Join Douglas Kirkland for an in-depth discussion in this video Spot vignette critique, part of Douglas Kirkland on Photography: Studio Portraiture.
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The final technique I'd like to point out today and show you is how we get an…effect that's very special like this, with a spotlight on the background.…You get a different look.…And all these looks, all these vastly different looks have been done in minutes,…just with lighting changes predominantly, and you get all these possibilities and…Courtney doesn't really almost know that any change has been made.…What we're doing is we're putting a spotlight on the background.…We turn out all the other lights except for the key and the fill light.…
No other light on the background. Just that one spotlight which we put a grid on…the front of our reflector, of our strobe, and point that up there and there are…different sizes of them.…Here you see it's so simple. And this where you get your gray from, because…it's already gray.…All we're doing is getting that spot and again your key and your fill are…still working.…So now we have three lights.…Key, fill, and spotlight on the background.…That's it, that's what's doing this, and watch what you get.…
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.