and hard. Proper adjustment of the power of the light source and the correct location of the reflector relative to the model and background allows you to get excellent results.

If you don't have a silver reflector on hand, you can quickly make one from kitchen foil glued to thick cardboard using double-sided tape. If you are driving a car, you can also use a light-protective silver visor as a reflector. The use of even such simple and cheap homemade devices will bring an order of magnitude more benefits during portrait photography.

If you still can't use a reflector, aim the flash at a white wall, ceiling, or any light-colored surface behind you. The same is true for a room that has an inappropriate color or a large area for which the power of your lighting is not enough. The next two images clearly show the difference in dynamic range between photos taken without a reflector and with one.

Using Color Filters

Interesting results in portrait photography can be achieved when color gel filters are used. They can significantly reduce the flash output power, so when purchasing this accessory, you need to focus primarily on the power of the existing equipment. When using color filters, monitor the flash point. Powerful devices can damage the material of the accessory when exposed to extreme heat.

This shot you see was taken using orange and cyan filters mounted on flashes that were positioned behind the model.

Using other light modifiers

Although other light modifiers have gained less popularity in portrait photography, they can also bring a lot of benefits when used skillfully.

For example, a two-meter octobox was used to take this photo. The use of such a large light source made it possible to give the model as much freedom in movement as possible.

In their work, portrait painters occasionally use photographic umbrellas. The nature of the light on them is somewhat different from that obtained when using a softbox or beauty dish. Although an umbrella is often not capable of providing professional-level lighting, its functionality is sufficient to solve many problems, and its compact dimensions and light weight make this device an indispensable assistant when working on the road.

Using a light meter

You can often hear from professionals that a lux meter is needed only by amateurs. This point of view is quite controversial. Undoubtedly, in most cases it is indeed easier and more useful for a photographer to determine the illumination of a scene visually - this allows him to gain irreplaceable experience and the necessary skills. But situations often arise when you need to set up the flash very quickly, or the photographer is working with rented equipment that he is not used to. In this case, a lux meter will provide invaluable help, so don’t write off this very useful device.

Of course, there are many more light modifiers that are not so widely used in portrait photography, and their use depends primarily on the individual preferences of each photographer. If you master the light-modeling devices described above, it will be much easier for you to take excellent portraits.

And finally, a little exam for photographers. Try to determine what light modifiers were used to achieve this photo.