Graphics Programs Reference
In-Depth Information
Step Three:
The second light is just supposed to fill in
the shadows (so your subject doesn't have
dark circles under her eyes and chin), so
I position it low, aiming up at the sub-
ject's face at a 45° angle. I want this fill
light softer than my main light, so instead
of using another beauty dish attachment,
I use a small softbox (this one is a 24"
square softbox). If you look back at the
production photo in Step Two, you'll
see one light is up high, aiming down
at a 45° angle, and the other is low,
aiming up at a 45° angle. You then posi-
tion yourself so you're shooting right in
between these two lights (as shown here.
Yo u s o m e t i m e s h e a r t h i s l i g h t i n g s e t u p
called either a “clamshell,” because it
kind of looks like a clamshell, or an
“over-and-under” lighting setup).
Step Four:
For this shoot, I used a full-frame Nikon D3
with a 70-200mm f/2.8 lens, and I shoot
usually out around 200mm. I always shoot
in Manual mode when I'm using studio
strobes, and for this shoot, my starting
place was f/5.6, at 1/160 of a second, and
to keep my images looking as clean as
possible, I used the lowest native ISO set-
ting on my camera, which for the D3 is
200 ISO. I fired the strobes wirelessly, using
Elinchrom Skyport wireless triggers.
