Table Of ContentSecond Edition
Commercial Photographer’s master
lighting guide
food architectural interiors clothing jewelry more
includes
oveR 125
lighting
diagRaMs!
Choose the right light
Capture texture and
shape your subject
Design creative setups
and more
RobeRt
MoRRissey
PhaseOne featured
A
publmishehr oef prhsoto gMrAphey dboioaks® photographer
DeDication
I dedicate this book to my beautiful wife, Angie; our daughter, Renya;
and my son, Gavin.
Special thankS
Special thanks to: Olympus, Terry Monahan (Chimera), Peter Pboremba
(DynaLite), and Roger Carpenter.
Copyright © 2014 by Robert Morrissey.
All rights reserved.
All photographs by the author unless otherwise noted.
Commercial Photographer’s Master Lighting Guide is the second edition of Master Lighting Guide for
Commercial Photographers.
Published by:
Amherst Media, Inc.
P.O. Box 586
Buffalo, N.Y. 14226
Fax: 716-874-4508
www.AmherstMedia.com
Publisher: Craig Alesse
Senior Editor/Production Manager: Michelle Perkins
Assistant Editor: Barbara A. Lynch-Johnt
Editorial assistance from: Carey A. Miller, Sally Jarzab, John S. Loder
Business Manager: Adam Richards
Marketing, Sales, and Promotion Manager: Kate Neaverth
Warehouse and Fulfllment Manager: Roger Singo
ISBN-13: 978-1-60895-633-3
Library of Congress Control Number: 2013905041
Printed in The United States of America.
10 9 8 7 6 5 4 3 2 1
No part of this publication may be reproduced, stored, or transmitted in any form or by any means, elec-
tronic, mechanical, photocopied, recorded or otherwise, without prior written consent from the publisher.
Notice of Disclaimer: The information contained in this book is based on the authors’ experience and opin-
ions. The authors and publisher will not be held liable for the use or misuse of the information in this book.
Check out Amherst Media’s blogs at: http://portrait-photographer.blogspot.com/
http://weddingphotographer-amherstmedia.blogspot.com/
contentS
About the Author . . . . . . . . . . . . . . . . . . . . .5 Refective (Glass/Acrylic) Sets . . . . . . . . . .30
sidebar: Connect with Robert. . . . . . . . . . . .5 sidebar: Tools for a Refective Product Set . .31
Creating Inexpensive Sets . . . . . . . . . . . . .31
introduction. . . . . . . . . . . . . . . . . . . . . . .6 sidebar: Tools for Inexpensive Sets . . . . . . .31
1. lighting Basics . . . . . . . . . . . . . . . . . .9 5. panels . . . . . . . . . . . . . . . . . . . . . . . . .32
Types of Light . . . . . . . . . . . . . . . . . . . . . . .9 The Setup . . . . . . . . . . . . . . . . . . . . . . . . .32
Characteristics of Light . . . . . . . . . . . . . . .13
sidebar: Color Temperatures. . . . . . . . . . . .13 6. honeycomb Grids. . . . . . . . . . . . . . .42
sidebar: The Bright Spot. . . . . . . . . . . . . . .14
Exposure . . . . . . . . . . . . . . . . . . . . . . . . . .15
sidebar: SQDC=E . . . . . . . . . . . . . . . . . . .16
sidebar: Aperture and Light Levels . . . . . . .17
sidebar: Histograms . . . . . . . . . . . . . . . . . .18
2. equipment . . . . . . . . . . . . . . . . . . . . .20
Cameras. . . . . . . . . . . . . . . . . . . . . . . . . . .20
Electronic Flash Units . . . . . . . . . . . . . . . .20
Modifers that Attach to Flash Units. . . . . .21
Stands . . . . . . . . . . . . . . . . . . . . . . . . . . . .23
Freestanding Modifers . . . . . . . . . . . . . . .23
sidebar: Equipment Selection . . . . . . . . . . .24
3. Using the Diagrams. . . . . . . . . . . . .26
Panel Lighting Overview . . . . . . . . . . . . . .26
sidebar: Lighting Shorthand . . . . . . . . . . . .27
4. Studio Setup . . . . . . . . . . . . . . . . . . .28
sidebar: Tools for a Simple Product Table . .28
How to Create a Simple Product Table . . .28
Larger Sets. . . . . . . . . . . . . . . . . . . . . . . . .29
sidebar: Tools for a Larger Set . . . . . . . . . .29
Room Sets . . . . . . . . . . . . . . . . . . . . . . . . .29
sidebar: Tools for a Room Set. . . . . . . . . . .30
COntents 3
7. Umbrellas. . . . . . . . . . . . . . . . . . . . . .49 Medical Light . . . . . . . . . . . . . . . . . . . . . .98
sidebar: Keys to Successful Lighting . . . . . .99
8. Softboxes . . . . . . . . . . . . . . . . . . . . . .58 Lighting Auto Exteriors . . . . . . . . . . . . . .100
sidebar: Tools for Auto Shoots . . . . . . . . .100
on assignment . . . . . . . . . . . . . . . . . . .71 Trilight . . . . . . . . . . . . . . . . . . . . . . . . . .101
Updating Older Images . . . . . . . . . . . . . . .72 Large Sets . . . . . . . . . . . . . . . . . . . . . . . .102
Black & White . . . . . . . . . . . . . . . . . . . . . .73 Lighting on Location. . . . . . . . . . . . . . . .104
Edgy Portraits . . . . . . . . . . . . . . . . . . . . . .74 Shooting for Photoshop. . . . . . . . . . . . . .106
Making Images Look Old . . . . . . . . . . . . .75 Overhead Light 1 . . . . . . . . . . . . . . . . . .108
Natural-Scene Fill Light. . . . . . . . . . . . . . .76 Overhead Light 2 . . . . . . . . . . . . . . . . . .110
sidebar: Time-Saving Strategies . . . . . . . . .76 Overhead Light 3 . . . . . . . . . . . . . . . . . .111
Dramatic Light . . . . . . . . . . . . . . . . . . . . .78 Lighting with Mirrors . . . . . . . . . . . . . . .112
sidebar: Keys to Success . . . . . . . . . . . . . . .78 Small Items and Jewelry. . . . . . . . . . . . . .113
Dappled or Textured Light . . . . . . . . . . . .80 Sunlight. . . . . . . . . . . . . . . . . . . . . . . . . .114
sidebar: Plan for a Perfect Shot. . . . . . . . . .80 Fill Flash Outdoors . . . . . . . . . . . . . . . . .115
Portraits . . . . . . . . . . . . . . . . . . . . . . . . . .83 Tungsten and Daylight . . . . . . . . . . . . . .116
Front Lighting Using Grids . . . . . . . . . . . .84 Lighting Glass . . . . . . . . . . . . . . . . . . . . .117
Fashion Lighting . . . . . . . . . . . . . . . . . . . .85 Multiple-Image Campaigns . . . . . . . . . . .118
Corporate Portraits . . . . . . . . . . . . . . . . . .86 The Empty Product . . . . . . . . . . . . . . . . .120
Lens Flare . . . . . . . . . . . . . . . . . . . . . . . . .88 Silhouettes. . . . . . . . . . . . . . . . . . . . . . . .121
Glowing Light . . . . . . . . . . . . . . . . . . . . . .89 Black on Black . . . . . . . . . . . . . . . . . . . . .122
Lighting Food 1 . . . . . . . . . . . . . . . . . . . .90
Lighting Food 2 . . . . . . . . . . . . . . . . . . . .92 Final Words . . . . . . . . . . . . . . . . . . . . .123
Lighting Drinks . . . . . . . . . . . . . . . . . . . . .93
Lighting Rooms 1 . . . . . . . . . . . . . . . . . . .94 Glossary . . . . . . . . . . . . . . . . . . . . . . . . . .124
Lighting Rooms 2 . . . . . . . . . . . . . . . . . . .96 Index . . . . . . . . . . . . . . . . . . . . . . . . . . . .126
Scientifc Light. . . . . . . . . . . . . . . . . . . . . .97
4 COmmerCial PhOtOgraPher’s master lighting guiDe
aBoUt the aUthoR
obert Morrissey has been behind a camera this, Robert became a lead photographer for the
rsince 1988, when he frst began taking class- University of Missouri–Columbia. In this posi-
es at the Kansas City Art Institute. During the tion, he helped introduce the use of Adobe Pho-
third year of his schooling, he interned with Nick toshop as a tool for photographic illustration.
Vedros, a top advertising photographer. Inspired Once chosen by Phase One to be a featured
by working with Vedros, Robert opened a stu- photographer, Robert’s career took off. Robert
dio of his own at the age of nineteen. By age now works closely with Olympus and is spon-
twenty, his images had been published world- sored by DynaLite and Chimera.
wide. While completing his senior year, Robert Now the owner and executive photographer
not only owned and operated his own photog- of Morrissey & Associates, where the focus of
raphy studio but also worked with many other photographic jobs is food and faces for advertis-
professionals in the Kansas City area. He as- ing, Robert shoots for international advertising
sisted these photographers, learning as much as campaigns, catalogs, and television commercials.
he could from them and applying techniques he You may have seen his advertising work in Na-
learned to his paid assignments. After graduating tional Geographic Explorer, The Wall Street Jour-
with a B.F.A. in photography, Robert moved on, nal, Time, or at your local grocery or “big box”
sold his studio, and traveled through the United stores.
States and Europe, photographing everything
that interested him.
After landing in Virginia Beach, Robert got
a job with Wright Studios. His duties were run-
ning an E-6 lab and photographing catalog work
for the Navy. This was the frst time Robert was
exposed to the professional digital camera. After
connect With RoBeRt
Keep up with robert’s shooting activity and
read more great lighting tips on his blog:
http://masterlightingguide.blogspot.com
self-portrait by robert morrissey, taken with an iPhone 5.
intRoDUction
y aim in writing this book was to demys- this book and to show you how to become the
mtify and simplify commercial photographic best photographer you can be. I believe that
lighting. In these pages, you’ll learn about the commercial photography is more competitive
qualities of light and gain tips for selecting es- now than it was six years ago when I wrote the
sential photographic gear. You’ll find a variety of frst edition of this book. What has allowed me
professional lighting techniques explained and to keep moving my career forward is positivity,
diagrammed in a clear, concise manner. I have determination, and knowing the technical aspects
used every one of the techniques described for of commercial photographic production like the
paying jobs, and each time, my client was pleased. back of my hand.
I have also provided strategies for designing a
studio for the particular type of photography you
do. I will show you how to create sets inexpen- i have used every one of
sively and how to stay within your client’s budget the techniques described
and increase your bottom line. The straightfor-
ward insights into selecting backdrops and back- for paying jobs.
ground materials will save you money, too.
You can also use this book to explain to clients I now own and operate Morrissey & Associ-
the light you think will best enhance their proj- ates. My advertising and editorial photographs
ect—without having to set up the shot. have been published globally. I have had the
If you want to be a professional commercial good fortune to truly make a good living as a
photographer, this book will give you the foun- commercial photographer. By learning to pro-
dation you need to do it and do it well. There are vide your clients with standout, evocative images
no silver linings or half-truths about the business that sell their merchandise in print ads and on the
in this book. Photography has always been com- web, you too can achieve this level of professional
petitive and it always will be. To get to the top success. By engaging with the information in this
and succeed (i.e., make money), you must not book, you will have the foundation you need to
only take great images—you must operate your make your dreams come true.
studio within certain business parameters. I wish Good luck.
there was a book like this when I started out. facing page—these images prove that com-
Working as a commercial photographer isn’t mercial photography relies not only on great
always easy or glamorous. For me, it has been a lighting but also a complete understanding of
long and strenuous journey. The downfalls and Photoshop. to make seamless fnal images, you
victories along the way have inspired me to write must fully understand light and shadows.
6 COmmerCial PhOtOgraPher’s master lighting guiDe
1. liGhtinG BaSicS
omeone once told me that photography is 90 source. Photographers use both natural and arti-
spercent light and 10 percent subject matter. fcial light when creating images, and often these
When I thought about this, I realized it was ab- sources are used in combination to great effect.
solutely correct. Without light, there would be
no photographs. Without great lighting profes-
sionals, there would be no great photographs. Without great lighting
To create the best-possible results when photo- professionals, there would
graphing your subjects, you should have a gen-
be no great photographs.
eral knowledge of light. Before investigating the
equipment, diagrams, and other key foundation-
al aspects of creating an effective image, we must Natural Light. Natural light can be used to
cover the basics. create an array of appealing effects, especially in
portrait photography. While studio lighting of-
types of light fers the ultimate in control, many photographers
Light can be natural or artifcial. Natural light prefer the simplicity of working with natural light.
is light that comes from the sun, whether it’s Keep in mind that because your light sourc-
the low light that flters into a shady area, the es are fxed when using natural light, you will
light beams that flter through a window, or di- control the effects you achieve primarily by
rect sunlight coming from a cloudless sky. Ar- adjusting the position of your subject in rela-
tifcial light is light that comes from any other tion to the light. You can also control the light
facing page—efective lighting in the studio or on location requires a knowledge of the qualities of
artifcial and natural light. left and right—strong lighting skills are critical for producing commercial
photos that set your work apart from the competition.
