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التصوير الفوتوغرافي الحديث
Lighting for Indoor Glamour
IN GLAMOUR photography the less you have to worry about lighting the better . The same is true of your equipment - cameras , tripods , filters , flashguns , etc. The main concern is the model and the more time you spend concentrating on her , the better .
Indoors and out , natural light is ideal to work with . A studio having one or two glass walls open to the daylight is ideal - especially if the other walls are unbroken by doors , cabinets and other obstructions . It is a good idea to have the studio walls painted white so as to reflect the enter ing daylight , giving a beautifully soft lighting that is virtually shadowless .
MODIFYING WINDOW LIGHT
When you are working around a window where the sun is direct , it will be better to soften the light . This can be done with a thin translucent screen or curtain . White opaque plastic made into screens and placed in front of the window does a fine job . The screens can be simple frames covered with the plastic or they can be divided up with strips and cross sections much like Japanese Shoji Screens .
These light diffusing screens can also be used as backgrounds . In fact , when set up tilted at an angle over head the model , they simulate a studio skylight .
One of the best things about using window light is that if you do have to supplement it , usually one unit is enough . This means that the photog rapher can pretty much work alone with the model , if he has to . It is really no work at all to move one light around but moving six lights ( as must sometimes be done when shooting commercial color assignments ) , can get into a lot of work and requires an assistant . The more people present , the less relaxed is the model and , re laxed models make better photos .
SUN GUN AND UMBRELLA
Peter Gowland , who has an out standing daylight studio in his home , supplements his daylight indoor shoot ing with a Sun Gun " bounced " off a Larson Reflectasol - or , an electronic flash bounced off an aluminized um brella . The Larson unit is a 32 " fold ing umbrella with a very reflective cloth covering . The quartz light is 1000 - watts but is controlled with a Syl - Vac controller ( transformer ) . This permits control of the intensity of the light as well as the color temperature from 2800 to 3500 de grees Kelvin .
OSKETCH shows how a prop studio window was made with 1 " x2 " wood strips covered with translucent plas tic . A single flood light to the right filled - in the shad ows created by natural daylight coming through win dow behind peg - board " wall " and angled fake window .
THESE three photos demonstrate how effective window light , indoors , can be . No other light was used in any of these .. The soft quality of such light is very good for figure studies and portraits .
Tungsten film is balanced for 3200 K. Since window light is day light , it is better to use a daylight color film in your camera and change the quartz light to a daylight balance with a blue filter over it . Or , the re flector unit can be changed to a blue covered one so that it reflects " day light " balanced light . Then again , the electronic flash bounced off the um brella reflector balances perfectly with the daylight illumination and , if your unit can be controlled as to its light out put , you can easily balance your com bination of indoor - outdoor lighting .
Providing the window light is bright enough to be reflected with usable in tensity , the aluminized reflectors work well . A mirror can be used if the light is weak and the mirror is large enough . Gowland , when working in a foreign country , often sets up his hotel room as a studio and simply removes the mirrors from the walls or dressing tables and uses them near a window to control his lighting . Other times a sheet or shower curtain can be used to make a suitable reflector .
SPOTS AND FLOODS
There are times when you will not be able to have the advantage of using windowlight and must resort to the use of floods or spots . Floods are used when you want a soft effect as in portraiture . The umbrella light is a form of flood - lighting but is even more flattering because it is wider than most floods .
Spotlights are used when more con trol of the light is necessary for ac cents such as a hair light , where only a small area is lighted . Other times , a small area of the background might be illuminated when you want to keep the rest of the background dark and make a certain part of the subject stand out against the lighted area .
There are times when you can light the body in sections for certain dra matic effects . Here you might use a spot on the face , a spot on the hair , another spot on the bust ( when used as a crosslight , the bust is accentu ated ) , and other spots used on the legs and background . Such lighting is extremely theatrical but effective for some illustrations . It is strictly Holly wood in appearance and the harsh light of the spots makes retouching always necessary .
The loss of time doing retouching or having it done outside , is costly . So , it is better to avoid harsh lighting effects in favor of the softer and more flattering light . This light should be used in front
ABOVE DIAGRAM shows how the two studio - type electronic flash units were positioned for photo at right . Note how overhead strobe - spotlight accented model with highlights giving a feeling of dimension and form .
FOUR studio strobes were aimed at background so as to spill light on model to make shot at left while four 500 watt floods were aimed at the white background to silhouette model for the shot at right . Diagrams show setups .
التصوير الفوتوغرافي الحديث
Lighting for Indoor Glamour
IN GLAMOUR photography the less you have to worry about lighting the better . The same is true of your equipment - cameras , tripods , filters , flashguns , etc. The main concern is the model and the more time you spend concentrating on her , the better .
Indoors and out , natural light is ideal to work with . A studio having one or two glass walls open to the daylight is ideal - especially if the other walls are unbroken by doors , cabinets and other obstructions . It is a good idea to have the studio walls painted white so as to reflect the enter ing daylight , giving a beautifully soft lighting that is virtually shadowless .
MODIFYING WINDOW LIGHT
When you are working around a window where the sun is direct , it will be better to soften the light . This can be done with a thin translucent screen or curtain . White opaque plastic made into screens and placed in front of the window does a fine job . The screens can be simple frames covered with the plastic or they can be divided up with strips and cross sections much like Japanese Shoji Screens .
These light diffusing screens can also be used as backgrounds . In fact , when set up tilted at an angle over head the model , they simulate a studio skylight .
One of the best things about using window light is that if you do have to supplement it , usually one unit is enough . This means that the photog rapher can pretty much work alone with the model , if he has to . It is really no work at all to move one light around but moving six lights ( as must sometimes be done when shooting commercial color assignments ) , can get into a lot of work and requires an assistant . The more people present , the less relaxed is the model and , re laxed models make better photos .
SUN GUN AND UMBRELLA
Peter Gowland , who has an out standing daylight studio in his home , supplements his daylight indoor shoot ing with a Sun Gun " bounced " off a Larson Reflectasol - or , an electronic flash bounced off an aluminized um brella . The Larson unit is a 32 " fold ing umbrella with a very reflective cloth covering . The quartz light is 1000 - watts but is controlled with a Syl - Vac controller ( transformer ) . This permits control of the intensity of the light as well as the color temperature from 2800 to 3500 de grees Kelvin .
OSKETCH shows how a prop studio window was made with 1 " x2 " wood strips covered with translucent plas tic . A single flood light to the right filled - in the shad ows created by natural daylight coming through win dow behind peg - board " wall " and angled fake window .
THESE three photos demonstrate how effective window light , indoors , can be . No other light was used in any of these .. The soft quality of such light is very good for figure studies and portraits .
Tungsten film is balanced for 3200 K. Since window light is day light , it is better to use a daylight color film in your camera and change the quartz light to a daylight balance with a blue filter over it . Or , the re flector unit can be changed to a blue covered one so that it reflects " day light " balanced light . Then again , the electronic flash bounced off the um brella reflector balances perfectly with the daylight illumination and , if your unit can be controlled as to its light out put , you can easily balance your com bination of indoor - outdoor lighting .
Providing the window light is bright enough to be reflected with usable in tensity , the aluminized reflectors work well . A mirror can be used if the light is weak and the mirror is large enough . Gowland , when working in a foreign country , often sets up his hotel room as a studio and simply removes the mirrors from the walls or dressing tables and uses them near a window to control his lighting . Other times a sheet or shower curtain can be used to make a suitable reflector .
SPOTS AND FLOODS
There are times when you will not be able to have the advantage of using windowlight and must resort to the use of floods or spots . Floods are used when you want a soft effect as in portraiture . The umbrella light is a form of flood - lighting but is even more flattering because it is wider than most floods .
Spotlights are used when more con trol of the light is necessary for ac cents such as a hair light , where only a small area is lighted . Other times , a small area of the background might be illuminated when you want to keep the rest of the background dark and make a certain part of the subject stand out against the lighted area .
There are times when you can light the body in sections for certain dra matic effects . Here you might use a spot on the face , a spot on the hair , another spot on the bust ( when used as a crosslight , the bust is accentu ated ) , and other spots used on the legs and background . Such lighting is extremely theatrical but effective for some illustrations . It is strictly Holly wood in appearance and the harsh light of the spots makes retouching always necessary .
The loss of time doing retouching or having it done outside , is costly . So , it is better to avoid harsh lighting effects in favor of the softer and more flattering light . This light should be used in front
ABOVE DIAGRAM shows how the two studio - type electronic flash units were positioned for photo at right . Note how overhead strobe - spotlight accented model with highlights giving a feeling of dimension and form .
FOUR studio strobes were aimed at background so as to spill light on model to make shot at left while four 500 watt floods were aimed at the white background to silhouette model for the shot at right . Diagrams show setups .
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