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Shaping the light with a beauty dish

From: Up and Running with Studio Strobes

Video: Shaping the light with a beauty dish

>> Well, now let's go ahead and actually modify what's on So, once again, we have that dramatic look, but And 1, 2, 3 I like this a little bit better.

Shaping the light with a beauty dish

>> Well, now let's go ahead and actually modify what's on the light, and we're going to switch over to the beauty dish. >> Yeah, and this is just a large container that essentially is going to go on the front of the light and it takes, instead of the light being focused in a smaller area, it's going to spread it around. Now, this particular one, it's got a couple of layers. The light actually bounces, hits the center section and then spreads out. But it's pretty easy and you can get these for different brand lights. It just attaches to the front of the light. >> Now, that one is a 22 inch beauty dish.

They come in different sizes, you can get 14 inches, you can get collapsible ones, and the larger the beauty dish, the more focused as well as softer the light is. >> Just be careful as I put this on that it doesn't bang the bulb. There we go. And before I let go, make sure everything is tightened down because there's more weight on the front of this so if this was loose, the light might tip forward a little bit. So I think we're in good shape there. >> Hm. 'Kay, and it looks like it seems to be aimed properly at Valerie.

You'll notice that because of it's a reflection I'll take a test shot but I have a feeling that the light levels are going to be a little bit low unless I open up my aperture. So, once again, we have that dramatic look, but the shadows are actually softer because it's a bigger source. And that's the nice thing about a beauty dish. The other reason I like to use a beauty dish is you can get a really nice catch light in the eyes. And if you zoom in and you look at the eyes, they pop. You have this little circle of light that really makes the eyes shine.

Let me open this up a little bit. I'm going to move it down two stops. And 1, 2, 3 I like this a little bit better. I have a little more fall off on the background so it separates Valerie and because it's a larger source, the light wraps really beautifully. I'm going to take it one more notch up, and that is. A lot of times when you get a beauty dish, you actually can get a silk or a diffuser that you can put over it. So Rich, let's go ahead and put a diffuser on the beauty dish and see how it looks different.

>> I'll just slip that over being careful not to brush the bulb. >> And as a matter of fact, this is a generic silk. It wasn't the custom one that came with the dish. As a matter of fact, I just bought it by size. I said I need something that I'll fit over a 21, 22 inch dish, and I got this and it works beautifully. So let's go ahead and take another shot and then we'll compare the two. 3, 2, 1 Looking at them side by side, you can see there is a nuance of difference. The background is dark again, that's because it cut out some of the light, but the light is even softer than it was before.

A lot of times when I use a beauty dish, I'll use the silk when I shoot a female but I'll take it off when I shoot a male because I want it soft but not so soft.

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This video is part of

Image for Up and Running with Studio Strobes
Up and Running with Studio Strobes

62 video lessons · 5368 viewers

Richard Harrington and Abba Shapiro
Author

 
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  1. 4m 6s
    1. Welcome
      2m 4s
    2. What you should know to get the most from this course
      2m 2s
  2. 6m 26s
    1. Shooting with strobes
      1m 23s
    2. Strobe lighting allows you to shoot with an increased depth of field
      58s
    3. Strobe lighting has faster recharge times than flashes
      1m 39s
    4. Strobe lighting is good at freezing action
      48s
    5. Strobe lighting offers many modifiers to shape light
      1m 38s
  3. 7m 34s
    1. Continuous lighting is easier for a beginner to understand
      1m 47s
    2. Continuous lighting makes it easier to achieve soft-light looks
      2m 57s
    3. Continuous lighting is useful if mixing video into the shoot
      2m 50s
  4. 20m 47s
    1. Buying piecemeal vs. buying a kit
      2m 29s
    2. Criteria for selecting lights
      5m 57s
    3. How many lights do you need?
      3m 0s
    4. How much power do you need
      5m 37s
    5. Mixing brands
      3m 44s
  5. 16m 40s
    1. Monolights and flash heads
      2m 22s
    2. Reflectors and diffusers
      3m 54s
    3. Lighting stands and booms
      3m 49s
    4. Power pack or power supplies
      4m 29s
    5. Sync cable
      2m 6s
  6. 19m 7s
    1. Handling the lamp or bulb
      2m 52s
    2. The role of the modeling light
      4m 36s
    3. Keeping lights cool
      1m 46s
    4. The master and slave relationship for lighting
      4m 5s
    5. Essential controls
      5m 48s
  7. 14m 59s
    1. Connecting the sync cable
      3m 16s
    2. Using a wireless transmitter
      7m 7s
    3. Slaving with a speedlight
      4m 36s
  8. 34m 6s
    1. Setting shutter sync speed
      4m 56s
    2. Setting an initial aperture and ISO
      2m 28s
    3. Controlling power output
      3m 1s
    4. Moving lights (the inverse-square rule)
      2m 8s
    5. Using a light meter in camera
      4m 4s
    6. Using an external light meter
      1m 45s
    7. Test shooting with one light at a time
      2m 5s
    8. Putting it all together
      1m 39s
    9. Controlling exposure with power or aperture
      1m 6s
    10. Refining exposure with ISO
      1m 39s
    11. Tethering to a laptop
      5m 22s
    12. Checking the shots on a computer
      3m 53s
  9. 31m 38s
    1. Modifying strobe lights
      1m 9s
    2. Bouncing the light with a reflector
      4m 26s
    3. Bouncing the light with a bounce card
      1m 12s
    4. Shaping the light with a beauty dish
      3m 5s
    5. Diffusing the light with an umbrella
      5m 50s
    6. Diffusing the light with a softbox
      4m 49s
    7. Focusing the light with a snoot
      6m 58s
    8. Modeling the light with grids and honeycombs
      2m 2s
    9. Using flags to restrict the light
      2m 7s
  10. 14m 50s
    1. Three-light setup
      6m 52s
    2. Three-light dramatic portrait
      4m 59s
    3. Four-light setup
      2m 59s
  11. 46m 56s
    1. Take the challenge
      55s
    2. Solution
      29s
    3. Portrait challenge 1
      8m 6s
    4. Portrait challenge 2
      3m 10s
    5. Portrait challenge 3
      12m 55s
    6. Portrait challenge 4
      3m 19s
    7. Portrait challenge 5
      4m 28s
    8. Portrait challenge 6
      9m 5s
    9. Portrait challenge 7
      4m 29s
  12. 39s
    1. Next steps
      39s

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