Table Of Content

S T R A T E G I E S F O R D I G I T A L P H O T O G R A P H E R S L IGHTING TECHNIQUES for Photographing Model Portfolios Billy Pegram Amherst Media ® PUBLISHEROFPHOTOGRAPHYBOOKS Copyright©2009byBillyPegram. Allrightsreserved. Publishedby: AmherstMedia,Inc. P.O.Box586 Buffalo,N.Y.14226 Fax:716-874-4508 www.AmherstMedia.com Publisher:CraigAlesse SeniorEditor/ProductionManager:MichellePerkins AssistantEditor:BarbaraA.Lynch-Johnt EditorialAssistancefrom:JohnS.Loder,CareyAnnMaines,CharlesSchweizer ISBN-13:978-1-58428-259-4 LibraryofCongressControlNumber:2008942245 PrintedinKorea. 10 9 8 7 6 5 4 3 2 1 Nopartofthispublicationmaybereproduced,stored,ortransmittedinanyformorbyanymeans,electronic,mechani- cal,photocopied,recordedorotherwise,withoutpriorwrittenconsentfromthepublisher. Notice of Disclaimer: The information contained in this book is based on the author’s experience and opinions. The au- thorandpublisherwillnotbeheldliablefortheuseormisuseoftheinformationinthisbook. Table of Contents Preface ..................................................8 Introduction ..............................................9 It’sNotAboutEquipment ...................................11 TheoryandPassion ........................................11 PhotographingModels .....................................13 TheRewardsofModelPhotography ...........................13 Creativity ..............................................13 Travel ................................................14 Financial ..............................................14 MakingaPositiveChange .................................14 TheChallengesofModelPhotography .........................14 EnvironmentalDemands ..................................14 TechnicalChallenges .....................................14 WhattoEmphasize ......................................15 WorkingwithPeople .....................................16 BeginwithPortraiture ......................................16 1. Basic Principles ........................................19 Previsualization ...........................................19 EmulatetheSuccessofOthers ..............................19 UseYourImagination ....................................19 CommunicateYourConcept ...............................21 Objectives ...............................................22 CreatingFlow ..........................................22 StoppingtheGaze .......................................24 YourVisualToolbox .......................................24 StraightLines ..........................................24 Curves ................................................25 CompositionandCropping ................................25 Perspective .............................................26 ToneandColor ...........................................27 UseaTripod .............................................28 2. The Physics of Light ....................................30 WhatLightIs ............................................31 HowLightBehaves ........................................32 Reflection .............................................32 Refraction .............................................32 Absorption ............................................32 QualityoftheLight ........................................32 SizeoftheLightSource ...................................33 NaturalLight ...........................................33 DirectionoftheLight ......................................35 FrontLight ............................................35 AngledorSideLight .....................................36 Backlight ..............................................37 LightandColor ...........................................39 ColorTemperature ......................................39 PracticalExample:AddingVarietywithWhiteBalance ............40 LightIntensityandMetering .................................42 3. Light Placement ........................................44 Objectives ...............................................44 MainLight ..............................................44 PracticalExample:LightingtheMaskoftheFace ................46 FillLight ................................................50 HairLight ...............................................51 BackgroundLight(s) .......................................51 AccentLight(s) ...........................................51 LightingintheStudio ......................................51 LightingOutdoorsandOnLocation ...........................54 4LIGHTINGTECHNIQUESFORPHOTOGRAPHINGMODELPORTFOLIOS 4. Types of Light Sources ..................................55 Naturalvs.ArtificialLight ...................................55 Sunlight .................................................55 BrightSunlight .........................................55 CloudySkies ...........................................56 PracticalExample:BrightSunlight ...........................56 PracticalExample:MorningLight ...........................60 PracticalExample:UseWhatYouFind........................61 TungstenLighting .........................................63 PracticalExample:SlowShutterSpeed,HighISO ...............63 FluorescentLighting .......................................64 ElectronicFlash ...........................................64 PracticalExample:FillFlash ................................64 StudioStrobe .............................................65 PracticalExample:StrobeforConsistentResults ................66 5. Light Modifiers ........................................68 Reflectors................................................68 Surface ...............................................69 Design ................................................69 ForFill ...............................................69 PracticalExample:ReflectedFillonLocation ...................69 PracticalExample:NaturalReflectors .........................73 Gobos ..................................................73 PracticalExample:GobostoControlAccentLighting ............73 PracticalExample:GobostoControlLensFlare ................75 Scrims ..................................................75 BarebulbLighting .........................................76 Parabolics ...............................................76 PracticalExample:BacklightingwithParabolics .................76 BeautyDish ..............................................78 Diffusers ................................................78 BarnDoors ..............................................78 Spotlights ...............................................78 GridSpots ...............................................79 Snoots ..................................................79 Umbrellas ...............................................79 Softboxes ................................................79 PracticalExample:SoftandBeautiful .........................79 PracticalExample:AFresh,ColorfulLook .....................81 ColoredGels .............................................83 TABLEOFCONTENTS5 6. Matching the Light to the Image ...........................84 DeterminingtheModel’sBestMarket ..........................84 Age ..................................................84 Height ................................................86 OverallAppearance ......................................86 CommercialImages ........................................86 PracticalExample:MariposaFilms ...........................88 FashionImages ...........................................90 GlamourImages ..........................................91 LingerieImages ...........................................92 Plus-SizeImages ..........................................94 EditorialImages ...........................................95 Athletic/SportsImages .....................................96 CatalogImages ...........................................98 SwimwearImages .........................................99 PracticalExample:TwoLooksintheDesert ..................100 SpecialAttributes .........................................101 7. Creative Techniques ...................................102 DragtheShutterforCreativeEffect ...........................102 ControltheBackgroundwithLight ...........................102 LookAround! ...........................................107 CreateaStoryboard .......................................107 AddLensFlare ..........................................111 DoExtremeClose-Ups ....................................115 WorkwithPerformers .....................................116 PracticalExample:EmeraldDreamBall ......................116 PracticalExample:HeadlightsandTailpipes ...................117 HighlightOneAsset ......................................119 UseaProp ..............................................120 PracticalExample:AK-47 ................................120 PracticalExample:Newspapers ............................120 8. Additional Tips .......................................122 U.S./Europeanvs.AsianAgencies ............................122 U.S.andEuropeanAgencies ..............................122 AsianAgencies .........................................122 CompCards ............................................122 TheModel’sComfort .....................................122 Clothing ...............................................123 Menvs.Women ..........................................123 ImageQuality ...........................................123 Conclusion .............................................124 Index ..................................................125 TABLEOFCONTENTS7 Preface byLoaAndersen I first met Billy Pegram when he was shooting fashion in Seattle and I was the new agent on the block. We developed a synergistic relationship. He introduced me to clients; I had him shoot the models I represented. I have nowknownhimfornearlythreedecades.Duringthistime,wehavelearned from each other and become friends. I have admired his creativity, argued withhimoverwhatshouldbeinamodel’sportfolio,laughedathissillyjokes, and been highly impressed with his professionalism. However, it has only beensincebecominghistypist/reader/spellcheckerthatIhavebeguntoap- preciate his vast knowledge of all the various aspects of photography. I now cringewhenIhearsomeonespeakofashooteras“justaphotographer.” Thereissomuchmoretophotographythanjustpickingupacameraand goingatit.Agoodphotographermusthavein-depthknowledgeofamulti- tude of disciplines. A photographer must be not only an artist, but also a mathematician,achemist,andaphysicist—and,ofcourse,partpsychologist just to deal with the personalities of the models, directors, clients, and sup- portstaff.Italsohelpstohaveafirmknowledgeofbusinesspractices. BillyPegramisallofthesethingsandmore.Hisbackgroundiseclectic.He was an award-winning photographer in ninth grade, then headed to college on a full athletic scholarship and an appointment to Annapolis Naval Acad- emy. He began college as a pre-med student, then joined the military when helosthisscholarshipduetoabrokenleg.ThatledtoastintwithNASAat theNavyAerospaceMedicalResearchLab,wherehenotonlysetrecordsfor ridesontherocketsled(sixty-fourridesandamaximumof16.7Gs)butalso ranthelab. Later, as a civilian, he was offered jobs as a director of a research lab, a wilderness survival teacher, and a whitewater guide (among several other more mundane opportunities). He still considered becoming a doctor, spe- cializinginmedicalresearch,andwasofferedafullscholarshiptodoso.How- ever,heputalloffersasidetobecomeaphotographer,because,ashesays,“It wasmorechallenging.” BillyPegramisabornteacher,aperfectionist,anexpertinhisfield,agreat writer,andacreativegenius.Heisafriendandmentortohundredsofhope- ful models and aspiring photographers. He is also one who enjoys a good challenge.Inshort,heisthedefinitivephotographer. 8LIGHTINGTECHNIQUESFORPHOTOGRAPHINGMODELPORTFOLIOS Introduction W hen Amherst Media initially asked me to write an instructional book on photographic lighting, I had some reservations about the idea. After all, there are many fine books available on this subject. However, after reviewingmanyofthesepublications,Ifoundthatveryfewactuallyputlight- ing in practical, understandable terms. So I proposed creating a book that I-1.Whenthemodellooksgreatandthe imageisengaging,noonewillcareex- actly what kind of lighting equipment youusedtocreateit.

Description:

Detailed discussions and eye-catching, dynamic images show photographers how to masterfully create beautifully illuminated models in this professional, informative resource. With an endless array of looks for all types of modelssuch as nude, athletic, advertising, hand, leg, and plus sizethis manual is packed with inspiration as well as technical advice. Start-to-finish analyses of real-life sessions help photographers take the guesswork out of lighting and avoid common mistakes. Whether enhancing a product with the model or showcasing the model with the photograph, these tips illustrate how to meet objectives through artistry and skill.