Lighting Techniques for Photographing Model Portfolios

9.73 MB·English

by  Billy Pegram

S T R A T E G I E S F O R D I G I T A L P H O T O G R A P H E R S
L
IGHTING
TECHNIQUES
for Photographing
Model Portfolios
Billy Pegram
Amherst Media
®
PUBLISHEROFPHOTOGRAPHYBOOKS

Copyright©2009byBillyPegram.
Allrightsreserved.
Publishedby:
AmherstMedia,Inc.
P.O.Box586
Buffalo,N.Y.14226
Fax:[phone]
www.AmherstMedia.com
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SeniorEditor/ProductionManager:MichellePerkins
AssistantEditor:BarbaraA.Lynch-Johnt
EditorialAssistancefrom:JohnS.Loder,CareyAnnMaines,CharlesSchweizer
ISBN-13:978-1-58428-259-4
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Nopartofthispublicationmaybereproduced,stored,ortransmittedinanyformorbyanymeans,electronic,mechani-
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Notice of Disclaimer: The information contained in this book is based on the author’s experience and opinions. The au-
thorandpublisherwillnotbeheldliablefortheuseormisuseoftheinformationinthisbook.
Table of Contents
Preface ..................................................8
Introduction ..............................................9
It’sNotAboutEquipment ...................................11
TheoryandPassion ........................................11
PhotographingModels .....................................13
TheRewardsofModelPhotography ...........................13
Creativity ..............................................13
Travel ................................................14
Financial ..............................................14
MakingaPositiveChange .................................14
TheChallengesofModelPhotography .........................14
EnvironmentalDemands ..................................14
TechnicalChallenges .....................................14
WhattoEmphasize ......................................15
WorkingwithPeople .....................................16
BeginwithPortraiture ......................................16
1. Basic Principles ........................................19
Previsualization ...........................................19
EmulatetheSuccessofOthers ..............................19
UseYourImagination ....................................19
CommunicateYourConcept ...............................21
Objectives ...............................................22
CreatingFlow ..........................................22
StoppingtheGaze .......................................24
YourVisualToolbox .......................................24
StraightLines ..........................................24
Curves ................................................25
CompositionandCropping ................................25
Perspective .............................................26
ToneandColor ...........................................27
UseaTripod .............................................28
2. The Physics of Light ....................................30
WhatLightIs ............................................31
HowLightBehaves ........................................32
Reflection .............................................32
Refraction .............................................32
Absorption ............................................32
QualityoftheLight ........................................32
SizeoftheLightSource ...................................33
NaturalLight ...........................................33
DirectionoftheLight ......................................35
FrontLight ............................................35
AngledorSideLight .....................................36
Backlight ..............................................37
LightandColor ...........................................39
ColorTemperature ......................................39
PracticalExample:AddingVarietywithWhiteBalance ............40
LightIntensityandMetering .................................42
3. Light Placement ........................................44
Objectives ...............................................44
MainLight ..............................................44
PracticalExample:LightingtheMaskoftheFace ................46
FillLight ................................................50
HairLight ...............................................51
BackgroundLight(s) .......................................51
AccentLight(s) ...........................................51
LightingintheStudio ......................................51
LightingOutdoorsandOnLocation ...........................54
4LIGHTINGTECHNIQUESFORPHOTOGRAPHINGMODELPORTFOLIOS
4. Types of Light Sources ..................................55
Naturalvs.ArtificialLight ...................................55
Sunlight .................................................55
BrightSunlight .........................................55
CloudySkies ...........................................56
PracticalExample:BrightSunlight ...........................56
PracticalExample:MorningLight ...........................60
PracticalExample:UseWhatYouFind........................61
TungstenLighting .........................................63
PracticalExample:SlowShutterSpeed,HighISO ...............63
FluorescentLighting .......................................64
ElectronicFlash ...........................................64
PracticalExample:FillFlash ................................64
StudioStrobe .............................................65
PracticalExample:StrobeforConsistentResults ................66
5. Light Modifiers ........................................68
Reflectors................................................68
Surface ...............................................69
Design ................................................69
ForFill ...............................................69
PracticalExample:ReflectedFillonLocation ...................69
PracticalExample:NaturalReflectors .........................73
Gobos ..................................................73
PracticalExample:GobostoControlAccentLighting ............73
PracticalExample:GobostoControlLensFlare ................75
Scrims ..................................................75
BarebulbLighting .........................................76
Parabolics ...............................................76
PracticalExample:BacklightingwithParabolics .................76
BeautyDish ..............................................78
Diffusers ................................................78
BarnDoors ..............................................78
Spotlights ...............................................78
GridSpots ...............................................79
Snoots ..................................................79
Umbrellas ...............................................79
Softboxes ................................................79
PracticalExample:SoftandBeautiful .........................79
PracticalExample:AFresh,ColorfulLook .....................81
ColoredGels .............................................83
TABLEOFCONTENTS5
6. Matching the Light to the Image ...........................84
DeterminingtheModel’sBestMarket ..........................84
Age ..................................................84
Height ................................................86
OverallAppearance ......................................86
CommercialImages ........................................86
PracticalExample:MariposaFilms ...........................88
FashionImages ...........................................90
GlamourImages ..........................................91
LingerieImages ...........................................92
Plus-SizeImages ..........................................94
EditorialImages ...........................................95
Athletic/SportsImages .....................................96
CatalogImages ...........................................98
SwimwearImages .........................................99
PracticalExample:TwoLooksintheDesert ..................100
SpecialAttributes .........................................101
7. Creative Techniques ...................................102
DragtheShutterforCreativeEffect ...........................102
ControltheBackgroundwithLight ...........................102
LookAround! ...........................................107
CreateaStoryboard .......................................107
AddLensFlare ..........................................111
DoExtremeClose-Ups ....................................115
WorkwithPerformers .....................................116
PracticalExample:EmeraldDreamBall ......................116
PracticalExample:HeadlightsandTailpipes ...................117
HighlightOneAsset ......................................119
UseaProp ..............................................120
PracticalExample:AK-47 ................................120
PracticalExample:Newspapers ............................120
8. Additional Tips .......................................122
U.S./Europeanvs.AsianAgencies ............................122
U.S.andEuropeanAgencies ..............................122
AsianAgencies .........................................122
CompCards ............................................122
TheModel’sComfort .....................................122
Clothing ...............................................123
Menvs.Women ..........................................123
ImageQuality ...........................................123
Conclusion .............................................124
Index ..................................................125
TABLEOFCONTENTS7
Preface
byLoaAndersen
I
first met Billy Pegram when he was shooting fashion in Seattle and I was
the new agent on the block. We developed a synergistic relationship. He
introduced me to clients; I had him shoot the models I represented. I have
nowknownhimfornearlythreedecades.Duringthistime,wehavelearned
from each other and become friends. I have admired his creativity, argued
withhimoverwhatshouldbeinamodel’sportfolio,laughedathissillyjokes,
and been highly impressed with his professionalism. However, it has only
beensincebecominghistypist/reader/spellcheckerthatIhavebeguntoap-
preciate his vast knowledge of all the various aspects of photography. I now
cringewhenIhearsomeonespeakofashooteras“justaphotographer.”
Thereissomuchmoretophotographythanjustpickingupacameraand
goingatit.Agoodphotographermusthavein-depthknowledgeofamulti-
tude of disciplines. A photographer must be not only an artist, but also a
mathematician,achemist,andaphysicist—and,ofcourse,partpsychologist
just to deal with the personalities of the models, directors, clients, and sup-
portstaff.Italsohelpstohaveafirmknowledgeofbusinesspractices.
BillyPegramisallofthesethingsandmore.Hisbackgroundiseclectic.He
was an award-winning photographer in ninth grade, then headed to college
on a full athletic scholarship and an appointment to Annapolis Naval Acad-
emy. He began college as a pre-med student, then joined the military when
helosthisscholarshipduetoabrokenleg.ThatledtoastintwithNASAat
theNavyAerospaceMedicalResearchLab,wherehenotonlysetrecordsfor
ridesontherocketsled(sixty-fourridesandamaximumof16.7Gs)butalso
ranthelab.
Later, as a civilian, he was offered jobs as a director of a research lab, a
wilderness survival teacher, and a whitewater guide (among several other
more mundane opportunities). He still considered becoming a doctor, spe-
cializinginmedicalresearch,andwasofferedafullscholarshiptodoso.How-
ever,heputalloffersasidetobecomeaphotographer,because,ashesays,“It
wasmorechallenging.”
BillyPegramisabornteacher,aperfectionist,anexpertinhisfield,agreat
writer,andacreativegenius.Heisafriendandmentortohundredsofhope-
ful models and aspiring photographers. He is also one who enjoys a good
challenge.Inshort,heisthedefinitivephotographer.
8LIGHTINGTECHNIQUESFORPHOTOGRAPHINGMODELPORTFOLIOS
Introduction
W
hen Amherst Media initially asked me to write an instructional book
on photographic lighting, I had some reservations about the idea.
After all, there are many fine books available on this subject. However, after
reviewingmanyofthesepublications,Ifoundthatveryfewactuallyputlight-
ing in practical, understandable terms. So I proposed creating a book that
I-1.Whenthemodellooksgreatandthe
imageisengaging,noonewillcareex-
actly what kind of lighting equipment
youusedtocreateit.