Finally got around to setting up my lights again in the studio so I could shoot my kids for Easter and did a few of me to test.....I'm renting this out to all those who want a guaranteed bug deterrent.
Finally got around to setting up my lights again in the studio so I could shoot my kids for Easter and did a few of me to test.....I'm renting this out to all those who want a guaranteed bug deterrent.
lol..... purple shirt...lol.... good pic though.. kinda got a will ferrell look going on...:nono
Thank you all for commenting. My light setup is below. I have a VERY small area 10x14 to function. The picture shows the approximate location that I used for this shot. Should I have dialed the power down on the hair light so it let the light on camera left cast a shadow? I used the barn light on the right to fill in for shadows on my face since it is so dark in my room and the lights are not very good. Thanks for the feedback.
Thank you all for commenting. My light setup is below. I have a VERY small area 10x14 to function. The picture shows the approximate location that I used for this shot. Should I have dialed the power down on the hair light so it let the light on camera left cast a shadow? I used the barn light on the right to fill in for shadows on my face since it is so dark in my room and the lights are not very good. Thanks for the feedback.
Thanks for the setup shot!
I think you've mispositioned your hair light, and that lead to all the rest of the problems. I found the best position for hairlight to be where it has NO effect on the face (be it either low key, or high key, or mid key scenario).
Then your main (the softbox on camera left) can be used to create the primary face lighting, and you can use fine-tuned fill (the barndoor on the camera right) one to fill she shadows if they are too dark.
Remember to build your lighting "from the ground up" (i.e. starting with lowest power and finishing with the highest ones), at least until you get a good feeling of what each one does...
HTH
Thank you Nikolai. I will keep that in mind. I had about 45 minutes to get my stuff reassembled and shoot a few test shots in this case before my kids were home and ready for the pictures. I had somewhere in my mind that it was best to have no shadows....I don't know why which is why I set the hair light up to eliminate them. hmmmm now I have to find out why I had that in my mind. I will make some time to do a planned shoot and tinker with the power and settings to slowly introduce the soft shadows in the background and post again...... lol if you can stand looking at my mug one more time.
Randy....JFYI. Bring your key (softbox) up a bit higher and point it down.....then lower the setting on the barndoor setup by about 1 1/2 stops. I usually set the hairlight back a bit and tilt it forward using the edge of the light as it will provide some fill for the shoulders and back of head as well as top. Some thoughts.
Thought to throw out an example for you Randy. The key was at f/9 the fill at f/4
Hey Swartzy,
I think it finally clicked for me when I watched a training video series on Kelby Training and the guy went over Butterfly, Loop, Rembrandt, Split and Rim lighting. I would guess that the example you showed me uses either Loop or Rembrandt if I understood correctly. I was shooting to eliminate all shadows when in fact I should embrace them but control their intensity.
Comments
lol..... purple shirt...lol.... good pic though.. kinda got a will ferrell look going on...:nono
14-24 24-70 70-200mm (vr2)
85 and 50 1.4
45 PC and sb910 x2
http://www.danielkimphotography.com
"The Shadowmaster"
NAPP Member | Canon Shooter
Weddings/Portraits and anything else that catches my eye.
www.daveswartz.com
Model Mayhem site http://www.modelmayhem.com/686552
www.brogen.com
Member: PPA , PPANE, PPAM & NAPP
I think you've mispositioned your hair light, and that lead to all the rest of the problems. I found the best position for hairlight to be where it has NO effect on the face (be it either low key, or high key, or mid key scenario).
Then your main (the softbox on camera left) can be used to create the primary face lighting, and you can use fine-tuned fill (the barndoor on the camera right) one to fill she shadows if they are too dark.
Remember to build your lighting "from the ground up" (i.e. starting with lowest power and finishing with the highest ones), at least until you get a good feeling of what each one does...
HTH
Thanks again for everyone's input so far.
www.brogen.com
Member: PPA , PPANE, PPAM & NAPP
NAPP Member | Canon Shooter
Weddings/Portraits and anything else that catches my eye.
www.daveswartz.com
Model Mayhem site http://www.modelmayhem.com/686552
www.brogen.com
Member: PPA , PPANE, PPAM & NAPP
NAPP Member | Canon Shooter
Weddings/Portraits and anything else that catches my eye.
www.daveswartz.com
Model Mayhem site http://www.modelmayhem.com/686552
www.brogen.com
Member: PPA , PPANE, PPAM & NAPP
Hey Swartzy,
I think it finally clicked for me when I watched a training video series on Kelby Training and the guy went over Butterfly, Loop, Rembrandt, Split and Rim lighting. I would guess that the example you showed me uses either Loop or Rembrandt if I understood correctly. I was shooting to eliminate all shadows when in fact I should embrace them but control their intensity.
www.brogen.com
Member: PPA , PPANE, PPAM & NAPP