The Wrong Way
When shooting studio portraits, lighting is everything. Sometimes, the best way to show how to do something right is by doing it wrong.

In this situation, we decided to show the “wrong way” by taking an auto-mode snapshot of our subject with just the built-in flash of a digital SLR activated. [figures 1 & 2]

This result shows the pitfalls of built-in flash lighting. Since the light from the flash is very small and traveling in the same direction as the lens, it tends to flatten out the dimensions of your subject. It also is very good at casting distracting shadows directly behind your subject.

Positioning a Single Soft Box
After our fun with the built-in flash, we promptly disabled it and set the exposure mode to Manual so that we could fine-tune our exposure levels and control our depth of field.

TIP: To learn more about exposure settings and depth of field, check out the online lessons at webphotoschool.com

Next, we set up a Photoflex Medium Constellation3 Kit, installed three CoolStar 150-watt daylight fluorescent lamps into the head, attached casters to the LiteStand to be able to move it easily, and positioned it to the right of our subject. We positioned the soft box about 6 feet high, and angled it downward to illuminate our seated subject.

Because the light is always on with these units, it’s easy to see how the light is affecting your subject. When we had the light where we wanted it, we took our first shot. [figures 3 & 4]

Already we see a dramatic difference. Because the light is off to the side of the camera and because it is relatively large and diffused, it creates a much more natural-looking light. The shadows now naturally fall to the ground, and our subject’s face -- half lit, half in shadow -- making for a very dramatic look.

From Main to Rim
Although this was an interesting look, we noticed that the soft box was also lighting up the steel door in the background a little more than we wanted it to. We also wanted to try using the soft box as a rim light instead of a main light for a more dynamic look.

So we rolled the Constellation3 Kit toward the back of the set and angled it back toward our subject. When the lighting looked good from the point of view of the camera, we took another shot. [figures 5 & 6]

Now the lighting has a very different look. Our subject’s face is almost entirely in shadow, but the soft box helps to create an outline along the right side of his body and separates him more against the metal door background, which is much lower in tone now.

Bouncing the Rim Light
Next, we decided to bounce some of this rim light into the left side of his body, so we set up a Photoflex 39x72” LitePanel frame, mounted it to a LiteStand with casters by way of a Main & T Clamp, and attached a Silver panel fabric to it. Once it was set up, we rolled it into position.

Thanks to the continuous light of the Constellation3 Kit, we could see when the light was hitting our subject directly while angling the LitePanel. You can even see the effects of the LitePanel in the set-up shots below. [figures 7 & 8]

From this angle, you can see how the light from the Constellation3 Kit bounces off the LitePanel and into the left side of our subject. [figure 9]

Once the LitePanel was where we wanted it, we took another shot. [figure 10]

While the light illuminating our subject’s left side is not as strong as it is on the right, it nevertheless helps to create separation from the background and does not compete with the overall direction of light.

Had we placed another Constellation3 on the other side to match the intensity of light, the shot would have a very different feel and you would see contradictory shadows on the floor.

Comparisons
Below is a side-by-side look at the Constellation3 result shots so far. [figure 11]

The Front Fill
In reviewing the most recent result, we realized we wanted to add some light into the front area of our subject. We wanted this light to act more like a fill light, rather than a main light, and have the amount of light be relatively minimal in order to maintain the overall dramatic feel of the shot.

So, we set up another Constellation3 Kit, this time with a large SilverDome soft box, and placed only two daylight lamps into the head. We positioned this box back about eight feet and turned on both lamps. [figures 12 & 13]

Although the light seemed to brighten up the shot considerably, we decided to take a test shot and see how the exposure would be. [figures 14 & 15]

Adjusting Power Levels
As you can see from the result, this second Constellation3 Kit added considerably more light. While the light levels were perfectly acceptable, it wasn’t the look we were after. Instead, we wanted to maintain a somewhat more moody look for this portrait.

This meant that we needed to tone down the light from the second Constellation3 Kit. But rather than repositioning the large Constellation3 Kit back away from the set, we simply turned off one of the lamps from the head and took another shot. [figures 16 & 17]

In reviewing the result, we saw that the light levels on our subject were better (although still somewhat bright), but that it was the background that was giving us some trouble. Specifically, we realized that the metal doors were now reflecting both soft boxes, which ended up flattening them out dimensionally, as well as brightening them more than we wanted.

Keeping the Light Directional with Grids
To cut down the light from the large Constellation3 Kit, as well as to keep it from reflecting into the metal doors, we decided to attach a set of Grids to the face of the soft box. While Grids still allow a soft box to maintain its soft quality of light, it keeps the light directional and prevents it from spilling off to the sides. [figures 18 & 19]

With the Grid in place, the lighting in person looked exactly how we wanted it for this shot. Without changing the exposure settings on the camera, we then took a series of shots from various angles. This one, taken only inches from the floor, ended up being one of our favorites. [figures 20 & 21]

Comparisons
Here’s a side-by-side look at the results taken with the Large Constellation3 added to the mix. [figure 22]

It’s important to remember that none of these lighting options are “right” or “wrong”. Depending upon the look you’re after, you may choose one lighting style over the other.

That being said, let’s now take a comparative look at the very first shot taken with the built-in flash next to our final result. We’ll let the differences speak for themselves. [figure 23]

Lay the Groundwork, then Get Creative
Once you’ve dialed in the lighting strategy for your shot, you can then focus on the other elements of the shot: perspective, composition, posing, etc… Here’s another favorite, in which the camera is tilted to break up the symmetry somewhat, and our subject appears to be caught in a candid moment. [figure 24]

While the pose and camera angle here are interesting, it’s the dramatic lighting that brings this shot to the next level.

As always, remember to experiment with your lighting, and above all, have fun!