- Using Studio Flash (Called Strobes)
- What to Do When You Can't Turn Your Strobe Power Down Any Further
- Firing Your Studio Strobe Wirelessly
- Softening Harsh Studio Strobes
- Where to Position Your Main Light
- Adding a Hair Light
- Getting a Different Look Without Moving the Lights
- Want Softer, More Even Light? Feather It!
- Studio Backgrounds
- Using a Pop-Up Collapsible Background
- One Background, Three Different Looks
- Getting Super-Saturated Background Color
- Reflectors: When to Use Silver or White and Where to Position It
- Using Grid Spots
- How to Use a Light Meter
- Which Mode Should You Shoot In?
- How to Set a Custom White Balance In-Camera
- Rim-Light Profile Silhouettes Made Easy
- Using a Fan for Windblown Effects
- The Advantage of Shooting Tethered
- Using a Gray Card to Nail Your Color
- Don't Light Your Whole Subject Evenly
- How to Light a Couple or Small Group
- Big, Beautiful, Wrapping Light
- Edgy Lighting for Athletes
- Hurley-Look Headshot Lighting
This chapter is from the book
This chapter is from the book
This chapter is from the book
Rim-Light Profile Silhouettes Made Easy
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This is one of those super-quick, 30-second tricks that have a big impact. First, aim your softbox sideways and have your subject stand directly in front of the center of it (facing your camera). Now, have them turn sideways toward the softbox, so they’re facing it directly. Next, have your subject take a step or two sideways, closer to you (while you’re at your camera position). Have them step sideways toward you until they have actually moved past the edge of the softbox (so there’s no softbox in front of them at all. It’s actually a foot or so behind them, from your vantage point at the camera). Now take your shot. What you’ll get is a strong rim light all the way around the profile of your subject, and the rest will appear as a black silhouette. If you want a little light to appear on the cheek facing the camera, have them move just a few inches back toward the light until you see that cheek lit just a tiny bit (this is where the modeling light comes in handy, because you can see a preview of how the light will fall).
Frank Doorhof’s Words of Wisdom About Using One Light
My friend, and studio lighting wizard, Frank Doorhof has a great saying he shares with his students. He tells them: “When you think you need two lights, use one light. If you think you need three lights, use one light. If you think you need four lights, maybe then you might consider a second light.” He makes a really great point—if you can use just one light, chances are it’s really all you need. The more lights you add, the more complicated things get, the longer it takes, and the more problems and challenges arise.