FREE WORKSHOP ASSIGNMENT 2: LIGHT

IT'S ALWAYS THE LIGHT... ALWAYS

THE ARC OF BEAUTY… WITH ONE LIGHT.

 

IMAGE GALLERY FROM VIDEO ABOVE

THE ARC OF BEAUTY… WITH ONE LIGHT.

We are going to start this out with some lighting work.

There are a few variables that tend to be fixed in the lighting lexicon of food, texture, and still life.

The “circle of beauty”  (or Arc of Beauty) is one of them.

I use from backlight to both sides sidelight. If the light is in front of the food, it is front light and unless that look is part of your style, venture there with supreme confidence or not at all.

I choose not at all. I am not a fan of the look of front light. However, I do like shadows. We will get to them later.

Circle of beauty backlight:

And here is the Circle of beauty side light:

The vertical process remains the same. Whether from the back or overhead, having it be part of the circle of beauty is important. I refer to this one as the arc of beauty since it arches over the subject.

Using a window for light.

One of the easiest ways to use natural light is to use a window in your home or studio.

Buy me a tank of gas and a taco and I will send you 4 exclusive 5x7 prints from the trip. Printed at Artifact Uprising, they will be signed and numbered and EXCLUSIVE to only the people who participate. Available only from now to the end of the ride, August 17.

A tank of gas and a taco: $27

Here the window is used as a back light source.

And here the window is a side light source.

Notice how in the backlight situation, a scrim is used to soften and diffuse the light. This can be very important if you have random speculars from reflecting sources in the visibility of your set. It can also come in very handy when the sun comes directly into your room and is not a diffused source. The scrim can diffuse it and make the light more soft and even.

One of my favorite tools is the scrim from inside a 5-in-one. Here I have it clamped to a stand with the sun behind it. The light is very soft on the subject.

Another scrim mounted for shooting soft light in the harshest part of the day.

There is no size limit to the lighting gear. Here to very large scrims are softening the daylight from outside for a larger set shoot.

 

In the example above, the photographer is using the softbox as a window replacement. Fill cards and reflectors remain the same.

 

We are concentrating on one light setups for this workshop class.

Print Friendly, PDF & Email