STUDIO LIGHTING PDF
and whatever source that reflects sunlight. Studio lighting on the other hand will let the photographer control the light, its source, and the objects that reflect light. The quality of the light was so unique, though, it was quickly adapted for use in portrait and fashion photography. LIGHTING BASICS 13 Ring Flash The ring light . Master professional portrait lighting with these 20 essential studio setups. KIT: One D-lite RX4 head, one Clip-lock. Stand, one Portalite Softbox. Position the light.
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Nonstandard Light Sources. Do the Colors Mix? The Remedies. Lights of Different Duration. Is Studio Lighting Possible on Location?. and bluescreen visual effects lighting. ParaBeams DMX. For studio lighting. Bright, broad beam spread for TV broadcast sets, film/video production stages. Also. With studio photography lighting, you simulate different types of light using The primary lighting set-up used in my studio consists of a set of five strobe lights.
Examples of diffused light occurs on foggy days when the fog diffuses the sun light. Fluorescent lights in department stores and classrooms use diffused light. Use diffused light to illuminate large areas, not defined areas such as a book or face. Light Characteristics - Light has properties that can be manipulated to give a scene the look you want: 1. Intensity 3.
Shadows 1. Light Intensity: Light Intensity refers to how much light falls on any one area. Intensity of light is measured in foot-candles ft-c or lux.
Studio lights are rated in foot candles. If there is insufficient lighting cameras have to up the gain. Most digital cameras will do this automatically. Increasing the gain will boost a weak video signal but it will also make the picture "noisier" - you can see the image loosing its crispness.
The closer a camera is to a subject the more intense the illumination. Using a dimmer will you can reduce light intensity. Light in a studio is measured by the amount of red and blue tint. A studio camera is set to "see" white at a temperature of K. While broad light is a wonderful way to emphasize freckles, it will also draw out imperfections like acne and scars. Split light Split lighting is another type of side lighting but it is defined as light that hits your subject from the side at a 90 degree angle.
You can easily recognize split lighting in an image by half of the subject being lit and the other half in the shadows. Split lighting tends to make your subject look tough and masculine so you want to really consider your subject when choosing this type of lighting.
Backlight Backlight is just that, light that comes from behind your subject. This is commonly seen in photos from the beloved golden hour, when the sun is low in the horizon and starting to set, but can be done at all hours of the day.
Sources of backlight can include a window behind your subject in the middle of the day to a flash placed behind with a colorful gel for something fun. As beautiful as backlight is, it comes with its own challenges which can include a look of haziness and lack of clarity in your subject.
This turned out to be the right thing to do. I shot four rolls before I felt I got the shot—and before I ran out of time. My goal was to portray Mr. Before I started moving anything, Roach with his drums in a visually dynamic way.
I also took a Polaroid so that I could put back all the drums where Posing they were originally placed you could, of course, do Whenever you photograph a musician with his instru- the same thing today with a digital image.
I learned ment, the rest falls into place. In this case, we were this when I started shooting architecture and would shooting in the sound studio where he was rehears- sometimes have to move furniture to create a stronger ing.
I wanted to emphasize the repetition of the sim- image. I have also learned—the hard way—to ask be- ilar round shapes so I shot from above looking down. When I was photo- I selected a telephoto lens to tighten the proximity of graphing composer Philip Glass at his home, his com- the shapes. Glass walked in and looked at me Mr. Roach had recently returned from Japan, where aghast. He was inspired by his trip and brought back some traditional Japanese drums those are the colorful ones in the background.
He was already at degree grid spot the studio when I arrived with my assistant, so I asked with red gel degree on column him to play while we set up. He lit up and started to describe the experience. He continued to play while we broke down the lights and packed. When I waved good by, he stopped playing, said it was a real pleasure, medium softbox and went back to drumming. That was cool.
I was dealing with lisher of my Fathers and Sons book referred me to the strong vertical lines the white columns and all kinds Wilson clan. Larry Wilson a. Wilson , who of background distractions. The first thing I did was is shown standing on the left, had published a book anchored the grandfather in a chair, then surround with them titled Colt: An American Legend. I very! Finally, I shot from Since Mr. There was so much to take in that it was difficult to frame a portrait at first.
It was only when I met his father, a noted bounce light on balcony bookbinder, that I finally got centered and realized off ceiling what my frame would be. I realized that he needed to be the center of group, so my assistant and I moved the furniture—elephant- foot ottomans, Formula-1 racecars, the usual stuff— and set up the lights.
The bounce light on balcony balcony was a real asset in setting up the background off ceiling lights. Once we were all set up, we brought the fam- medium softbox large softbox ily in, set them in their places, and began the photo session.
I always bring a weight—either an empty sandbag that Visual Objective you can fill at the beach, a gallon jug with a hook My objective was to create an image that would reflect that you fill with ocean water, or a Bogen super clamp a sense of openness and security. In addition, I bring large plastic garbage bags to place Posing over my camera bag, strobe pack, and any other equip- I wanted to portray security in this relationship, but ment I need to keep sand off.
I decided a can of compressed air and a digital sensor cleaner. When I got this opportunity to photograph Tom Midgley and his son on the beach, I was excited. My assistant Martin Semjen a friend, not a pho- tographer and I dragged the gear, chair, and umbrella across the beach to the perfect spot. We had about a half hour to set up before the sun would be setting, which left me about fifteen minutes of good twilight to shoot.
Tom and his son arrived as the sun was set- ting behind the bluff and I started shooting. About five minutes after the sun had dropped I got my shot. Hasselblad cw LENS: Luz ws power pack with large Plume softbox to light family; degree grid to light uniform and Mr. That was the fice to ask if there were any baseball players I could shot. To my sur- prise and delight, they got back to me and suggested Tips Tommy John.
Not only was he a great pitcher, he was People always ask me how I got the opportunity to also a great humanitarian who adored his family. This simple truth is, I asked. I wanted to capture a behind-the-scenes look at the The worst thing that could happen is they say no and next generation of baseball players.
I asked more than a hundred fathers and sons to sit for me, and only six declined. That is a Posing good percentage. To prevent Mr. John from towering over his sons, I sat him down and placed his sons around him.
The baseball bats were then added for his sons to lean on. The Story I arrived at Yankee stadium about an hour before the degree grid shoot and scouted around. I have to admit, it was a thrill to walk out of the Yankees locker room onto the playing field—the same path walked by Babe Ruth, Lou Gehrig, Micky Mantle and other baseball greats. To my surprise, when the family arrived they were all wearing Yankees uniforms.
I placed them into position and began shooting. Brennan soon arrived and John Brennan of the Vanguard Group. Brennan in an unbusinesslike for his time. What I had in your location scouting. The glass ledge allowed him to lean back, relaxing his pose. It was raining, meaning working outside was not an option, so I decided to go to the cafeteria silver reflector for some tea—a lucky break.
When I entered the top large softbox level of the high-tech cafeteria, I saw my frame: My assistant and I set up one light a large softbox on a portable boom stand. Luz ws pack with medium softbox as main; Luz ws pack with reflector placed behind the subject and bounced off white ceiling Assignment Mahoney won the Tony award that year for his por- Elle magazine assigned me to photograph actor John trayal of Artie in The House of Blue Leaves.
Tips Visual Objective Sometimes life hands you lemons and you have to I wanted to portray a lighter side of John Mahoney, make lemonade. When I walked into the nondescript the everyman. Fortunately, the quilt, the apple, and—of course—a fun subject helped transform what Posing could have been a very mundane image into an inter- This is what I call the circular pose.
The positioning of esting one. Always be on the lookout for visual ele- Mr. If you start with the apple, travel up to the afraid to share them with your subject. Mahoney would react when I asked him to read on for more on why this prop was selected. In turn, I gained his trust. Mahoney was a teacher bounced off before he went into acting.
That inspired me to use white ceiling apples as a prop. With these two visual elements, ap- ples and a quilt, we improvised the whole session.
I started out by having him toss the apple, shoot- ing with the New York City skyline in the background.
Later, I had him put on his bathrobe and get into bed, medium reading Shakespeare with an apple on his head—a softbox William Tell scenario. Elle ran the image of the apple toss, but I felt the image here really captured his playfulness. Comet ws pack beauty dish with degree grid for main light; reflector with degree grid for hair light; two umbrellas on background Assignment For this shot, I was agonizing over the background.
I was assigned to photograph jewelry designer Robert Before the Internet, when this happened I would go Lee Morris for the cover of a Fairchild Publication, to art galleries. In this case, I stopped in a Soho gallery Inc. I Visual Objective proposed the idea to the art director and she agreed— Mr. Morris was becoming very famous for his work but also suggested I shoot it on a plain blue back- in silver and gold and was known for using decon- ground.
Happily, the publication ran the shot with structed plaster busts to display his creations. I asked Pollack-esque backdrop. I wanted to create a strong visual that Tips reflected his creativity with gold and silver.
Never be afraid to suggest ideas to your client; they hired you because of your talent and skills. They may Posing not always agree with your ideas, but they will appre- It is always easier to pose your subject when they have ciate your creative input.
Minimalist lighting : professional techniques for studio photography
Of course, you should always something to hold. This pose was centered on framing cover yourself by shooting what the client wants. I had Mr. Morris cradle the bust, turn side- ways to the camera, and—on the count of three—turn his body toward the camera. After repeating this mo- tion many times, he was feeling very comfortable.
The Story umbrella on umbrella on background background There are some benefits, in addition to the notoriety, degree grid for to shooting covers for publication. First, there is a spe- hair light cific format; the image will be a vertical with space above the subject for the masthead.
Second, the art beauty dish with degree grid for director will be able to direct the point of view. Addi- main light tionally, there is more pressure to create an arresting image to draw attention the magazine. Profoto ws pack with medium softbox as main light; silver reflector for fill; diffused degree grid on background Assignment and so on. This simple one is still one of my favorites, My celebrity stock agency assigned me to photograph though.
It seems to capture Mr. The images At the end of a long day of shooting, Mr. Assante were for use in promoting the actor. He had prepared a great Italian meal, and we ended up eating Visual Objective and drinking until midnight. Assante is known for his tough-guy roles, and I wanted to reflect that in his wardrobe and the texture Tips of the image.
The black leather jacket against the mot- Always try to create lighting that matches your sub- tled canvas background seemed to set the stage. Posing Mr. Assante was a natural in front of the camera. This spun glass over image was created during the last setup of the day and degree grid on background we were all tired. This was a good thing, though, be- cause Armand was letting down his guard in terms of posing. Having him tuck his chin in, wrap his arms around himself, and look straight into the lens pro- duced a strong look.
The Story This was a fun day. My assistant and I packed up the silver reflector medium softbox as main light for fill car and drove north out of New York City to Mr. My known for her femme-fatale roles in film noir, for a assistant and I then set up lights while she changed. When Ms. Trevor came out her dressing room, she looked like a star.
She was wearing a classic black dress Visual Objective and had adorned herself with elegant jewelry. The author wanted a photo of Ms. Trevor painting in her art studio, which I shot. However, I found this Tips cinematic heroine to be so gracious and charming that I have found that the best way to work with compli- I wanted to create an additional image that portrayed cated lighting setups is to break them down. Start with her looking regal and dignified.
The reading from your main Posing light will dictate the intensities of the other lights. It is a traditional pose when key light on Ms. It was fun and she really liked strolling down softbox as main light memory lane. If it makes This image was created during a test shot for my port- your heart beat faster and your palms sweat, you know folio. I was experimenting with motion, strobe, and you are on your way to creating something special. Of tungsten light. During this session, I was working to create a dreamy I try to do test shots for my portfolio, and for my image of my studio manager, Sam Verone.
Many of my test shots fail, but every once in a while I Posing have a really great success that washes away all the I had Sam tilt her head toward camera and look off failed attempts. She stood still while I panned the camera to create the blur effect.
The Story I was trying to perfect the motion-blur technique, mixing strobe with tungsten light—and I was fortu- nate enough to have an exotic-looking studio manager for my subject.
I originally shot her against a black degree degree hair light grid for background, but it was too clean looking. So I placed main light green and blue 4 x 8-foot foamcore panels behind Sam tungsten with a black gap between them, subtly creating greater light visual ambivalence.
Barker Photographic Ltd.
I felt the test was success, because after experimenting for about an hour I felt more con- fident about using this technique on an assignment. It is important to discuss the music and Jazz bassist Harvie Swartz hired me to photograph his concept, but it is just as important that you make the band Urban Earth for their upcoming CD. The other potential setback is financial. I al- wants. Also be sure to to I photograph a band, so I initially had in mind a re- have a contract between you and the group specifying creation of the painting with a fourth musician.
Instead, I went for a spontaneous budget, limit the usage of the image.
Be sure to note moment and tried to capture the joy of hearing Harvie in the contract that if the image is used for any addi- play his bass. The Story I asked the band to come to the studio and play. Un- fortunately, they were still recording and were on a degree grid with blue gel highlighting drummer tight schedule so I had to have a solid plan for what I and sax player wanted.
Happily, I had just done a test shoot empha- sizing motion see the previous case study , so I de- spun glass over degree grid on background cided to apply this technique. She added an Allen-esque Ford Times Magazine assigned me to photograph ac- feel to the image, so we kept her in.
These are people who literally stand on the set so the cinematog- Tips rapher and lighting crew can get set up before the star If you intend to become a location portrait photogra- arrives. There are also professional location scouts you can hire when working outside of your familiar Visual Objective turf. I am always looking for interesting locations that I wanted to create a Woody Allen—type of movie still I will use for future shoots.
Posing Ira was great to work with did I mention how much fun it is to work with actors? I had him turn around in the park bench as if it were a candid moment. Story A park across from the Waverly Theater on 8th Street spun glass over in Manhattan was the perfect location for this shot. Norman B You could see the Empire State building and there were always pigeons, the city mascot. We brought a bunch of breadcrumbs to attract more pigeons.
While I was shooting, Mr. The one mysterious aspect of this shoot was the woman in the background. Orme, Jr. Using a grid on the main reduces spill, as will placing a gobo be- Visual Objective tween the reflector and the background.
The result is A serious subject requires dramatic lighting. Addi- a richer gel color on the background. Placing the key light far enough away from the background will Posing also prevent wash-out of the background color. The I had Mr. Orme lean toward the camera, supporting best way to test this is by metering your background his weight with one hand. His other arm was posi- without the key light and with the key light, if there is tioned to create a strong diagonal for visual tension.
The Story Not-for-profit organizations, often understaffed and on tight budgets, usually have very basic facilities that are uninspiring for portraits. I decided to be inventive in this small conference room, which contained an old head with black-wrap gobo and blue gel head with black-wrap gobo and green gel world map, some CPJ books, and a video monitor. I pulled out blue and green gels, arranged the books, and asked if there was a video clip I could play to put degree grid an image on the monitor.
This was one of those mo- for main light ments that you realize the power of lighting and how it can transform the ordinary into the extraordinary. The client was happy with the image and so was the CPJ, who ended up downloading a print for their office. Luz ws pack with large Plume light bank; Luz ws pack with two heads bounced off ceiling behind subjects heads fitted with yellow gels and gobos to prevent spill on subjects Assignment vent.
I have actually had some of my best photo ses- I was hired by The Nudes Walter Parks and Stephanie sions when working under those conditions. Winters to photograph them for promotion of their It is great when the client has a big budget, but in forthcoming music CD.
I had set up the cello and ter have fun doing this shoot or why bother? It looked forced, so I asked if they would stand in place and just move their hips and arms and stare into the lens. I started shooting and let them strike their own poses. I was think- ing cactus, sun, desert, etc. The image was never used for their CD, but a music magazine ended up using it for their cover. Tip I often work with little or no budget when photo- graphing artists.
Softar II filter Assignment and shot close and wide. The shoot went well and got I was asked to photograph the author Barbara Brad- a thumbs-up from Ms. My only regret was not ford Taylor for a series on celebrities and their pets for bringing one of her books with me for her to sign.
Modern Maturity magazine. This was a fun series that sent me around the country photographing celebrities Tip at their homes.
When you embark on a series of portraits for a client, or even yourself, it is a good idea to establish a style of Visual Objective shooting. Estab- Posing lishing a particular style of shooting can also become I felt that positioning Ms. Taylor on the couch and your marketing vehicle to assignment work. It allows turning her torso toward camera would allow her to sit downloaders of photography to identify you by the work you comfortably while handling her dog, Gem.
It also al- produce. Once my assistant and I set up the lights and arranged the flowers and photos in the background I was ready to photograph Ms. Taylor and Gem. Luz ws with large Chimera softbox for main light; two Luz ws power packs with four heads with degree grids and colored gels for background OTHER: Star filter Assignment times and photographed her when she stopped. We I was assigned to photograph the singer of the popu- shot about two dozen frames and called it a day.
Tips Visual Objective When shooting a magazine cover, the art director usu- I wanted to create a theatrical look. For this assignment, it was very loose; the ed- Posing itor was probably hoping I would have gotten some- For magazine covers, I want the subject to have a di- thing at her home.
I should have been more direct in rect relationship with the lens. I asked Ms. Cisyk to asking about the direction of the cover shot—a lesson pretend she was on stage and was receiving applause learned.
I did get another day of work out of the as- for a song she had just finished. The Story I photographed Ms. Cisyk in her home, riding a horse, degree grids with colored gels and doing other activities around the property.
I was looking for an opening shot for the article, lifestyle im- ages to fill out the story, and a cover shot. She understood and budgeted another day of large softbox shooting. I shot a test roll and sent it to the lab that night to see the results the following morning. Cisyk arrived at the studio we were ready. Profoto Acute ws pack with strobe head and large Plume softbox Assignment We were moving right along when suddenly I saw I was asked to photograph the trio Hothouse, a swing police lights flashing in the background.
The police and Dixie band, for publicity and their upcoming CD. They were Visual Objective right, so we stopped. Besides, I knew I had the shot. Although shot in Philadelphia, I wanted to create a late-night New Orleans style. Tips For night shoots, be sure to pack a cable release. This Posing will help prevent camera shake, and it lets you look at I started with the classic golden triangle composition.
Then I had the clarinet player balance on the chair to Also, get a permit from the city either at the film create the top of the triangle.
In al- most all public spaces, when you put down a tripod The Story you need a permit. It seemed like the stars were aligned. We all met at the restaurant, whose proprietor was happy to help with the shoot, and took some bar chairs to the alley. While I positioned the musicians, my assistant set up the light. I then set the camera on the tripod, plugged in my cable release, metered the large softbox for main light light, and I shot a Polaroid. The Polaroid looked good, but I played around with the shutter, speed slowing it down to bring in more ambient light.
The ability to identify such environmental elements is an important skill to develop. If you do it Visual Objective successfully, the environment will complement your Massimo Vignelli and Associates is a well-known de- subject and not compete with them.
In this image, for sign firm that has created timeless packaging designs, example, the environment is monochromatic, draw- corporate identities, and other graphics—including the ing your eyes immediately to their faces.
New York City subway map. I wanted an environment I cannot overemphasize the need to match the light that reflected their sense of design. In this image I felt that Hollywood- style lighting would work the best. I used hard lights Posing to bring out the angles of their faces.
It also creates a I posed Massimo to act as a visual anchor to his son, little drama with the shadows and geometric shapes.
I wanted them to seem connected. I was also delighted to see that the Vignellis were both dressed in black and striking to look at.
All I had to do was set up the right type of light. Because the envi- ronment suited the subjects and they were totally into spun glass over degree grid for main light having the photo taken, it was one of the easiest and most natural shoots I have ever experienced. At the time, Mr. Sulzberger was job, but I had included a contract stating that if any chairman of the Metropolitan Museum of Art. I had a good relation with this publi- Visual Objective cation, so rather than demand the money I requested I wanted to capture a portrait that reflected a sense of a trade; I would accept another photo assignment of power and tradition.
The client was more than happy to oblige and I got this great assignment plus, I continued to Posing work with this client until they folded.
Whenever you For the mood I had in mind, it made sense to have send out materials, you should keep a record of who him cross his arms. Sometimes, crossing the arms can they went to and include a Rights and Usage agree- suggest defensiveness, but here it looks relaxed. Even though I had found the location early on in my scouting I spent an extra hour looking around—what a treat! Since Mr. Sulzberger was sort of a patron saint, medium softbox for main light having raised millions for the art museum, I positioned him so a halo appeared to frame his head.
Be- cause I forgot my stepladder, I had to step on one of my strobe cases to get the right perspective. Rather than try to illuminate the columns or shoot tungsten film and convert my strobe light, I decided to drag my shutter and let the background go gold, which implied wealth. Just make sure you clear the extra expense Although the publication used another image for the with the client.
That said, I never check my cameras; cover showing more of the kitchen , I have always I always carry them on board. That way, if the airline liked this one. She is turned to the camera with her loses my luggage—and they have—I always have my left shoulder dropped, simply paring a garlic clove.
Worst-case scenario? I shoot natural light. Julia put on her charm and was great in front of the camera, striking a different pose in almost every frame. We packed a rental car and drove to Santa Barbara where Julia greeted us with all her warmth and charm.
The kitchen was the obvious backdrop for the por- trait, but it was ironically small. So, while we placed our lights, I set up a partition to hide the kitchen mess. I then used my wide-angle lens to capture more of the medium softbox environment and the six-foot chef. At the end, Julia invited us to stay for dinner—one of the best on-the-road meals I had ever eaten.
Profoto ws head with large Plume softbox for main light; another head placed in front of softbox with degree grid; Profoto ws pack with degree grid on boom for hair light; Profoto ws pack with two medium Plume softboxes for side lights Assignment So I had him hold the board only for a few final shots. This portrait of Craig Flint, owner of Computer ER, I submitted all the variations, but as predicted they was shot for the cover of Channel Advisor magazine.
Visual Objective Tips I wanted to create an edgy, contemporary portrait. I I cut out magazine images that appeal to me and file had noticed a trend toward strong rim lighting and them away. Periodically, I go through the file to see if wanted to emulate that style. I want to apply any of the lighting techniques to my images. It is important to stay current and keep your Pose work up to date. When you trying to catch the atten- Magazine covers can be restrictive when it comes to tion of a new client, they are always looking for some- posing.
Story You never know where a job is going to come from. She came across my degree name on the Internet when looking for photographers in front of large softbox softbox in Montana.
The story got even stranger: The site was a five-minute drive from my studio and Craig and his wife are actu- ally friends—talk about a stress reliever! I knew Craig was totally into skateboarding, but I also knew that the editor would not want that shot. Black is always the actress, and her daughter Ann Grace. Stay away from busy patterns and clothes that are Visual Objective wrinkled.
I also looked for a ject to bring several outfits—and if you plan to do a lot simple background, one that would imply a home but of studio portraits, invest in a clothes steamer. Pose When I photograph pairs, I like them to get close and touch.
Here, I had them both standing and placed a tall pedestal in front of Ms. Laurie to lean on. I then asked Ann Grace to wrap her arm around her mother medium softbox and intertwine their fingers. This was the primary pose for main light that I used for most of the session. The Story Nothing really struck me inside the home as an ideal background, so I took a look in the backyard.
There, I saw a simple white fence that I thought would com- pliment their black outfits. Once they were posed, I asked Ms. Laurie to remember what it was like to be a young mother, a professional actress, and take care of Anne Grace.
She closed her eyes and smiled while Anne Grace watched. That was the shot. Profoto ws head with medium Profoto octagon softbox as main light; Profoto ws head with spun glass over degree grid for rim light Assignment The session went so well that I decided to shoot a I offered my services to photograph Claire and her vertical shot seen here for myself.
After switching the daughter Grace for a fashion benefit raising money for red scarf for a purple one, I had Claire sit on a posing a center that helps children with attachment disorders. The image would be used for ads and a poster. Tip Visual Objective The image of Claire and Grace appeared all over town The portrait was for a serious cause so I wanted my and part of the exchange was that my web site was subjects to appear somber.
Still, I felt that the image printed on all the posters. I asked Claire to hold her pregnant belly and wrap her other hand around her daughter. The Story spun glass over degree grid for sidelight Claire owned a fashion boutique so I asked if she would bring a change of clothing and colorful scarves.
When they arrived at my studio I was thrilled—Claire was attractive and very pregnant and her daughter was octagon softbox for main light stunning. I had set up a mattress for them to lie down on, since the client asked for a horizontal for the poster. I also chose a black background to isolate the subjects, and knew I had to light them to stand out.
Looking at the wardrobe choices, I chose a black dress for Claire and a red scarf to wrap Grace in. Profoto ws pack with one Profoto octagonal softbox Assignment to create a secure and comfortable environment.
For I photographed my daughter, Metika, for our adop- instance, I have found that placing a thin foam pad tion notice. I also play soft classical music to stimulate Visual Objective their senses. One large softbox and a reflector up in a top from Bali with a scarf over her head. This allows the subject to move around on the set without any change in exposure.
The Story Lastly, you need something to grab their attention.
I had just finished a session the previous day of por- I ask the mother to bring in some of their favorite traits on black, so I decided to keep the setup.An American Legend. I like to photograph weddings in a pho- The day of the wedding, my assistant and second tojournalistic style, so I begin my wedding-day cover- shooter arrived at the site around 1PM to scout the age by being present to document all the preparations location and begin shooting the wedding preparations.
The Story I was trying to perfect the motion-blur technique, mixing strobe with tungsten light—and I was fortu- nate enough to have an exotic-looking studio manager for my subject. For this reason, I have created this guide for our photographic community to expand our creativity in the studio. Update: Caution! I made sure I stayed within the pink, white, I set up a little tea party for Ms.
I find fifteen-foot ceilings to be of light that falls on your subject.
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