Hi. I decided to finally try some lighting with my LF. The place was chosen pretty spontaneously but in my opinion this background looks kind of interesting. I challanged myself not to make a preview with my digital camera and went straight with a film.
Nice. But there is no honor lost in previewing the lighting with a polaroid or digital camera. The second and third could use a little fill on the shadow side.
Thanks. Yeah I get It. I just thought that I have to try without digital camera. Next time I will probably make some preview just to make sure. I have only one light yet but I am about to buy next one so I can learn how to work with two.
There are no rules
We are not supposed to critique unless maker asks
I like to hang my stuff on my walls and study them for eternity.
Lost 2 by TIN CAN COLLEGE, on Flickr
Tin Can
I would recommend sticking with one at the moment., and using a white card or other reflector for fill. Adding a second strobe can make things more difficult in the beginning.Originally Posted by Gromon
I second Pieter's note. Working with one light is, in a sense, comparable to working with a single lens: Challenge yourself to see how much you can do with it before you start adding. It will teach you more than you may think. With lighting we concern ourselves with QDR -- quality, direction, and ratio. The quality has to do with the size of the source relative to the subject, the distance (light falloff), and the degree of diffusion. Direction of the prime, or key, light may be critical, along with that of reflected light. Ratio of key illumination to that in the shadowed areas, translates, generally, into contrast of the image. Using a single (artificial) light, you discover that its brightness and effect will vary considerably with the environment. For instance, in a very small room with white walls, or with your subject close to a wall, you may get a good deal of fill light. Take he same light outdoors or into a large dark room with high ceilings, and the light will probably appear to have become a stop less bright or more.
In any case, have fun playing around with it. If you want, take notes and test for different kinds of effects.
Philip Ulanowsky
Sine scientia ars nihil est. (Without science/knowledge, art is nothing.)
www.imagesinsilver.art
https://www.flickr.com/photos/156933346@N07/
I’ll be provocative and say… do actually use your digital camera to play, understand the lighting , what works and what does not, and how to make it to your liking. Then move to two lights and once you feel like you know then go with film.
There’s no right answer— I’m just coming from the practical side; why use film and time when you can learn much more quickly digitally. You can take multiple shots in one seating adjusting in real time based on what you see, and apply changes in orientation, powers, modifiers, etc and then study them on the computer. See what you like. Imitate other portrait photographers to learn. Then apply what you’ve learned onto film and go from there.
Try using white foam core or aluminum foil on cardboard as a reflector for fill. I used them quite often. A mirror mage a great reflectorvwith higher contrast to put an edge light on the subject.
You can do a tremendous amount of excellent photography with one light and reflectors.
Not large format but both of these were made for a client using a single light on the subject out of a metallic umbrella. The background has to be white so I had 2 lights on it but there was no spillover on the subject. The umbrella was up around 7 feet and slightly left of the lens axis. A soft white umbrella would have made a lower contrast softer image.
The third shot was for a department store selling leather coats. I used a large soft box to the left and metallic reflector in close to illuminate the hair and put edge light on the subject. Very simple lighting.
The two product shots were made with a single light with a foam core reflector. The martinis were with a large white umbrella and the scallops with a very small soft box above and behind with a small white card to bounce light from the front under the lens.
Lighting should stay simple.
A versatile reflector is a light stand with a horizontal bar across the top. A variety of fabric can be draped over the bar, or rigid material clamped to it. It also serves as a backdrops for close-up portraits.
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