This image is a pure tribute to the classic crying-images by Jill Greenberg. This is really showing the crisp and contrasty light of the beloved Profoto Giant (the huge umbrella). From the back, I use two strip lights and a hair light on a boom stand to create a “kicker” all around her silhouette. One gridded light on the black background (turns blue when white balancing to get nice skin tones). Just below the model there is a squared silver reflector (I hate round ones!) to give the classic extra lower clam-shellish-spark to the eye to give some feeling of “wet eyes”… To eliminate all unwanted indirect lightning, I used big black book ends to really push the contrast by lowering the levels in the shadows.
Visit photographer David Bicho for more great inspiration.
This is a lighting setup for fashion photography on location. Using only sunlight and a reflector you can achieve amazing photos . We will soon publish more photos, lighting setups and lighting diagrams from Magnus Svensson. In the meanwhile, check out his portfolio at Maz Studios
Beauty lighting setups does not have to be difficult. You can easily get professional looking beauty shots using the clam shell lighting setup.
It’s called clam shell simply because you rig two softboxes as a giant gaping clam shell. It’s hard to see in the lighting diagram because of the levitated view. It would have been better illustrated if the lighting diagram was viewed from the side. Anyway, I think you get the idea.
A common setup is to build you’re clam shell with a larger upper softbox and then a lower smaller stripbox. The upper softbox is about one stop higher than the stripbox. Using two softboxes gives you good control of the light.
Simplified clam shell lighting setup
This specific clamshell lighting is simplified a bit. I used one big softbox from above and then a big horizontal silver reflector underneath. This gives you a little less control of the light, compared to using two softboxes, but the setup is about what you want anyway. The softbox will automatically give more light than the silver reflector. You can vary the distance between the soft box and the rector to control the light a bit. You can also try with a white reflector to find a lighting setup that you like.
This is a photo portrait of the swedish professional dancer Karl Dyall. The lighting setup is very simple. The model is standing next to a big window which is about 4 feet from him on the right hand side. On the left hand side stands a silver reflector about 2 feet away. It was cloudy that day, so the light is very soft. As many of you know is the Canon EF 50/1.8 II bokeh a bit stressful, so the warm light in the background is not as smooth as I would like it.
Natural light photography
When you practice natural light photography, keep in mind that the constant light from a silver reflector can be annoying for the model if the light is too intense. It makes it difficult for the model to keep a certain facial expression, and the whole workflow for the session will be affected.
If the light from the window would have been more intense that day, or if it had been an outdoor session a sunny day, I would probably have used a white reflector instead of a silver reflector.