Rangefinder Magazine
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October 2000

Using BIG LIGHT! SourcesUnderstanding the Nature of Big,Soft Light Sources
by Stephen Dantzig, Psy. D.

Fashion photography is comprised of many subcategories. Light is used in as many different ways to capture the image. A beauty photograph will be lit in a vastly different manner than a “high fashion” shot. Similarly, a “commercial” fashion image is handled differently than high fashion. It is often the quality of light that highlights the different approaches used in the many facets of fashion photography.

Quality of light refers to how soft or harsh the light appears on your subject. A soft light will show a gradual transition from highlight to shadow and will cast lighter shadows. In contrast, a harsh light will have quick transition from highlight to shadow and cast deep dark shadows. The quality of light is a direct consequence of the size of the light source relative to your subject and the distance between the two. At a given distance, a small light source will have a dramatically different effect on your subject than a larger source. For example, a flash headfitted with a seven-inch parabolic reflector set five feet from the model will have a relatively harsh quality of light compared to the same flash head used at the same distance fitted with a 30" x 40" softbox. However, if the softbox were moved farther away from the subject, there would be a point when the quality of light would become as harsh as the source fitted with the seven-inch parabolic. Understanding this basic law of physics can help determine what light sources are used and how they will impact the final image.

The studio images depicted here were created with three Dynalite Uni400 monostrobes. One monostrobe was placed in a Photoflex Large Softbox. The other two strobes were placed in a Photoflex Medium and Small Stripdome, respectively. Modified and direct sunlight was used for the location photographs.

Exposures
The studio exposures were set as follows: the camera was set at f/11 (the shutter speed, which really does not matter in the studio, was set at 11ž4125); the main light was set at f/11 and 3 to 4 tenths; the hair light from the medium Stripdome was set at f/11 and 41ž410; the hair light from the small Stripdome was set for f/11 and 11ž410. The film, Kodak Ektachrome E100VS, was processed normally. In other words, I overexposed the film by about 31ž410 of a stop to add some snap to the final image. The hair lights were set at different values because of the relative size of the light sources. The smaller light source has more contrast and might have blown out her hair had it been set to the same value as the medium Stripdome. The main light was metered by pointing the dome of the handheld incident meter down the lens of the camera. The hair lights were metered by pointing the dome of the Minolta Flashmeter V toward the lights. (Note: I will set the values of the hair lights as high as f/11 and 71ž410 to f/16 if I am shooting a beauty photograph against a white backdrop.)

Beauty Headshot
The client for a beauty photograph is often a cosmetics manufacturer or a firm promoting hair products. The shot is designed to advertise how the client’s products transform a young lady into a beauty queen. The manner in which the set is lit is critical to achieving that objective. Contrary to a portrait, the face is usually lit from the front. The quality of light used is soft and even. The makeup helps provide the shadows and contours of her face. The hair is lit so it shines. The task is to show how this particular brand of shampoo or that conditioner adds bounce and life to the model’s hair. Understanding what impact the backdrop will have and proper metering are also extremely important factors in the success of a beauty photograph. My model, Georgia, was seated in front of a table with a silver California Sunbounce reflector positioned at an inclined angle on the table. The large softbox was fitted with a Circlemask to create a natural round catch light in Georgia’s eyes. The light source was placed as close as possible to her to soften the quality of light illuminating her. It was positioned high, but directly in from of Georgia. The box was angled downward so it would light the mask of her face while hitting the Sunbounce to fill in the shadows under her nose and chin. The silver card under her face adds the second set of catch lights and completes the “beauty look.” The two Stripdomes light Georgia’s hair. The medium Stripdome was placed on Georgia’s right and positioned slightly behind her. The small Stripdome was placed in a similar position on the opposite side. Both hair lights were flagged with two homemade gobos.

Full-length Fashion Setup
The same lights were used for the fashion set-up. The positions and values were changed. The softbox was moved about five or six feet from Georgia and placed on her right side. The medium Stripdome was moved to her left and positioned slightly in front of her. The small Stripdome was moved to her right and was positioned slightly behind her. The values of the lights were shifted so the softbox provided a general ambient light level while the Stripdomes provided the main effects. Again, the size and placement of the light sources helped determine each light’s output. The larger softbox was set to about f/8. The medium Stipdome, which essentially acts as the main light in this shot, was set at about f/8 and 4 or 5 tenths. The small Stripdome adds a kick to Georgia’s right side and outlines her face and was set at around f/8 and 2 or 3 tenths. The final exposure, metered toward the camera lens ranged from f/11 and 2 tenths to f/11 and 5 tenths, depending on which lights were illuminating the spot metered.

“High” fashion, or editorial fashion, is often described as “edgier” than other forms of fashion photography. The lighting is often harsher and the visual impact is quite different. The same three light sources were used to create the full-length image of Georgia. However, the impact of the smaller light sources is more dramatic because of the interplay of each source’s size. The medium softbox was moved back several feet, but not far enough to dramatically alter its quality of light. The Circlemask was removed, increasing its size and further reducing the effect of moving the light. Even though the exposures for the three lights were fairly similar, the Stripdomes now appear more prominent because of the harsher quality of light. The smaller sources add a lighting edge to the image.

“Commercial” Lighting Setup
The main light for this image was a flash head fitted into a medium Stripdome. The Stripdomes would normally be considered a harder light source. However, when brought close to Georgia and with the spill-off reflected back, it produces a beautiful light source for this image. If you look closely, however, you will notice that the specular highlights on her left cheek and forehead are a little bright, belying the relatively small light source. The lights were metered at about f/11 and 21ž410 and the Plus-X black-and-white film was exposed at f/8.

This shot depicts an image that would generally be considered a commercial shot. This photograph could be used in any number of applications and also demonstrates the effect of bringing a relatively small light source closer to your subject to create a soft quality of light. The mainlight was the medium Stripdome! The same light source that created the lighting for the “high fashion” shot provides a beautiful main light for this character study of Georgia. The light was brought in close, just out of camera view, and was partially feathered across her face. A large silver card was placed on Georgia’s right to add some fill and a smaller silver card was placed on the floor in front of her. The small Stripdome provides the hairlight.

Using Sun and Open Shade
“Commercial” fashion shots are often designed to show the clothing in such a way that every detail shows. The lighting is generally “cleaner” than a high- fashion image and the final placement of the image may be in a catalog or point-of-purchase display. The assignment may entail photographing a model wearing the garment in a natural setting. The sun is a perfect example of how the size of the light source interacts with the distance between the light and subject to create the quality of that light source. There is no bigger light than the sun. However, the extreme distance from the earth to the sun turns that huge star into a pinpoint light source. The two photos on page 14 were shot on a sunny beach in the afternoon. However, they were not shot during the “magic hour,” where the sun is low and beautiful. One image shows the effect of modifying the sunlight, while the other uses its harshness to enhance the image.

Finding or creating open shade is the way to photograph location shoots all day long! The sun was still too high in the sky to photograph Georgia without creating difficult shadows. Georgia is standing under a 77" x 77" Litepanel fitted with a translucent fabric. Another Litepanel fitted with a gold fabric provides the feeling of the warmth of a setting sun. The translucent scrim is positioned about two feet over her head, turning the pinpoint light of the sun into a large and beautifully soft light source. The gold reflector provides catch lights in the eyes. The light off the gold is still pretty bright and you run the risk of your model squinting. Be aware that the background will be somewhat overexposed because you are metering for the light under the shade. The shot was metered towards the camera. The meter reading was f/8 and 31ž410 at 11ž4125 of a second. The camera was set at f/8 and 11ž4125, overexposing the transparency film by 11ž43 of a stop. Georgia pulls this shot together. My assistant was positioned on the sailboat out in the distance and held the boat’s position long enough to be in the perfect spot for this shot!—of course I’m joking.

In the horizontal shot I made, Georgia was positioned by the shade of the pier, but still in direct sunlight. By this time the sun had begun to “move” down the beach. The angle of the sunlight along with the pier providing some respite creates a “hard-soft” light combination that was perfect for this shot! The mainlight is the light reflected off the sand and diffused by the pier. The direct sun provides a terrific rim light to accentuate Georgia’s body. The camera was set at f/11 at 11ž4125 of a second for this shot and was metered at about f/11 and 2 or 3 tenths at 11ž4125 of a second.
Understanding the physics involved with lighting and proper metering are certainly critical components to any successful photo shoot. However, the rapport established with the young lady in front of the camera will make or break your shoot. Georgia was not only absolutely beautiful; she was a pleasure to work with!

Dr. Stephen Dantzig owns and operates a small commercial photography studio near Studio City [LA area], California. His photography runs the gamut from commercial fashions to executive portraits and products/interiors. He is an award winning photographer and author of several articles on photographic lighting and ethics. Dr. Dantzig also conducts photography seminars from his studio.