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Today we are going to tell you how to take a qualitative interesting studio portrait having only two sources of lights which are white umbrellas against the light, portrait plate, white and black paper backgrounds, and a portrait reflector.

There is no description of "universal magical" ways of setting up studio lights, which immediately allow to photograph as the "great fathers" like Helmut Newton or La Chapelle.

But this material will significantly expand a scope of application of a little bit tiring studio flashes and will be a good incentive to self-improvement.

Why are there only two sources? First of all, a number does not always equal to quality, even though there is a phrase "the lights can never be enough". Secondly, when you learn to handle masterly two sources, you can easily switch to photographing with three or more sources of lights. Thirdly, two sources of lights in the studio are a basic minimum and mostly it is simultaneously a maximum. Moreover two sources of lights are enough for a home studio with a small area and perhaps for a limited budget.

 

Scheme No. 1

 

 

We create a rigid pattern of light and shade with clear transitions between them by using a single source of lights (monoblock + "plate" reflector) and a white paper background. A model stands close to the background in order to create a short dense shadow with a frontally located source of lights. A height of the monoblock may vary depending on a task. Thus, the higher monoblock comparing to the model is, the longer shade will be. Ideally you need a "crane" stand that will let you place a monoblock precisely and directly opposing the model. In this case nothing will prevent you from photographing comparing to the situation when you use a regular stand.

 

Scheme No. 2

 

 

We took a portrait, in which the model's face is illuminated only from one side. We took it by using a single source of lights (monoblock + white umbrella against the light) and a black paper background. This scheme adds depth and light expressiveness to the portrait, although it cannot be applied to every model. In this case, the model is located at some distance from the background. The monoblock is usually located at the level of the model’s head.

 

Scheme No. 3

 

 

Using two sources of lights (monoblocks + white umbrellas against the light) and a white paper background, we put them diagonally in relation to the model. The main source of lights is located to the left (see scheme), and works as a "drawer" creating a soft pattern of light and shadow. An additional source of lights is located to the model’s right (see scheme) and is directed at the background behind the model.

Thus, the additional source of lights is simultaneously filling light (it fills gaps in shadows to the model’s right) and backlight (adds “volume” to the portrait). Please note that in this case the model is not parallel to the background, and is situated in "three quarters". Height of a location of the main source of lights may vary and it is usually at the face level or slightly higher. The additional source of lights may be situated a little lower at the shoulder level to distribute lights more evenly on the white background. This picture was taken through wet glass.

 

Scheme No. 4

 

 

In this scheme we used two sources of lights (monoblocks + white umbrellas against the light) and a white paper background. Both sources of lights are set up to the model’s left and right, and each source of lights shines at an angle of 45 degrees (see scheme). In this case, both sources of lights "work" to fill in the stage, and create a very soft pattern of light and shadow. Deep shadows on the face of a model are absent in this scheme. Height of a location of the sources of lights may vary. They are usually located at the eye level of the model or a little higher. In this scheme a white background becomes a little grayer due to underlit. You can use this effect or frame a portrait to hide the background.
By the way, when we make portraits in the “beauty” style, we often use a portrait reflector. And this picture clearly demonstrates an advantage of photo-enhancement usage. When you photograph in the studio, it is very useful, thus it helps to distribute light more evenly on the face, make transition of shadows on the neck and a lower part of the model's face to the softest. A small 32-inch in diameter reflector was used with a “silver” working surface (it is not specified in the scheme). The location is to the center, at the chest level of the model.

 

Scheme No. 5

 

 

In this scheme we used two sources of lights (monoblocks + white umbrellas against the light) and a black paper background. Both sources are set diagonally to the model’s left and right. The main source is set to the model’s left. It is our “drawing” light. It creates a light triangle on the right side of the model's face (see photo).

This scheme is often called the "triangle". In this case the second source of lights is located on the right and it creates the “backlight". It also lights the model’s hair and figure and adds volume to the portrait. Light "exposure" of the background changes its color from pure black to a gradation of dark gray. In this case it is rather an advantage, because the gray color is lighter and neutral.

 

Scheme No. 6

 

 

Here we used two sources of lights (monoblocks + white umbrellas against the light) and a white paper background. Both sources are set to the model’s left and right. Each source lights at an angle of about 90 degrees (see scheme). In this case both sources "work" to fill in and create a soft pattern of light and shadow on the left and right, and in the center of the model's face we get an area with deep shadows.

This scheme adds expressiveness to the portrait but is not suitable for everyone. The white background becomes grayer.

 

Scheme No. 7

 

 

In this scheme we used two sources of lights (monoblocks + one white umbrella against the light) and a black paper background. Both sources are set diagonally to the model’s left and right (see scheme). The main source is set almost frontally in relation to the model. This is our "filling" light. It practically creates even distribution of light on the stage. The second source of lights is located on the right and behind. It creates backlight illuminating the model’s figure and adds rigidity to the overall lightening. Owing to it volume appears.

The “cup” as a part of the monoblock is used as a diffuser of light. You can use it to make a very rigid light-shadow transition with little or no gradation. Note that the “backlight" was also set up as an effective source to photograph water splashes.

 

Scheme No. 8

 

In this scheme we used two sources of lights (monoblocks + white umbrellas against the light) and a white paper background. Both sources are set up behind the model, to the left and right and are directed at the white background at an angle of about 45 degrees (see scheme). In this case both sources "work" to create a soft silhouette portrait. Light exposure of the model takes place due to usage of the white background and “filling” diffusing lightening. Small details are hidden in the shadows, but the general features of the face are rather recognizable.

If you want, you may apply light color rendering to the background. In this case we used a pink color, so the picture became more gentle, warm and sensual.

 

Scheme No. 9

 

 

Used two sources of lights (monoblock + "plate" reflector and monoblock + a standard cup) and a white paper background, we arrange them as it is shown in the scheme. The "plate" has to set up frontally, slightly above the eye level of the model. Finally, we obtain a so-called "butterfly" – a feature of this type of scheme lightening is a shadow of the model’s nose in a form of a butterfly. This scheme is also called "Hollywood Portrait". Many portraits in movie industry have been taken this way.

By the way, the higher the reflector is located, the longer the shadow of the nose will be. In this picture a size of shadows is minimal. A classical scheme involves a little longer shadow. In the picture the model is approximately one meter closer from the background. The shadow of the figure falls onto the background, thus making the frame more "dense". This is not a must, especially if you do take a facial portrait.
Ideally you need a “crane” stand. This will allow you to put the monoblock directly on the opposite side of the model and nothing will impede photographing. But it can happen if you use an ordinary stand. An additional source of lights was located just behind the model, at the shoulder level creating backlight. Thus we obtained effective hair texture and added volume to the photograph.

 

Scheme No. 10

 

 

This scheme is rather a bonus because it is very similar to the Scheme No. 4. In this picture we have almost the same location of monoblocks. White umbrellas and a white paper background are also used (see scheme). However, the major difference of this scheme is absence of pulsed light. This portrait was shot entirely with the pulsed light. It is possible to take a portrait with the shortest depth of focus if you use significantly less capacity of lights.
 

Number of lighting schemes, which are used when taking a portrait in the studio, is not limited to ten options.

These clear examples were given to ease a process of photographing for a beginner photographer. We hope this material will be useful to those who are going to make the first step to photographing in the studio.

 

You can always practice in our PHOTO STUDIO.

 

 

Source: http://photokubik.com/