Quick And Easy Corporate Portrait
Bryce Wilson
Registered Users Posts: 1,586 Major grins
I've gotten tired of hauling studio equipment to location shoots. Because this one was on the third floor of a large office complex and only involved four subjects, I decided to try going completely "portable" for the first time with this type of shoot.
Two speed lights (Main and Hair) and a reflector were used. I may have set the hair light a bit too hot and positioned it a little too far forward though because of the slight light bleed onto her chest.
All in all, for ease of travel and set up, I don't see too much wrong or different with it compared to hauling around studio sized equipment for this particular application.
See any nits?
Two speed lights (Main and Hair) and a reflector were used. I may have set the hair light a bit too hot and positioned it a little too far forward though because of the slight light bleed onto her chest.
All in all, for ease of travel and set up, I don't see too much wrong or different with it compared to hauling around studio sized equipment for this particular application.
See any nits?
0
Comments
I do this for pretty much every location headshot set I shoot - speedlights are da bomb!
Thanks. Hmmmm Camera right or subject right?
Certainly are easier to transport. Only drawback for me is that I don't have as many "widgets" to go along with them.
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I only do portraits for non-profit organizations and friends, so hate to invest much more in equipment. I own strobes with triggers, one 580EXII, and a large reflector, but like you mentioned getting the heavier equipment to the spot you need it can sometimes be difficult. Not needing to take the strobes would be a lot easier, so maybe I should be saving for another speedlite.
I've learned a lot from what you've posted over the years, probably more than from any other contributor, so thank you so much for sharing your talents.
I like classic. It's a nice way of saying "old".:D
Thanks for the input and info, which brings up another drawback of using speedlights. The lack of a modeling light.
Thanks for the kind words.
Good advice on the eye socket. I too like the falloff on the camera right face, but on looking again, that camera right eye could be brightened a bit.
This was done with a shoot through umbrella as a main, a reflector on a arm with a light stand and a small softbox attachment for the hair light. I am using a cloth carry bag from a portable background stand that was retired some time ago to put the light stands in. Very portable and easy to carry.
The background is a Westcott Illuminator. It's kind of like a really big reflector with background material on it and folds up the same way a reflector does. It attaches to a single light weight stand with a clip. They come in various colors. I like the old masters look for "classic" portraiture. Only drawback is you are really limited to photographing a max of three people size wise.
Thanks again.
Gotcha!
Since you asked...
maybe bring up the shadows just a bit to reduce the contrast. Frame right clean the shadow under her eye. Clean up the splotchy areas on her chest. Bring up the highlights in her eyes a bit for just a bit more sparkle. Her front teeth look a bit brighter maybe even her teeth out. Soften the cheek shadows just a bit.
Just some nitpicky ideas...actually looks fine as is.
Main thing is she looks great and that is the hard part with coorporate shots. Light position and background look good to me.
Nice work.
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Once you have a modifier on a modern speedlight I'm not sure that's the case at all. There may have been limitations at one time, but thanks to David Hobby and the strobist movement there are now sooooo many flash choices and so many great - and large-surface - modifiers which can be used with speedlights that it really isn't a big deal. Umbrellas, softboxes, brollyboxes, strip boxes, parabolic umbrellas... etc etc. Yes, I have used studio setups; it is nice to have the extra power when needed and for certain applications the larger lamps are invaluable, but inside the studio I found that had them turned down to minimum most of the time anyway. Doesn't mean they're not a terrific tool, but I'm not sure that one can "knock" modern speedlights on the grounds of poor quality light and lack of modifiers any more. And they score BIG TIME on portability
Bryce, I LOVE my "popup" backgrounds. Mine isn't the Westcott, but same idea; they are GREAT for location (and in small spaces)! Mine will even prop up against a flat wall/surface indoors if need be although I usually use work clips through the loop at the top of mine and connect it to whatever is handy. I've used bookcases, picture rails on the wall.... whatever works
I was planning to use a two light + reflector setup and this just confirmed it.
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Cut my load, unload and set up time in more than half. Course, if I had your guns, I most likely wouldn't worry about it.
Did a rework of the original with some of the suggestions presented within the thread. This is the black and white version of the rework. Is it just me or does the B and W make her look five to ten years younger than the color version?
How did you light the background? Also, did the client specify how the images would be used and did you offer a variety of looks so that they'd have some choices depending on need? Like magazines, conferences, and executive profiles.
Great hair light.
An "accurate" reproduction of a scene and a good photograph are often two different things.
Thanks for chiming in! Good catch on the blouse.
The background was close enough to the subject to catch light from the main. The "lighting effect" on the background was created with adding a black vignette in post.
I have several different looks and expressions from this traditional "classic" portrait session that they will see. We are doing an "environmental" shoot for the items you mentioned next week.
Thanks for taking the time to give input. It's appreciated.