[Dave]

After watching the TV Programme "Find me the Face", to try & gleen how the pro photographers shoot portraits, I noticed one setup where they had 2 Softboxes facing directly at model , with small gap left between them for photographer to shoot through. The boxes were at head height of model.

So I had a go at recreating (see Photo 6 here for lighting diagram :- http://www.pixalo.com/community/phot...tml#post190557)

Anyway, here is the result. Note crop was forced by using 105mm prime less than 6 feet from model C&C welcome please :-



No post processing done, so feel free to tweak image as you see fit.

[stepheno]

Cracking shot and not a lot to do with it, if anything. The lighting is excellent. All I've done is lifted the levels a touch and applied 100% Amount USM.

[Les Meehan]

Dave

This is a very popular, and deceptively easy, setup that is often used to produce 'beauty' lighting. However, it's very simplicity hides traps!

The reason this setup is used a lot is that, due to the curve of the chin, you always get a darkening which delineates the shape of the chin/face nicely. This is subtle as in your image. Also, it keeps the contrast on the face low to remove facial lines (definitely not texture lighting here). Which is why it is used a lot for beauty work!

However, the traps...

You can see by the catchlights in the eyes that you used different sized softboxes, most pros would make sure they were the same size to obtain equal sized catchlights. Solution, move the smaller one closer, or the larger one back, to change the relative size in the eyes (once you know the relative positions they won't change) and compensate for any brightness difference with power ratio on the flash (i.e. big one back, more flash output or reduce flash output on small one).

Secondly, the colour of the catchlights is different, your larger softbox is throwing out a cooler light. Since flash output should stay constant in terms of colour temperature at different power settings, your softbox cover is probably cooling the light. Solution: remove both covers and replace with quality, smooth white tracing paper (one metre width) from a graphic supplier or Art shop.

Thirdly, using the lights at exactly head height is actually not the best position. Raising the lights just enough to produce a SLIGHT shadow under the eyes, nose, lips and chin will make the face have more form without losing the 'beauty' light effect.

The third point is usually the one mis-understood when simply seeing a pro work (the lights may look exactly at head height but...and they may well have been in your program I don't know); it makes a lot of difference!

Pros usually put white reflectors to either side of the model to bounce some of the light around the head to put some detail there (the sides of the head darken for the same reason the chin line does) and again this makes a big difference. make sure the reflectors (white card) are at the same distance from the head if you want equal light.

I know you have seen this face before but this is a completely new hand-coloured version just completed. Compare the lighting with yours especially the modeling of the features (I know it only uses one light but it demonstrates the points made).



BTW, I forgot to mention I like the shot and the expression is interesting, thoughtful like (the raised eyebrow).

Nice one.

Hope this helps in your quest to master studio lighting...

Cheers

[Dave]

Thanks for sharing all the tips Les.... much appreciated Cracking shot by the way ... not jealous, not jealous

[Les Meehan]

Originally Posted by Dave

Thanks for sharing all the tips Les.... much appreciated Cracking shot by the way ... not jealous, not jealous

Thanks, and as you know it started life in black and white.