I’m a professional photographer who spends most of my days in my photography studio. As a result, I’m well aware of the importance of being able to efficiently employ light.
The appropriate lighting may bring out the best qualities of your topic (and they will love you forever for making them look good). On someone, bad lighting looks terrible.
I’d want to share some of my studio lighting experiences with you in order to save you all of the trial and error that I’ve gone through over the years. Even though it may not be an actual model, I’ll refer to the subject you’re lighting as ‘the model,’ which simply refers to anybody or anything you’re photographing.You can get additional information at Cream Studios.
There are two distinct skill sets, in my opinion:
1) Making use of the light that is available. It’s all about positioning the figure to take advantage of lighting you don’t have control over. Take, for example, shooting in the open air. You can’t move the sun, but you can move the model and your position in relation to it so that the sun is in front, behind, or wherever you want it to be. Making the most of available light plainly necessitates a wide range of abilities. The focus of this article, however, is on the other skill set:
2) The use of studio lighting. This skill set does not require the use of a studio, but it does require the ability to operate with moving lights. Because you have unlimited control over studio lighting, it might be intimidating. You can’t blame the weather or the cloudy sky. On the other hand, once you know what you’re doing with studio lighting, you can create some truly stunning images.
Here’s a quick rundown of my studio lighting experiences. I didn’t have any lighting when I first started shooting photo sessions, so I had to rely on ambient room light. The initial disadvantage is the lack of light; unless you have a particularly good lens that allows you to use a wide open aperture such as F1.8, or you set the film speed (ISO) to a high value (which causes the image to become grainy), getting a satisfactory exposure necessitates a slow shutter speed. I had to use a tripod and advise the model to hold very still every time I took a photograph because hand holding the camera proved impossible. Needless to say, the pictures were terrible!
Then I bought the cheapest lighting kit I could find, which was two Portaflash DL1000 lights. These were a significant improvement because I could now hold the camera in my hand and move the lights around. However, there was a drawback… Those lights aren’t flashing since they’re continuous rather than strobe. As a result, the 1000w bulbs are blazing brightly throughout the filming. The model became heated as a result, and there’s nothing more unappealing than a sweaty model with her spray tan fading! Furthermore, the Portaflash lights were not ‘daylight balanced,’ resulting in an orange colour in all of the photographs.