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It has been a longer time when we took the shots of this setup. Nevertheless, we could have waited twenty or fourty years more with the publication of this post. The setup would have been as modern an good as it is today… as it was twenty years ago. This is the reason to call this post: HALL OF FAME SETUP. Let’s see why.

The setup is as simple and perfect as genius. You simply place your lightsource about 30-40cm above the camera. Exactly above the camera. The specialty about this setup is additionally the arrangement of modell, camera and lightsource in one and the same axis. You can move the camera away from the modell but always stay on the axis in the middle.

As with this setup there is no concern what type of light you are using, the distance between the modell and the lightsource does not matter as well. The distance goes hand in hand with the type of light you are using. If you are using a hard light, the distance could be a lot bigger than when using a soft light. In the setup down below, we used a 85cm umbrella about 1m away.

And what is the result of the setup? A very natural portrait with nice and flawless shadows. Perfect for our modell Nicole.

Really, there is only one thing to take care of. It is the exact arrangement. You really do have to stay right below the lightsource. and with “right below” I really do mean “right below”. Not 10cm and not 5cm away from the middle. And if you do not have a boomstand, you have to hug your stand… kisskiss

Well, let’s end with the final photos. I do like the smiling a lot better than the “anger”-photo. But that are just my 2cents…

As a matter of fact, the setup is perfect because of the simplicity. It leave enough space for the modell to fill the character of the photo.

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Hey folks, today it’s about yesterdays photo. Let’s take a short, very short, look at how it was made! We already told you, that we only used ON-CAMERA-FLASHES to light the photo.

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Well, here you go with some visual proofs of the setup. Can you find the setup within this huge studio???

And now you know how the photo really was made. One flash from above her face, a simple reflector from down below.

• ISO 400 (IT’S GOOD FOR YOUR FLASH :-))
• 1/200s
• f1.4 at 85mm
• the flash was set to 1/128 +0,7 / 580 EX II

And hell, we don’t really know why the EXIFs of that photo shows A-MODE. We totally used M for the whole shooting. Here you go with a little photo of the radio trigger… no ettl, cls or whatsoever automatic!!!!

BY THE WAY… THAT COOL STUDIO BELONGS TO MICHAEL QUACK.

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No hot girls today… but still… hot as hell! The man below is RAOUL… one hell of a model :-). Take a look at the result and after you enjoyed the picture, we will be back with some details on lighting!

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There are several ways of taking photos of someone wearing (sun)glasses. This is only one. But still this is the one we use the most. What we wanted to accomplish in this image is the lack of  reflex on the glasses. We have a very soft lighting, as you see in Raoul face. And even so that there is a very big lightsource it is not beeing reflected on the glasses. So how did we do that?

IT IS ALL ABOUT THE ANGLE OF REFLECTION!

Let’s have a closer look on the setup of strobes that light the image.The potential reflexes in the glasses would result from the front strobe (GREEN). The picture gets it’s depth from two hard lights from the back. Special about the two effect lights is, that both strobes have different lighting solutions attached. Take a close look on the picture to recognise the way of lighting. As you can see there is a relativly soft lighting on the left and a harder light on the upper side of the head.

We really do a lot of symmetric strobe settings. You know we are totally into that. But you should never do too much symmetry. Take another look at the picture. Raoul is looking directly into the camera. That’s already pure symmetry! The one strobe on the right (MAGENTA) is set up with a 30° honeygrid. The right sided flash (YELLOW) has a big beauty dish attached. Distances are about 1m (DISH) and 1,5m (GRID).

The background was lit with another flash. Blue gel! Martin, what’s the deal with you and the “gel-fetish”??? It’s very simple! Have you ever tried to change a gel? Probably yes! Have you ever tried to change a whole paper background? Probably yes! So if you did both…what’s quicker? See..now you got the point!

The main lightsource this time was a big striplight, 1,5m in size. To get more details on the outer sides of Raouls head we set it up horizontally .

Now that you know everything about the setup. You can take a closer look at the effects of the strobes.

As we are finished examining the setup, we can now talk about “photographing glasses”.

Actually, it is fairly simple. We already talked about the importance of the “angle of reflection”. What does that mean? It means, that the angle of incidence is identical with the ermergent angle (angle of  light that impacts onto the surface of the glasses equals the angle of the reflected light). Follow the green arrow on the sketch below. The angle alpha is always the same.  If you keep your camera in between the two arrows, you won’t get any light reflectedonto your lens and you then won’t see any reflections.

Have a closer look on the picture below. You (1) see that Raoul slightly bends his head forward. With this movement he decreases the angle alpha ( = increasing the angle for the camera in between the two arrows). You (2) can see that the striplight, as the main light source, is above Raouls head, coming straight down on him. (3) The light bounces off the glasses and is being reflected into the ground, not into the camera.

That’s it for today. Now you now know a cool setup to light a person wearing glasses. When you take the picture you can constantly check the reflections through the camera. To avoid further reflections heighten the mainlight or let your model bend the face a little towards the ground.

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