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THE STUDIO PHOTOGRAPHER’S LIGHTING BIBLE

Dedicated to my Mother and Father, with a special thank-you to my Dad for his unwavering patience and wisdom, and the knowledge he passed to me when I was a boy, equipping me with all the skills to be self-sufficient and a survivor.



A RotoVision Book Published and distributed by RotoVision SA Route Suisse 9 CH-1295 Mies Switzerland RotoVision SA Sales and Editorial Office Sheridan House, 114 Western Road Hove, BN3 1DD, UK Tel: +44 (0)1273 72 72 68 Fax: +44 (0)1273 72 72 69 www.rotovision.com Copyright © RotoVision SA 2007 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without permission of the copyright holder. While every effort has been made to contact owners of copyright material produced in this book, we have not always been successful. In the event of a copyright query, please contact the Publisher. 10 9 8 7 6 5 4 3 2 1 ISBN: 978-2-940378-23-4 Art Director: Tony Seddon Photography: Calvey Taylor-Haw Reprographics in Singapore by ProVision Pte. Ltd. Tel: +65 6334 7720 Fax: +65 6334 7721 Printed in Singapore by Star Standard (Pte) Ltd. Using this book The case studies and lighting diagrams in this book illustrate general concepts and techniques rather than specific setups. It is not intended that they be followed precisely. Lights and softboxes may be positioned on the opposite side from that shown to the same effect. Unless otherwise noted, all the lens, f/stop, and shutter- speed specifications are accurate for a full-frame, 35mm SLR camera.

THE STUDIO PHOTOGRAPHER’S LIGHTING BIBLE Calvey Taylor-Haw

CONTENTS Introduction 8 KEY CONSIDERATIONS SUBJECTS & GENRES Glass & reflective surfaces 127 Case studies 128 Portraits 13 Talking Point: Lighting for exhibitions 150 Beauty 14 Children 18 Creative Techniques 153 Case studies 20 Case studies 154 Standard portrait lighting 30 Talking Point: Lighting for theater 170 Talking Point: The makeup artist 32 Light surfaces 173 Pets 35 Case studies 174 Case studies 36 Talking Point: Lighting for film 188 Talking Point: The assistant 44 Motion 191 Food & drink 47 Case studies 192 Case studies 48 Talking Point: Lighting for concerts 204 Talking Point: The food stylist 68 Close-up 207 Products 71 Case studies 208 Case studies 72 Talking Point: Lighting for TV & video 224 Talking Point: The art director 94 Still life 97 Case studies 98 Talking Point: The prop maker 122

BEST PRACTICE & RESOURCES Choosing & designing a studio 228 Good working practice 234 The future of photography 238 Materials & equipment 240 Information & inspiration 246 Glossary 249 Index 254 About the author 256 Acknowledgments 256

INTRODUCTION  Introduction

I began my photographic career in 1976, a time Photography is a combination of artistic visualization when the advertising scene was young, creative, and technical manipulation using situations and and breaking new ground. The fees were high. light.Very often a photographer sets his or her Opportunities for photographers were plentiful, style by the way they light their images. Their and the glamor was irresistible. I have probably lighting becomes, if you like, their photographic spent half my time since then ensconced within handwriting; it is unique to them. The very essence four white walls, a gray floor, and a white ceiling; of photography is light. Light creates the effects. an area with no windows, low light levels, and little Without it we cannot create an image. Light falls contact with the outside world.“Are you a convict?” onto the CCD chip or film after passing through you might ask. No (although many an art director the lens of the camera. These light receivers are would argue that I rob their budget with my fees). sensitive to the intensity and amount of light, and I am a Studio Photographer! To provide some insight record the image. It’s as simple as that. The studio into the life of that strange breed, two definitions. provides a controlled environment in which the Studio: The workroom of a painter or photographer. photographer can manipulate the light that falls Studious: Assiduous in study, painstaking; paying onto these receptors. In a studio, he or she can have careful and deliberate attention to detail. complete technical and creative freedom, allowing them to manipulate the way the subject looks and I do not intend this book to be a dull manual that the mood it conveys to the viewer. The photographer sends the reader off into a deep sleep, but rather, can make it look shabby, classy, or beautiful. With an in-depth, informative, and fun exploration of so many options for control over the final image, the lighting techniques used by many of the world’s the satisfaction is addictive. leading studio photographers. It will not only explore the basic lighting techniques for shooting Studio photographers tend to be careful and many different subjects in the studio, from ice considered, have great planning skills, and be cream and perfume bottles through to the human mindful of the quality of the final image they form, but also give in-depth tips for shortcuts to produce. They have the creative freedom to light help you anticipate problems before they happen. and shoot almost any vision they may have. These days the range of light shapers and reflectors This book will take a look at the various kinds of available to help us in this is very impressive. We are lighting available today: the different types of spoilt for choice. When you learn to use the tools at continuous lighting, the vast array of light shapers your disposal correctly, to experiment with them and reflectors, the merits of electronic flash, and the and understand them, your creativity will know no changing requirements of the digital photographer boundaries. I cannot express the sheer excitement versus the photographer shooting large-format I still have, to this day, when I close the studio door, film. It will also look at the use of home-built light put on some music, turn on the photographic lights, shapers and the clever use of everyday objects as and paint with light. Magic! a means of transmitting or reflecting light. It is all good fun, and great for kindling a creative, pioneering spirit, stoking that do-it-yourself feeling. Introduction



SUBJECTS & GENRES



PORTRAITS Shooting a portrait is a classic use of the photographic medium. Portraits can be formal, or the photographer can take a more casual approach. The latter has become the more popular choice in recent years. Whichever style you choose, the same basic lighting principles apply. Both formal and casual looks are governed mainly by the facial expression of the sitter and, to a lesser extent, the clothes they are wearing. The appropriate style depends on the purpose of the portrait, and this should be discussed with the sitter or client before the shoot. A corporate report, for instance, may require a formal shot, while a fun approach might be more suitable for a wall- hung portrait or an editorial illustration. The essential skill for the portrait photographer is to make the subject feel completely at ease, relaxed, and confident. This is a very personal matter between photographer and sitter. However short the photo session may be, a personal relationship between photographer and subject must be made. Turn on that charm, tell those dreadful jokes. Get this relationship right and the subject will be putty in your hands. I have been told on many occasions that the “cringe value” of being witness to one of my portrait sittings is immense! The face is the point of first contact for humans. In a split second we can gauge a person’s mood by looking into their eyes or spotting the start of a smile. It fires our inner emotions and determines how we react to or interact with that person. To anticipate the next move of the subject’s face, or to capture their smile at just the right time, is a valuable skill. No two human faces are the same. The emotions, the moods, the personality, all are reflected in a person’s face. Those fleeting glances, that smile, the twinkle in the subject’s eye captured on film are magic moments, recorded for life the instant the shutter fires. It is this ability to read a face that makes a truly great portrait photographer.

BEAUTY In a beauty shot, lighting is the critical factor. The makeup artist, art director, and anyone else It is likely that the subject will be a professional involved in the visual look of the shots should also model and used to the photographic studio with be involved and briefed at this point. It is essential all its accompanying lights and equipment. This that your assembled team understands the look will make your job that much easier, of course, required and all work together to achieve that but you still have to get the chemistry flowing result. Keep an eye on the makeup being applied between subject and photographer. and make observations and comments. A good makeup artist and hair stylist should always keep Where possible, I always telephone and speak the photographer involved.This is teamwork, after all. with the model prior to the shoot. This allows us to familiarize ourselves with each other, and I can Based on your visual perceptions, start planning discuss the required clothes, or “wardrobe”as it is how you are going to fine-tune your lighting setup known, if the model is supplying his or her own. to suit your subject. As you have already completed I usually ask that they wear very little, or no the basic setup, you will have plenty of time to makeup, as this allows me to start with a blank choose a suitable background to complement the canvas. If there is no hairdresser attending the model’s hair color and clothing, and to fine-tune shoot, I also let them know how I need their hair and introduce lighting to fit the style of your shot. to be. However, if the photography is for a cosmetics All this can be done while the makeup artist is or a hair-care client, then both hair and makeup carrying out their job. This can take a couple of artists will be booked for the shoot. hours or more. Obviously, if you are working to a specific design brief, make sure your background The shape of the face determines, to a great extent, and chosen style meet the client’s requirements. how the subject will be lit. Prepare your basic Models, makeup artists, and hair stylists can be portrait lighting setup prior to the model arriving. extremely expensive, so you don’t want to have to This will allow you to spend time chatting to the reshoot. My final tip for a successful shoot is: always model when they arrive, making them feel at ease treat the model and stylists with courtesy, keep and relaxed. While this is happening, look at and them fed and watered, and you will achieve some study their face closely. Look out for blemishes, great shots. the shape of their nose, their good and bad points. On no account tell them of these. The last thing you want is the model feeling self-conscious. This is a sure recipe for disaster, and a sudden slap around your face will come as a surprise, believe me. 14 Portraits

Portraits: Beauty 15

Hair Technique I was asked by a well-known hair-care product For the key light I used a softbox to light company to photograph Amber modeling a new Amber from the front and to the right. I placed hair-color range. I wanted to show the richness and a hair light—with medium honeycomb grid and depth of the product when applied to her hair. The barndoors to stop stray light hitting the lens— client wanted Amber to “engage” with the audience high and from the rear to highlight the top of and capture the reader’s attention. The shot was for her head. This gave contrast and depth of color use on a point-of-sale show card, in a leaflet, and to the hair. I placed a white, flat polyboard 3m possibly in editorial. I booked my usual makeup (10ft) away to the left, with one light and reflector artist. The clients supplied their own hair stylist, bounced from this to fill in the left of Amber’s and Amber visited their technical center prior to face. I clamped a white reflector in front of her the shoot to have the color applied. This meant to throw light under her chin. We chose a gray that on the day of the shoot we had only to style paper for the background, lit with one light and the hair and apply the makeup. a silver reflector at 30˚ to the right, about 1m (3ft) away. I set this to produce a flash about 1.5 stops brighter than the front light. Because I wanted Amber to be animated in some of the shots, but remain in sharp focus, I used a shutter speed of 1/200 sec. The speed of the flash also took care of freezing the action. As always, I masked the lights (you can use either black card or barndoors) to avoid lens flare. 150mm lens a f/16 a 1/1200 sec Equipment C Large softbox 100 x 100 cm (31⁄4 x 31⁄4ft) C Hair light with medium honeycomb grid on boom arm and stand C Barndoors C Lights with reflectors x 2, 26cm (101⁄4in) C White, flat polyboard, 2.5 x 1.2m (8 x 4ft) C White reflector, 100 x 50cm (3 x 11⁄2ft) C Gray background paper 16 Portraits



CHILDREN “Never work with children or animals.” Never was to get the shot, no more. It is uncanny that I have, a truer word spoken! on many occasions, got my best shots within the first half-dozen or so frames. On other sessions I could end this chapter here, but, if you do have I have had to work quite hard and gradually get the the patience of a saint, capturing that candid, relaxed child to relax and act up to the camera. The novelty shot of a child can be very rewarding. If you don’t, of showing them a Polaroid of themselves, or their stick to still life! photograph on the computer screen, will very often get them to work well for the camera. Children are unpredictable, like an effervescent volcano ready to erupt, but handled in the right My last tip: keep the number of adults in the studio way they can be fabulous subjects for the camera. to the minimum—ideally just Mum or Dad and the The secret to success is to have your lighting setup photographer. Any more and the child will become completed before they are due to arrive. Their overwhelmed, with Mom, Dad, Auntie Pat, Brother boredom factor will increase at an alarming rate if Johnny, Nan, and Grandpa all chirping away in they have to stand around waiting for you to fiddle the background. Believe you me, this will become with the lights. By all means do the final adjusting a great family outing if you let it, and sure enough, of levels and meter readings with them present; in you will be mumbling those great immortal words, fact, I use this time to gain their confidence, show “Never work with children or animals!” them the different lights, joke and play with them. If they have your trust and are finding things fun, the shoot should go well. It is also a good practice, where possible, to choose their clothing prior to the shoot. Bright, coordinated colors can make a great difference to the finished photographs. If you are unable to choose the clothes before the shoot, get the parents to bring along a selection of clothes for you to choose from. It will be time well spent. Some sweets for bribes and some tasteful toys are also a useful ploy. But, be warned, you will have only very limited time to get your shots. Once a child has decided enough is enough, it will be precisely that.You may as well all pack up and go home. In general, I would say you will have only an hour 18 Portraits



Children’s Technique Portrait The lighting on this shot was actually quite Hebe and Sebastian’s parents wanted a striking simple. The contrast and grainy effect were portrait to hang on their living-room wall. It was mostly achieved in Photoshop. I knew the real to be printed onto canvas to a width of 120cm (4ft). work was going to be in getting the children’s It needed to blend in with their decor, but at the expressions absolutely right. Hebe and same time to be a focal point in the room. We Sebastian’s eyes really had to engage with the chose a monochrome effect with a hint of blue. viewer. Their expression needed to be deep and The original was actually shot digitally in full color meaningful for the full impact to be achieved. and these color images were produced as prints, I will let you into a secret: I failed to get the result cropped in a different way, for the parents to send on the first session. Remember the “children out as gifts to the grandparents. The monochrome and animals” thing? I asked for them to return print was produced in Photoshop. I changed the the following day. Realizing the gravity of the contrast, added background on the right, cleaned situation and their possible loss of pocket money, up the eyes and skin, and added a grainy filter over Hebe and Sebastian really did work well together the image. Finally, I added the blue tone. To obtain for me and we got the result we were looking for the width required, I supplied the photographic lab in 15 minutes! I set a large softbox 1.8m (6ft) to with a 34MB file on CD, and they interpolated the the right and only slightly forward of the children, image up to the correct resolution. and a large, white polyboard about 60cm (2ft) from Hebe’s face, to the left. I set two large, white reflectors low down in front to throw light up into their faces and under their chins, and positioned one white background light behind them to light the white paper background evenly, but to fade out toward the right side. 120mm lens a f/22 a 1/200 sec 20 Portraits

Equipment C White softbox, 1.5 x 1m (5 x 31⁄4ft) C Background reflector, 21cm (81⁄4in) C White polyboard, 2.5 x 1.2m (8 x 4ft) C Polyboards x 2, 1.8 x 0.9m (6 x 3ft) C White background paper Case study: Children’s portrait 21

Family Technique Portrait The Jacob family were easy to work with—happy Here, getting the family to relax and work together and fun. Getting all four to look at the camera at is key. Remember, if the portrait involves young the same moment was a bit tricky. Take time to children, it is important to set up your lighting really explain what you expect sitters to do, and beforehand and to work swiftly: a child’s attention when. I usually tell them to look at the camera span is short! Studio space may limit the number of after a count of three, but shoot on two. I find people you can shoot.You will need at least 9 x 15.25m most people move their eyes on two, and I get (30 x 50ft) to shoot eight or so people in comfort— the shot. Try it. Clothing is important, as usual. many family portraits include four generations! I asked the Jacobs to wear muted colors with If your studio has the height, you can use a couple a hint of blue to contrast with their complexion. of hair lights with 30˚ honeycomb grids. Ideally I used a simple setup—a white paper background these should be on large boom-arm stands. They scoop-lit evenly from each side with linear strips. will add backlight and depth to the hair, but be Alternatively, you could use round, wide-angle, careful as they can create flare in the lens. Use 16cm (61⁄4in) reflectors. I stacked two softboxes barndoors or flags to stop this. Always make sure from the front and to the right to light the entire lights and stands are stable; weight them with group evenly, and one strip softbox to the left ballast, and tape cables to the floor to avoid trip as a fill. The softboxes were around 1½ f/stops hazards. A broken light is expensive; a claim for brighter than the strip, and the background lights personal injury even more so. 1 stop brighter than the softboxes. 100mm lens a f/16 a 1/200 sec Equipment C S oftboxes x 2, 100 x 100 cm (3 x 3ft), stacked C Strip-light softbox, 100 x 30cm (3 x 1ft) C Linear strip lights x 2, 30cm (1ft) C White background paper 22 Portraits



Mother Technique & Baby The client wanted a light, airy, fresh feel for the These particular images were for a commissioned catalog. I lit the mother and baby very evenly advertising shoot for use in a babycare product from the front with a large softbox placed close catalog. The subjects were not professional models, to the camera to the left. Be careful to use a flag but friends of the client. They were mother and where necessary to stop any stray light falling daughter, although I have, on many occasions, onto the lens. I lit the background from each side used a model as the parent and a “stunt” baby with using two wide-angle reflectors. To bring the shot great success. Providing the model likes children alive I placed a light with a reflector to the right and babies and the child is easygoing(!), there and facing the models, at about 45˚ to the rear. shouldn’t be any problems. When working with With a setup such as this, you need to balance small children, it is always worthwhile scheduling this light carefully with the front light so that you the shoot to fit around the child’s sleep and feeding still hold the edge of the model’s skin. This key pattern. Speak to the child’s parents beforehand to light should be about 1 stop brighter than the ask at what time of day their baby is most content, front light, but you will need to experiment with and book the shoot for then. A happy baby, fed and angle and intensity. You may also want to diffuse watered, should give you a good hour to get your this light slightly with some Trace or Soft Frost. shots. A grumpy baby will be, well, a bit of a hard Be sure to use a black flag to stop stray light task, to put it mildly. causing lens flare. Shoot a couple of test shots with mother and baby, then evaluate and adjust While on the subject of photographing children, the lighting if necessary before commencing the it is worth mentioning a few “best practice” rules final shoot. You need to hold that back edge of that should be adhered to. Always have the parent the baby’s skin. or another suitable adult present when photographing a child—never be left alone. Check the safety of 70mm lens a f/22 a 1/160 sec the studio for trip hazards and unstable lighting. Have relevant risk insurance in place. It is not Equipment uncommon for new legislation and license requirements relating to photographing children C Light with reflector, 26cm (101⁄4in) to be introduced. Check out the local laws and use C Softbox, 145 x 145cm (43⁄4 x 43⁄4ft) reputable, licensed model agencies. C L ights x 2 with wide-angle reflectors, 21cm (81⁄4in) C White polyboard 2.5 x 1.2m (8 x 4ft) C Black card or polyboards as required C White background paper 24 Portraits

Case study: Mother & baby 25

Classic Technique Portrait I always try to achieve only one highlight in the Most of the portraits I’m commissioned to shoot are subject’s eyes, so the front lights need to be very what I’d call executive portraits, used in company carefully positioned. With digital capture and reports or press releases. The general approach and Photoshop it is very easy to remove or “tweak” lighting are the same as for private commissions. any highlights in the eyes, but I think it is always The choice of background and the sitter’s expression better to get things right in camera, and in most may be more formal, but that is the only difference. cases it is quicker in the long run. I positioned I always try to shoot a selection of photographs to the front light very near the camera, slightly to convey a range of expressions, from the serious the left, and about 1.8m (6ft) high. I used a white through to the relaxed. A CEO may want to convey umbrella as the diffuser. This gives a nice round a look of authority and leadership in the annual reflection in the eye. You could also use a accounts, but to portray a softer, more approachable softbox, which would give a square highlight. persona in a staff newsletter. A good portrait should Next, I placed a strip-light softbox to the right to give a true likeness and capture the personality of give fill-in light to that side of the face. You will the person. Choose backgrounds carefully. In the need to experiment with the angle and intensity. past, mottled, painted canvas backgrounds were I set up a hair light, fitted with a medium a favorite. I personally hated them, preferring to honeycomb snoot and barndoors, high and to add interest to the background with lighting effects the rear of the subject to highlight and bring such as pools or streaks of light, or by casting the back and top of the hair to life. Such a light abstract shadows. Experiment with different light needs careful adjusting: you don’t want to burn sources and colors. That is the beauty of lighting— out any highlights. It also helps to have some of there are no boundaries. Remember, though, this light spilling onto the back of the shoulders, whatever you do must be in keeping with the sitter. but watch out for flare in the lens! Clamp a white The background should be just that; it should not reflector board in the region of the sitter’s lap to overpower the subject. Remember to choose the throw some reflected light under the chin and to sitter’s clothing carefully. Pay attention to detail: subtly lighten the eye sockets. You will need to they won’t thank you if their hair is a mess. One adjust this to suit the sitter’s face. Lastly, I lit the last point—watch for reflections in glasses. They dark paper background with pools of light from can be very distracting. Often just tweaking a light two lights. One had a silver reflector, the other a position or moving the subject’s head very slightly background reflector. Experiment with any lights will eliminate reflections, but you need to keep that give the effect you are after. a constant lookout for them. Finally, keep your sitter at ease, engage in conversation with them, 150mm lens a f/16 a 1/125 sec be responsive to them, and together you will get some brilliant shots. 26 Portraits

Equipment C Flash head with spill kill and translucent umbrella, 105cm (31⁄2ft) C Strip-light softbox, 100 x 25cm (31⁄4ft x 97⁄8in) C Hair light with medium boom arm C Honeycomb snoot and barndoors C Lights and reflectors C White polyboards, 100 x 50cm (31⁄4 x 12⁄3ft) C Background paper Case study: Classic portrait 27