Senior Portrait Lighting Question

<p>So I am planning on taking a client's senior pictures at around 8 am. Can someone tell me if this is a good time for lighting? They are all going to be outdoors. She doesn't want to do the golden hour.<br>

Thanks!! </p>

<p>It all depends - is it 8:00 A.M. in December in Edmonton, Alberta or 8:00 A.M. in Bangkok. Is it 8:00 A.M. in the middle of a corn field, in an urban setting, in a forest, a park? The location is perhaps more important than the actual time. Each location at a specified time will present different challenges as well as opportunities for photography. Weather also has an impact on the challenges as well as opportunities. The key to success for the photographer is to be able to exploit what is available. This involves the use of lighting modifiers, supplemental lighting, and skillful placement of the subject. Your client has decided the time, your challenge now is to plan on how to exploit that parameter.</p>

<p>It is 8 am in the United States, where it's currently near the end of April. We plan on taking them at a park. </p>

<p>If you're doing shoots that are paid or as important as if they are paid, you need to be prepared for any situations that could arise at a shoot. It might be a decent time and it might not, it depends on the weather as much as the time, as Allen points out. But you need to bring decent lighting equipment in case it's necessary, especially something to diffuse the light in case there is only open space and hard sun. The "golden hour" isn't all that predictable in a lot of places either. Saying the US isn't very useful, the weather in Detroit is different and less predictable than the weather in LA. Even in a location like LA, the weather in Santa Monica is unpredictable whereas the Valley is relatively easy to figure. I would be ready with a light, stand, remote, a reflector (and stand for that unless I had someone to hold it) and something to diffuse the sun if I were doing this.</p>

<p>As Jeff says, you are rolling the dice if you are relying strictly on natural light alone and only have a limited window of time to shoot. At the very least I would have a light stand, flash and some sort of modifier in case the elements of nature don't cooperate.</p>

<p>The time is not as important as the angle of the sun. It depends what time of year it is and your location but the general rule is about hour after sunrise whatever time that is, is good to shoot available light for about another hour 1/2. You can shoot earlier if you choose with just the reflected sky light of the sunrise but there is more life to the pictures after the sun rises. Any other time after the ideal hour you should be prepared with supplemental lighting in case you can not find ideal shade or flattering light.</p>

<p>Meaghan:</p>

<p>You can shoot a gorgeous head-and-shoulders portrait at that time (while the sun is still relatively low in the sky), using any of the following:</p>

<p>• Westcott 48" square one-stop silk, foldable diffuser: http://www.bhphotovideo.com/c/product/62769-REG/Westcott_4900_Illuminator_48_One_Stop.html<br /> • Westcott 42" x 42" ScrimJim aluminum frame: http://www.bhphotovideo.com/c/product/66993-REG/Westcott_1890_Frame_ONLY_for_Scrim.html<br /> • Westcott 42" x 42" full-stop diffusion panel (use with above): http://www.bhphotovideo.com/c/product/67001-REG/Westcott_1860_Fabric_ONLY_for_Scrim.html <br /> • Photoflex 39" x 39" LitePanel PVC frame: http://www.bhphotovideo.com/c/product/41943-REG/Photoflex_LP_B3939FR_Frame_for_Litepanel_Frame_Panel.html<br /> • Photoflex 39" x 39" white translucent diffusion panel (use with above): http://www.bhphotovideo.com/c/product/41949-REG/Photoflex_LP_3939WT_Reversible_Fabric_for_LitePanel.html</p>

<p>Place the modifier between the sun and your subject, and use this silk-ed source as your key (conversely, you can also silk the sun, and use this source as a backlight, then fill your subject with either a foldable reflector, or flash). I own all three of the above, and the Westcott 48" square one-stop silk is by far the easiest to use (it folds up like a FlexFill foldable reflector).</p>

<p>Note that all three manufacturers listed above also make 72" x 72" versions of each of these products to accommodate a frame larger than just a head-and-shoulders shot. The only issue when using silks is that as the day progresses, and the angle of the sun increases, the modifier may be required to be held higher than an average-height person can hold it, requiring a lot of bulky, heavy grip equipment to suspend the modifier at the requisite height (e.g., steel baby stands, C-stands, triple-riser combos or high-rollers, shot bags, etc.).</p>

<p>Rigging large (72" x 72") silks:</p>

<p>If choosing a 72" x 72" silk, I would recommend the Westcott product over the others. They're very well designed, easy to set-up, and pack very compactly in its included canvas bag. We have these where I work (I shoot TV), and they're great (Photoflex now also makes aluminum diffuser frames, but I haven't tried these myself). As I said, the larger frames require a substantial grip investment to properly rig--here's the minimum you would need to set up the 72" x 72" Westcott ScrimJim:</p>

<p>• Westcott 72" x 72" ScrimJim alumunum frame: http://www.bhphotovideo.com/c/product/66995-REG/Westcott_1894_Frame_for_Scrim_Jim.html<br /> • Westcott 72" x 72" full-stop diffusion panel: http://www.bhphotovideo.com/c/product/67003-REG/Westcott_1862_Fabric_ONLY_for_Scrim.html<br /> • Westcott Universal clamp with 5/8th studs (x2): http://www.bhphotovideo.com/c/product/67033-REG/Westcott_1880_Clamp_with_5_8_Stud.html<br /> • Matthews standard C-stand, black w/40" arm/grip-head (x2): http://www.bhphotovideo.com/c/product/320208-REG/Matthews_B756040_Hollywood_Century_C_Stand.html<br /> • Matthews 15-lb. shot bags (x6): http://www.bhphotovideo.com/c/product/139748-REG/Matthews_299859_Shotbag_15_lb.html</p>

<p>Note that for un-even ground, the all-steel, triple-riser, Matthews Hollywood Beefy Baby stands are superior to C-stands, since they have a leveling leg (Rocky Mountain leg). These are what we use where I work. They're both super-heavy and kind of expensive, but require fewer shot bags to secure:</p>

<p>• Matthews Hollywood Beefy Baby stand: http://www.bhphotovideo.com/c/product/139497-REG/Matthews_387031_Hollywood_Beefy_Baby_Steel.html</p>

<p>A lighter-weight, double-riser stand, called a "Combo" is much easier to lug around a location, is a bit cheaper, and is what I use for my personal photography. Note that since they're only double-risers, and made of aluminum (which flexes more than the steel Beefy Baby stands), their maximum height and capacity is more limited. Matthews Combo stands also have a leveling leg:</p>

<p>• Matthews Combo stand, aluminum (available in clear-anodized or black): http://www.bhphotovideo.com/c/product/1046657-REG/matthews_b366167_combo_stand_alum_rocky.html</p>

<p>Now, remember, if the sun is fairly low in the sky, you won't need any of this--you'll be able to just rest one end of the diffusion frame on the ground, or on top of an apple box, and have an assistant hold it upright (if it's windy, you may need two assistants). Or, I've even seen a single assistant hold a 72" x 72" Westcott behind her head, supported only by her shoulders, with one arm arm holding each side of the bottom part of the frame to good effect.</p>

<p>Ralph who is going to take a 72x72 scrim on a senior portrait job. That is inpractical. If that was a $10,000 ad for a magazine then ok something to impress the client. Let me see your pictures you took with the 72x72 scrim....</p>

<p>I don't own the 72" x 72".</p>

<p>Although, I'll probably be getting one soon. I already own stands and shot bags, so all I'd need is:</p>

<p>• Westcott 72" x 72" ScrimJim aluminum frame: $187.10<br /> • Westcott 72" x 72" full-stop diffusion panel: $103.10.<br /> • Westcott Universal clamp with 5/8th studs (x2): $51.90 each ($103.80, total).<br /> • Total (without stands, grip-heads, shot bags): $394.<br /> <br /> I think getting a portable 6' x 6' silk and frame of this quality for under $400 is a pretty good deal. It's lighter, less expensive, and much easier to set-up than a conventional Matthews' butterfly frame. In my day job, I use silks and Matthboards (fill version, "super-soft" side), whenever possible, rather than opting for heavy HMIs.</p>

<p>In fact, on the last three daylight exterior sit-down interviews I shot for TV, I used ScrimJims and Matthboards exclusively--no lights. Two weeks ago, I set up three lighting controls for an interview I had to shoot/light by myself: Westcott 42" x 42" ScrimJim, 40" x 40" Matthews' Matthboard, 4' x 4' China silk (for the reflector to shoot through).</p>

<p>If I were to use a diffusor I would shy away from any framed scrims as they also need two stands to hold it up. I think a cool option would be the sun swatter by sun bounce. Very cool and they come in three sizes I believe but the 3x4 is a nice compromise and easy to handle by an assistant. It is very mobile which is very key to a fast successful shoot. When shooting on location you have to make some compromises when it comes to lighting and using available light. If it is sunny you don't try to diffuse a full length shot as that would take a very large scrim so you shoot with the hard light and make it work. You bread and butter shots are going to be the 3/4 and head shots anyways so at that point it is much easier to diffuse a smaller area of the body. Anyways when shooting in the am hours the low angle of the sun does produce soft rays of light anyways.</p>

<p>I suggest you to take picture in the last half hour of before sunrise or in the last half hour of after sunset. <br>

These are the best time to capture eye catching photographs.</p>

<p>I just found some Photoflex LitePanel tests I did a while back. This was shot in harsh sunlight without any cloud cover. No flash, reflectors, or any other supplemental lighting was used. The only source is a 39" x 39" Photoflex LitePanel placed between the subject and the sun (I was hand-holding the diffuser on my right shoulder):</p>

<p><img src="http://studio460.com/images/litepanelx1.jpg" alt="" /></p>

<p>Also, additional size options include the 39" x 72" Photoflex LitePanel PVC frame (very lightweight), the 42" x 72" Westcott aluminum frame, and the 4' x 6' California Sunbounce aluminum frame, all of which are more easily managed than any of the 6' x 6' frames. If opting for any of the Sunbounce scrims, be sure to get the "3/3" (full-stop) diffuser version, since any scrim rated at less than a full-stop is generally too transmissive to soften the light satisfactorily. Note that these types of portable panel systems are very effective as <em>diffusers</em>, but virtually useless as <em>reflectors</em> when using the manufacturers' silver reflector panels. Their large size allows too much "rippling" in the surface, creating a "water reflection" effect, rather than providing a uniform light source.</p>

<p>I just noticed that Lastolite also makes butterfly kits, including a 6.6' x 6.6' kit. It's larger than the Westcott, and includes a 1.25-stop diffuser, <em>plus</em> a silver/white reflector panel, all for $399 (however, the grip-heads required for stand-mounting are extra):<br /> <br /> http://www.bhphotovideo.com/c/product/982321-REG/lastolite_ll_lr82243r_skylite_rapid_standard_large.html<br /> <br /> The only thing which is suspect is Lastolite's method of attachment, since its frames are tubular (round), rather than the square tubing used by the Westcott ScrimJims (note that I've never used Sunbounce or Lastolite frames, so I can't vouch for them personally). The Westcotts set up very easily, and the diffusion panels are held very tautly by their Velcro edging, strengthening the dimensional stability of the entire rig. A slight downside to the Westcotts is that the brackets can deform slightly after repeated of use, and the plastic knobs are difficult to tighten securely by hand (I use a pair of Channel Locks to tighten them), but work well once secured (as I said, it seems it would be easier to secure square tubing in all axes, rather than round tubing).<br /> <br /> If I go with the Westcott 6' x 6' ScrimJim, I plan to permanently attach the brackets the the frame sections, drilling through both the frame and bracket, fitting them with two additional points of mechanical attachment each, using aluminum bolts and nuts. For those on a budget, the 39" x 39" Photoflex LitePanels are cheap, and do the trick for tight shots, but I would be wary of the stability of Photoflex' larger PVC frames.</p>

<p>Here's a shot using a 42" x 42" Westcott ScrimJim with the full-stop diffusion panel attached. This was shot during late-afternoon (about 02:40 hours before sundown), in direct sun, with no flash or any other supplemental lighting:</p>

<p><img src="http://studio460.com/images/westcott42-1.jpg" alt="" /></p>

<p>If it's a nice sunny morning, 8 am is a little late. Why doesn't she want golden hour? I'd push for an hour to an hour and a half before sunset and sell her on golden hour, it's really only 'golden' for 10-15 minutes and that's if sun is out. It's THE time to shoot portraits. If you shoot at 8 am be prepared to find shade, have someone hold a shade or use the flash really well. </p>

<blockquote>

<p>Why doesn't she want golden hour?</p>

</blockquote>

<p>Some people like a variation in the lighting and not having the same light as everyone else. A little uniqueness never hurts.</p>

<blockquote>

<p><em>Here's a shot using a 42" x 42" Westcott ScrimJim with the full-stop diffusion panel attached . . .</em></p>

</blockquote>

<p>Westcott 1-1/4 stop white diffusion panel:<br /> <br /> I just did some visual tests (no camera) with the Westcott 1-1/4 stop diffusion panel. If you want a very diffuse source, choose the Westcott 1-1/4 stop panel over the full-stop panel. Oddly, the 1-1/4 stop panel actually meters at about a 2-1/3rds stop light reduction [note: this is why we mainly use only the full-stop panel when lighting for TV, since when scrimming talent with the 1-1/4 stop panel, the background often just goes nuclear]. However, for stills, I'll typically have more control over my chosen background, so I would tend to go with the less transmissive, Westcott 1-1/4 stop panel (which again, actually measures just over two full stops of light reduction). Ideally, you would want to own both: the 1-1/4 stop panel for full-daylight, and the full-stop panel for early-morning/late-afternoon, or for when there are atmospheric conditions which already attenuate the sun's light to some degree.</p>

<p>Here's a much softer look using the Westcott 1-1/4 stop diffusion panel (albeit, under different lighting conditions). The lighting is quite a bit more diffuse than the full-stop diffusion example posted previously, mainly because in this case, the sun was already scimmed by partial cloud cover. Additionally, the late-afternoon sun [taken at 01:23 hours before sunset] was by then only slightly brighter than the indirect ambient sunlight, rendering a near shadowless effect:</p>

<p><img src="http://studio460.com/images/westcott%20two-stop-2.jpg" alt="" /></p>

<p>Late-afternoon sun (diffused) + Westcott 42" x 42" ScrimJim with 1-1/4 stop diffusion panel [no flash].</p>

<p>Taken the following day [01:52 hours before sunset], this was shot in direct sun, using the same Westcott 1-1/4 stop diffusion panel (placed just right of camera). There's more shadow here (helping to create "shape") since the direct-to-indirect lighting ratio is greater here than when the sun was obscured by clouds in the previous example, and therefore would be my preferred set-up:</p>

<p><img src="http://studio460.com/images/westcott%20two-stop-3.jpg" alt="" /></p>

<p>Direct-sun + Westcott 42" x 42" ScrimJim with 1-1/4" stop diffusion panel [no flash].</p>

<p>8 a.m. is perfect, just use natural light. Skip all the lighting gear, you don't need it whatsoever. Find some nice open shade (meaning no direct sunlight hitting the face), and face your subject into the open.<br>

Done.</p>

<blockquote>

<p><em>I just noticed that Lastolite also makes butterfly kits, including a 6.6' x 6.6' kit. It's larger than the Westcott, and includes a 1.25-stop diffuser, plus a silver/white reflector panel, all for $399 (however, the grip-heads required for stand-mounting are extra):</em><br /><br /><em><a href="http://www.bhphotovideo.com/c/product/982321-REG/lastolite_ll_lr82243r_skylite_rapid_standard_large.html" rel="nofollow" target="_blank">(link)</a></em></p>

</blockquote>

<p>Just to follow up--after a bit more research, I've just ordered the large Lastolite Skylite Rapid kit (6.6' x 6.6') to replace our Westcott 72" x 72" ScrimJims in our work packages (plus, I'll also be ordering one for myself). Its design is superior to that of Westcott's ScrimJim. Its frame mounts securely into a grip head and avoids Westcott's problem of requiring special brackets (which can often detach from the frame when stressed by a light wind). Also, Lastolite's reflector panels stretch onto their frames with a good bit of tension, avoiding the "ripple" effect of competing products (<em>including</em> California Sunbounce products). After looking at all the rest, the new, improved Lastolite Skylites appear to be the best of the bunch, offering the quickest set-up, and most functional design.</p>

Amazing. I had no idea it took so much gear to make a daylight portrait. I wonder how August Sander got *anything*

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