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I used a wraparound lighting setup for our model Evey. The setup consists of one high backlight directed at whiteboards that reflect the light back into the model. This setup is perfect for that shadowless cover model look. Natalie Fobes: Why don't you go ahead and turn on the boom light. This is up and high. It's going to be our backlight. It's going to be light that illuminates everything. It's the only light we're using today. So these are Vcards. Go ahead and get the Vcard.
I'd like you to take them out Sam: Are they heavy? Natalie Fobes: No, no. The Vcards are basically foam core that I bought at an art supply store and I cut them in half. Sam: Is the white part facing you or the black part facing you? Natalie Fobes: White facing her and bring it in. We are going to make a little tint, okay. Bring it in to the edge of the light. All right, very good! Sam: It's kind of a little V here right now. Is it more like an L or..? Natalie Fobes: It is kind of a V.
Yeah, no, that's exactly how it's supposed to be. I wanted to bring it up just a little bit more and to open the back side of it, because all of our light is coming from there and we are just bouncing it in. Now take the next one and we are going to put it on the other side. You're going to be enclosed, sorry! Great! Go ahead and just click that button, pointed straight at me, okay, four-and-a-half there. Now I want you to turn it around and point it back toward the light, all the way back up here, just put it right there, there you go.
That's going to tell me what kind of light is coming off and that's about half a stop difference. So I'm going to shoot at four. And now let's go ahead and have some fun. Okay, very good! So go ahead, I'm going to shoot from your waist up, Oh nice! Oh very nice. And come in just a little bit closer to me, there you go, very nice. Yeah, bring that ponytail around, yup. I understand that you wear glasses, and so we're going to have to--we'll take a couple with the glasses on.
But the beauty Sam, of this setup is that you will not see any glare, because there is so much light surrounding it, beautiful, okay. And down just a little bit more, just a little bit more, there you go, nice! And how about a little bit of this? Perfect, sweet, oh that's great! Oh, I love it! The lighting is gorgeous and works with a variety of Evey's expressions.
In this case, I used one board per side, but could also tape two boards together to give the person more room to move. This is a wonderful setup for women, young and old, as it creates a shadowless light and a bonus is that it doesn't create any reflections in glasses.
Next, Natalie details a variety of common one-light and two-light lighting techniques, explaining exposure, metering considerations, and light modifiers along the way.
The course concludes with several lighting tips, including minimizing physical challenges and do-it-yourself lighting gear instructions.
- Understanding lighting positions
- Deconstructing photos to study lighting
- Lighting a portrait for a Rembrandt pattern
- Backlighting in portraits
- Examining a four-light portrait scenario
- Lighting for different skin tones