band_promo_cover_video_tutorial

Settings: In each individual shot, ambient is underexposed almost completely. There is one flash in a 1.5 meter softlighter over head, it's set to expose properly at head height, and then falls off down the body. There is also a giant 1x2 meter silver reflector angled up, on the ground in front of them, this provides the fill from below. The background plate was taken properly exposed with regular room lighting.

band promo cover compositing tutorial from Ben Mathis on Vimeo.

I said I was going to make a video of my compositing workflow for this shot, and I finally did. (I needed a microphone). I used audacity to noise reduce and normalize the volume, so it should be easy to listen to. The movement through the process is rather quick, so any areas that are unclear, please post a comment and I can do a follow up in-depth video on one of those aspects.

More advanced topics used in the video are covered here: Masks

The background plate was taken with a tripod so I could use f/8 (the sharpest aperture on my camera body and this lens) at iso 100 (for maximum dynamic range). I think the exposure time was 1/10 of a second, far too slow to hand hold.

smooth_rim_light

Settings: Face light is proper exposure, right rim is one stop above, left is about a half stop above.

I attend a Kettlebell class at a gym called Mjolnir (the name of Thor's hammer in norse mythology). The gym really loves having masculine aggressive imagery up, but I noticed that all of it was from foreign athletes, despite numerous staff members, as well as attendants, being just as muscular and photo worthy. I love Iceland, and any chance I can get to promote internal imagery rather than importing stuff made elsewhere, I try to encourage it. I decided to pursue a shoot with them, and do a test shoot before hand so that they would need to do very little imagination to see how it would come out.

Settings: Face light is proper exposure, right rim is one stop above, left is about a half stop above.

I knew I wanted rim light for the revealing effect it has on muscles, but I also wanted to light the face. Before going into the lighting, here is the setup shot. Click through to flickr to read the notes.

The main light is my standard 30x40 XXS softbox with a 20 degree grid to keep it just on the face. This is reading f/4 with the light meter, and my aperture is f/4. So the face is going to be properly exposed. The 2nd light is off to the side, it's shooting through the white diffusion panel, but also past it (you can see the edge on the floor where the light is spilling) and bouncing off the reflector. The rim is reading f/5.6 on the right side (for one stop over) and f/4.5 on the right for a slight over exposure. I would love to keep them even, but the light has further to go when bouncing off the reflector, and loses some light because of the inverse square law (double the distance, quarter the intensity). If I had a longer cable, I could bring the light way further back, to keep the distances more similar, but the cables were already at their limit. Having a light meter really helped a lot to be able to ensure proper exposure, and making sure my rim lights were coming out brighter than the main, and by how much.

For this one I sprayed him with a water spritzer to get a sweaty look going.

For the actual shoot, I am going to run both lights through diffusers to get even, smooth rim on both sides. To keep from getting skunk lighting on the face (a dark black line down the center) I will just put a silver reflector disc on a boom arm for some slight fill. I much prefer the rim look, and lighting the face too evenly removes the constrasty affect from the muscles. I'll post them when they're done.

first_shoot_with_light_panels

Settings: Ambient is effectively gone. Not sure the ratio between the two flashes, but the output is 2:1, the main on the face double the brightness of the side light. The main is in a less efficient modifier, but it's also physically closer. I'd say side is 1 stop over neutral grey, and the main 1.5 stops.

This is a first shoot for a couple of techniques for me. It's my first real shoot using the giant panels I reviewed in the past post. I really like how soft the quality of the light is. Works great as a fill with the small softbox acting as my main to draw attention to the face. This is also the first time I worked with a remote shutter and the camera on the tripod. This was immensely freeing for directing the subject, and I could really focus on connecting with him, instead of hiding behind the camera. I was able to be closer to him physically, for a more human interaction as well.

Here is the setup shot. Click through to the flickr to see notes over the different lights:



Real quick rundown. The Quadra pack is a 2:1 asymmetric pack. The small softbox is in the A head, getting double the output of the side light that is aimed into the panel. This is as full as I could fill the panel without serious spill on the background, but I would have preferred to fill all of the panel for a more soft and even light. The main head is in my 30x40cm XXS softbox with the 20 degree grid. This keeps it right on his face, feathering off down the torso, and the grid keeps it from spilling on the background. The 2nd panel is providing a reflector to keep the shadows from going pitch black. I could bring it closer to fill them more, or further to create more contrast. Without that 2nd panel all together, the shadows would have been jet black.

This barndoor solution isn't working yet. The default reflector is just too wide angle, so even with the barndoors closed almost completely, it can spill out over the edge. I'm in the process of buying the 18cm reflector which will give me more control.

I was able to set everything up in about 30 minutes, including the background (borrowed from a friend). Since I was working with a tripod and remote trigger, I was able to test the lighting on myself before the subject came, but I'm looking forward to next week when I'll finally have my light meter. My settings will be much more accurate from then on out, as so far I've been guessing at ratios. Once he came I fine tuned the placement of the softbox. I have wheels for my light stands, but didn't bother to bring them this time, and I really wish I had at least brought one set, as positioning the boom stand with the softbox was a pain without them. I also need to make a small strap for attaching the quadra power box as my boom counterweight.

The shooting session went really well with the remote trigger. He had never been in a shoot before, and was a little unsure, but being able to be close and use full hand movements and body language to show poses and communicate was a real positive. I don't like working at f/8, as the background didn't need to be in focus, this was at f/4. This enabled me to use the pack power really low, like at 80 watt seconds for the main, giving me insane recycle times. I never had to wait, it was always ready for another pop. That enabled me to get some really great mid emotion shots like this:



Working with modeling lights is really great, for those readers who only use speedlights. For perfect placement of the light, especially on the far eye from the light source, it's really key. This specific shot relied on very carefully directing the turn of his face to be just right:

HelgiO part 1

Settings: Sunlight only, but with a silver long throw reflector just outside camera right, filling the shadows on his face.

Iceland experienced quite a financial boom in the last 10 years, that came to a grinding halt in the last year because of the financial crisis. It´s left a lot of half finished buildings all over the city, many of which are not being worked on. I personally love man made spaces that are empty or abandoned, so I knew a photo opportunity awaited.

I did a scouting run the day before. I have decided this is really the best way to shoot. I can take my time exploring around for good angles without any pressure, and most important, note down at what times the light is perfect for what I want. It also allows me to have the images to both show and excite the subject, possibly giving them ideas for hair/makeup/clothing. It also allows me to look at them at my leisure at home to determine how I want to light them.

Here are my research images:


I took more than this, but mostly I was walking around the place, seeing what caught my fancy, what angles felt nice, examining how the light fell, and trying to envision what it would be like to have my model there in front of me, and what I might ask of them. This trip is to get comfortable with a new place, so that I have less to worry about during the actual shoot, which is hectic enough already.

My general workflow goes:

1. Observe constantly during my daily errands and travels. If I find someplace that looks promising, I plan a research trip.
2. Do the research trip. Guess at what time the light will work well with the location (lots of lights and reflective surfaces = night, open side areas with lots of soft light from the sky = daytime on a cloudy day, lots of interesting shadows and bounce surfaces = direct sunlight, etc)
3. Explore with an eye toward eventual photos. Let my mind chew through what I'm seeing and imagine what kind of subject I'd want, how they should be dressed, colors, lighting, etc. If any of my ideas prompt some further exploration while there, the more the better. I take only my camera and lenses on this trip, no lighting equipment. This is to be a bit more mobile, but also because I am just exploring the location and seeing what's possible with ambient.
4. Edit images at home. I try to bring out the "feel" that I want from them, the same way I would if the subject were there. I tone shadows, white balance, recover highlights, fill shadows, the whole shebang. I want to know if there are any shooting conditions I should be aware of. In some cases I want to let things blow out, and in other cases I want to be careful of the highlights. If I find that I need as much dynamic range as possible because the contrast is so high, that will let me know to keep my ISO as low as possible (cameras lose dynamic range as you bump up ISO)
5. Show images to the subject, and get their feedback. Mostly this is to get them excited about the shoot, but also so they can be thinking about it. It might give them pose ideas, or get them in the right mental state. Mostly I think it helps them pick out their outfits. I normally give a general guide (all black, mostly white, something bright and warm colored, etc) but let them pick outfits they think they look best in. If it's a really involving shoot, I'll do a wardrobe planning session with them at their house.
6. Try to figure out lighting scenarios. I first try to figure out where I wan to place my subject in the frame from what I've picked out. Then I envision how the existing light will light them, and if it needs modifying or amplifying. Lighting normally falls into 3 categories,

• no lighting required, just the ambient plus possibly reflectors or subtractors.
• using the existing light sources and angles, but either boosting the level by placing a flash in the same place, or by complimenting the existing light with another flash filling in the shadows
• providing the lighting completely with the flashes.

So, for example with this one:



I knew the thing I liked most was the shadows. I knew that I would want the shadows to play over the subject, and possibly have some of the shadows on the face. This sunlight faded quickly, so I had only one hour when this light existed. We shot here first because it was my favorite setting. I knew that the room bounced enough ambient that the shadows wouldn't be jet-black, but I imagined my silver long throw reflector would be a benefit to fill the face shadows. The location scout helped me figure out most of this, so once we arrived and I unpacked, I merely had to direct the model, and have my friend keep the silver reflector aimed at his face. Having an assistant on shoots like this is super beneficial.



I made sure to try different angles. As much as I loved the full room shot with all the shadows, the lighting was superb, and the model has a great body and facial features, so a closeup was definitely in order. I am glad I tried some closer shots, as this is probably my favorite shot from the shoot. I had to pay attention to the red channel in the histogram, because red represents the skin (on white skin) and if it clips, you most likely have blown out skin. I did want a bleached look, and I wanted enough shadow information to lift, so I let the red channel skirt the right edge of the histogram, without slamming up against it.



The far side of the wall had some awesome, even busier shadows going on, so I had to be sure to take advantage of them as well. After getting enough of the main wall, we moved to a sitting position against the other wall. I was laying prone on the floor to get the best angle on a few of these. One thing I learned early on, is to consider different heights. Don't always shoot from standing normally. Stand on things, go on tip-toes, crouch, lean against things, kneel, or even lay flat. Think about the emotion you want, and the angle.

Be sure to ask your model about poses. I normally suggest a pose by showing them myself doing it, then I ask them to get comfortable in that pose (so it doesn't look so stiff). I will get a few photos, then ask them if they have any ideas for poses.

One good thing to do, is at the beginning, explain about head angles. I am constantly watching how the light falls on the face and eyes, and if I want something different, I will ask them to rotate their face towards me or away. If you don't explain what you mean, the subjects have a tendency to rotate much too far when you ask. At the beginning, I explain what I'm doing, that I'm watching the light, and I might ask them to rotate toward me or away, and I want them to do it slowly so that I can ask them to stop. This helps immensely, and can be the difference between getting catch lights, or a good light angle, and getting unflattering lighting that falls poorly on the face.

Tell your model they look great, be excited about the photos, and show them! If they see that it's coming out awesome, it will rid them of any feelings of looking silly. This is especially important if you're using a non-model (someone you just asked, because you like their look).

I think this is the longest post I've made on my blog so far, but I learned a lot on this shoot, and wanted to share.

Remainder of the set.

More silver reflector

Settings: Ambient is 4 stops below neutral grey. Flash into 110cm silver umbrella, 2 stops above neutral grey, to the right and above. Silver 1x1.2 m reflector to the left and below, angled up. Tiny slave flash in the background lighting it up.

I decided to try an experiment with the silver reflector. Normally I like edgy lights, with deep shadows and strong direction. Soft light is easy light, I always thought. But I wanted to try some soft, easy light. I put my favorite soft light, a 110cm silver umbrella, high and to the right, and used the reflector to fill in the shadows. Then I put my tiny morris slave flash in the background, through a blue gel, at it's lowest setting. That lit up the background for a nice light, airy feel. A warm gel would have made it feel a bit warmer, and I should have tried that.



Settings: Ambient is 4 stops below neutral grey. Flash into 110cm silver umbrella, 2 stops above neutral grey, to the right and above. Silver 1x1.2 m reflector to the left and below, angled up.

Then I turned off the slave flash in the background, to get a dark backdrop. This completely changes the look of the portrait. Having a dark background implies there is the proper amount of lighting, so even though the skin is super softly lit, it looks "correct", and implies youthful skin, since wrinkles and pores are minimized in their shading. Women or self conscious men will love this lighting setup. The light backdrop of the first works well too, especially with a little texture so that it looks legitimate.

Here's the setup shot:



If I wanted the shadows a tiny bit darker, I could have switched to the white reflector instead of the silver. I am guessing the silver reflects -1 stop, and the white -2 stops. That would give you either a 1:2 ratio of main to fill with silver, or a 1:4 ratio with the white. Assuming they are placed as close as possible of course. Distance also reduces light intensity. Moving white backwards a bit would give you 1:8 ratio.

Window light with reflector and subtractor

Settings: giant window to the right, large black subtractor panel on the left to absorb the light and darken the shadows.

While I was in England, I went to this great specialty shop, Viewfinder Photography. They have all sorts of equipment custom made just for them. My favorite is this great collapsible reflector panel, it has 2 pieces of fabric. One is black on one side, the other side white. The second is silver on one side, and gold on the other. Each corner has a grommet, and it uses steel poles to hold it tight, and mounts onto a light stand. Nothing else like this mounts so easily and collapses so small. It comes in 3 sizes too, but I have the smallest, 1x1.2 meters.

It's extremely versatile. You can use the black or white as backdrops, like I did here:


Settings: Ambient is underexposed by 4 or more stops. Flashes are 3-4 stops above neutral grey, into large 110cm umbrellas on either side of the subject, slightly behind and above, but aiming forward. Large gold 1x1.2 meter reflector in the front, bouncing the light back onto the front of the face.

or you can use them as a reflector or subtractor. For the first photo in this post, I used the black side to subtract light from the shadows. Without the black subtractor, the light from the window could bounce around the mostly white kitchen and fill in the shadows. With a big black sheet right on the other side, no light can bounce, so it darkens the shadows a lot.

Conversely, you can use the white side to fill the shadows a lot, like this:



Settings: giant window to the right, large white reflector panel on the left to reflect the light and lighten the shadows.

One trick I want to try, is to place the gold sheet on the ground, and aim one of my flashes at it. That way I'll have a nice warm, golden fill light coming from below, and I can use my main flash and light mod as the main light, and still have the white/black panel to use as a background or a reflector/subtractor.

The best part about this light modifier, is the price. Only 30 pounds for the small size I got. That's about 45 USD.

Natural light

Rather than only post on times when I do an engineered shot, I want to be able to post more often, so any time I take a photo that has light that I've thought about, be it natural or artificial, I will do a quick rundown on the thought process. The backbone of the site will still be flash based lighting however.

This weekend my parents were in Iceland and we took them out sightseeing. On our first stop, the sunlight was rather harsh, which would have made some deep shadows were I to take the photo unmodified. However I keep a lastolight silver/white double sided reflector folded up in my camera bag. It's perfect to modify the light with a super small footprint. The silver side acts as a long throw reflector, but must be aimed carefully. Since I'd given my dad my camera with the 85mm lens attached, I had Agust's sister stand just outside frame left with the white side bouncing light into our shadows. It resulted in a much less harsh shadow. You can clearly see that the shadow is nicely filled, rather than the dark shadows normally associated with direct sunlight.



We also stopped in a small museum/village and there were interesting lighting conditions galore. One in particular that I noticed on the drive in, was a double row of trees. It provided a framing option to have them recede in the background, but even better is that the way the trees were in relationship to the sun, it only let in soft white light from one side. I knew this would make for a powerful lighting setup and background. On the way out I made everyone stop and wait as I took a few shots in this setup. Here is the result. Notice the soft white light on the left side of his face.

Blue rim light

I had an idea to use hard, bright rim lights for a portrait. I knew exactly what I wanted to do, so there was very little adjustments for this shoot.

Settings:
2 Vivitar 285hv
Both set to 1/2 power
3/4 Windows Blue gels
Full zoom setting
Light stands at 2 meter height
2 meters apart from one another
Aimed toward the photographer at a point one meter in front of them.

I put on my 50mm 1.8 lens, set it to 1/200 shutter speed, and f/5.6 at iso 100. I had Agust stand at the spot the flashes were aimed at (his head) and stood 2 meters in front of him. I focused on his eyes with the center AF point, and shot a few tests. I did not like how in focus the background was, so I lowered both flashes to 1/4 power, and moved my aperture down to f/2.5

Setup shot:



From behind:



The white balance was set to flash, so that the blue of the gels would come through. I held a 60" white reflector in one hand, angled up to his face, so that the flashes would bounce off and "fill" his face with a bit of light.



Here is a before/after of the post settings in lightroom.



One thing I like about this, is that it shows how sharp and nice images can come from even the cheapest lenses, when the light quality is good, and your focus is dead on.