Dundalk Photographic Society - STUDIO LIGHTING

'Why might I need Studio Lighting?' Very simply, - for versatility and control.

ON CAMERA FLASH

If we put an 'on-camera' flashgun onto the hot shoe of our camera and take a
picture of our model, this is what we will get (PHOTO 1.)

• harsh direct light

• very, probably 'red-eye'

• hard and un-flattering light

• a big black shadow behind the head

• very ‘flat’ lighting

Photo 1.

On Camera Flash shows no shape or substance to the subject whether it is a

person or a product.
To show that something is 3 dimensional on a photograph it has to have
shadows, not big hard-edged ones but soft gentle ones.

STUDIO FLASH

By moving our light source around to one side we have immediate advantages
(Photo 2). Firstly the shadow has gone from the background. Secondly, we have
a lit and an un-lit side to our subject. Even though we have 'over-done' the
contrast between the two sides of our models face it tells our brain that the
subject MUST be 3D even though we are looking at a 2D image.

Diagram 2A Shows the Lighting Set-Up for Photo 2.

Please note this Set-Up is without Umbrella or Soft Box.

Dundalk Photographic Society – An Introduction to Studio Lighting Page 1 of 1

 Diagram 2A.
Photo 2.

SECOND LIGHT SOURCE

To relieve the density of the shadow we need also to put a bit of light into that
side. If we have one, we could add a second light. We would need to be very
careful with the amount of light we used as a fill light. Too much and we would be
back to flat lighting plus the complication of two sets of shadows.

USING A REFLECTOR

Lets forget the second light for now and use instead a simple reflector panel. By
adding reflector on the shaded side we can bounce some of the light back into the
shadows. Simply moving the reflector closer or further away will vary the amount
of reflected light. Silver reflector panels are very efficient; a more subtle effect
can be obtained by the use of a white one. But it is quite amazing how much light
can be bounced back. In our example we have placed the reflector quite close but
even so we have retained some very attractive modelling on the subjects face.
(Photo 3.)
Diagram 3A demonstrates the set-up used in Photo 3 using a reflector.
Please note an Umbrella has been added to soften the light. A Soft-box can be
used to further soften the light for a more flattering effect on the subject.

Photo 3 Diagram 3A

Dundalk Photographic Society – An Introduction to Studio Lighting Page 2 of 2

USING A SECOND LIGHT (BACKGROUND)

We have seen that by moving our light to one side we can make our subject more
three-dimensional. The pictures, however, can still look a little flat especially if
you are using a low contrast background. So lets now add second head (light)
and add a bit of extra depth to our portrait (Photo 4).

By placing a second head behind our model we can put a pool of light on the
background. Both Fabric and paper backgrounds absorb light and unless they are
lit they can look quite boring. We have to be careful where the light from our
second head goes, so to control it we can fit either a snoot or honeycomb grid to
the front of the head so that the light only goes where we want it. By adding a
splash of light on the background we have livened up the whole picture and given
it more depth.

Photo 4. Diagram 4A.

USING A SECOND LIGHT (MODEL)

In the diagram below you can see that we have placed a flash head quite close to
the camera position and we have fitted a shoot-through umbrella. The power of
this head has been reduced so it gives a meter reading at the subjects face of one
f-stop less than the main light on the right. This ensures that we do not have flat
lighting on her face and will give a very pleasing result. In this example the
reading from the main light was f/11 (this was set on the camera) and the fill
light was f/8.

Diagram 5A.
Photo 5.

Dundalk Photographic Society – An Introduction to Studio Lighting Page 3 of 3

FLASHMETERS

A flashmeter works in pretty much the same way as the lightmeter in your
camera except that it measures the amount of light produced by a flashgun.
When using studio flash you normally only need to worry about the aperture that
should be set on your lens.

This is a typical flashmeter, you can see that the controls are quite simple. The
positioning of the controls will vary from make to make but essentially they all
work in the same way.

1. On/Off Switch
2. Mode Button – used to select flash, flash with cord and daylight
3. Light Sensor – reads Incident Light & Flash Light
4. ISO selector Switch – sets ISO
5. Sync Lead socket – for attaching Sync Lead to Camera
6. Flash/Activation button – used to read ambient light or flash light
7. Up/Down toggle switch
8. LCD Display – displays Mode, ISO, Sync Speed and Aperture Value

Reflected Light - where Flash Meter is used to read light Reflecting off subject
(Ambient Light / Natural/ Light – Continuous Light Source)

Incident Light - where Flash Meter is used to measure light falling on the
subject (Flash Light)

HOMEWORK

Using your Camera Manual find out how to make the following settings on your
camera:

1. Adjust the ISO setting on your camera

2. Adjust the Shutter Speed (Sync. Speed)
3. Adjust the Aperture
4. Set the Shooting Mode to Manual (M)

For Studio Light situations your camera should be set to the following:

1. Shooting Mode to Manual

2. ISO 100 – This is to ensure Maximum Quality. Although ISO can be set at
any setting, depending on how Grainy you want the final print to look.
3. Shutter speed should be set to “Flash Sync. Speed”- refer to your manual-
usually 1/60th Sec – 1/250th Sec
4. Depending on strength of light source, the Aperture will be determined by the
lightmeter.
Dundalk Photographic Society – An Introduction to Studio Lighting Page 4 of 4