Join Douglas Kirkland for an in-depth discussion in this video Drop-out white critique, part of Douglas Kirkland on Photography: Studio Portraiture.
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Now, since you've seen some of our work, let me show you some specifics.…I'm going to start with the dropout white. How do we do this?…I teach frequently and one of the questions often asked is, how do you get…this dropout white?…It's not that complicated.…Let me show you.…Here's our deal. Here's our subject.…You make sure she's comfortable.…In our case, she is sitting on a table.…She could be sitting on a chair, whatever, or sometimes people even want to…sit on the floor.…That's secondary.…But make sure she's comfortable, and this is your main first light.…
We're using four lights really to create this effect.…This is the key light, the principal light in other words.…That's giving the main light.…Now there is a weaker light, it's a fill light that's coming up from underneath…just to fill the shadows in.…And then in the background, we have these two lights here.…They're giving an even illumination on the background.…I'd like to put them off umbrellas and just to get that evenness of light.…We have the table in about the center, because I want a distance between…
In this installment of the series, Douglas demonstrates how shooting in a studio allows for precise lighting control and consistency. The course begins with a look at the strobes and light modifiers that Douglas frequently employs for studio portraiture. Douglas positions the lights and then shoots a variety of portraits, demonstrating how he works with a model to capture different moods and positions.
Finally, he reviews the best images from the shoot, analyzing the lighting techniques he employed and showing how judicious use of Photoshop can enhance a portrait without making it look unnaturally processed.