Steve Paxton
09-04-2009, 10:26 AM
Occasionally I get questions via email (and Facebook (http://www.facebook.com/steve.paxton?ref=name)!) about my photography. Many of the questions revolve around lighting and composition. Every portrait photographer has their own unique style that makes them different from the rest, but there are some very basic concepts to keep in mind when you are out in the field shooting portraits. Most of these concepts have been well documented by many photographers in books, videos and on the Internet so I am not presenting anything new. The following is my technical approach to environmental portraits. Let's take a look!
224
I try to schedule my environmental portrait sessions for mid morning or late afternoon. This maternity session was shot around 6 PM with a nice low sun. The first portion of the session we worked in the shade. Towards the end of the session we moved into the sun and I oriented my client so that the sun was behind her. Some of the images were shot with an on-camera flash (580EX II) and a Junior Bracket (http://www.custombrackets.com/Scripts/prodView.asp?idproduct=36) in manual mode while others were shot with off-camera flash. I also use a Lumedyne Tiny Cycler (http://www.bhphotovideo.com/c/product/273996-REG/Lumedyne_VHTF_HV_Tinycycler.html) battery pack to ensure that I have plenty of power and don't need to fumble around with changing AA batteries. I have several Tiny Cyclers and absolutely love them!
225
Start by Metering for Ambient Light
I start by metering the ambient light; that is, I meter as if I weren't going to use flash at all. I typically use an exposure meter (Sekonic L-308B (http://www.sekonic.com/products/Sekonic%20L-308S%20FLASHMATE.asp)), but you can use your camera for finding the proper settings too (an exposure meter can be quicker and more accurate). This becomes my base exposure setting. My goal (in most cases) is to throw the background out of focus while maintaining a high enough shutter speed so that I can handhold my camera. Remember the rule of thumb is to double your focal length to ensure that camera shake doesn't ruin the images. For example, if you are shooting with a 100mm lens, your shutter speed should be at least 1/200 or 1/250 of a second if you are hand holding the camera. I commonly use a 70-200mm lens for portraits. The key is to strike a balance between a nicely blurred background and an acceptable shutter speed. You should add just enough flash to fill in the shadows on the face so that a casual viewer of your pictures would never guess that you employed any extra lighting. It's important to me that the lighting look natural; and that means that the fill flash shouldn't overpower the ambient (or natural) light. Here are the basics on how to adjust ambient (or natural) light in relationship to flash or strobe (artificial) lighting:
The shutter speed modifies ambient light. If the ambient light is too dark (i.e. under exposed), lower the shutter speed and it will brightening the scene up.
The aperture modifies the intensity of the flash. If the flash is too intense you can stop down the aperture to help control it.
Changes in the ISO buy you the latitude you need in either direction. For example, if you are having trouble hitting the right shutter speed at 200 ISO, you can jump up to 400 ISO to buy you an extra stop of light.
226
In environmental portrait photography, a flash or strobe is generally used to fill in shadows on the face. There are lots of creative exceptions to this of course; however I will stick to fill lighting in this guide. Along with changing the aperture, you can also adjust the intensity of your flash by dialing down the power on the flash (i.e. -1, -2,) or you can move the flash farther from your subject. Here is how I generally work (although it always needs to be fine tuned):
When I am shooting in direct sun, I leave the flash set to full power (i.e. no changes)
When I am shooting in overcast, but bright conditions, I set the flash to -1
When I am shooting is cloudy conditions, I set the flash to -2
In the shade, I am usually shooting at between -1 or -2
It is a three way balancing act! The good news is that once you nail the settings, you can relax and fire away without worrying too much about your camera's settings (assuming that the light doesn't change). Anytime I move into a different area, I re-meter and recalibrate my shutter speed/aperture/ISO settings. Although it was quite bright, most of the maturity pics were shot at 200-400 ISO. This allowed me to set the shutter speed and aperture I needed. For portraits, I try to hover right around f5.6 with provides just enough depth of field to bring the face into sharp focus while throwing the background out of focus.
Using a Camera Bracket
When I shoot with an on-camera flash, I typically use a camera bracket to ensure my flash stays directly above my camera. This is particularly important when you are shooting in portrait mode (that is, your camera is turned on its side). Without a bracket, you risk creating bizarre side shadows. These side shadows look terrible and are totally unacceptable to me. You see side shadows most often if you have your client positioned next to a wall or some other solid object (that the shadow can project onto). A bracket ensures that side shadows are all but eliminated.
Although not usually a problem, the second reason for a bracket is to remove the possibility of red eye when you are shooting under dark conditions. Elevating the flash above your camera creates just enough of an angle between the lens axis and the light axis that you don't get red eye (which are actually the blood vessels in the retina being lit up). This use to be more important in the past when photographers shot film. Bouncing light off nearby walls serves the same purpose as it also changes the direction the light as it hits the eyes.
276
You can shoot portraits without a camera bracket. Just take care when you are shooting in portrait mode not to position your client next to a solid object (where side shadows will be obvious). Alternatively, you can shoot in landscape mode and crop the images to portrait orientation later on. Here are a few tidbits about my personal approach to portraits - this is just how I like to work - other photographers may take a different view:
I prefer to shoot in solid shade or overcast conditions. It's easier for my clients to open their eyes and it is just much more comfortable over all. It's also much safer - that is, I can get a lot of great shots without worrying about crazy, bright light.
I also shoot in direct sun light when it's practical. When I shoot in the sun, I try to position the client so that the sun is to their back or coming over one of their shoulders (45 degrees off center but behind). This creates some wonderful rim/separation lighting around the back of the head and hair. It also allows my clients to keep their eyes open (no squinting). Essentially, I am shooting directly into the sun. The sun becomes the main light source. Meter so that the subject is properly exposed and use fill flash.
I avoid dappled lighting as much as possible. That is, shaded areas that have pockets of sun poking through.
227
Reflected Light
Don't forget how effective reflected light can be. All the same rules apply, but you use the reflector as your main light source in place of flash or strobe lighting. Reflected light is some of the best lighting you can get for portraits; however in most cases, you will need an assistant to hold the reflector. You can reflect direct sun light or bounce your flash off the reflector at a 45-degree angle onto your client. This has the potential to create beautiful three dimensional light.
Off Camera Lighting
I love off-camera lighting! I have a great off-camera lighting kit that I take to virtually every portrait session and wedding I photograph. It includes several light stands, umbrellas, radio triggers, strobes, etc. I also have a portable Ezy-Box (http://www.adorama.com/LSSBEZ36.html) (portable soft box). I highly recommend picking up the Ezy-Box if you want to have a solid, portable soft box to take with you. It breaks down flat and can be deployed in about two minutes. I lug most of this gear with me everywhere in a portable lighting bag.
Here's the thing though; it isn't always practical to pull everything out. For example, photographing kids with off camera lighting in an outdoor environment will make you insane. Unless you have an assistant holding your main light source and moving with the clients, you will lose your mind. I run into this issue at weddings too. I typically take my clients to multiple locations, we are walking, they are laughing it up and enjoying the day, and I have to be dynamic and quick. Again, unless you have an assistant holding the off camera lighting, you are going to miss a lot of shots. Even with assistance, you may miss many shots. In my humble opinion, deploying off camera lighting outside makes the most sense when time isn't a factor and you have an extremely cooperative client. For example I commonly use off camera lighting with high school senior portraits.
Photographers have to be flexible - especially at events and while photographing dynamic situations (such as children playing). I prefer using off-camera lighting, but it's possible to capture great images with an on-camera flash if you are creative. It's a judgment call.
The key to learning about controlling light in portrait photography is to get out there and practice!
228
224
I try to schedule my environmental portrait sessions for mid morning or late afternoon. This maternity session was shot around 6 PM with a nice low sun. The first portion of the session we worked in the shade. Towards the end of the session we moved into the sun and I oriented my client so that the sun was behind her. Some of the images were shot with an on-camera flash (580EX II) and a Junior Bracket (http://www.custombrackets.com/Scripts/prodView.asp?idproduct=36) in manual mode while others were shot with off-camera flash. I also use a Lumedyne Tiny Cycler (http://www.bhphotovideo.com/c/product/273996-REG/Lumedyne_VHTF_HV_Tinycycler.html) battery pack to ensure that I have plenty of power and don't need to fumble around with changing AA batteries. I have several Tiny Cyclers and absolutely love them!
225
Start by Metering for Ambient Light
I start by metering the ambient light; that is, I meter as if I weren't going to use flash at all. I typically use an exposure meter (Sekonic L-308B (http://www.sekonic.com/products/Sekonic%20L-308S%20FLASHMATE.asp)), but you can use your camera for finding the proper settings too (an exposure meter can be quicker and more accurate). This becomes my base exposure setting. My goal (in most cases) is to throw the background out of focus while maintaining a high enough shutter speed so that I can handhold my camera. Remember the rule of thumb is to double your focal length to ensure that camera shake doesn't ruin the images. For example, if you are shooting with a 100mm lens, your shutter speed should be at least 1/200 or 1/250 of a second if you are hand holding the camera. I commonly use a 70-200mm lens for portraits. The key is to strike a balance between a nicely blurred background and an acceptable shutter speed. You should add just enough flash to fill in the shadows on the face so that a casual viewer of your pictures would never guess that you employed any extra lighting. It's important to me that the lighting look natural; and that means that the fill flash shouldn't overpower the ambient (or natural) light. Here are the basics on how to adjust ambient (or natural) light in relationship to flash or strobe (artificial) lighting:
The shutter speed modifies ambient light. If the ambient light is too dark (i.e. under exposed), lower the shutter speed and it will brightening the scene up.
The aperture modifies the intensity of the flash. If the flash is too intense you can stop down the aperture to help control it.
Changes in the ISO buy you the latitude you need in either direction. For example, if you are having trouble hitting the right shutter speed at 200 ISO, you can jump up to 400 ISO to buy you an extra stop of light.
226
In environmental portrait photography, a flash or strobe is generally used to fill in shadows on the face. There are lots of creative exceptions to this of course; however I will stick to fill lighting in this guide. Along with changing the aperture, you can also adjust the intensity of your flash by dialing down the power on the flash (i.e. -1, -2,) or you can move the flash farther from your subject. Here is how I generally work (although it always needs to be fine tuned):
When I am shooting in direct sun, I leave the flash set to full power (i.e. no changes)
When I am shooting in overcast, but bright conditions, I set the flash to -1
When I am shooting is cloudy conditions, I set the flash to -2
In the shade, I am usually shooting at between -1 or -2
It is a three way balancing act! The good news is that once you nail the settings, you can relax and fire away without worrying too much about your camera's settings (assuming that the light doesn't change). Anytime I move into a different area, I re-meter and recalibrate my shutter speed/aperture/ISO settings. Although it was quite bright, most of the maturity pics were shot at 200-400 ISO. This allowed me to set the shutter speed and aperture I needed. For portraits, I try to hover right around f5.6 with provides just enough depth of field to bring the face into sharp focus while throwing the background out of focus.
Using a Camera Bracket
When I shoot with an on-camera flash, I typically use a camera bracket to ensure my flash stays directly above my camera. This is particularly important when you are shooting in portrait mode (that is, your camera is turned on its side). Without a bracket, you risk creating bizarre side shadows. These side shadows look terrible and are totally unacceptable to me. You see side shadows most often if you have your client positioned next to a wall or some other solid object (that the shadow can project onto). A bracket ensures that side shadows are all but eliminated.
Although not usually a problem, the second reason for a bracket is to remove the possibility of red eye when you are shooting under dark conditions. Elevating the flash above your camera creates just enough of an angle between the lens axis and the light axis that you don't get red eye (which are actually the blood vessels in the retina being lit up). This use to be more important in the past when photographers shot film. Bouncing light off nearby walls serves the same purpose as it also changes the direction the light as it hits the eyes.
276
You can shoot portraits without a camera bracket. Just take care when you are shooting in portrait mode not to position your client next to a solid object (where side shadows will be obvious). Alternatively, you can shoot in landscape mode and crop the images to portrait orientation later on. Here are a few tidbits about my personal approach to portraits - this is just how I like to work - other photographers may take a different view:
I prefer to shoot in solid shade or overcast conditions. It's easier for my clients to open their eyes and it is just much more comfortable over all. It's also much safer - that is, I can get a lot of great shots without worrying about crazy, bright light.
I also shoot in direct sun light when it's practical. When I shoot in the sun, I try to position the client so that the sun is to their back or coming over one of their shoulders (45 degrees off center but behind). This creates some wonderful rim/separation lighting around the back of the head and hair. It also allows my clients to keep their eyes open (no squinting). Essentially, I am shooting directly into the sun. The sun becomes the main light source. Meter so that the subject is properly exposed and use fill flash.
I avoid dappled lighting as much as possible. That is, shaded areas that have pockets of sun poking through.
227
Reflected Light
Don't forget how effective reflected light can be. All the same rules apply, but you use the reflector as your main light source in place of flash or strobe lighting. Reflected light is some of the best lighting you can get for portraits; however in most cases, you will need an assistant to hold the reflector. You can reflect direct sun light or bounce your flash off the reflector at a 45-degree angle onto your client. This has the potential to create beautiful three dimensional light.
Off Camera Lighting
I love off-camera lighting! I have a great off-camera lighting kit that I take to virtually every portrait session and wedding I photograph. It includes several light stands, umbrellas, radio triggers, strobes, etc. I also have a portable Ezy-Box (http://www.adorama.com/LSSBEZ36.html) (portable soft box). I highly recommend picking up the Ezy-Box if you want to have a solid, portable soft box to take with you. It breaks down flat and can be deployed in about two minutes. I lug most of this gear with me everywhere in a portable lighting bag.
Here's the thing though; it isn't always practical to pull everything out. For example, photographing kids with off camera lighting in an outdoor environment will make you insane. Unless you have an assistant holding your main light source and moving with the clients, you will lose your mind. I run into this issue at weddings too. I typically take my clients to multiple locations, we are walking, they are laughing it up and enjoying the day, and I have to be dynamic and quick. Again, unless you have an assistant holding the off camera lighting, you are going to miss a lot of shots. Even with assistance, you may miss many shots. In my humble opinion, deploying off camera lighting outside makes the most sense when time isn't a factor and you have an extremely cooperative client. For example I commonly use off camera lighting with high school senior portraits.
Photographers have to be flexible - especially at events and while photographing dynamic situations (such as children playing). I prefer using off-camera lighting, but it's possible to capture great images with an on-camera flash if you are creative. It's a judgment call.
The key to learning about controlling light in portrait photography is to get out there and practice!
228