Setting up the Backdrop

Before we get started on the shoot, we set up a Photoflex backdrop kit (coming soon), to hold up the painted muslin backdrop we used in the lesson. This new product includes a four-section black aluminum pole and two 2218 LiteStands with threaded pins that attach to the top of LiteStands and then to the background pole. The pole can be set up with two, three, or all four sections, depending on the width of your backdrop. For this lesson, we used all four since our drop was over 13 feet wide.

First, we set up the stands and set them about 13 feet apart (the length of the pole with all four sections). Then we assembled the pole by slipping the sections together and securing them with the provided hex key (figures 1 and 2).

Once we had the stands and pole set up, we attached several spring clamps to the pole spaced out about 2 1/2 feet apart. We pulled the muslin drop out of its storage bag and started attaching it from one end (figures 3 and 4).

With the backdrop attached to the pole, we pulled out the balance of the muslin out of the storage bag and spread it out in the studio. To raise up the background we had one person on each side of the background raise the stand in unison to the height we needed for the shoot (figures 5 and 6).

Setting the Key Light

The five foot OctoDome³ is the best choice for our lesson. This portrait specific light modifier creates soft wrapping light that makes any subject look great. The five foot box is ideal for portraits from headshots to 3/4 length.

To get started on our lighting solution, we set up the OctoDome on our strobe connector then attached our studio flash head. This assembly was placed on a Photoflex 2218 LiteStand and set to camera right about 60 degrees from the subject relative to the camera.

To power the flash head, we plugged it into a 2000-watt second studio flash pack and set the power to 300-watt seconds (figures 7 and 8).

Setting the Camera

With our key light set up, we set the programs on the E-1 camera to the following:

• White Balance to Daylight (5500K)
• Resolution to TIFF
• ISO to 100
• Focus mode to Manual
• Exposure mode to Manual

In our results image we see the soft wrapping quality of the OctoDome, creating the pleasing light pattern on the model.

Controlling Contrast

To control the contrast across the subject, we will apply a Photoflex LitePanel Kit as our fill reflector.

We first set up the LitePanel frame and attached the included crossbar. We then set up the Photoflex 2218 LiteStand also included in the LitePanel Kit. To attach the LitePanel frame to the LiteStand, we attached the Main and T clamp onto the top of the LiteStand and secured it with the set screw. Then we attached the crossbar to the pressure clip on the Main and T.

Once we had the reflector assembled, we attached the soft-gold/ white cover with the white side toward our subject, then set it to camera left at about 45 degrees relative to the camera (figures 10 and 11).

With our reflector fill on the set, we posed our model into position and fine-tuned the reflector's position and shot our next result image (figure 12).

Our results show the light ratio under control. We have detail on the shadow side of the subject and more of a sense of three dimensions. We have also gained brightness in the eyes we were lacking in the first results image.

Setting the Hair Light

Our next action was to add a hair light to our lighting solution. This will help us to gain more dimension to the shot as well as helping to separate the subject from the background.

We chose the Photoflex Medium HalfDome2 for this task. We assembled the HalfDome on to a strobe connector then attached a flash head to the connector. To get the light out over the model's head, we set up a Photoflex Boom and Boom Stand, then attached the flash and HalfDome assembly to the end of the boom. Then we set the Boom Stand just behind the OctoDome and swung the Boom and HalfDome over the center of the set, placing the light over and just behind the model's head (figures 13 and 14).

With the hair light in place, we plugged the flash head into the power pack and set the power to 150-watt seconds. To be sure we had the proper placement of the hair light, we shut down the key light and made an exposure with the hair light alone.

In figure 15, we see that we have achieved the correct placement of the hair light. The light is falling on the head and shoulders only with no spill falling onto the model's face.

We powered up the key light, posed our subject and shot the next result image (figure 16).

In this result image, we see the effect of the hair light on our subject. We have gained even more dimension to the shot and have set the subject apart from the background giving the shot added depth.

We could easily stop at this point and have a classic portrait any one would love. Yet we could do even better by gaining more separation between the model and the background.

To take this shot to the next level and add unmatched control to our lighting, we added grids to our soft boxes. To illustrate the control that the grids add to the lighting, we will go through a similar set up adding the grids to one light at a time.

Our key light is the first light assembly to recieve grids. The grids attach to the OctoDome with the sewn-on Velcro® that lines the perimeter of the grids. The soft box has the recieving Velcro strip sewn-on the inner rim.

To attach the grids, line up one corner of the grids with one corner of the soft box, then press into place along rim of the box (figure 17).

Once we had the grids attached to the OctoDome, we set it back into position. To give you a better sense of what the grids do, we shut down the hair light and backed the LitePanel Kit off the set. With just the OctoDome lighting the model, we posed her and made an exposure (figure 18).

In our comparisons, we can see the differences in the subject. Our contrast levels have increased quite a bit with the major differences visible in the background.

With the grids on the OctoDome, we have changed the spread of light from about 130 to about 40 degrees, so we have the ability to focus the light on the subject and not on the background.

In figure 19, we see the broad spread of light effecting the background light levels. In figure 18, the grids have controlled the light to fall mainly on the model.

To finish off our shot we fired the hair light back up and then we set the LitePanel Kit back into place (figure 20).

With all the elements in place, we gave the model the freedom to pose away and we shot until we got what we wanted. The following figures are a selection of the final shots (figures 21-24).

Notice how the darker background has provided a very nice separation from our well-lit model. The combination of a large softbox for soft lighting and grids for directional light control has resulted in a very flattering portrait light.

This lighting solution used only two powered lights and one reflector and still achieved great results.