Photoclubalpha

yesterday i had my first studio-shoot with my new studio-flash-unit

the ELINCHROM D-LITE HOME STUDIO KIT 2X 400W and SKYPORT

after a few test-picture`s , this is my first result
its my daugther and her girlfriend


70MM F9 1/250 ISO 100 A700 & SAL 70-200


70MM F9 1/250 ISO 100 A700 & SAL 70-200


55MM F9 1/250 ISO 100 A700 & TAMRON 28-75 DI 2,8

greetings
gustav

Gustav - you need to move the lights much closer. From the catchlights in the eyes, I can tell that the softboxes are much too far away. You need a much larger source relative to the face, on both lights. They need to be so close you hardly have room to get the camera between them. Also, you need a lot of white reflector out of picture as well as the softboxes. This will lower the contrast on the skin tones and reduce the effect of shine and shadow.

They are OK, but the secret of great beauty lighting is to have a soft wash of light and then add contrast by removing reflectors or using black flags (French flags) to create shading.

If you get a chance, go to a seminar by Henk van Kooten - he can give you some very good tuition.

David

I know next to nothing about studio photography so listen to David for advice about that. I will just say that you did a really good job on your first try and probably better than what I would get on my first attempt! I especially like the last one with the two young ladies together.

I don't do any studio work with people now; at one time I shot a fair amount of model portraiture and glamour, and did workshops as well, but after moving to Scotland we stopped doing that - for one thing, we no longer had a dedicated studio of the right size, and I still just use whatever room seems best.

We normally used 1m square (or 40") softboxes, at least two. Later that was changed to using one Chimera 1 x 1.5m and one 1m. Additional lights have always included an optical spot, and a rigid 44cm softbox with honeycombs, plus regular honeycomb on reflector heads and snoot. I have never used a beauty dish (capped light source, large flat round reflector) but they create the most attractive eye catchlights.

In addition this, we always have had very large reflectors. I still have two of these. They are the same size as a projector screen, and use the same spring loaded roller; they are about 1 x 1.5m vertical when extended. Usually, the screens are placed either side of the camera forming a 90 degree corner with a small gap; the camera is positioned to view through the gap.

This was based on the methods used by Harry Ormisher (Daily Mirror) and Mel Grundy in the 1970s with b/w, adapted to colour. These days it is normal to use similar size reflectors but above and below, like a sort of sloping ceiling and floor. Stu Williamson developed the Tri-Flector to replace large flat panels with a three-part, folding panel that could wrap round below, above or to the side. The Tri-Flector has been produced by Lastolite, and is now sold by Calumet and others. Certainly if I was doing beauty/portrait shots now, I would have a Tri-Flector.

David