Adjusting the Main Light

We began by setting up a 3-foot OctoDome nxt soft box with grids as our main light (figure 1). We positioned the soft box so that center of the light was pointed slightly past or in front of the model's face, not directly at her (this is referred to as feathering the light). Then we positioned a 42-inch MultiDisc reflector with the soft gold fabric about 4 feet from the model to create a nice warm fill. This is more or less where we left off in Part I of this lesson viewable on this site or at photoflexlightingschool.com.

In the result (figure 2) we can see how the 3-foot OctoDome nxt has produced a soft quality of light and how the grids have kept the light from spilling onto the background. The MultiDisc reflector helped us add a nice amount of fill light to the shadow side of the model's face. We intentionally kept the MultiDisc a little bit farther away from the model than usual in order to maintain a slightly dramatic lighting ratio between the main light and the fill.

Evaluating the first result, we decided that the quality of light with this particular model could be improved by raising the main light higher and pointing it downward (figure 3).

Raising the main light caused the direction of light to change significantly. In the result (figure 4) we can see how this angle of light has helped to delineate the model's features and to narrow her face.

It is important to note that there is not any one lighting solution that will work for every model. In portraiture, it is wise to consider how the lighting will affect the natural shape and look of a person's face. In this example, the sidelight has caused the face to appear wider and more broadly lit. Raising the light and pointing it downward produced a much more flattering look for our model (figure 5).

Adding a Rim Light

Once we had our OctoDome nxt positioned just right, we decided to try adding a rim light using a 52-inch White/Silver LiteDisc reflector. We positioned the LiteDisc to the left and behind the model, just out of the camera frame, with the silver side facing the back of the model's head (figure 6). Our intent was to reflect some of the light from the soft box back onto the left edge of her head and her left shoulder.

In the result (figure 7) we can see how the 52-inch LiteDisc has added a little bit of light to the left of the model, adding a nice glow to her hair and helping to separate her from the dark background.

The following comparison (figure 8) shows our progression so far. We began with a basic main light with grids and reflector. Then we raised the main light slightly higher and pointed it downward. After that we decided to add a rim light using a silver LiteDisc.

We liked the rim light effect attained with the 52-inch LiteDisc. However, we felt that this effect deserved to be more pronounced. The LiteDisc simply could not provide enough light intensity to produce the kind of dramatic look we were going for. Also, we realized that with a reflector, the law of incidence and reflection still applies (the angle of incidence equals the angle of reflection). This means that the placement of the reflector is limited by the angle of the light source.

Using a 3 Foot OctoDome to Add a Rim Light

In order to overcome the limitations of using a LiteDisc to create a rim light effect, we decided to use a second OctoDome nxt Kit. We positioned the second OctoDome soft box behind and to the left of the model pointing the light at the back of her head and shoulders (figure 9).

The result (figure 10) is dramatically different from the previous version. Right away we have several problems to solve. First of all the rim light is now much too strong causing the model's hair to be "blown out" or without any detail in the highlights. Furthermore, the light from the second soft box has spilled onto the background. This has caused the background to be much lighter, which cancels out the effect of using grids on the main light. Also, notice how this unwanted light skimming across the background has revealed every little crease and wrinkle in the muslin.

Using Grids to Control the Rim Light

Our next step was to control our rim light by using accessory Grids for the 3-foot OctoDome (figure 11). As mentioned in the Part I of this lesson, the grids serve to narrow the angle of light. As with most light modifiers placed in front of a light source, the grids also cut the light intensity by about 1 stop.

In the result (figure 12) we can see how the grids have directed the light onto the model and prevented the light from spilling onto the background. By using the grids on the rim light we were able to maintain a dark background. The rim light effect has provided a nice glow around the left (shadowed side) of the model, helping her to stand out from the background.

This result felt just about right, however, the rim light was still a little bit too strong. The grid helped to cut the light output enough for a satisfactory image. Nevertheless, we noticed that the hair was still a little bit blown out.

Cutting the Light Output

At this point we had two options to choose from in order to cut the light output of the rim light a little bit further. One way to do this would be to move the light back, away from the model. By increasing the distance that the light needed to travel, we would have decreased the light's intensity. Our second option was to replace the 1000 watt Starlite lamp included in the OctoDome nxt Kit with the 500 watt Starlite lamp also included in the kit.

In consideration of amount of space available in our studio, we opted for the latter. By keeping the light setup the same (figure 13) and replacing the lamp with a lower wattage (500 watt) accessory lamp, we were able to knock down the light output by another stop.

This result (figure 14) appeared to be just right with a just the right amount of rim light effect and plenty of detail in the highlights.

Shown below is a progression of results using an OctoDome without any grids, adding grids, and replacing the 1000 watt lamp with a 500 watt lamp (figure 15).

The Clamshell Lighting Setup

After we were totally satisfied with our results using two OctoDome nxt Kits to create a classic rim light portrait, we decided to apply the same two kits to a very different style of portraiture.

The following steps will demonstrate how we were able to manipulate our existing setup to create a stylized glamour headshot. The following lighting setup is often referred to as The Clamshell.

We began by replacing the light stand included in the OctoDome nxt Kit with a Boom Stand and Boom Arm. This allowed us to position the OctoDome in front of the model, slightly above the camera lens and pointing down at her face at about 45 degrees to the floor (figure 16). Using the Boom arm made it possible to achieve this placement of the main light without having a light stand in the way of the shot.

Our first result with this kind of "top lighting" (figure 17) is not the most pleasing or flattering look. The single main light has produced harsh shadows over the eyes, under the nose, and under the chin. A significant amount of light has spilled onto the muslin backdrop causing the model to blend in with the surrounding space in the image.

In order to complete this lighting approach, we added the second OctoDome nxt as a fill light positioned below the model's face pointing upward (figure 18). You can probably tell from this studio setup image why this kind of lighting setup is called the clamshell.

The second light from below has filled in the all of the shadows under the eyes, nose and chin making for a very flattering, glamour type look (figure 19). Nevertheless, we were still unsatisfied with the amount of light spilling behind the model and onto the backdrop.

Adding Grids to the Clamshell Setup

In order to control the light and prevent it from reaching the background, we decided to attach grids to the top light first (figure 20).

With the grids attached to the Main light, we were now able to direct most of the light onto the subject's face while keeping the background relatively dark (figure 21).

In this result, however, the grids caused a significant decrease in light output from the main light. As a result, the fill light became more powerful in relation to the main light. This result is not as flattering, because the direction of light is lost and the image becomes flat and uninteresting.

Next, we added grids to our fill light with the intention of lowering the intensity of the fill (figure 22). We were also hoping that the grids would help us to better direct the fill light and keep it from illuminating the backdrop.

With grids attached to both lights we finally achieved a result that was very close to the look and feel we were striving for (figure 23). Adding the grids to the fill light enabled us to maintain a pleasing ratio between the main light and the fill light. Notice that the fill light is slightly less powerful than the main. This technique helps to maintain a direction of light, which gives the image a sense of depth. Thanks to the accessory grids we were able to keep the background in shadow. This has added yet another level of dimensionality to the shot.

Adding the Final Touch

For most applications of this kind of lighting, the result above should be considered more than adequate. Nevertheless, we decided to play with a few elements in order to give this shot a finishing touch.

Looking more carefully at our last result, we decided that the position of the main light directly from above made the shot a little bit flat. In order to add a little more drama to this portrait, we moved the main light slightly off to the side, still pointing downward at the model (figure 24).

In this result (figure 25) notice how the direction of the light has changed. Now there is a small amount of shadow on the left side of the face. The change is very subtle, but in comparison with our prior results it really does make a huge difference. Now we have established a clear direction for our main light source and have added more depth to the model's facial features.

The comparison below (figure 26) shows our steps so far.

1. We began with one main light and one fill light.
2. Then we added grids to the main light.
3. Next we added grids to the fill light.
4. Finally, we moved the main light slightly over to the right.

Using a 22-inch LiteDisc Reflector as a Rim Light

We were quite satisfied with our last result. However, we noticed that by moving the main light to the right, the opposite side (left side) of the head became darker and was starting to blend in with the background.

We took this as an opportunity to liven up the shot even further. To do this, we setup a 22-inch Silver LiteDisc with a LiteDisc Holder and positioned it behind and to the left of the model, just outside of the camera frame (figure 27).

Note: The idea here is similar to the rim-light technique we used in the previous setup (figures 6 and 7).

With that little bit of extra light on the model's hair our glamour portrait really came to life!

As you can see, effective portraiture does not always require the most expensive or complex setups. Often times all you need is the right technique to manipulate a few basic lighting tools in order to achieve a variety of styles.

In reviewing this lesson, we encourage you to pay close attention to each shot and judge for yourself whether the feeling and mood created in the image is satisfactory to your needs.

Always start with a simple approach first. Then, after you see the result, you may decide that one or several elements can be altered. At that point you can make your own, informed decision as to what additional tools we help you achieve the desired result.

And, as always, have fun!