One Umbrella on Location

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I am a Photoshop guy who is finding a lot of love in Lightroom. I would say that about 80% of my work goes from LR (or CR) into Photoshop for finishing. But the other 20% is done totally in Lightroom.

Briana and I did this shoot last year for some new portfolio pieces. She had this cool, crazy outfit and I wanted an urban setting for the shot.

I used a single softlighter at 1.5 stops brighter than ambient for a pool of light effect.

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I chose three that I liked:

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I chose the middle one to do the Lightroom work on. I may come back and do the third one in black and white at some point.

Below is the Lightroom work I did. Simple and easy, and somewhat subtle… but then subtle may be all you need.

SUMMER-SCHOOLMANY OF THE TUTORIALS DURING “SUMMER SCHOOL” ARE BY PROJECT 52 PRO MEMBERS EITHER CURRENTLY ENROLLED OR ALUMNI.

Fitness Model on Location with Hiram Chee

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I was aiming for a clean catalog feel.

We shot this image at high noon in a football field. I used an Einstein F13 in a Softlighter without the sock for fill. I also used a -3f stop ND filter on my 85mm F1.8 to get the blue sky and blurred background.

I was shooting at F5.6. 1/125, ISO 100.

For post processing, I processed the RAW file in Capture One to dial in color balance, contrast, exposure, clarity, structure and sharpness. I then uploaded the image to CS6, denoised with Nik Dfine, softened the skin in Imagenomic Portraiture, balanced contrast in Nik Color Fx Pro Contrast and pre-sharpened in Nik software.

Lately I have been importing my edited psd files into LR5 and exporting JPGs at the appropriate size.

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See more of Hiram’s work at his website.SUMMER-SCHOOLALL THE TUTORIALS DURING “SUMMER SCHOOL” ARE BY PROJECT 52 PRO MEMBERS EITHER CURRENTLY ENROLLED OR ALUMNI.

Jamie at the Window

Jamie at the Window

Jaimie at the Window: Fredericksburg, Virginia.

I really loved the feeling of light coming in the window but the shot was very blah without the addition of a light source inside.

Using a speedlight with a modifier of cards around it to give direction, I lit Jaimie from camera left. The cards were being held by a VAL (Michele) and they were a little tricky to keep in place. We were running and gunning at this point, so setting up a stand would have lost some time with the light and I just wanted a quick shot.

The cards were being used to keep the light off the wall closest to them, and for the first couple of shots they did, but when I asked Michele to move a little away from the wall, the cards started letting light hit the wall and that was a problem when I looked at them later on the screen.

Exposure: I let the light in the window totally blow out, and based my exposure on that setting. Adding the strobe was easy as it was distance and power. I got my setting from the ambient light shot I did to blow out the window, so the exposure was set. I knew how far away the strobe had to be and at what power to match my settings on the camera.

The final shot that I chose had some issues, but we did some work in Photoshop to bring the wall into compliance, and open up the shadows in the darker part of the image.

Simple Photoshop moves, but ones you may like. I am a fan of the NIK software, so I used the new Analog Pro to finish off the image.

Image before Photoshop. Note the terrible rendering of the wall here. I knew I needed to smooth that out, and adding some vignette would help give it some dimension.

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Here is the Photoshop work.

Here is the completed image.

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Texture

Texture

Lighting for texture is a very important part of what we do.

Double Portraits: David Price

Double Portraits: David Price

Bay area photographer David Price was assigned to do a double portrait. He chose some co-workers who were happy to work with him to make the shots. It is always wonderful to have people want to work with you to make images, and David took his time to make the images in the style he is working on.

You can see the delicate back light that falls from top left to bottom right on the curtains behind the subjects. This soft approach to a ‘spray light’ adds warmth and depth to the image.

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As you can see in the setup below, David has used a small shoot thru umbrella to do double duty… the background light, and the fill light on the camera left of her hair. As the light falls down the curtains, it is brighter at the top and gently gets less powerful the farther away from the source. This additional gradient also helps the image keep dimension.

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David also changed the direction of the light while working with the subjects. For the close shot above, he turned the umbrella to light the wall on camera right and just out of the picture. This provided a big, soft source for the face. In the second shot above, he moved the umbrella back to light the subject with it instead of the wall.

The same scheme was used in the portrait below.

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Takeaway:

A light can be used to make another light as David has done above, using the umbrella to light the white wall for an even larger source.

Assignment:

Make a shot with one light source… without moving the subject, modify that source to come from both directions – again without moving the light. Aim the light toward the subject, then aim the light toward something else that can be used to light the subject. Find an area that allows you to do this without having to move the subject.

Sources can include large white walls, shower curtain reflectors, fomecore boards or V-flats or reflectors.

A Simple Portrait by Tomas Jansson

A Simple Portrait by Tomas Jansson

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This portrait of a young man was shot by Tomas Jansson, Norway.

fri-assign01behindthescen-Tomas-Jansson.

 

Tomas used a softlighter umbrella (a bounced position umbrella with a diffusion screen over the front) for his main light, and a silver reflector for a secondary light source from camera left. This very specular ‘fill’ added some extra shine to the subject’s arm and shadow side of the face.

By keeping the silver card at an oblique angle to the subject, Tomas was able to control the fall of the specular along the arm and (camera) left side of the face. The softlighter also provided some wonderful light to the book case behind the subject, giving the impression of more ambient lighting in the set. Notice the fall off in the setup shot. Also notice how far away the subject is from the background – far enough to keep the light from being blocked by him, and creating a shadow. This also enhances the feeling of more ambient light.

Takeaway:

Simple lighting can sometimes do double duty. Providing not only the main light, but also a sense of more ambient. Shiny reflectors create a sense of a secondary light source since they are specular in presentation.

Assignment:

Using a medium to large umbrella, with or without diffusion, create a shot where the umbrella provides not only the main light, but the ambient behind the subject as well.