Black and white photography: Taking great black and white photographs

Black and white photography: Taking great black and white photographs

Photography in its simplest definition is the recording of light. When taking photographs in black and white, light and its interplay with the subject of your photo must be uppermost in your mind. With practice, you will develop the most essential skill necessary for good black and white photography -- being able to imagine your subject in black and white.

Seeing in black and white can be learned through paying close attention to the quality and direction of light. Examine the paintings of the Impressionists. These works are as much about the quality of light as they are about their subjects. One of the clearest examples is the haystack series by Claude Monet. Even though Monet’s subject and viewpoint are exactly the same in every painting, each of these paintings differs greatly because of the quality of light. It is this same consideration of light that the black and white photographer must keep in mind.

Considerations for black and white photography:

Viewpoint. The first and most important consideration of any photograph is viewpoint. What is your subject? What is it that you want to the photograph say or show.

Amount of light. Is there enough light to record your subject? The red that stands out brilliantly in an early evening color shot will be rendered gray in a black and white photo. Is there enough light to display your subject as you want it rendered?

Source of Light. Is the light source natural? Is your subject directly lit by the primary light source (sun, flash) or is the subject lit by reflection of light from clouds or off a large bright object?

Quality of Light. Direct light produces sharp dark shadows and contrast between light and dark. Diffused light, such as the light of a cloudy day, softens shadows and produces softer tones of gray in your photo.

Direction of Light. The direction of light has affects depth, dimension and detail. Side lighting produces greater dimensional effects. Front lighting reduces texture and depth. Back lighting highlights form and reduces detail.

Other Considerations. In black and white photography, as color is muted, other design elements gain in significance.

• Shape – Shape is not only defined by the objects depicted but also by blocks of light and dark in the photo.

• Tone – Tone is conveyed through the use of dark and light in the photograph. Dark toned photographs use shadows and dark gray areas to convey a mood such as sadness, emptiness, etc. Light toned photographs can convey moods such as openness or space.

• Texture –The surface qualities of the subject give texture to a photograph. Texture can add realism or depth, and the lack of texture can add a mythic or ideal quality to a photo.

• Lines – Lines give focus and structure to your photograph. Lines draw the viewer’s eye through the photograph. Lines add movement and tension.

• Patterns – Pattern is the repetition of line and shape. Pattern can give rhythm and structure to a photograph.

Marketing Travel Photography

Marketing Travel Photography: Four Essential Steps

by Lou Jones

Part I: Getting Started | Part II: Four Essential Steps

Easier than any other time in history, today you can circumnavigate the globe and take pictures. You can rent cameras, lights, studios, buy film and hire models just about anywhere. You are no longer tied down to real estate or staff. In your pocket, your Blackberry or iPhone will gather all the help you need. And it can all be done on credit. But who eventually pays the bills? The age old problem remains: how do we get our telephone to ring or email in our inbox?

9th Grade Art Class

Once upon a time you picked up the phone, called an art director who actually answered. After a little awkward, conversational “foreplay”, you asked to come in and show your portfolio in the hopes of future assignments. The pitch was almost rhetorical and rarely discussed. Even though there was the proverbial “elephant in the middle of the room”, everyone in the loop knew it was a “sales call”. A well-worn, time-honored tradition. In the Golden Age of Advertising, so romantically characterized on the cable television show Mad Men (television drama about the advertising business in the 1960s aired on AMC), armed with a large Rolodex and depending on how aggressive you were, you could display your wares in front of just about anybody. This personal approach worked well. You met your clients and they met you. Relationships were forged and resulted in a very good return on investment. A few cups of very bad coffee and you had a career.

Today the travel market is global and times have certainly changed in the turbocharged world of computers, cell phones and databases but the reasons and motivations remain the same. “The names have been changed to protect the innocent.” (Dragnet. Prod. Jack Webb. NBC, Sndication, ABC. 1951-2004.) I have worked with a myriad of very smart assistants who, in very short order, “know” everything I do: my lighting techniques, my bag of tricks, even the stupid stories I tell subjects to get them to cooperate. Once they get that “lean and hungry look” in their eye, soon they are gone. We try to involve them in the discussions, the process and, of course, the execution of assignments. The time always comes, “What’s the big deal? I know everything that idiot knows.” However, very few learn how to make the phone ring.

Marketing travel photography is not a phone call. That is sales. The term marketing has permeated into our vocabulary, often without any serious reflection of its actual meaning. The American Marketing Association defines marketing as “the activity, set of institutions, and processes for creating, communicating, delivering, and exchanging offerings that have value for customers, clients, partners, and society at large” (www.marketingpower.com). But what does that clarify in the context of travel photography, which is considered highly disposable? In my first column for photo.net, Marketing Travel Photography: Getting Started, I gave an overview of the subject’s complicated nature. In the following text, I will discuss the four essential steps to marketing travel photography effectively: Identify, Differentiate, Advertise,Sell. Remember that marketing is never ending process.

I. Identify

Votive Candles

Marketing in its most basic form begins with information. The primary question that I ask at every meeting is who is your audience? It is difficult to determine what to do or say unless you know who you are addressing. Who buys photographs? What is their age? Gender? Nationality? Pedigree? What kinds of images interest them and how much are they willing to pay?

Unless you can identify your potential client you are basically “shot gunning” or in other words, casting a wide net and hoping to catch what you can amongst the flotsam and jetsam. My representative used to reiterate that you never know who, when or where you will interact with a customer. The most innocent encounters can result in new business but “shot gunning” is nonetheless usually inefficient and expensive.

Creating tailored mailing lists takes into account different clientele and allows you to concentrate on a particular groups’ needs. This is especially crucial if you are a small company or a freelance photographer who needs to find art directors and editors who give the travel assignments. You can also purchase mailing lists, harvest names and addresses from graphic design award books, join travel business networking groups and, of course, explore Google. Experiment to find methods that are personally effective in targeting your audience. At this developmental stage, it involves ongoing research.

The marketing of travel photography not only begins with information but also trades on information. We want the names and addresses of prospect clients and useful relationships, so that when the occasion arises, we will be privy to any kind of insider trade information such as which agency won a new account or which A/Ds are looking at new portfolios. Early in my career, I ran into a staff person who worked for Boston City Hall who mentioned that they were interviewing photographers for a major position. I ran home made several phone calls and eventually was hired for over a year in what became one of my seminal career jobs. You never know! Many aggressive salespeople believe that they have to pitch constantly, but I got the city job by letting someone else talk.

Remember that reciprocation is also critical and that you must also pass on information. Acquiring but also maintaining clients has a large part to do with how they perceive you as a resource for information they need, whether it is photographers’ names in other cities or the best public relations shooters. My former representative used to offer free estimates for jobs where we were not on the short list. She justified the time spent because my studio was eventually awarded several of those major campaigns. The art buyers trusted her and it paid off enormously.

By the same token, you are also responsible to keep your sources and information relevant. The old fashioned Rolodex, which is destined to become a museum artifact like glass plate negatives or black/white contact sheets, has morphed into computer databases. With these convenient programs, we can merge/purge and reconfigure our lists to keep them up-to-date and serve our particular needs. Like profiling suspects on those high tech, forensic TV shows, software has been developed for cataloguing regions, billings, circulations, and specialties. Even if you still use the backs of napkins, keep track of your information.

II. Differentiate

Vision

Refugee Camp

Colleges, schools and institutions are graduating over a hundred thousand neophyte photographers yearly and that is only in the United States. What a staggering statistic! It has actually become respectable to be a photographer. So how do you rise above the fray?

Differentiation is one of the most critical steps in separating yourself from the abundance of competition. Besides technique skills or a facility for problem solving, the value of today’s photographer simplifies to his or her vision. This encompasses your approach to the subject and the emotion you attach and subsequently evoke in your photographs. If a publication plans to include an article on nightlife in Prague, they may select your pictures because they conjure a particular mood or make everyone feel part of the scene.

Portfolio

When forging an identity as a powerful photographer, you have to initially create a strong body of work and this is reflected in your portfolio. In the beginning we all cobble together what we think are our best pictures in a book with the objective of showing it to anyone who will look. This selection represents you as a photographer and professional and must instill enough trust to obtain the job. Today, portfolios come in variety of formats that can be loosely divided into hard copy and digital. Every portfolio must be comprised of outstanding images that are well edited, thoughtfully sequenced, and sleekly presented. The higher up the agency ladder, the shorter the art director or editor’s attention span.

The traditional hard copy version is a mainstay of the industry. For editorial clients it can be a fairly simple compilation of exemplary work that includes tear sheets from assignments up to experimental images. The general limit ranges from ten to twenty five images. Most photographers using this method of display will have their core pictures and then have the option to switch out other work to complement the style and content of the magazine. There is nothing worse than wasting an art director’s time by showing irrelevant work.

Family

In advertising, external packaging must befit the content and photographers often seek expert consultation for their portfolio development. A lot more effort is invested in the pure design when you are pursuing agency work. Keep in mind that advertising companies expend millions of dollars for focus research, media buys, production and implementation of an ad campaign. The physical portfolio passes under many critical eyes that must be convinced that you can perform under high pressure.

In both cases you should not be surprised if your portfolio comes back damaged. Busy executives and their minions treat them very cavalierly. After years of learning the hard way, I always fabricate my portfolio so that it is relatively easy to update or replace. The industry gives no quarter!

Despite initial resistance, art directors and editors are utilizing electronics as a resource to discover new talent. Your digital portfolio, otherwise known as your web site, is nowadays the first impression for a new prospect. Web sites of photographers range from simple to elaborate design depending on the pursued market. Following basic portfolio principles the sites should be constructed so that they can be easily navigated. Avoid superfluous tricks such as unnecessary sounds or add-ons that only distract from your work. Long downloads are anathema. Web sites should always be considered works-in-progress that are periodically updated and improved.

Selina Maitreya, a marketing consultant who founded Port Authority, (author of How to Succeed in Commercial Photography, Allworth Press) is a big proponent of web portals where you can purchase space to drive traffic to your web site. Organization portals such as American Society of Media Photographers and Canadian Association of Photographers and Illustrators in Communications , etc. are a good place to start. They tend to be inexpensive and often come with the membership fee.

Unfortunately abroad, the selection of images and photographers is still a hand carried process. It is a cultural difference. Overseas agencies and magazines are not as accepting of images on a computer screen. As a great deal of travel photography is published in Europe and Asia, you need to adjust to their demands.

III. Advertise

Sorting Daily Catch

Advertising is the public declaration of services. In order to survive we effectively tell the multitudes that we travel and take pictures. The portfolio is personal representation of yourself and, in turn, a subset of advertising but your approach must be more extensive and multifaceted to gain results. Ultimately the point is to attract new business.

Push versus Pull

Marketing travel photography is divided into two main promotional strategies: push and pull. After you profile and target a specific publication, you can approach them directly. You initiated contact. That is push. Usually for push-marketing to be effective you should sell a universally desired product such as wedding photography or have a unique style. If your rep takes the portfolio around or you send out tear sheets, that is push. In the past I have spent enough on postage annually to support a small South American dictatorship. Pull, on the other hand, is broad based and utilizes mass market outlets directed towards hypothetical populations. Examples of this are trade shows, viral marketing, the Yellow Pages and search engine optimization. The purpose is to build up a demand for your photography. Understanding which of push/pull is best suited for you should become the cornerstone of your advertising.

Virtual

With varying degrees of effectiveness, email, online newsletters, blogs and social networks have cultivated the photographer/creative’s landscape. In addition to the invaluable email address, other virtual formats offer a means of sharing your work without “invading their space”. All these formats can be extremely accommodating to the potential client’s schedule.

Dock Workers

Harvest email addresses. They are crucial information. An added benefit is that email addresses often follow people as they move around. For many years, I have made a point of sending emails while traveling, usually highly personal, composed of streams of consciousness, real time observations. On the road they go to friends, clients and potential clients with whom I have established a rapport or met recently. Although their writing can be time consuming, they have proved well worth the effort. It is a subtle, entertaining way for me to remind people of my exploits. I once figured out how to send several emails from my hotel room in Havana, Cuba. Imagine the art director opening up some cryptic message from an embargoed country first thing in the morning. It cost a fortune.

Newsletters and “visual emails” with an attached photo or link to your website are also invaluable as buyers can bookmark your website. But critical to this type of marketing is tracking software. It allows you to follow your websites’ click through rates, visitors, most popular pages, etc.

With fifty thousand new pictures coming online each day and the proliferation of Royalty Free Stock, the demand for assignments has been decimated. To combat the effects of RF, some photographers have been successful cutting through the fog with blogs about assignments, philosophy, even demonstrations of shots in progress. Big companies and institutions are exploiting the burgeoning social networks, such as Facebook, mySpace, LinkedIn, Twitter, etc. They are part of a new phenomenon called viral marketing, a virtual, “word-of-mouth” technique where your message is passed along from person to person to generate added exposure. Viral marketing has transformed advertising. So if you package your photography in such a way that it is useful, educational or entertaining enough to others, the Internet may “promote” it exponentially.

Branding

Woman Weaving

A recent buzz word and form of pull advertising is branding. But what is branding? Branding is the descriptive attributes and concrete symbols that convey the essence of your company, product or service and in turn differentiates you from competition while establishing customer loyalty. To many, branding is as simple as a logo, a name, a trademark or a slogan. However a distinctive and recognizable photographic style, a collection of images and ideas also contribute in establishing a brand. Branding serves to create associations to you and your talent. A brand is the most valuable real estate in your world—that corner of the consumer’s mind.

Quite a while ago a musician colleague told me that every time he shook a fan’s hand was an opportunity for imprinting (his word). He wanted to leave such a strong positive impression that when the fans heard his songs on the radio they were compelled to continue following his music by purchasing a CD or a concert ticket. We have used this fitting analogy in the studio ever since.

Advertising is cumulative. Selina Maitreya suggests there should be four to five ways a buyer can encounter your work and that three to four years are necessary for the association to “live and breathe.” She also adheres to direct mail. In an interview she revealed, “we have twenty percent more brick and mortar addresses in our databases than email addresses. And I advise my photographers to send direct mail four to six times a year.”

IV. Sell

Untitled

Marketing, advertising and sales are not synonymous. The sequence is strategic development then tactical implementation. Marketing is indirect and has a longer acquisition curve. Marketing supports advertising and in turn promotes sales. In the end you have to make the sale, get someone to buy your pictures.

Once you have done all the prerequisites, your prospect may still not be able to make a decision. Are you reading your audience right? Do they need more information? Most often the biggest obstacle is that you are not talking to the actual decision maker. You cannot sell if you are not communicating with someone who can say yes or no. If you did not make the sale, never leave without determining what action comes next.

In the ninth inning of a baseball game with a one run lead, you need someone who can get the last three outs and shut the other team down. In sports this is called the closer and, in business, it is called closing the deal. Many photographers relish the “game” of designing promotional materials, schmoozing at cocktail parties, finding common ground and connecting with their constituency, but they are uncomfortable actually asking for work. You have to not only do it, but do it well.

Once upon a time I was just starting in this vocation, one mentor instructed me to call art directors and make appointments to ask for work. Like so many shooters before me, I whimpered that I found the task difficult. His advice was that I had to not only set aside time to make the calls on a regular basis, but I had to eventually learn to like it. If you are not proud enough of your work, clients will detect it.

Conclusion

Art Painter

Identify. Differentiate. Advertize. Sell. Rinse and repeat. Making money with photography is an art in more ways than one. It is more than luck or shouting your message louder or with more pixels. When I first began I read everything I could about equipment, technique and business practices. After a while I convinced myself that I knew how to actually take good pictures, bill a job and protect my rights. However, until you actually go out and try—have a visual problem in front of you with an impending deadline or you stuff your book under your arm and knock on a skeptical prospect’s door—everything we have discussed is theoretical. You must try and, most importantly, you must follow up.

I get phone calls from new interns or students wanting to become assistants in my studio, I always insist that they call me back a week or month later. That hurdle eliminates ninety percent of the candidates. Only the truly motivated call back at which time I am glad to give them an appointment. Our clients know the same tactic all too well.

When my studio was attempting to convince maximum security wardens to let us do portraits of men and women on death rows all over the USA, they would always tell us to call back on some specific date. Lorie Savel Borges (my rep at the time) made those follow up calls religiously. Performing an absolutely impossible task she eventually got us into fourteen prisons. It took six years but resulted in my book Final Exposure: Portraits from Death Row. We will deal with more of these marketing issues in the next article on Marketing Travel Photography.

Further Thoughts

The Internet has opened up such a vast practical, virtual library. So many people are willing to share information and brag about their experiences that we can investigate, through Google, youTube and webinars, worlds that were closed to us before.

Gaining practical insight into the selection or decision process is worth its weight in gold. There are several places on the World Wide Web to see how it is all done. Cary Wolinsky, a friend and long time contributor to National Geographic magazine, was asked so often how to approach the illustrious publication that he assembled “Anatomy of a Story” on his web site. It is as close as you can get to the complicated process without getting your own feet wet. Tune into Anatomy of a Story.

There is also a blog very popular with industry insiders www.aphotoeditor.com. It consistently peels off the veil of the often opaque editorial magazine maelstrom. Rob Haggart is/was a photo editor at a major consumer magazine and has taken it upon himself to reveal a lot of the behind the scenes secrets we all can use. One of the web sites he mentions in his blog is how a storyboard evolves at Wired magazine. See http://blog.wired.com/storyboard/.

Light Shaping Tools

by Garry Edwards

I hope that my first article on How to Choose Studio Lighting is helpful. The choice of which lighting system to use, although important, is just the very start of your journey towards good lighting. The next step is to understand the importance of the light shaping tools (or modifiers) that fit onto the light itself and shape and control the light. It’s the light shaping tools and the way that you use them that really matter.

Some Example Light Shaping Tools

This article deals with the light shaping tools that are used with studio flash heads—flash is my equipment of choice. The principles laid out here apply to all types of lighting including hotshoe flashes and continuous lighting, even though the tools available for these types of lighting are far more limited in both their scope and effectiveness. Basically, there are only two different types of modifiers—those that make the light bigger and those that make the light smaller. Bigger lights produce softer lighting, smaller ones create harder lighting.

First Forays into Light Modifiers

Generally, the very first light modifiers that beginners buy are those that make the light bigger, so we’ll start with those.

Reflective Umbrella

Reflective Umbrella

The simplest (and cheapest) is probably the umbrella. This is a reflective umbrella, the light from the flash bounces into it and then bounces back on to the subject. Reflective umbrellas come in various “flavors”—some have white interiors, some silver, some gold and there are even some with Zebra stripes of alternating white and silver. White umbrellas produce the softest light and silver ones produce a harder, more specular light. The striped ones produce a combination of white and silver, and gold umbrellas produce a quality of light similar to the silver ones but with a ‘warmer’ tone that produces an instant fake suntan. This can be useful when combined with light from white sources, and especially when used as a hair light, which we’ll get to later.

The advantage of reflective umbrellas is that the light is reasonably well controlled and doesn’t bounce around everywhere. The disadvantage is that the design forces the flash head to be between the subject and the umbrella, which means that it can’t be placed close to the subject so it can’t produce very soft light.

We get soft light by using a large light (the reflective surface of the umbrella becomes the light source) but size is relative, and even a large light source becomes small, in relative terms, if it isn’t close to the subject. Getting it closer to the subject makes it bigger in relative terms, so the light becomes softer.

Shoot-through Umbrella

Shoot-through Umbrella

If we want softer light from an umbrella, we need the shoot through type, which can be placed as close as we like to the subject.

Not that shoot through umbrellas are perfect either, because generally only about 60% of the light actually passes through it, the rest bounces back and, in a small studio, will bounce off of the ceiling, walls, etc. This creates pretty uncontrolled lighting and if the light also bounces towards your camera lens it can cause flare too.

And then there are the combination umbrellas, they have a black back which is removable. With the back in place, they are reflective umbrellas, and with the back removed they become shoot through umbrellas.

Umbrellas are cheap, they’re effective with all types of flash and they are the only really effective soft lighting accessory when used with hotshoe flashes so it’s not surprising that they’re very popular.

But the problems of unwanted light spill, especially when used in small rooms, can lead to disappointing results, so it’s not surprising that people try to avoid these problems by using a softbox, which combines the benefits of both reflective and shoot through umbrellas.

Softboxes

Softboxes come in all sorts of shapes and sizes but most of them work in the same way—the softbox replaces the reflector that would normally be fitted to the flash head, the light spreads around inside the softbox, bouncing off the walls and then hits an inner diffuser, a sheet of white translucent plastic, which evens out and diffuses the light. Then, in front of this inner diffuser is the front diffuser, which you can see in the picture. This diffuses the light even more. The walls of the softbox are typically a stippled silver material. Silver is highly efficient and the stippled surface helps to break up the light and spread it evenly. A few softboxes, including my Chimera, are also available with plain white interior walls. Plain white is slightly less efficient than silver (about 1/5th of a stop) and produces slightly softer light.

As you can see, the whole of the front diffuser becomes the light source so, if it’s close enough to the subject it can produce soft lighting with gentle shadows, and because the back of the softbox is enclosed there is no stray light bouncing around from the back.

Softboxes are simple pieces of kit but the differences in their design (and build quality) can be surprising.

The ideal softbox is one that allows the light from the flash head to bounce around and get thoroughly mixed up before it strikes the inner diffuser. Some of the better makes have an extra layer of diffusion (actually more of a central patch that partly reflects the light) to prevent hotspots and bounce some of the light from the center of the light back towards the light once more.

And what happens to the light once it reaches the inner diffuser? Well, in an ideal world all of the light should be forced to pass through the diffuser on its way to the outer diffuser, but some of the less well-designed models have a fairly large gap between the inner diffuser and the walls of the softbox, which allows some of the light to bypass the diffuser. The front diffuser is important too. The better ones tend to be thicker and denser than most. They still produce soft light but the light is crisper, better defined.

Some of the better-designed softboxes have a recessed front diffuser with a pronounced lip protruding from it, which helps to prevent unwanted light from traveling back towards the camera lens and causing flare. This lip also makes it easier to “feather” the light, i.e. to light the subject (or background) to create a graduated effect.

In theory, softboxes can be used with any type of flash but only lights that have removable reflectors can work really well, because with a fixed reflector in place the light tends to aim directly at the inner diffuser without first bouncing off of the softbox walls. A few hotshoe flashes are fitted with removable reflectors. Most are not, which makes them less than ideal. Softboxes can also be used with some kinds of continuous lighting too, although low power output and heat can be a very real limitation when using continuous lighting.

People argue endlessly about the “right” size or the “ideal” shape of softboxes but it’s really down to horses for courses when it comes to size and shape. Typically, if I was photographing a wine bottle I’d use a narrow rectangular (striplight) softbox to produce the shape of specular reflection (reflection of the light source) that suits the subject, and even though wine bottles are pretty small I’d use a 6’ high softbox so I could choose how large that specular reflection could be and how far away the softbox could be placed. Small softboxes often can’t be placed close enough to the subject to produce the effect needed.

If I was photographing a person full length [example below—links to larger image], I might choose a large rectangular softbox for the key light. For a headshot, perhaps a square or octagonal softbox, depending on the shape of catchlight that I wanted the eyes to show.

As you can see from the eyes of this portrait below [click on image to see a larger version], a square softbox can produce natural looking highlights in the shape of a window: “glazing bars” can easily be added by attaching black tape to the outer diffuser if required. The softbox was positioned in a fairly classic position—above and to one side where it produced lighting that is soft but without being flat.

Sometimes you may want a small softbox, especially if you’re shooting in a small room, because a small softbox will allow you to produce controlled, diffused light without it being soft. In a large room, a similar effect can be produced simply by moving a larger softbox further back.

One size and one shape of softbox cannot meet all needs. You really need several—but if budget and/or space is a problem, and you’re limited to just one softbox it’s generally better to get a large one and to be able to change the size and/or shape. Some softbox manufacturers supply removable masks that change the effective shape from square to octagonal. A more versatile (and cheaper) solution is simply to mask the front diffuser of your softbox to produce the size and shape you want, simply by temporarily fitting your own mask. The standard method is to fit blackwrap (Cinefoil) using clothes pins, but black trash bags will work too.

A lot of people mistakenly believe that the sole function of a softbox is to produce soft light—softboxes can do far more. In the “Black is Beautiful” [image below], I used two softboxes. They were both behind and to the side of my subject so that they lit the edge of her body and spilled some of the light across her back. The one on the right was higher because although I didn’t want to light the back of her head I did want to light her face. The important thing here was to get the lighting level the same on each side and to arrange both softboxes so that the light skimmed across my model’s back. Used in this way, softboxes can combine soft overall lighting with fairly hard local lighting or to produce low overall contrast and high local contrast.

There are other ways of getting soft light too. Any type of flash can be bounced from a white ceiling or a wall, which turns the ceiling or wall into the light source. There are also artificial tools such as lighting silks (basically just a diffusing material such as ripstop nylon or plain white shower curtain) that can be used instead of a softbox or umbrella or used in front of one to increase the size of the light source or to diffuse the light more.

Unwanted Light Spill From Large Light Sources

Soft lighting normally involves using large, diffused light sources such as softboxes, shoot through umbrellas or scrims and this can cause its own problems. Softboxes are the most efficient large light sources (because all the light is traveling in just one direction, or at least in theory) but of course it doesn’t just get to the subject and then stop—it goes past the subject and bounces off the background, it spreads out and bounces from the walls and ceiling too. In fact, there’s a great deal of ‘bounce’—at a distance of 12’, a 3’ x 3’ softbox creates a “beam” of light 25’ high and 25’ wide.

So what happens to that bounced light?

Bounced light goes everywhere, or at least it does in a small studio. For beginners who are just trying to get very soft lighting, this may seem to be an advantage of sorts—but once you’ve moved past the soft lighting stage, you’ll want to control your lights—and you’ll feel frustrated that whatever you do you’ll find that bounced light has lowered the contrast, caused lens flare and stopped you from creating the shadows that are needed to shape faces and add interest.

What can you do about it?

Well, some people think that the answer is to put a honeycomb (grid) over the front of the softbox. These honeycomb grids are expensive and you may want to think carefully before you spend your money.

What the honeycomb grid will do is to control the spread of light. If you get a fine one with a 20 degree angle then the spread of light from our 3’ x 3’ softbox at 12’ will reduce from 25’ to 8’—but it will also lose its wrap around qualities, the shadows will be much harsher and it will give an effect much more similar to a beauty dish than to a softbox. It will also “lose” around 4 stops of lights so, for example, your 300 Joule flash head will only produce the equivalent of 16 Joules.

There are really just 4 possible answers that work.

• Use a large studio. If you have a high ceiling and if the walls are distant, bounced light won’t be a problem. This “solution” isn’t practical for many people.
• Paint the walls and ceiling black. White paint is the worst possible studio decoration because of the “light bounce” problem. Black is the best. Studios with black walls and ceilings are depressing places to work in and it isn’t a practical solution if your studio has to double as your living room.
• Paint the ceiling black and have black drapes that can be pulled across the white walls when required. This is probably the ideal solution for high street portrait studios that need to look cheerful but also need to work efficiently. It isn’t practical if your studio is also your living room.
• Make do with what you’ve got but gain control of bounced light by using flags. Flags are simply pieces of black painted card or board, or better still Cinefoil. Place flags wherever they need to go to stop light bouncing around and ruining your shots. The look untidy and it takes time and a bit of thought, but it’s the only way of controlling light spill in a small space with light colored decoration. And it’s cheap!

I mentioned shoot-through umbrellas and silks. The light spill from these is far worse than with softboxes and although you can use flags in exactly the same way, it’s a bit more difficult to control all of the light spill.

Final point about achieving soft lighting

This leads me to my final point about limiting light bounce and getting soft lighting. The light needs to be close or it won’t be soft. It needs to be so close that it will be physically in your way. Work around that, but don’t move the light further away to make your life easier, unless your softbox is producing lighting that’s softer than you want it to be at the present distance.

By having your softbox really close, the effect of the bounced light will be reduced. The reason for this is that the further the light has to travel, the more power it loses. If the light that reaches your subject only has 3’ to travel and the light that bounces off the nearest wall has 6’ to travel, a lot of the power of the bounced light will be lost in traveling 6’ to the wall and another 6’ back again. Some of the light will be lost in reflection too. Probably no more than about 70% will actually reflect from any surface except a mirror.

To summarize, softboxes and other large lights sources will produce soft lighting if they are fairly frontal and very close to the subject. If they are moved farther away, the light becomes progressively less soft because the light becomes smaller in relation to the size of the subject and the light can no longer produce the wraparound effect needed for really soft lighting.

As a general rule of thumb, softboxes have really lost most of their ‘soft’ qualities once they’ve been moved further away than the measurement of their diagonal. As an example, a medium softbox, 4’ x 3’, has a diagonal measurement of 5’ and so needs to be used no further away than 5’ if soft lighting is wanted. To get really soft lighting it needs to be placed much closer than that.

Concerning Reflectors

Reflector

Before we move on, I want to mention reflectors—not the type of reflector that fits to the flash head. The type I’m concerned with here are the reflectors used to reflect light on to the subject.

Almost any type of material can be used as long as it’s color neutral: foamboard, white card and white foam insulation sheets all produce good results at a very low cost. Then there are the purpose-designed reflectors such as the one in the image to the right, which is one of those spring-open gizmos that can be twisted back to 1/4 their original size and put back in their bag, assuming of course that you have strong wrists and a degree in physics.

Reflectors are placed to “catch” light that has passed by the subject, and the light is then reflected back onto the subject to reduce shadow intensity. It’s a simple yet brilliant concept because it’s convenient, cheap and effective. A reflector can never produce anywhere near as much intensity of light as the light it reflects. This is simply because light loses its power over distance. The light reflected from our reflector has to travel further to the reflector than to the subject and then has to bounce back again, increasing the distance. Also, the reflector absorbs some of the light anyway reducing the efficiency even more. Generally, we want fill light to be much weaker than the main light anyway, so that’s not a problem.

5-in-1 Reflector

The reflector shown here is silver, which is highly efficient but produces specular light. Reflectors are also available in plain white, gold (to produce a “warm” look) and various other choices including black. Black ones aren’t technically light reflectors at all, they’re light absorbers and are normally placed to create a dark edge or a dark area on the subject. Plain white ones can also be used as a bounce surface to produce soft light in much the same way as a wall or ceiling.

Reflectors are also available in sets, like the one pictured here. This is a 5-in-1 set and includes white, silver, gold and black surfaces. That only adds up to four variations, number five is a diffuser, used to further diffuse light, useful both in the studio and when shooting outside in bright sunlight.

Let’s move on to Beauty Dishes

The picture [below left] is of the Lencarta Beauty dish, which is available in 70cm and 40cm sizes. Other manufacturers, Bowens and Elinchrom for example, offer different sizes. There doesn’t seem to be a standard size. Beauty dishes are just large reflectors that channel the light in a controlled way. They have a deflector in front of the flash tube to prevent hotspots and they produce a reasonably soft light but the light is less soft than that of a softbox or umbrella of the same size set at the same distance.

Note the lip at the front, which is for a honeycomb grid available for most brands.

The picture [below middle] is another beauty dish with a honeycomb grid fitted. The honeycomb grid concentrates the light into a smaller area, makes the light harder and can also prevent flare when used as a backlight or a hair light, because the spread of the light is restricted. Most Beauty Dishes can be supplied with a diffuser, or shower cap too.

Used with a diffuser but without a honeycomb grid, the Beauty Dish can supply a very similar quality of light to a perfectly round softbox. Bowens [below right] offers a diffuser that has a removable honeycomb grid in the center.

Let’s move on to some examples with just a single light.

There is no such thing as a “correct” lighting tool, just the right one for a particular job. Usually I end up combining light from different lighting tools in the same shot to get the effect I want. However, that’s a topic for future articles.

The following is a fairly classical Beauty Dish shot.

When I’m using softboxes as the only light, I usually find that the softbox needs to go at more or less a 45-degree angle above and a 45-degree angle to one side. That doesn’t work with Beauty Dishes. I find that the best place is normally still fairly high (often very high), but pretty much in line with the face—if the model is looking straight at me then the beauty dish is normally straight above my own head. If she’s looking off to the right as the example image above, then the beauty dish is off to the right too in line with her face.

The image below is another example, again with the beauty dish in line with my model. This was shot without a diffuser fitted and the light is pretty harsh, which I feel suits the subject well. This type of lighting does tend to show up any skin defects and because of this some retouching is normally needed. As always, the catchlights in the eyes give a very good indication of the type and position of the light and, as you can see here, the beauty dish was directly above the camera but very slightly to the right, to create some shadows.

Newcomers to lighting often seem to believe that shadows should be avoided. In fact the reverse is true because shadowless lighting will make any face look flat and uninteresting. The trick is to control the shadows so that they work for us, not against us. Let’s analyze this shot to make sense of that statement.

Placing the light above eye level does two things: the most obvious is that it places the catchlight fairly high in the eyes, making the eyes look bigger. At least as important but less obvious perhaps, it creates shadows that define the shape of the face and show its qualities. Because the light is fairly soft, the shadow’s transfer edges are soft and gentle too, but they’re clearly visible.

• Note the shadow of the hair on her forehead and neck, which makes the shot 3-dimensional, and the sideways shadow from her nose, which does the same job.
• And note how the light falls off in intensity as it travels down her face. This is caused by having the light close to the subject (remember that any point source of radiated energy, including light, loses its power to the square of the distance traveled.)
• See how the top of the cheekbones are creating shadows of their own, which emphasizes the high cheekbones.
• Can you see the gentle shadows under her nose and lower lip, which add to the 3-dimensional effect?
• Can you also see the much harsher shadow under the chin, which separates the face from the body and draw your attention to it?

There’s a tradeoff of course. This type of lighting also reveals skin imperfections and casts unwanted shadows under the eyes, making a degree of retouching essential. Putting the light in the position in which it emphasizes the model’s beauty only works when I want the model to actually look beautiful. In the shot below I wanted that fairly hard lighting to show her looking vulnerable and frightened, desperate to escape from a cage.

Retouching a shot like this is difficult because of the problems caused by the bars in the shot, so the lighting needs to be right at the time of the shot. That applies to every shot because light is three-dimensional. Fakery on a two-dimensional computer monitor is no substitute for the real thing.

Please compare these two shots of the same model, wearing the same clothes, side by side.

The lighting is identical in the two images, but as you can see it produces a very different effect—in the shot above left she is looking directly at the light, which I hope makes her look seductive and attractive, and in the shot on the right she is looking straight ahead. The light is making her look stressed and vulnerable and is casting the shadows of her cage on her face and body.

Conclusion

I’ve concentrated on “soft light” tools in this article such as reflective umbrellas, softboxes, reflectors, and Beauty Dishes. Keep in mind that any lighting modifiers that aren’t placed close to the subject can also produce “hard light”. The next article in this series will feature “hard light” tools such as honeycomb grids, fresnel spotlights and focusing spotlights.

Original text ©2009 Garry Edwards. Photos ©2009 Garry Edwards.