text:
**Check out Amherst Media's blogs at:** http://portrait-photographer.blogspot.com/

http://weddingphotographer-amherstmedia.blogspot.com/

Copyright © 2012 by Lou Szoke.

All photographs by the author unless otherwise noted.

All rights reserved.

Published by:

Amherst Media, Inc.

P.O. Box 586

Buffalo, N.Y. 14226

Fax: 716-874-4508

www.AmherstMedia.com

Publisher: Craig Alesse

Senior Editor/Production Manager: Michelle Perkins

Assistant Editor: Barbara A. Lynch-Johnt

Editorial assistance provided by John S. Loder.

ISBN-13: 978-1-60895-305-9

Library of Congress Control Number: 2011904398

Printed in the United States of America.

10 9 8 7 6 5 4 3 2 1

No part of this publication may be reproduced, stored, or transmitted in any form or by any means, electronic, mechanical, photocopied, recorded or otherwise, without prior written consent from the publisher.

Notice of Disclaimer: The information contained in this book is based on the author's experience and opinions. The author and publisher will not be held liable for the use or misuse of the information in this book.

# Contents

About the Author

Acknowledgments

**PART ONE: THE FOIINDATION**

**INTRODUCTION: A PERSONAL JOURNEY**

A Young Man and His Camera

My Career Path

About This Book

**1. THE HOLLYWOOD PORTRAIT**

The Hollywood Portrait Defined

**2. THE CASE FOR HOT LIGHTS**

If It Were Easy, Everyone Would Do It

Strobes Versus Hot Lights

_Sidebar: The Benefits of Continuous Light_

The Required Equipment

Tungsten Spotlights

Bowl Lights

Can Lights

Barn Doors

Snoots

Dimmers

Light Stands and Booms

Lighting Lingo

_Sidebar: Caution!_

Lighting Examples

Lighting Creates Mood

The Lighting Setup

Metering Light

A Few Words on Lenses and Exposure Settings

Color Temperature

**3. THE CAMERA ROOM AND THE CLIENT**

The Studio Environment

Breaking the Ice and Observing Body Language

The Eyes Speak Volumes

Real-Life Examples

Homework

**4. CAPTURE**

Film, Digital, or Both?

Know Your Equipment

**5. OUTPUT**

High-Quality Printing

A Darkroom, Lab, or Inkjet Printer?

A Darkroom

A Lab

Injet Printers: You've Come a Long Way, Baby

_Sidebar: Leave It to the Pros_

**6. LEARNING IS AN ONGOING PROCESS**

Study Portraits: It's a Great Way to Learn

Practice, Practice, Practice

**PART TWO: THE PORTFOLIO**

**ABOUT THE IMAGES**

**FACES ARE LANDSCAPES**

**LIGHTING FOR DEFINITION**

**DEPTH OF FIELD**

**SOFT, SULTRY LIGHTING**

**ONE SETUP, SEVERAL POSES**

**INTO THE DARKROOM**

**DRAMATIC EYES**

**A DIFFERENT PERSPECTIVE**

**MIRROR, MIRROR**

**MOTHER-IN-LAW**

**OLD HOLLYWOOD**

**A STORYTELLING PROP**

**A SCULPTED LOOK**

**BEAUTY AND GRACE**

**NUDE STUDY**

**ADDING TEXTURE**

**CULTIVATING A STYLE**

**FATHER AND SON**

**BODY LANGUAGE**

**DRAMATIC SHADOWS**

**INTIMACY**

**LIGHTING RATIOS**

**LARGER THAN LIFE**

**REBELLION**

**A THREE-LIGHT SETUP**

**CHARACTER**

**A STARLET IS BORN**

**THE EYES HAVE IT**

**BRIDAL PORTRAITS**

**GLORIOUSLY GLAMOROUS**

**THE STRENGTH IN A PORTRAIT**

**CAPTURING ATTITUDE**

**FINE ART MADE EASY**

**STRENGTH AND PASSION**

**ONE LIGHT, ONE BEAUTIFUL CREATION**

**FOR THOSE WHO GAVE ALL**

**FROM ONE ARTIST TO ANOTHER**

**HAVE FUN AND CREATE**

**HIGH-FASHION GLAMOUR WITH HOT LIGHTS**

**MOVIE STAR EYES**

**PRACTICE MAKES PERFECT**

**A LITTLE BASHFUL**

**GLAMOUR 101**

**CLASSIC HOLLYWOOD**

**GET CLOSE**

**SHOOT IT AS IT HAPPENS**

**IT CAN BE SIMPLE OR DIFFICULT— YOU DECIDE**

**MR. PRESIDENT**

**SET YOURSELF APART**

**THE LANGUAGE OF ONE'S EYES**

**LARGE FORMAT AND LOVING IT**

**DAPPLED LIGHT**

**HAVE FUN AND CREATE**

**SHADOWS AND HIGHLIGHTS— WHAT A TEAM!**

**A STARLET**

Final Thoughts

Index

# About the Author

Lou Szoke started his photography business in 1980. He earned the Master Photographer designation in 1995 and Craftsman of Photography in 1996. He is the recipient of numerous awards, including Illinois Top 10 Photographer of the Year, which he won six years in a row, from 2001 to 2006; several Fuji Masterpiece awards; and Illinois' Best Black & White Print award, which he received for five consecutive years. Lou was named Illinois Photographer of the Year in 2002. He has many National Loan prints and also has a photograph on rotational display at the Photography Hall of Fame in Oklahoma City, Oklahoma.

Lou has also been a featured speaker at numerous conventions and workshops throughout the United States and Canada.

He continues to this day to teach his advanced lighting techniques, and his love of photography continues to grow.

# Acknowledgments

Many people have touched my life throughout the course of my photography career. Little did I know that some of my best and most beloved friends would come from those I met in photography groups. My comrades with cameras share an overwhelming desire for knowledge; any information they can use to create their next great portrait or art piece is always welcomed.

My wife of over thirty years, Theresa, has been my endless support system. She has kept me motivated and inspires me to keep on going. She is always the first to offer a kind word about the prints dropped in her lap to look at, even though I'm sure there are some she doesn't like, and she probably cannot understand why I am so excited. I would not be the person I am today without her always-calm demeanor (well, almost always!) and inspiration. I have learned more from her than anyone can imagine. Working together for over thirty years would be impossible for most married couples, but it seems to work fine for us. (The words "yes dear, you are right" can make for a much happier life!) I want to thank you, Theresa, from the bottom of my heart, for all the love and support you have given me. It has made me the person and photographic artist I am today.

A special thank you goes out to my sister-in-law, Diana Esela, who dedicated many hours to help me put this book together. You are such a kind person!

To my mom and dad, I miss you both terribly. I wish you were still with us today. Nothing made me prouder than to show off my prints to the two of you.

Genetics is truly amazing. I believe I got my humor from my mother and my business and entrepreneurial fortitude from my dad. He was one of the strongest men, both physically and in regard to his determination, that I have ever known. He was and still is my hero. He also unknowingly taught me how to cuss. (I'd best save elaborating on that for another book.)

To my two sons, Brad and Jay—thank you for the countless hours spent posing, smiling, reposing, being serious, turning left, and turning right. I'm sure you were bored to death many times over, but you helped me more than you'll ever know, and I can't say thank you enough. I am a proud father. I love you both. I am so lucky to have the two of you. (Speaking of genetics, my sons seem to have inherited my artistic tendencies. They are both talented artists!)

I must also thank my sister, Pat. Anyone who knows us will tell you that we are like night and day in many ways, but we have a brother-sister bond that many people would be envious of. Thank you for your smile and contagious laugh. I swear, you can hear this woman for miles when she gets on a roll!

I cannot leave out Vonnie Kerber and Leigh Ann Kerber Hughes, two people whom I love dearly and who have always been there for me through the good and bad times. As life goes on, you learn that your true friends are always there for you when you need them the most. You have both proved that several times over. Thank you both for your love and support.

Getting to wake up and do what you love everyday is a great joy, but one of the fringe benefits is the wonderful people in the photographic community that I have had the privilege of meeting and sharing this journey with. Throughout the years of seminars, photo schools, PPA functions, etc., I have met some of the greatest photographers, artists, and visionaries in the industry. Thank you to Pat and Mary Anne Ricks, Larry Erickson, T. Michael Stanley, Maureen Powers, Pete Hybben, Gordon Underwood, Jackie Olson, Ron Lemerond, Tim Uphoff, and Bob Lloyd. To all of my great friends not listed here, forgive me.

Having friends who are great photographic artists and businesspeople has helped me to learn and explore my vision of what I am photographing. Many times I went on photo shoots with most or all of the above-mentioned people and was astounded to see that although we were all photographing the same basic image setup or person, each of us had a totally different final destination in mind for the final print. All of you mean so much to me in so many different ways. Thank you!

# **Part One**

# **THE FOUNDATION**

# Introduction:
A Personal Journey

# **A YOUNG MAN AND HIS CAMERA**

My journey began when I was very young. My infatuation with photography started when I picked up my first Kodak Instamatic 126 camera around the age of ten. I remember now how excited I was about shooting.

My infatuation with photography started when I picked up my first Kodak Instamatic 126 camera.

I am sure that, as a boy, I never wondered about the excitement. Now, when I look back, I understand it. When I looked through the viewfinder, I was able to express myself as I wished. There were no adults telling me what to do, how to shoot a photo, or when to snap the shutter. It was just me with the camera and film. It was a feeling of freedom and self-expression I had never felt before, and some forty years later, I still feel the same.

I remember popping in the 126 plastic film cartridges, looking through the small square viewfinder, and taking pictures of everything. I still have many of those images, and I enjoy them to this day. One of my favorites is a photo of my wonderful Grandma Fanale sitting in her favorite chair and smiling for her little Louie Joe (yes "Louie Joe" is what they called me). It is and will always be one of my most cherished photographs. My grandmother passed away many years ago, but that snapshot froze a moment in time. I can see her smile, her dress, her beautiful silver-gray hair pulled back into a bun as it always was, and her time-worn hands. It's all because of me, my camera, and an impromptu photo shoot.

Over the years, my passion for photography grew at an ever-increasing pace. I read all the photo books and magazines I could get my hands on, and I really enjoyed trying to re-create some of the images I had seen. At the level I was at photographically, most of my images turned out just okay. However, it was fun, and that was good enough for me then. I remember taking the film in to have it developed and printed. It was like waiting for Christmas. I couldn't wait to go pick up and review the photos I took. Opening the envelope and seeing the photographs for the first time was, and still is, magical. Seeing all those great images—and a few that weren't so great plus some that were outright bad—was exciting. The good images made me smile, but even the bad photos were a gift of sorts. They made me more eager to understand the somewhat mysterious world of photography and to improve.

Opening the envelope and seeing the photographs for the first time was, and still is, magical.

My arsenal of cameras was always changing. In the late 1960s and 1970s (yes, I'm a disco kind of guy!), camera companies were trying to get consumers to upgrade, just as they are today. They had all kinds of reasons for getting us to purchase a new and improved model. Some things are a constant in marketing and sales. I started with my Kodak Instamatic 126, then moved on to my 110 pocket camera, then to a disc camera before I realized that smaller negatives were not better negatives.

I received my first 35mm camera one Christmas. It was a Yashica Electro 35 GSN and oh yes, I fell in love! With wonderfully sharp optics, a built-in meter, and the choice of different types of both color and black & white films, I was in heaven.

Before I move on from this section, I must tell you about a moment I will always remember. I was in 4th or 5th grade and was made to go to someone's wedding. I was sitting on the end of the pew next to the center aisle, and I vividly remember a photographer walking up next to me and turning to photograph the bride coming down the aisle. He was professionally dressed and holding a 4x5 Speedgraphic with a huge flash on it. I watched him as if he were my professor in college. I was intrigued by what he was doing and was even fascinated with the camera he was using. He focused, shot, popped out the spent flash bulb, put a new one in, and shot again. At that moment, I knew for certain that photography was for me.

That moment was meant to be. It set me on the path to becoming a professional photographer, leading me to where I am today. I believe that certain things happen for a reason. I am sure that I was forced to go to that wedding not to see the wedding couple, but to witness the professional photographer doing his job.

Little did I know, as a child, that the photographer's name was Jack Jerome and that he and I, years later, would become great friends and talk shop like photographers love to do. He was truly a kind, generous, and wonderful man with a love for life and people, and he meant the world to my wife and I. He would stop by our Springfield, Illinois studio, and we would drink coffee, laugh, and talk about photography. Cancer took Jack from this world way too soon. I doubt he ever knew how he changed the life of a little boy watching him, forever, and how he, holding his camera in the aisle of that church, will always be with me.

In retrospect, I realize I probably shouldn't have started in the wedding arena.

# **MY CAREER PATH**

I believe my career in photography was born from a dissatisfaction with another job path. This seems to be a common thread among photographers. I was working for the State of Illinois Department of Revenue after graduating from high school. My love for photography was still brewing, but I needed money to get by, so I remained in my position, even though I was never really happy. I worked as a truck driver and had a lot of great friends, but I needed more. I can be numb to many things in life—just ask my wife—and I didn't realize how badly I wanted and needed to be a working professional photographer.

While at the state job, I would bring in my photographs and show them to people. I even sold some prints to people who wanted artwork to hang in their homes. Of course, I also photographed a few weddings for friends, not realizing how difficult they could be. In retrospect, I realize I probably shouldn't have started in the wedding arena. I cringe knowing that most beginners get their feet wet shooting weddings. The truth is, they are very difficult to handle and should be done by someone with experience. Fortunately, shooting weddings somehow worked out well for me, but I have heard many stories about amateurs shooting weddings and ruining those priceless, once-in-a-lifetime captures.

In time, I decided I needed to upgrade to some better equipment. I went out and bought a Pentax K1000 35mm and a Yashica Mat 124G, a twin-lens reflex camera. The Yashica was a phenomenal camera that produced tack-sharp images, and it could be had for the comfortable price of around $90. I still have both cameras in my collection, and wouldn't part with them for anything—well, almost anything!

As I did more and more photography, I decided that I needed to learn more than the skills that magazine articles could offer. I decided to sign up with the New York Institute of Photography, which offered a study-at-home photography course. They would send course materials on a biweekly basis, and then give a homework assignment, which I would send back for grading by their faculty and staff. They were really ahead of their time and are still in business today. I learned a great deal from their program, and it propelled me into a different photographic level than I had been in before.

I also joined all the photography organizations I could find, and I highly recommend that you do the same—especially if you are new to the business. The knowledge shared in seminars and conventions helped me become a better businessperson and artist. One word of caution, though: these gatherings have turned many photographers into clones, with everyone using the same lighting, posing, and compositions in the images. Be sure to remain true to your artistic vision, create your own style, and do it as well as you can.

As helpful as my more traditional education was, I must admit that the bulk of my learning was—and is to this day—attained by studying the composition, lighting patterns, and techniques used by photographers whose work I admired. I have spent hundreds of hours studying photographs, especially those from the old Hollywood era. I have always had a great love for the spotlighted portraits taken back then. As you read further and study my work, you will see that it has greatly influenced my style.

While furthering my education, I continued to shoot portraits and weddings, and I loved every second of it. I was soon running a thriving business, and my wife and I worked evenings to keep up with production, proofing, etc. I badly wanted to be in the business full time. I was being driven by my love for photography, and I felt that it was just meant to be.

In October of 1983, I had finally had enough of the state job, so I put in my two weeks' notice, and away I went. I had no great plan in mind; I just had a desire for something more. I needed more time to shape my destiny, and working full time for the state was not allowing it. I worked several part-time jobs to keep some cash flowing in until I could summon the confidence to finally take the big step.

I believe from the bottom of my heart that doing what you truly love will ensure that you succeed.

In the spring of 1985, while thumbing through the newspaper, I saw an ad for business space for rent. Being the impulsive person I am, I looked, signed, and opened! I didn't have a great business plan on paper. I'm not even sure whether I had one in mind—probably not. What I did have was an overwhelming desire to create beautiful photographs. I never once thought about failing because I was finally where I wanted to be in my life. I was my own boss, and I was taking portraits in my tiny 800-square-foot studio. Ah, the good life!

Let me take a step back now and discuss my comment, "I never thought about failing." I believe from the bottom of my heart that doing what you truly love will ensure that you succeed. If you don't succeed in an effort, it is because you didn't love your goal or you listened to too many negative people. Negative people will bring you down. They will make you start thinking negative thoughts and throw you off course. You must realize that even well-meaning relatives or friends who think they are giving you great words of wisdom may derail you. Don't listen to the naysayers. If possible, try to distance yourself from them for a while. Tune into positive, motivational thoughts, instead. Something Zig Ziglar said has stuck with me: "If they are not where you want to be, why listen to them?" Very few people follow their dreams and, consequently, only very few ever arrive.

My goal is to inspire photographers to look for light and learn to use it in a very refined manner.

Anyhow, at this time, my business was on a roll. We soon were able to move to a larger studio, and all was well. My wife quit her full-time job and joined me at the studio. Remember, I'm an artist, and I don't have the organizational skills this business demands, so my wife stepped in. I have used that "I'm an artist" excuse most of my adult life for my lack of organization. I try very hard, but let's just say I'm mediocre at best. Having Theresa come on board was wonderful, and we still work together to this day.

I have been honored with many great awards through the course of my thirty-plus years of photography, but admittedly, the accomplishment I cherish most is having had one of my images accepted into the Photography Hall of Fame. My photography career continues to this day, and I've had many great times and wonderful customers. Unlike some in the portrait business, we have always concentrated on making great art prints for our customers and less on the money-making end of it. I have always believed that a fine product will attract a great customer, and it has proven true for us!

# **ABOUT THIS BOOK**

My goal for this book is to inspire photographers to look for light and learn to use it in a very refined manner. I have been in the business for over thirty years, and I have seen the emphasis on great lighting morph into "Well, I can fix it in Photoshop."

I have always believed that the key to a great portrait is controlled lighting. When you learn to use barn doors, snoots, and skimming methods, you will become an artist, and light will be your oils. You will learn how to turn an everyday image into a well-lit masterpiece.

I want to awaken the artist in you and show you how to see light in a different manner. Maintaining the status quo is easy; change is a challenge. I invite you to embrace the challenge and to learn how to paint with light.

# 1. The Hollywood Portrait

# **THE HOLLYWOOD PORTRAIT DEFINED**

Portraits from the 1930s and 1940s were created to be timeless. They were made with few props and one purpose in mind: using controlled lighting (specifically, hot lights) to create an enduring photograph.

**Left—** Diagram for photo 1.1. **Right—** Photo 1.1.

The dictionary defines the term "timeless" as: [adjective] (1) without beginning or end; eternal; everlasting (2) referring or restricted to no particular time (e.g., the timeless beauty of great music). Synonyms: enduring, lasting, abiding, permanent.

Hollywood-style lighting became prominent between the 1930s and 1950s. Marketing and selling of movies and movie stars was done using beautiful black & white photographs that created a god and goddess type look. The images were sculpted to a creamy soft perfection using lights and lighting techniques that are still considered to be beautiful and timeless today. A Hollywood-style portrait was illuminated and retouched to perfection.

**Above—** Diagram for photo 1.2. **Facing page—** Photo 1.2.

In photo 1.1, my goal was to light the image, a portrait of a son and his mother, perfectly for emotion and simplicity. The photograph will never go out of style.

In my opinion, especially for people portraits, less is more. Far too many portraits are ruined by cheap looking, photograph dating, unnecessary props. Now, this doesn't mean I won't include props that tell a person's story. The image of the young man on the facing page proves that point.

As we see in photo 1.2, this subject's artwork is a part of him, just as photography is a part of you. You must please your client and especially yourself, as the artist.

Why must it please you, the artist? Every artist has a style. If you are new to photography and really love it, you will develop a style. It will become a part of who you are and what you see. Straying from your true self for financial benefits, your client's desires, etc., will usually take you down a path of artistic burnout. Be true to yourself and create as you see fit. Now, I'm not saying you should disregard what your client wants. You must keep them happy as well. I always shoot for their wishes first then add my artistic visions in later. I hate to brag, but they usually pick the images that suit my creative vision.

# 2. The Case for Hot Lights

# **IF IT WERE EASY, EVERYONE WOULD DO IT**

I'm certainly not the first person to use that statement, but it has a powerful meaning. Most of life is what you put into it. If you don't put much in, you probably won't get much out. On the other hand, those of us with dreams, goals, and the desire to achieve will usually do well. Photography is no different. I have been a photographer for well over thirty years and am always learning new and exciting lessons. If you stop learning, you will not grow as an artist, and photo burnout will soon be looming around the corner.

The lighting strategies discussed in this book can seem somewhat difficult and will probably be overwhelming at first. Hang in there and reap the rewards.

If you stop learning, you will not grow as an artist.

The number of photographers who really understand good portrait lighting is limited. It takes more than pointing a spotlight with barn doors or a softbox or umbrella light at someone to understand light. Very few of my past students go on to use the "painting with light" concept I've described on the following pages. I can't tell you why this is; only they know that answer. My guess is not that they don't love the look (they tell me they do), but that it takes them outside of their comfort zone or they don't want to dedicate the time and effort required to use it. To the few who have accepted the challenge and are painting with light, I applaud you.

Please, don't let this scare you off. Study light and just do it. It is so much easier than most think. It's just a matter of will and desire. Taking the road less traveled can be a wonderful experience. The view is always better, and the path to success is much easier to find. Painting with hot lights will challenge you as an artist, but only after a challenge can you celebrate victory.

# **STROBES VERSUS HOT LIGHTS**

When I started in the photo business, the strobe-with-umbrella or strobe-in-softbox lighting approach was very popular, and it still is. I have used umbrellas and softboxes as light sources in my portraits, of course. From time to time, I still use a strobe with one of these modifiers. But to be honest, I find that the light that is produced is boring. Yes, it is soft and easy to use, but it doesn't do much for me. I would assume that 95 percent of all photographers use softboxes and umbrellas—and that is one really good reason why I don't. I don't want my photographs to look like 95 percent of all the photographs that are on display.

Remember, if you are not the lead dog in the pack, the view never changes.

Remember, if you are not the lead dog in the pack, the view never changes. I have seen many beautiful images created with strobes and softboxes/umbrellas. It's just my personal taste that leads me back to hot lights.

# **THE BENEFITS OF CONTINUOUS LIGHT**

Strobes produce a burst of light. Hot lights, in contrast, are continuous light sources. In other words, they are always on. As a consequence, they run hotter than strobes (hence the term "hot lights"). Working with hot lights does offer some clear benefits, though:

• What you see is what you get.

• In most cases, hot lights are much less expensive than strobe lights.

• Hot lights provide a soft light that gives the skin a glowing effect.

# **THE REQUIRED EQUIPMENT**

Let's try to agree on something now: lighting does not have to be expensive and complicated to make great photographs. Most of the photographs exhibited in this book are from the lights and equipment shown and described below. Pictured are the actual lights from my camera room, although beat up and abused looking, they have held up very well.

**Tungsten Spotlights.** Photo 2.1 shows a generic spotlight we use. These units provide wonderful light and are available new for less than $100 each (much cheaper than a strobe!). I usually use basic 150 to 200-watt bulbs. For anyone who has never tried tungsten spotlights, you have a great deal to look forward to.

Lighting does not have to be expensive and complicated to make great photographs.

Tungsten spotlights are comprised of a housing that holds a socket for the bulb, with a silver reflector to bounce the light out toward the subject you are photographing. Some spotlights, like the Photogenic mini spot (pictured below), have a bulb that can be moved back and forth inside the housing. When the bulb is moved toward the front of the housing, it casts a wider beam of light; when the bulb is moved toward the rear of the housing, it throws a narrower, more focused beam of light. I work with both types and do not necessarily favor the focusing type over the non-focusing style. The only thing I always want is the barn doors and snoots, so I can control my light as needed.

**Top—** Photo 2.1. **Bottom—** Photo 2.2.

**Left—** Photo 2.3. **Right—** Photo 2.4.

Photogenic mini spots are still being made. They can be found in larger camera stores, online, and used models are readily available. Mine are over twenty-five years old. They take 150 or 200-watt tungsten bulbs and have optional barn doors and snoots, which I highly recommend you use. See photos 2.1 and 2.2.

**Bowl Lights.** I use a 12-inch bowl light (a light with a bowl-shaped reflector) with a 250-watt photoflood in it, as my fill light. These lights are still being made and can usually be found starting around $35. You can see an example of such a light in photo 2.3.

**Can Lights.** The light pictured in photo 2.4 is a 6-inch can light. It is very similar to those used in stage lighting for plays. The 6-inch measurement refers to the diameter of the front of the light. This is the biggest of all the lights I use, and it is mainly for my full-length images. The bulb wattage on this light is 500.

**Barn Doors.** Barn doors are an adjustable light modifier that slides onto the front of a light and is used to control the path of light emitted from the light source. The doors can be opened or closed to affect the width of the beam of light, allowing for control over the area of the subject or scene that the light strikes. Having this control over the light is the key to the look of my images. Photo 2.5 shows a light fitted with barn doors. In this example, the barn doors are open.

**Snoots.** A snoot is a cylindrical light modifier that restricts the path of light, producing a narrower beam of light that can be used to light a small area. Photo 2.6 shows a light with the snoot installed. The snoot simply slides in and out of the grooves on the front of the light.

**Dimmers.** I have always worked with my lights on dimmers; they allow me to easily adjust my f-stop settings without moving my lights back and forth. I can't imagine working without one.

My dimmer, pictured in photo 2.7, allows me to adjust my lights from full power to off by just moving the slider switch up and down. It allows me great control over my lights and lets me concentrate on other things rather than moving the lights around to get the lighting ratio I want.

A few of the photographers who have attended the classes I teach seem concerned about changing color temperatures when putting their lights on dimmers, but I can assure you that there is no noticeable change in color temperature.

**Light Stands and Booms.** The light stands I use are no different than what is used for most any photo lights, continuous or flash. I prefer medium-weight stands that can be raised to six-and-a-half or seven feet. Using one large stand that raises higher is nice in case you are photographing a full-length bridal portrait or just need the extra height.

Because the lights I use are somewhat small, most any stand works. This is nice because it keeps the pricing down.

**Top left—** Photo 2.5. **Top right—** Photo 2.6. **Above—** Photo 2.7.

One final note: I do believe a light on a boom stand comes in handy, and I use one most of the time.

# **LIGHTING LINGO**

When you become familiar with the lights described below and how they are used, you will be able to strategically illuminate specific areas of your subject to create a dimensional feel. By doing this, by "painting with light," you will be able to create artful portraits that show your clients' distinctive looks and personalities to full effect.

Here are some terms photographers use to describe their setups:

# **CAUTION!**

**BE CAREFUL WHEN HANDLING HOT LIGHTS, SNOOTS, AND BARN DOORS. THEY ALL BECOME VERY HOT AFTER THE LIGHTS HAVE BEEN ON FOR A WHILE.**

  * **background light** —A light that is used to illuminate the area behind the subject. It is often used to create separation between the subject and the background.
  * **main light** —The main light, sometimes called the key light, is the principal source of light on a subject or a scene. It is generally the brightest light on the subject, or the one that will have the greatest overall effect on the image.
  * **fill light** —A secondary light from a lamp or reflector that is used to illuminate shadow areas. The fill light is a very important light. It can be set low to give your print more contrast or higher to soften or flatten the contrast in the photo. I usually prefer a higher-contrast look and sometimes do not even use my fill light. It just depends on the look I feel is right for the image and the presentation I want it to reveal.
  * **kicker light** —A light placed to the side of or behind the model. It is used to rim faces and model profile shots. A kicker light is also used to provide an additional highlight or accent on a subject. I use this type of light often to separate my model from the background or to give clothing or skin some highlights.
  * **hair light** —A light positioned slightly behind the portrait subject to create a halo-like effect that separates the subject from the background.

# **LIGHTING EXAMPLES**

Allow me to introduce you to the best model anyone could ask for. Her name is Lucille. I have done a lot of lighting tests with her, and she has never complained.

I received her with the materials for the New York Institute of Photography course I took back in the early 1980s. Manikin heads like these are made of foam and can be purchased at most wig stores and hair supply stores. Photos 2.8 through 2.16 will show you the different light patterns and what they do.

Allow me to introduce you to the best model anyone could ask for. Her name is Lucille.

Photo 2.8 was made with a background light. Lucille was positioned about 5 feet from the background.

Photo 2.9 was made with a kicker light. The light was placed at camera right and behind the model, near the background.

Photo 2.10 was made with a kicker light coming from camera left behind the model and next to the background. Because the model was turned toward camera left, the light illuminated a small portion of her face.

Photo 2.11 was made with the main light. It was placed to camera left, about 24 inches from the model, and illuminated her face and hat.

Photo 2.12 was made with the main light and a fill light. The fill light reduced the contrast and added some light on the background.

Photo 2.13 was made with just a kicker light, which was placed to camera left. The light was fitted with a snoot. This allowed me to light only the model's hat. Adding daubs of controlled light can create a three-dimensional look and can allow you to capture detail that is nearly impossible to get otherwise.

Photo 2.14 was made with a hair light, which was placed on a boom over the model's head. The light was skimmed across the hat, so you can see the fibers of the hat. Pointing a light directly at the subject can result in blown-out highlights.

Photo 2.15 was made with a hair light and main light. We are beginning to see roundness in the model.

Photo 2.16 was made with three lights—a background light, hair light, and main light. I like the results, and there was no fill light used! As I mentioned earlier, I tend to favor prints with higher contrast. If you like a smoother, flatter look, you could of course add the fill light to the setup to lighten the shadows.

Photo 2.8.

Photo 2.9.

Photo 2.10.

Photo 2.11.

Photo 2.12.

Photo 2.13.

Photo 2.14.

Photo 2.15.

Photo 2.16.

# **LIGHTING CREATES MOOD**

The mood of a portrait is determined by more than the background you use or the props involved. The mood is created with the light you use, and it can make the difference between an average image and an excellent, artful one.

Landscape photographers often refer to "sweet light." Sweet light can be had for just a short time at the beginning and end of the day, when the sun is low in the sky. It results in beautiful, saturated colors and soft shadows. This lighting creates the mood that lends to the "wow" feeling photographers want to achieve in their images.

As a portrait photographer, sweet light is at your fingertips. I use overhead light often to create a certain look and feel. Photos 2.17 and 2.18 were taken with just one light from above (the main light) and just a touch of fill light. By moving the main light front to back and side to side, you will find its best placement. It must create highlights and shadows to add roundness to the body. It must skim along the body as a rock skims across a pond. I usually have the fill light off while adjusting my main light. This is very important, and I highly recommend that you do the same.

**Top—** Diagram for photo 2.17. **Bottom** —Photo 2.17.

**Top—** Photo 2.18. **Bottom—** Diagram for photo 2.18.

I also make sure that my fill light skims the subject. The harshest part of most lights, including the majority of fill lights, is the center, so aiming the light directly at the subject can produce a too-harsh effect. By skimming the light, I am able to ensure that the softer edge of the light strikes my subject.

You can make this hard or easy and enjoyable—hard would be over-thinking the whole process and becoming too technical, and easy would be posing your model and moving the light around until you get what you expect or like what you see. I say it this way because many times in moving my lights around, I find a better lighting setup than the preconceived one that I was working toward. This happens all the time, and this is why I think it is so important to move your lights around and see all the different looks you can get. Watch what the light is doing to the subject's body. Normally, I can get several different looks from a single pose by doing this.

Photo 2.19 is a portrait of a great friend of mine, whom I met through the photography business. He is a very talented photographer and is never at a loss for words. I like photographing other artists; they seem easy to photograph for some reason. Maybe it is just because I can relate to them.

This image was made with one light also, but it was placed very low and on camera left, rather than high and from camera right. By placing the light in this position, I created a wonderful shadow on the wall and cross-lit the subject's white shirt. It is very easy to overexpose white elements in a photograph, especially when you are shooting with a digital camera. However, by having the light cross the shirt in this manner, it created a great highlight-to-shadow look.

**Top—** Diagram for photo 2.19. **Bottom** —Photo 2.19.

# **THE LIGHTING SETUP**

I usually prepare for a shoot by setting my lights in a 1-2-2 setup. This must come from my high school basketball days, but it does help keep me organized and moving fluidly once I have started the session. In the diagram above, you will see that I keep two lights near the background, a main light on camera left and right, approximately 3 to 4 feet from the subject, and a fill light by the camera. There is no particular science to this; it is simply a setup that works for me. You may find something that works more efficiently for you, and that is great. It's all about keeping the energy of the session flowing. The two lights in the background can be used for background lights, kicker lights, or can even be brought up high and used as hair lights.

I usually prepare for a shoot by setting my lights in a 1-2-2 setup.

The light closest to the model usually serves as the main light for the model's face or body. The two lights out front can be used as fill lights or kickers, or you can make one a fill light and the other a kicker. Keep in mind that this is just a rough setup and the lights can be moved quickly to be used as needed in the photo. Many times, my main light from a previous pose may turn into a kicker light in the next pose, with a front light brought in as the main light. The 2-1-2 setup keeps lights close by and easy to grab and place in position.

Don't get hung up on one light always being the main or others being the kickers. Use them freely in whatever way works to your advantage. Light is light, and it doesn't matter where it comes from, as long as it is done well.

As I have mentioned, I always use my lights with the dimmers attached. They allow me complete output control over each light, which is a necessity, as far as I am concerned.

# **METERING LIGHT**

Metering light seems to be a lost art. Digital photography has made us all a little lazy, and unfortunately I do believe many photos show this. The mentality now seems to be "shoot a lot and fix it later in Photoshop." I have some strong feelings I would like to share on this. First and foremost, if you're going to do something, take some pride and do it right. It's time to slow down, meter our setups, and look them over carefully before we ever touch the shutter release.

In my teaching endeavors, I am amazed at how quickly photographers begin photographing the subject—especially since it is a classroom situation. When photographing a person, we don't have to act like we're shooting a sporting event. We do not need to shoot eight frames per second, nor do we need eight shots of the same pose. I always ask my students to take two or three shots of a pose. Anything more is a waste of time. In the large format days, when shooting film, photographers were forced to shoot selectively and methodically, mainly due to cost. This helped the photographer to grow as an artist. You see, you learn by studying your subject, the pose, the lighting, camera angles, and so on.

When photographing a person, we don't have to act like we're shooting a sporting event.

When purchasing a new car or a house, I am willing to bet you look it over very carefully and take your time doing so. You pay attention to all of the fine details—the curves, shapes, lines, etc. When you treat your models this way, you will gain their respect and create much better portraits.

When shooting digital, I meter for the highlights and adjust my camera to that setting.

When shooting with my digital camera, I meter for the highlights and choose the recommended settings. The great thing about using hot lights is that, once you've metered the main light, you can often just add the other lights without metering them. I may take some abuse from some of you who believe each and every light should be measured, and in a debate, I think you would win. I'm just saying that once you have used these lights long enough, you will begin to understand your lights, and everything will fall into place.

For you beginners, I do recommend you meter every light. It is the only way you will ever understand what is happening and why. I personally use a handheld meter to take my readings; however, you can use whatever you are comfortable with.

For you film shooters, I want to give a brief explanation of what I do and how it has worked for me for many years. If you don't think my way is for you, fine. What is most important is that you find a method that works for you and gets you the results you want.

I always shoot with 400 ISO film and rate it at 200 ISO. By setting my meter at 200 ISO, I am essentially overexposing the film by 1 stop. By overexposing, I am pulling in more of the shadow detail that might otherwise go muddy or be underexposed. When processing, I then underdevelop my film by 20 to 25 percent, as measured against the manufacturer's recommended developing time. This method works well for me, but I highly recommend you test for yourself and find what works best for you. If you are using a lab for your processing, call and talk to the technician who is doing the processing, not customer service. Tell them what you are trying to achieve and discuss how the two of you can make it work. A little patience and a lot of practice go a long way in helping you to achieve your lighting goals. The most important thing is that you find consistency with your lights and printing techniques.

# **A FEW WORDS ON LENSES AND EXPOSURE SETTINGS**

When working digitally, I usually shoot with an ISO of 400 and set my light meter accordingly. The 400 speed allows me to shoot with a little faster shutter speed to avoid motion in the image. I find myself shooting around a 1/15 to 1/30 second shutter speed with my lens wide open at f/4 in most setups. I usually meter my main light on the face and then set and adjust the other lights accordingly.

My lens of choice for most sessions is a 70-200 f/4 zoom. I do use many different focal length lenses for different looks and feels. I also love my 80mm f/1.8 lens. It gives me the look of the old 8x10 lenses from back in the 1920s and 1930s.

Don't be afraid to experiment with the different focal lengths and types of lenses on the market. Soft focus lenses are also great for a glamour look or a more impressionistic feel. And yes, I know softness can be added in Photoshop and with different filters, but I for one want to spend as little time in front of the computer as possible. Why not just photograph it the way you want it and be done with it?

The color temperature of continuous light is warmer than flash, and it needs to be handled completely differently.

# **COLOR TEMPERATURE**

One of the major concerns of the students I've taught has been the color temperature of continuous light and how it affects portrait creation. The color temperature of continuous light is warmer than flash, and it needs to be handled completely differently. When shooting with a digital camera, I use the continuous light (tungsten) preset, which seems to give me a beautiful white balance and skin tone.

I do not and never have mixed light (flash and continuous or daylight and continuous). It does not work well, and it creates technical problems that distract me from my main goal, which is to create great portraits. I want to spend my time working as an artist in the camera room, not as a technician.

# 3. The Camera Room
and the Client

# **THE STUDIO ENVIRONMENT**

Your camera room should be a calm and relaxing place. There are a number of things you can do to create this kind of ambience.

You need to be a friend to every client, or at least be well liked, or the session will flop.

Playing a nice mix of relaxing, romantic, peaceful music is a great start. Music is therapeutic. It helps to melt away your client's anxiety about the session, and this can help you to more easily capture the true spirit of the person. We usually play music similar to that used by massage therapists; however, any soft music will do. Some of you may assume this is for the women only; not so, it works wonderfully for men's portrait sessions, too. All fine restaurants set the mood with low lighting and soft music for a reason, and so should you.

Your environment should be neatly organized and should smell pleasant as well.

Have some bottled water or a soft drink on hand to offer to your clients, as well as some mints and other candies. Small things like this make a huge impression with people. They will leave your studio with a smile, knowing they have been treated like royalty.

# **BREAKING THE ICE AND OBSERVING BODY LANGUAGE**

You need to be a friend to every client, or at least be well liked, or the session will flop. My belief is that anyone can capture a person's likeness, but to capture their essence is a far more challenging and rewarding endeavor.

I have a deep respect for those who pose for me and allow me time to photograph them. I always compliment them for something—be it their eyes, hair, or cheekbones. Everyone needs positive reinforcement, and all clients like to be reminded that they are special.

You must make your subjects feel comfortable in front of your camera. It can be intimidating to have a lens pointed at you, like the barrel of a gun. As a portrait photographer, you need to look at your subject and immediately begin to determine what you are going to do. You must find out who the person in front of your lens is, and learn what makes that person tick. To create an effective image, you should learn about the subject's likes and dislikes, hobbies, employment, relationships, etc.—all in a short period of time. I find it very important to find some mutual interests to communicate about—whatever they may be.

You must watch the subject discreetly; no, not as a voyeur, but just in casual conversation.

Reading the subject's body language is also key to creating the best-possible portrait. This is easier for me than gaining access to their feelings. Simply put, you must watch the subject discreetly; no, not as a voyeur, but just in casual conversation. Allow me to explain how I go about doing this.

When a client comes into my studio for a portrait session, I always have my first background set up and ready. This means that the lights are in position and are ready for action. I will then set the subject in front of the camera and start to break the ice. I begin the process of finding them out, getting to the heart of who they are. While conversing with the subject, I am also tweaking my lights and taking some light readings. All the while, I watch the subject closely. As we talk, the subject starts to loosen up. They will set themselves in positions in which they are comfortable. This is very important to me. I can usually get most of the poses I need from the subject simply by observing their body language in the beginning of a session. The subject may lean over with their elbows on their knees, put a foot up and lean into it, or put their hands up by their face. Whatever they do, that's them! Capture them as they are. There are no better poses than their own. Now, I'm certainly not saying I don't tweak the poses to make them work for the lighting pattern and camera angle I want. Just remember, your goal is to showcase the subject's strengths and keep the pose believable.

**The Eyes Speak Volumes.** I am particularly fascinated with a person's eyes. I truly believe they are the entryway to one's soul and express fear, pain, doubt, and happiness. As the artist, you must capture all the personal stories shown in the subject's eyes, then gracefully retreat with a thank you.

The gentleman shown in photo 3.1 has that unique old Hollywood look. He has very dramatic, strong eyes and facial features. He was very good at working with the camera and was a joy to photograph.

**Above—** Diagram for photo 3.1. **Right—** Photo 3.1.

# **REAL-LIFE EXAMPLES**

As I mentioned earlier, understanding what is important to the person you are photographing is critical to your success. The cross on this gentleman's hand is a cherished family heirloom. While discussing the cross, the emotional ties it represented became evident, so I chose to show it prominently in the portrait. Fabian became a true friend of mine and modeled for me several times. He has a great appearance and could change looks quite easily.

**Left—** Photo 3.2. **Above—** Diagram for photo 3.2.

If you look at photo 3.2, you will notice how the light is coming from the model's left side. You can also see how controlled it is. I used barn doors with the light just out of camera view. I wanted my main light to start at the eyebrow and end just below the cross. I also wanted the hand to be just a little brighter than the face, so I skimmed the light away from the face and directly toward the cross. The exposure on the face is approximately ½ stop less than the exposure on the hand, thus creating the visual hot spot I wanted. Your eyes have a tendency to go to the brightest part of the photograph first, then explore the rest of it. As the photographic artist, you get to control where the viewer's gaze goes first. It is addicting to have such control over light.

**Top—** Photo 3.3. **Bottom—** Diagram for photo 3.3.

Now, let's look at photo 3.3. I love photographing our country's veterans. They have given of themselves like no others have, and I have found that most of them are extremely proud of their accomplishments and love to reminisce about their time served. While waiting to be photographed, I noticed this gentlemen looking over his medals with great pride. I'm sure a million memories were racing through his mind. I decided to photograph his medals with just a hint of his aged hands showing.

The pin spot of light falling onto his medals and hands was created with just one light with a small round snoot on it. A touch of fill light was used just to keep the small details I needed. One of the biggest and most common mistakes most photographers make is using too much fill light. The amount of fill you use is up to you as the artist. I prefer a 2:1 or 3:1 ratio. With hot lights, you do learn to see what you are getting, which allows you to move from shot to shot quickly and smoothly.

Photographing great friends like Ron makes the observing and understanding part of the session easier. Ron is a man who also loves the photography business, and he has dedicated his life to helping many photographers achieve their goals and dreams. He is also a man who loves to unwind at the end of each and every day with his trusty pipe in hand. I have had many great discussions with Ron, about photography and other things, while watching the smoke billow out from the end of his pipe.

I am not a smoker, but I must admit that I love the smell of tobacco from a pipe and, of course, the unique photographs one can get when the subject poses with it. In photo 3.4, you can see what I mean. The highlights and shadows produced by the spotlights created beautiful specular highlights and wraparound light. Specular highlights are the brightest part of the body or image that seems to have a glowing effect but still retains detail. Examine the photo and notice the whites in the hair, above his left eye, along the ridge of his nose, in the smoke, his hands, and even on his shirt sleeve. This is so critical in a great photo; the specularity in a photograph adds depth and roundness. In my opinion, many of today's photographs are lacking this. Study any great image or painting, and you will see it!

**Top—** Photo 3.4. **Bottom—** Diagram for photo 3.4.

It is important to get to know your subject and what is important to them, but it may be more important still to get a feel for their personality. Your portrait _must_ show your subject's unique qualities, or it cannot be considered a success. In photo 3.5, you can see that taking the time to understand my subject paid off. Let's take a quick look at the word "personality." I think you can apply what you learn in reading the definition in your next photo shoot.

**Left—** Diagram for photo 3.5. **Right—** Photo 3.5.

The term "personality" is defined as [noun]: (1) somebody's set of characteristics: the totality of somebody's attitudes, interests, behavioral patterns, emotional responses, social roles, and other individual traits that endure over long periods of time; (2) characteristics making somebody appealing: the distinctive or very noticeable characteristics that make somebody socially appealing (e.g., a partner with real personality); (3) somebody regarded as epitomizing traits: an individual regarded as epitomizing particular character traits (e.g., a difficult personality) (4) famous person: somebody who is famous, especially an entertainer or a sportsperson (5) unusual person: somebody who is very unusual and distinctive (6) quality of being a person: the quality of existing as a person.

Now, let's look at another aspect of photo 3.5. When you consider the lighting, you will see that a little light goes a long way. One overhead light was directed onto the model's face and fell onto her shawl, another light skimmed across her hands and crossed the Bible, and one small light from behind was used for a small amount of separation. Remember, we are just painting using small amounts of light.

**Below—** Photo 3.6.

**Left—** Diagram for photo 3.7. **Right—** Photo 3.7.

In photo 3.6, we see a high school senior whom I got to know very well. I always try to capture the personality of a person in the portraits I create, and this image depicted this young man very well. Take note of how the light is focused on his face, barely skims his left hand, and falls off onto his right hand. The strong shadows give the image a lot of depth and roundness.

Interesting people I have seen out in public have provided some of my best portrait opportunities. If I see someone who has a look or a specific character trait I like, I introduce myself and ask if they would be interested in modeling for me. Most are genuinely excited and come to the studio for a session, as the man in photo 3.7 did.

My approach is as simple as this: I walk up and introduce myself, hand the individual my business card, and tell them they have a great look and that I would love to photograph them. At this point, they often assume I am trying to sell them something, so I make it perfectly clear that I am not. In fact, I give my models complimentary prints and even pay for gas if they come from a good distance. I then explain I am a professional photographer and invite them to go to my web site and check out my work. I tell them I always need fresh faces to photograph and ask them to give me a call. Very rarely do they not call; people can tell if you are sincere.

When the models come to the studio, I always treat them with great respect. I have proofs from the session a week or so after the shoot, and I invite them in to view them and allow them to pick the images they like, although many have told me to pick the best for them and I am happy to do so.

**Left—** Photo 3.8. **Right—** Diagram for photo 3.8.

**Left—** Diagram for photo 3.9. **Right—** Photo 3.9.

**Left—** Diagram for photo 3.10. **Right—** Photo 3.10.

I make each portrait subject four to six 8x10s, completely retouched and ready for display. I give them the finest work I can because they have given me a unique opportunity to capture their spirit and have given up several hours of their time. Of course, I also ask each person to sign a model release form so I can use the images for advertising and display. It is a win-win for everyone.

The model in photos 3.8 through 3.13 is the type of person that makes a photographer's work easy. I have photographed Angela several times throughout my career. She is a joy to work with and has a rapport with the camera that some just cannot obtain.

Photo 3.8 was made with a main light that was modified with barn doors, which allowed me to throw a sliver of light down the middle of her face. The rest of the image was lit with a fill light and a kicker light, positioned from behind the model and on her left side, which illuminated her hair and created texture.

Photos 3.9 and 3.10 show how easy it is to get two shots from the same pose. Remember to start close to your subject and move back, or start farther back and come in closer—whichever method you prefer. Doing so will change the whole look of the image and allow you to create a wider variety of shots of your subject. Your client is like a landscape, there are many different views to be photographed.

**Left—** Photo 3.11. **Right—** Photo for Diagram 3.11.

In photos 3.11, 3.12, and 3.13, I was going for a stage light style pin-up look. You will find that hot lights give a unique look that has a wonderful stage quality when used correctly. Ah, the joys of painting with light; I just can't get enough of it!

**Top—** Diagram for photo 3.12. **Bottom** —Photo 3.12.

**Top—** Photo 3.13. **Bottom—** Diagram for photo 3.13.

I invite you to study the lighting on these prints and begin your visual learning process. Study where the main light is coming from, where the shadows are landing, and how different parts of the body are being independently lit to create strong definition and depth.

My career in photography has always been driven by a passion to capture people in their true essence. In this particular case, a great friend of mine who worked in the local coal mine for many years agreed to come in after work and pose for me. The resulting portrait is shown in photo 3.14. The spirit of this great country is fueled by people who, on a daily basis, work very hard to achieve the American dream. A huge part of one's life is the job they do, and capturing the look and feel of that is very important to me, whether I am photographing a coal miner, doctor, car salesman, farmer, or another photographer. As photographic artists, it is up to us to document this part of our society and preserve it in the photographic archives. I challenge you to think about the different jobs people have and how you would and should photograph them to document this part of their lives. Challenge yourself on the fundamentals of how you would handle the shoot, where it would take place, the types of lights you would use, and, if you are shooting outdoors, even the time of day you would shoot. Once you have done this, follow through and do the shoot with passion. Challenge yourself to portray this person to the best of your photographic ability. Use light as you have never done before and create a masterpiece.

**Above—** Diagram for photo 3.14. **Facing page—** Photo 3.14.

The coal miner shot was done with a rather simple lighting setup, but as you can tell, the image has a lot of depth and roundness. This was created by placing the main light, a spotlight, off to camera left. A fill light was positioned next to the camera, and an overhead backlight was placed to allow the light to fall onto the miner and skim across the old barn wood in the background.

Even though this is a darker-toned portrait, notice how the photo has good whites (the highlights are not blown out), great blacks, and a wide range of tones in between. Creating a good black & white image is much harder than most think and goes well beyond going to Image>Adjustments>Black & White in Photoshop. Also take note of the lighting on the miner's skin and the gradation of tones from light to dark. Creating wraparound lighting in this portrait was essential. It was challenging, but as you can see, it turned out nicely.

Photo 3.15 shows a young musician who wanted a different look and feel. By painting the image with daubs of light, I was able to easily achieve the look she was after. Keeping the pose looking natural was a primary goal. With that achieved, I turned my attention to the lighting, starting with the background and working toward the front. I added the hair and shoulder light via a boom. I placed kicker lights on each side of the subject, then used the main light to illuminate the model's face. I added very little fill light to ensure a contrasty look.

# **HOMEWORK**

I can't move on to the next chapter without giving you some homework. I know, it doesn't seem right—but here is what I would like you to do: whenever you are out in public, whether you are at the mall, a restaurant, or a park, become a people watcher. You will learn more than you can imagine about posing just by being observant. Watch how people sit at tables and note the way they lean onto buildings, trees, light poles, etc. Imagine you are photographing them. Think about your camera placement, and decide how you would tweak the pose. This exercise will make you a better photographer. I guarantee it.

**Top—** Photo 3.15. **Bottom—** Diagram for photo 3.15.

# 4. Capture

# **FILM, DIGITAL, OR BOTH?**

Ah yes, the great debate begins now. Since the advent of digital photography, photographers have been divided into two distinct factions: on one side, there is the purist who wants nothing more than for digital to just go away. On the other side, we have the new and contemporary artists who cannot imagine loading up a roll of film.

I must admit, I was as anti-digital as any photographer could be for many years.

I must admit, I was as anti-digital as any photographer could be for many years. I thought, "if it's not broke, why fix it?" but digital technology kept improving, and I eventually bought my first digital camera. The rest is history.

Film has a beautiful, unique quality that differs greatly from digital—especially when it comes to the larger format negatives (4x5 and larger). It has a softness and a style all its own. The Hollywood photographers from the 1930s used 5x7 and even 8x10 cameras, which made for some breathtaking portraits, especially when combined with the spotlights they used.

Digital photography has its own benefits. It has done so many things for the industry as a whole and for individual photographers that it would be hard to mention them all. One of the greatest benefits is the instant review option that digital allows. It is a great tool for someone practicing lighting or any other aspect of photography. You shoot, review the image, and make corrections or move along. (In the film days you shot then sent the film off to the lab or went into the darkroom to see what happened.) Cost savings is another perk. Although most good digital cameras cost more than film cameras, the money you save when you no longer have to buy film adds up quickly.

I have created beautiful images using both film and digital cameras. I'm not going to try to convince anyone that one medium is better than the other because I believe with all my heart that the key to a beautiful portrait is the way you light it. Lighting creates emotion and drama. It draws you in to the print and leads the viewer's eyes to the final destination that you, the artist, determine. You can shoot with the greatest film camera ever made, or you can create with a digital camera that costs thousands of dollars. You can put the best lens ever made on your camera. Without effective lighting, though, it's just a snapshot. So, don't get hung up on thinking you need a better camera or better backgrounds. Just grab your camera and create. Many of the best photographs I have seen have come from basic cameras—and several were even of the disposable variety.

The old masters had their preferences when it came to the tools they chose—from the types of paints to the canvas thickness and weave, to the brush sizes. However, they all finished with their own masterpieces. No matter the medium you choose, film or image sensor, build your own masterpiece. Remember, it's not how you get there; what matters is that you arrive!

# **KNOW YOUR EQUIPMENT**

I am amazed how many photographers—amateurs and professionals alike—don't understand their cameras. They are in the dark about the basic functions, not just the technical aspects. It is especially sad when I'm out teaching working pros and see them trying to figure things out on their cameras. Learning how to take advantage of your gear simply entails reading the instruction manual. There is nothing more to it. Now, I agree that today's new digital cameras offer a lot of options, most of which you will never use, and I know the instruction books look like a miniature of _War and Peace,_ but please read them.

I have found the best thing to do is to slowly get to know the camera. Read the quick start guide and do some shooting, then read a chapter or two at a sitting. This way, for me at least, you don't run into a situation where your mind simply doesn't want to absorb any more information. I'll be the first to admit that I have been guilty of reading the book all at once, but I am now a reformed instruction book reader.

Take it from me, today's new cameras really require a basic working understanding of all they have to offer. If you don't know your camera like the back of your hand, stop right here and go read your manual.

# 5. Output

# **HIGH-QUALITY PRINTING**

Beautiful images from a talented photographer are only as good as the final print. All the lighting knowledge, posing techniques, and composition are for naught if the final product—your print— is not up to high standards.

Beautiful images from a talented photographer are only as good as the final print.

I have been a member of various photography groups and associations over the years, and I have witnessed the judging of countless photographic prints throughout the course of my career. I have seen many images with tremendous potential look amateurish due to poor print quality.

It is somewhat difficult to describe what makes for a good print, but I'll give it a try.

  * A good print has detail in the highlights (i.e., in the brightest part of the image).
  * A well-printed image should exhibit good contrast, without any type of milky or muddy look to it.
  * Ideally, the printed photo should have good color saturation or, if it is black & white, good tonal values from black to white and all the gray tones in between.
  * It should be printed deep enough that the black tones in the image are black, not blue or milky.
  * A good print is well cropped for strong composition. (This is a topic that's worthy of a whole other book!) It seems that composition comes naturally for some, while others struggle. Composition can be learned by studying good prints, and there are many books and videos on the market to learn from as well.
  * A good print will meet the standards you envisioned when you took the image. It will look as good as, or better than, the original scene in terms of color, contrast, and depth.

Keep in mind that your viewers will judge your skill and talent by the prints you show and display. If your audience thinks your images are great, they will think you are great, too. If they find your images to be just so-so, the customers will think you are just so-so.

# **A DARKROOM, LAB, OR INKJET PRINTER?**

I won't delve too deeply into the print-production process and the options you have at your disposal, as it is a truly expansive topic that can't be done justice due to the space constraints in this book. However, I do want to share some of my thoughts and feelings about the various options we have at our disposal.

**A Darkroom.** Some of my fondest memories are rooted in my work in the traditional ("wet") darkroom. When I started out, I tried using a lab for my black & white work, but I wasn't happy with the results. The prints were terrible and unusable. This persuaded me to open my own darkroom and print my own images. It was one of the best things I could have done. I printed on both resin-coated (RC) and fiber-based papers (I saved the latter for my good stuff). I'm sure you've heard this before, but I must say that watching an image come up as you agitate the developing tray is magical. I have learned so many things by making my own prints, and I am convinced that my hands-on work has made me a much better photographer. Unfortunately, with the trend toward digital, traditional darkroom work is a craft that is going by the wayside. I feel sad for those who have never had the pleasure of printing in a darkroom and for those coming into the business who probably never will. It is one of the best parts of the photography business.

I feel sad for those who have never had the pleasure of printing in a darkroom.

Of course, there are those traditionalists who continue to process film in the darkroom. Fortunately, for them, there are still some good papers on the market to print with. My favorite was the Forte papers made in Hungary. Unfortunately, the company went out of business several years ago. Today, my paper of choice is Ilford's warm-tone papers.

Experiment a lot, and you will learn from your mistakes and successes.

If you print your own images, I suggest you make what you consider a perfect print and then make some that are slightly lighter and slightly darker.

Practice and learn what your printing capabilities are by trying different types of papers and manipulating any other variables at your disposal. In other words, experiment a lot, and you will learn from your mistakes and successes.

**A Lab.** There are many good labs out there. Try several of them to find the one you feel most comfortable with. My recommendation is to work with a smaller lab. Find a pro lab in your town and schedule a meeting so that you can discuss your wants and needs. If you don't have one, do an Internet search or peruse one of the professional photography magazines on the market. They are full of ads from good pro labs that are eager for new business. You'll also want to be sure you can call your lab at any time and actually speak to the owner or the person making your prints. If you cannot communicate in an effective manner with the staff, I doubt you will ever get what you want.

There are pros and cons to working with a professional lab. On the plus side, labs are, for the most part, fairly cost-effective, especially if you are a good businessperson and develop a pricing structure that ensures that you are compensated for the production fees. Also, relying on a lab to output your images allows you to stay behind the camera, creating images, rather than dividing your time between capture and processing your work. Of course, some photographers are not comfortable leaving the fate of their print solely in the hands of their lab. Luckily, many labs now allow you to make your own color and density corrections to your digital files. When they receive your files, they will print them as is, making no adjustments at all. This allows you more control and ensures that you receive predictable results. An added bonus is that you will pay less per print when you handle this aspect of the production process yourself. Be sure to discuss this option with any lab you may be considering doing business with. The downside is that some labs are impersonal, high-volume businesses that are not as much about quality as they are production numbers.

Keep in mind that if you are sending your files or negatives to a lab, your success hinges on presenting the lab with film that is properly exposed and/or digital files that are properly prepared.

**Inkjet Printers: You've Come a Long Way, Baby!** I have a 24-inch Epson printer, and I simply love it. I get beautiful, well-saturated prints and the ability to quickly make any necessary adjustments. The inks used offer an archival rating of well over 100 years, but they will probably last much longer if your prints are stored or framed correctly.

Using an inkjet printer can help you when you're faced with a rush job, and you can still be assured of awesome print quality and excellent detail.

My feeling is, even if you decide to have a lab print your digital images, an inkjet printer is an important investment.

Using an inkjet printer can help you when you're faced with a rush job.

# **LEAVE IT TO THE PROS**

You must deal with a pro lab that has a great knowledge of printing and preferably works with professional photographers. Whatever you do, avoid printing your images at the corner drug store, warehouse club, or chain store. It is a total waste of time. Trust me on this. You are doing yourself, your client, and your artistry a huge injustice by using a place like this to print your images. They are not set up to work with advanced imaging. I am not saying they don't serve a good purpose, because they do, but not for the type of work that has been discussed in this book.

# 6. Learning Is
an Ongoing Process

# **STUDY PORTRAITS: IT'S A GREAT WAY TO LEARN**

Learning to be a better photographic artist is not as simple as it may seem. Most photographers, being visually oriented, cannot pick up a textbook and simply be told, using only words, how to create a great portrait. We need visuals. We need to be able to examine the photos we admire and investigate the highlights, shadows, posing, and placement of the subject. While perusing my images in this book, make it a point to look at them as more than just art. Study them as if you were having a final exam on them.

We need to investigate the highlights, shadows, posing, and placement of the subject.

I highly recommend you study the images of George Hurrell. Mr. Hurrell photographed many of the movie stars from the Golden Age of Hollywood. He was an inspiration to me and, in a sense, was an absentee mentor. Study the prints, then try to re-create the look and feel of the images you like best. It will be harder to do than you might think. You should also try to recreate a few of the images in this book. All you will need are a few basic lights, a camera, and a patient, understanding model. This is a learn-by-doing approach to portraiture. The more you do, the more you learn. Great photographers, like great businesspeople in general, have worked very hard at their craft and their business. To be successful, you will need to do the same. Study, shoot, study, shoot, and repeat as needed. It's a recipe for greatness.

# **PRACTICE, PRACTICE, PRACTICE**

You must be patient with the artist in you. You must practice and refine your skills, then practice some more. To become a great photographic artist, you must be your own toughest critic. Most highly successful people are.

Great achievements usually require a great amount of practice and trial and error. So practice, critique, practice, critique, and repeat. Remember, we did not make it to the moon without practice and some failures along the way. Just go for it.

# **Part Two**

# **THE PORTFOLIO**

# **ABOUT THE IMAGES**

Throughout my career, every moment and every click of the shutter has been—and still is—a wonderful and exciting experience. As a young photographer, I went into some portrait sessions with a bit of anxiety about creating the images I envisioned. For me, success as a photographic artist was achieved when I was able to create images that lived up to the standards I set for myself when I started out in this business. (I didn't realize back then that all the beautiful images I studied were setting very high standards for me to reach. I wanted nothing more than to create and paint with light.) But there was more: I wasn't satisfied unless I was able to present my clients with images that made them say "wow." My wife says I have always been hard on myself and my work, and I must agree that I am. However, I know that being my own toughest critic is what led me to create as I do today. Photography is no different than other aspects of life; with age comes confidence to those who strive for success.

It takes many photographers a while to understand where their heart and passions lie in the field of photography. I went through many stages of creating before my passion for hot light portrait photography finally sunk into this thick head of mine. I think it took a while because learning to light effectively was hard, and I became frustrated over and over again. I never thought of myself as a great businessperson, so I can assure you that it wasn't money that kept me pushing forward. It was definitely the passion for photography that kept things going for me. Of course, having a wonderful wife to run the business didn't hurt, either.

The following photographs, captured at varying points during my thirty-year career, are presented here for your enjoyment. Use the images and accompanying diagrams as a study guide. As I stated earlier in the book, the bulk of my education on lighting came from looking at others' portraits. So, look at the highlights and observe where the shadows fall. Study the eyes and the texture of the skin and clothing. Try to figure out the lighting setup used to create each image before you turn your attention to the associated diagram or the descriptive text. Look into every photograph as if it were a novel waiting to be explored, for in a sense, it is.

# **FACES ARE LANDSCAPES**

An old, abandoned boat that sits tilted and stranded on a shoreline tells a story, as does a shot of a stream running down a mountainside. So do the faces of most of the people I have met. The face tells the story of a person's life.

Faces are my landscapes. Every face is different, and each tells a unique story. Some of these stories are tired and worn, and others are beautiful, full of fun and excitement.

Several years ago, I took a guided photo shoot/tour through Yosemite National Park. Our tour guide was a very talented photographer/landscape artist who took us to some of the places that Ansel Adams photographed. He had us where he wanted us to be at the right time of the day to get some wonderful images of the park and all its beauty. I enjoyed it very much and had three great days of shooting. However, I was as interested in some of the faces of our group members as I was in the scenery of the park. I realized that, just as El Capitan told its story, so did the faces of the group.

The dictionary defines the term "landscape" as: [noun] (1) an expanse of scenery that can be seen in a single view (2) a painting depicting an expanse of natural scenery (3) a genre of art dealing with the depiction of natural scenery. Interestingly enough, a face can be seen in a single view, and it is definitely part of the natural scenery. A face has hills and valleys and looks different when light strikes it from different angles, just as a landscape does. Finally, faces are definitely art in the natural scenery of the world. All of us at one time or another have looked at a person and judged them by their face—their smile, eyes, and hair (or in my case, the lack thereof).

Mondo, the subject of the images in this section, is one of my favorite models. He has a great way of working with the camera. Many models/clients will feel uncomfortable in front of the camera; it is your job to alleviate their discomfort. You must also become good at reading people and finding out what they are all about. It is critical to a successful shoot.

When I find a model like Mondo, I like to keep in touch—not only because we've become good friends, but because photographing their varied looks throughout the stages of their lives can be fun and challenging.

# **LIGHTING FOR DEFINITION**

I travel and teach a lot throughout the year. I have met and made many good friends, both photographers and models, whom I have had the opportunity to photograph. I met this model while teaching a class in Traverse City, MI. On many teaching assignments, the instructors are assigned models who rotate from class to class throughout the day. This guy was fabulous, and he is pursuing a career in modeling. Even with a class full of students, he was very calm and easy to work with.

He has obviously has taken very good care of his body. He has a physique most of us guys would love to have. To keep the muscle detail in his body, I used strong side lighting for each image.

In photo 1, the side lights served as the main lights, as they were the brightest lights in the setup. Note the natural pose the model is in. This was accomplished by just watching him as I changed lighting setups.

**Left—** Photo 1. **Above—** Diagram for photo 1.

**Top—** Photo 2. **Bottom—** Diagram for photo 2.

Photo 2 was also made with strong side light. This time, though, I used negative space in a way that breaks the rules of traditional photography. Normally, you want to leave room on the side the model is looking toward. The theory is, you should give the subject room to look through the photo. By having strong light coming from camera left and having the subject looking into the short side of the print, I was able to create a static feeling that really engages the viewer. Note that the shadow on the right side of the image was introduced to create compositional balance.

In my photographs, I welcome shadows and use them to my advantage. Most portrait photographers today use softboxes and umbrellas to create a flatter light and lower image contrast. This is simply their personal preference. The way I see it is, shadows are a part of life. Rarely can you walk outside and not see some sort of shadow. On a gloomy day, there are usually shadows present. At night, you see shadows from street lights, the lights on houses, and so on. I think they have a place in portraiture. They add depth to images, create roundness, and are a natural part of life. Perhaps the best reason to use them, though, is that most photographers don't!

**Top—** Photo 3. **Bottom—** Diagram for photo 3.

Photo 3 has shadows and streaks of light that lead the viewer's eye straight into the art piece. The strong light was produced by a small, 150-watt spotlight with barn doors on it. You can also see a small shadow above the model's head. This was produced by a small kicker light that I used to define the model's muscles. The kicker was placed to camera left and close to the floor.

# **DEPTH OF FIELD**

Using a shallow depth of field is a great way to control where the viewer's eye goes and, of course, it gives a beautiful soft falloff of focus to the rest of the print.

**Left—** Diagram for photo 1. **Right—** Photo 1.

In these portraits of Cora, I used a very controlled focus using shallow depth of field. I focused on her left eye, letting the rest fall out of focus. I use this approach for most of my portraits. It is definitely a personal choice, and you may end up doing it a little differently. As artists, we all have a tendency to visualize our art differently, and this is a wonderful thing. Imagine how boring life would be if we all visualized and shot every portrait the same way.

In photo 1, notice the hair on Cora's right side. It was cross-lit with a separate spotlight to create sparkle and depth. Using barn doors allows you to precisely light small areas like this.

**Left—** Photo 2. **Right—** Diagram for photo 2.

For photo 2, I used an f/4 aperture (wide open for my lens). I wanted very shallow depth of field, so the eyes are the point of critical focus, and all else falls off and out of focus quickly.

For photo 3, I raised the camera so the model would look up into the lens. This created a different look. The f-stop was f/4. The barn doors on the main light were squeezed tight, so only the face and tips of the fingers were lit.

**Top—** Photo 3. **Bottom—** Diagram for photo 3.c

# **SOFT, SULTRY LIGHTING**

This portrait shows the soft and velvety feel that can be achieved with hot lights.

Notice the great specular highlights in the model's hair. This is an especially great approach to use when creating high school senior portraits. Most seniors love it when their hair looks so distinctive.

Also note that in this portrait, the model's eyelashes cast shadows on her face. Capturing this kind of shadow was often done in the Old Hollywood era.

# **ONE SETUP, SEVERAL POSES**

These images show how easy it is to create several different poses from one lighting setup.

Six lights were used to create photo 1. I can hear the mumbling and grumbling already— _six_ lights? It's the same reaction I get from my students. On the first day of class, when I talk about using six lights, a few of the students go into near cardiac arrest. However, when they see how quickly these lights are set up, their faith in me is restored and we can call off the ambulance. Keep in mind that although the setup used to create this image required six lights, you can create an array of unique images using just one or two of the lights.

**Left—** Photo 1. **Right—** Diagram for photo 1.

**Top—** Photo 2. **Bottom—** Diagram for photo 2.

Photo 1 is unique because, as the artist creating this image, I saw many areas that needed to be highlighted. Most veterans are proud of their service to our country, and they wear their badges with honor and dignity. It is my job to create a portrait of them and their badges of honor, not in just a typical manner, but by painting with light. Daubs of light here, a little daub there, and all of a sudden you have a print that has a look like no other.

For this pose, I first directed the main light onto the subject's face, letting the light illuminate his hat as well. Next, I added a light positioned at camera left and behind the model. This light was focused on his hat and also part of his shoulders. A few other lights were used to highlight the man's hands and shirt and voilà!—another masterpiece.

Photo 2 was created from the same pose and a lighting setup similar to the one used in photo 1. The hands tell a lot about a person's life. Don't be afraid to showcase them.

Photo 3 was created with the same pose, but I switched the positions of the camera and main light. A word to the wise: don't fight your lights, and take your time to look carefully at what they are creating for you.

**Top—** Photo 3. **Bottom—** Diagram for photo 3.

To create photo 4, I moved the camera slightly and added a little more fill light. I asked the model to move his hand up to his face. This portrait was easily derived from the subject's main pose.

**Top—** Photo 4. **Bottom—** Diagram for photo 4.

# **INTO THE DARKROOM**

This portrait was captured with a Pentax 6x7 and a Nikon soft focus filter. The print was made on Forte warm-tone, fiber-based paper, which gave a beautiful brownish red image. This was my favorite paper. I loved printing in the darkroom. I found it to be rewarding and therapeutic.

Printing in a wet darkroom is an art in and of itself. There were, and still are (though to a lesser extent) so many different types of film developers, papers, and print developers available to photographers—as well as the options that split printing, masking, and using texture screens allow—that becoming proficient in the darkroom requires time and practice. Learning to do your printing yourself puts you in full control over the outcome of your printing. It is time well spent. Good darkroom printers were hard to find back in the day and are even harder to find nowadays.

Those of you who still close the door and lock the light out of your darkroom to make a print have my deep respect and best wishes. It is only those of us who have walked through those doors and sloshed prints in trays for hours who really understand the satisfaction of watching that image slowly come to life. If you've not had the experience yourself, I strongly recommend that you try it. The darkroom is like a fine wine—everyone should taste it!

# **DRAMATIC EYES**

The image below illustrates a portrait technique that I use very often—a higher camera angle with the subject looking up. Using an elevated camera angle makes the subject's eyes look bigger and can create a slimming effect.

Using hot lights also makes the eyes of both male and female subjects look stunning. Once you use hot lights, you will quickly become hooked on this benefit alone!

# **A DIFFERENT PERSPECTIVE**

You can completely change the look of a pose with the simple turn of the camera. Do not be afraid to tip, turn, or otherwise change the camera position to produce different looks and create artful photographs that are spontaneous and much loved by the client. Today's customers are looking for something different, even though they may not tell you so. I would suggest you free yourself from the camera stand or tripod from time to time. You will be amazed at how much more creative you will become by doing so.

# **MIRROR, MIRROR**

All of us as photographic artists have a few photographs we have taken that stand out in our minds; this is one of mine. This is a portrait of me (standing) and my good friend and photographer Larry Erickson. I took it into a mirror. I certainly broke some rules on this one with two main lights (one on each face) coming in from different directions. One kicker light was placed on Larry's shoulder with a light on the wall behind me to add separation and depth. I don't light for rules, I light for what I like and what I feel looks good.

The camera shown in the image is a 4x5 twin lens Gowlandflex, designed and produced by the world-famous photographer, Peter Gow-land. He was a very influential glamour photographer and camera designer. It was a wonderful camera, way ahead of its time, and I sorely regret having sold it.

# **MOTHER-IN-LAW**

After a great deal of coaxing, I finally persuaded my mother-in-law to come to the studio for a portrait session. She, like many, was a bit camera shy, and I'm sure really didn't understand why I wanted to do this session. She was a wonderfully kind and loving person, and we miss her tremendously. She was taken from us after a short bout with esophageal cancer.

As I have mentioned several times so far, it is up to us to see, recognize, and photograph the unique qualities people have. Mary Lou and her husband John raised seven children. As anyone who has even one child knows, raising a family can wreak havoc on your body. Those age lines are medals of honor and should be documented as such. I wanted a photograph that captured the fine facial lines and arthritic hands she never complained much about.

In this image, the eyes tell the whole story. In most cases, looking into a person's eyes gives you access to their inner self. Sometimes, though, the subject's eyes will seem a barrier. I am certainly not a psychiatrist, but having more than thirty years' experience in gazing into my subjects' eyes to get to the essence of who they are, I can tell you that eyes that seem guarded suggest a troubled soul. When you encounter such a client, do what you can with whatever it is that is presented to you. Try to create a story. As they say, a picture is worth a thousand words. You are a novelist with your camera.

# **OLD HOLLYWOOD**

The images in this section show one of my first models. She loved being photographed, and I loved the Hollywood-era look I could get from her. Take some time to study and explore the different looks and lighting patterns I used in these images.

Years ago, I had made it a habit to study photographs I liked and try to re-create the look and feel of them. As a car enthusiast, I have heard that auto makers will buy their competition's vehicle just to take it apart and study it. So what is wrong with photographers studying the work of other artists and learning from them?

**Top—** Diagram for photo 1. **Bottom-** Photo 1.

In photo 1, notice how the main light created a beautiful soft loop light under her nose and how it sculpted her face by creating a nice, soft shadow on her face for a strong cheekbone effect. Look at the strong detail in the gloves. This was created by them with a small kicker light to camera left. Finally, note the shadows created by her eyelashes. This effect was employed extensively in the old Hollywood days.

Photo 2 has been a longtime favorite image at our studio. It is one of my top-five favorite prints. Very little dodging/burning were done on this print. When using hot lights and barn doors you have such great lighting control that you can easily make a print that requires no manipulation in postproduction.

Note the way the light crosses the model's body to show texture and where the barn doors controlled the light.

**Top—** Photo 2. **Bottom—** Diagram for photo 2.

Photo 3 was made with a Sigma soft focus lens. While visiting my local camera store, I found the lens in the used equipment display. I am a very inquisitive and gadgety person, so I purchased it for around $25. It is a very unique, single-element lens that is wonderful for those who like a soft, dreamy image. These lenses produce an image that is fairly sharp, but the sharpness falls off toward the outer edges. Not only do they create unique portraits, but they can be used to create some beautiful landscapes and floras—they are perfect anytime you want to create an image with a soft, Renaissance look. Another unique lens you may want to try is the Spiratone Portragon. I have created some wonderful images with this lens too. The Sigma and Spiratone are no longer made, but they are available on the used market.

**Left—** Photo 3. **Right—** Diagram for photo 3.

**Left—** Diagram for photo 4. **Right—** Photo 4.

In photo 4, the model was asked to look away from the camera. In having her do so, I played with the idea of shutting the viewer out, creating a barrier between the viewer and subject. By disallowing eye contact, the emotions of the model are guarded. Images like these are some of my favorites because, just as in life, we don't always need total access—sometimes all we get is a short glimpse!

Photo 5 (page ) shows the same model, but this time we've created a totally different feel. The subject is showing a lot of attitude. She made eye contact with the camera and, consequently, looks right at the viewer. But is she allowing access to her soul? Honestly, I'm not sure, and I took the image. The great thing about taking a portrait is that you are telling a story—and its interpretation is sometimes left to the viewer's imagination.

Lighting creates mood that is felt not just by the photographer but by the model as well. My subjects have told me many times that their session was different from others they have had, and some have even described the mood I created as "sensual." Hot light photography creates a mood like no other lights can. This image was created with just one light overhead and a small amount of fill from a light positioned near the camera.

**Facing page—** Photo 5. **Above—** Diagram for photo 5.

Every great photo session should take on a life of its own and should generate a feeling of creativity and excitement. When in such an environment, the model will respond with looks, attitude, and a feeling of confidence. As the photographer, creating this mood is up to you. If you're not creating this atmosphere in your sessions, I urge you to do so. Remember, you are not just taking pictures, you are the creator of a masterpiece in the works!

A technical tip: Be careful when photographing people with light-colored hair; it is very easy to blow out the highlights, and doing so will destroy the photograph. When photographing subjects with medium or dark-colored hair, it is important to add enough light to ensure there will be detail in the hair in the final print. Cross lighting the hair can help to ensure good texture.

# **A STORYTELLING PROP**

As I mentioned earlier, I am not an advocate of including props in my portraits unless they help to tell a story about the subject. In this image, the lighting is typical Rembrandt style, with a small amount of background light by the gentleman's head and another light, placed at his left, that skimmed the subject. The shadow on the wall and on the man's jacket was due to the position of the fill light, which was placed at camera left, in line with the subject's nose.

Rembrandt is widely known for the amazingly crisp, fine details in his paintings. Rembrandt lighting is a technique that is used in studio portraits as well as oil paintings. It is popular because it is capable of producing images which appear both natural and compelling with a minimum of equipment. Rembrandt lighting is characterized by an illuminated triangle under the eye of the subject, on the less illuminated side of the face. It is named for the Dutch painter Rembrandt, who often used this type of lighting pattern.

# **A SCULPTED LOOK**

Hot lights are wonderful when you want to capture fine art portraits with a unique look. The man shown in this image worked very hard to achieve his great physique, and he wanted me to create a photograph that captured all of his hard work.

Four lights were used in this lighting setup. I placed a bare bulb light between the model and the background. Its light skimmed the model and illuminated the background as well. I then set one kicker light on each side of the model to highlight and separate his arm and leg muscles. Finally, a light on an overhead boom was used to fall down the back of his body to create texture, ensure muscle definition, and add a small amount of fill.

Now, at this point, I'm sure some of you may want technical details on the fill light. My guess would be that it was 1.5 to 2 stops less than the main. Yes, I did say it was a guess, as I simply eyeballed the shot after I set and read my main light. If you're one of those people who don't feel comfortable doing this, don't. Take your readings and do whatever you are comfortable with. It is all about the final image, not how you get there. Some of you may not like the idea of visually analyzing the image. Trust me, it can be done, and it works wonderfully.

One final note about this photo. Some ofyou may have wondered why I have not mentioned a main light for this photo. My answer to this is the skim lights were acting as the main light(s) as well. They added texture to the body, which is what I was looking for all along. So, technically, I suppose I would have to say there is no main light in this photo, only fill and skims.

# **BEAUTY AND GRACE**

There are a lot of beautiful lines and curves in this image, and the lighting placement accentuated all of them. You may have noticed that the lighting used in this photo is very similar to that on the image shown on the facing page. Very little has changed except for the amount of fill light used, which is a stop or so greater in this photo. The light emphasized the softness of the model's skin and the flowing curves and lines that make the image so easy to look at.

One point of interest in this photo is that it shows how different colors and textures react to light as it crosses over the subject.

# **NUDE STUDY**

Although some people find nudes of any kind distasteful, I personally enjoy creating and showcasing my fine art nudes. I find the human body to be beautiful whether it is skinny, heavy, curvy, bumpy, tanned, white, black, or whatever. Every one of us is a creation waiting to be captured on camera, and we should be.

This portrait was created with one light, placed overhead and a little behind the model. Bringing this light too far forward would have flattened out the contrast in the image. A small amount of fill was added from camera left. Remember, you should be trying to add little daubs of light here and there, not one big glob.

Diagram for image on left.

Diagram for image on facing page.

# **ADDING TEXTURE**

This portrait of my wife was made nearly twenty-six years ago, but it is a timeless image that will always remain beautiful. Her eyes and facial features in this image are gorgeous, with some thanks to genetics and a little to the soft beauty of hot lights.

The model's face was very gently lit with a snooted hot light. Her hair was lit with an overhead light on a boom. A separate background light was directed through a wicker chair, which caused the shadow and light pattern on the wall.

By shining your light through objects like wicker or flowers, you can create unique shadow patterns on your backdrop and introduce texture. You can also take a piece of cardboard that's about 2x2 feet, cut shapes into it, and shine your hot light through it from different angles and distances to create a range of effects. _Caution:_ The heat produced by these lights can start a fire if the cardboard—or most anything else—is placed too close.

# **CULTIVATING A STYLE**

When you look at these two photos, you may think you are beginning to see a pattern, right? Wrong. It is called a _style,_ and each and every one of us has one or will develop one over time. As you can see by now, my style is built on adding daubs of light using barn doors. Remember, your lighting should flatter your subject. What or who you photograph is irrelevant; it's how you light your subject that is the key.

The lighting styles used in these photographs are similar; there are just a few differences, which I will point out.

The image below was made with Rembrandt lighting, which was discussed earlier in the book. The lighting on the face was very controlled and just skimmed across his hand, creating texture and form.

The image above was made with loop light. Again, the light was very well controlled. It was allowed to fall minimally on the subject's hand. If his hand was lit as strongly as his face, the image would not be nearly as dramatic.

Notice how in both images, small amounts of light came from behind the men to create roundness in the portraits.

# **FATHER AND SON**

In this image, a son's love for his dad is evident. Capturing a traditional photograph of stiffly posed family members is overdone and overrated. To please your clients, you must create something different. Take control of your photo shoots by posing people close. Taking them out of their comfort zone will show them you are different, and it will work to your advantage, allowing you to create some distinctive images.

Even though your clients may not ask for it, they want something different and creative. The truth is, we photographers can benefit from striving to create fresh new approaches to our imaging. When we create the same image over and over again, we can easily begin to feel burned out. No one I know would ever complain about receiving an image like this one because of the love and emotion that is conveyed. The total control I was able to achieve over the light was the icing on the cake.

The lighting used to create this image was very simple. A mini spotlight was placed approximately 24-36 inches from the subject coming from camera left. This was the main light. A spotlight was placed behind the subjects, coming in from camera right. Very little fill light was used. The fill light was placed not by the camera, as most would think, but directly out from where the dad's nose is pointing. Remember that in most cases, the fill light follows the nose, which in turn gives a wraparound effect instead of flattening the image.

# **BODY LANGUAGE**

In this image, the model's body language piques the viewer's interest. He is not interacting with the camera, leaving the viewer to wonder why.

When you've created an art print that makes the viewer want to explore, study, and decipher the image, you've created a successful photograph. Anyone can point a camera and take a picture. It is your job as an artist to create a feeling; it doesn't have to be a feeling everyone likes and appreciates, but it should make the viewer think.

# **DRAMATIC SHADOWS**

These images show my younger son, Jay. He grew up posing for me and is very comfortable in front of the camera.

As I did in my other photographs of men, I made the lighting look strong, with a painterly quality I attained with barn doors and snoots.

Notice how the background light in photo on the facing page crossed the wrinkled muslin backdrop and created interesting shadows and highlights. Always remember that shadows are your friend.

Diagram for image on facing page.

Diagram for image on left.

# **INTIMACY**

Creating intimate art images is a joy and a true love of mine. My wife and I have become good friends with the couple shown in this portrait. They came to the studio wanting some tasteful fine art nudes taken in such a way that they could be displayed in their home. This couple is very much in love, and I believe it shows in the image.

For this image, I used a single light positioned overhead. By repeatedly making small changes to the positions of the subjects and the camera, I was able to create many different versions of the image using a single lighting setup and pose.

# **LIGHTING RATIOS**

This image has a velvety look, yet it retains the strong contrast and depth I like to create in my images. The beautiful highlight-to-shadow ratio keeps the image interesting. Remember that shooting wide open for a shallow depth of field is imperative in creating this look.

This image was created very simply with a main light, an overhead hair light, which also added a bit of light on the background, and just a little fill.

Even though the lighting ratio in this photograph is very strong—I would say 2.5:1 or 3:1—the image presents itself well. It is different enough that it may make the viewer look at it longer than normal and keep him or her wondering what it is about the shot that is so compelling. When that happens, I feel I have done my job as an artist.

# **LARGER THAN LIFE**

This portrait was created using only three lights: a main light, one hair light/backlight, and a little bit of fill. I chose to use a low camera angle to create a larger-than-life feel. Because the man is looking down at us, it seems as if he has some degree of control over us.

I like to use strong lighting ratios to create a contrasty look—especially when I am photographing men. I think the higher contrast adds richness and a strong feel to the image.

# **REBELLION**

When professional photographers began using digital capture, I wanted nothing to do with it. Anyone who knows me well knows how strongly I felt about the trend. I saw no need to switch from film, which had been working so well for so many years. As time went on, I witnessed the film massacre. I saw my photographer friends slowly switching over to digital capture—to the enemy!— and deep down, I knew the end of the reign of film was drawing near.

Over time, my hatred toward digital cameras began to dissipate, and I became more accepting of the medium—even a bit curious. Finally, I caved in and bought my first digital camera— just to experiment because I had a steep learning curve ahead of me. I wasn't about to tell my friends that I had purchased the "digital monster." My pride prevented me from making that admission. I started out very gradually doing a digital session here and there, and finally made the switch. I do still shoot some film. If you are still shooting film exclusively, I commend you for standing loyal and true to our great friend, film. However, I must say, I do like digital now and I have adapted well. Digital capture certainly has its advantages and disadvantages, just as film does. It really goes back to a point I have made many times now: it's not how you create the image, it's the resulting image that counts.

I wasn't about to tell my friends that I had purchased the "digital monster."

I made this portrait during my rebellious stage of digital imaging. It was intended as a joke, and it was entered in my state's photo competition. I think the image speaks for itself!

For this image, the main light on the subject's face spilled onto his chest, hands, and the foreground. This main light was fitted with barn doors, which were only open a few inches. A light coming from the back of the man was used to separate his head and shoulders from the dark background, and one light was used on either side of the enlarger in the background, providing just a touch of light so that it would not be distracting. A little light goes a long way. Many good photographs are ruined by over-lighting. The fill light, as usual, was placed to follow the nose. The light ratio is probably 2:1.

# **A THREE-LIGHT SETUP**

If you want to start out simply, with as few lights as possible, study this image, which was made with just three lights. One light was placed directly behind the model to separate his shoulders and face from the background. The main light was placed below the man and slightly to camera left. A third light was placed on a boom overhead. The light coming up creates a rather mysterious feel to the image. Controlling the main light with barn doors, which were barely open, was critical to the success of this shot. Had the light not been so tightly controlled, the man's hands and chest area would have been overexposed and the highlights would be blown out.

# **CHARACTER**

This gentleman was brought in to me during a class I was teaching. He is a Vietnam War vet, a Harley rider, and one heck of a great gentle giant. He's certainly the kind of guy you want on your side when a fight breaks out.

He was kind enough to allow me to photograph him and the character I saw in him. I love people who march to the beat of a different drum and don't give a damn about what others think.

I kept the lights very close to him for this sequence because it allowed me to control the light better with the barn doors. It would be nearly impossible to light these images without barn doors. Each light truly painted a different area of the image. Ah! I love painting with light.

Take some time to enjoy these images and figure out where the main light is coming from. Notice how the lights just skim the hands and fingers and look at how cross lighting the beard created texture in each whisker.

# **A STARLET IS BORN**

Creating a different look is so easy to do with hot lights and barn doors—it almost seems like an unfair advantage.

Sculpting the beautiful eyes and facial features of the woman shown in this shot was easy. For this shot, I had a light way up high on a boom, as I wanted it to look as if she were being lit by old light in a bar or restaurant.

I chose to use loop lighting to keep her facial features slim. Also, by bringing the light in from behind the model, I was able to backlight the smoke, which otherwise may have gone dead and appeared blown out. The fill light was in alignment with her nose, and a small amount of hair light came from behind her to separate her from the background.

The fact that her eyes are focused away from the camera invokes a feeling of uncertainty, which I like. Let's make the viewer of this image wonder what she was looking at. The whole story of this girl need not be told by the camera.

# **THE EYES HAVE IT**

This young lady came in for a high school senior portrait session. As a portrait artist, I am always intrigued by the expressions people exude, and I wonder just what their story is. I firmly believe it is important to capture the true look and spirit of the client, versus a forced, fake smile.

Look at the subject's eyes and the stories they could tell. Is she sad, or just deep in thought? The connection she has with the camera makes us want to keep looking and trying to figure it out.

# **BRIDAL PORTRAITS**

Photo 1 was done very quickly on location in a small hallway of the church where the subject's wedding took place.

The lighting was straightforward: One spotlight was used as the main light. It was positioned just out of camera view and directed across the bride's face and dress, providing the detail I wanted to keep in the dress and the lighting pattern I wanted on her face. The ambient light in the church provided fill.

I usually place my main light 2 to 10 feet from my subject. It is normally just out of camera view, although there have been a few times it has been in the edge of the frame (that's when you give thanks that digital image editing is available!). I can change the light and contrast by moving the spotlight closer or farther away, depending on the look I am going for.

I used a wide angle lens to emphasize the bride's arm length and pose. The texture on the wall is very visible as well because the light was skimmed, as I discussed earlier. Light can be your friend or your enemy. You must learn to see it and use it always to your advantage.

**Left—** Photo 1. **Right—** Diagram for photo 1.

This particular bride loved my Hollywoodstyle images and wanted to have them done at her wedding. As you can see, the shoot was a great success. She was extremely satisfied. In this day and age, understanding light and honing the ability to create beautiful light on your clients can be your calling card. It can and will set you apart from your competition.

**Left—** Photo 2. **Right—** Diagram for photo 2.

In photo 2, we see a bride who was photographed on location against the long, flowing curtains in the front of the church. At weddings, you need to be able to make the best of your surroundings, and this was a beautiful area to photograph the bride. I wanted a modern pose, so I had the subject bend her left leg and bring the knee forward, then position her arms in a manner that produced a modeling type look.

The image was made with available light and one spotlight, placed at camera right. The light crossed the bride and the curtains, creating the highlight to shadow ratio I was after. Using this one-light technique on location allows a photographer to move quickly and easily create beautiful images. When I began my wedding career back in the early 1980s, I would haul lights and backgrounds on location. That was a lot of work. I have found that the one-light system works just as well, if not better, and my clients love the images.

Remember, anyone can take a snapshot; a true professional understands lighting and posing. A professional must also know how to cope well under pressure and keep things going smoothly at weddings. Be known as the photographic artist—create with light!

The bride shown in photo 3 was photographed in our studio camera room. A one-light setup was used. A 200-watt spotlight, without barn doors, was placed to camera left. Lighting the bride this way went against my normal pattern of using my barn doors to completely control my light, but I have learned that all rules are made to be broken from time to time. It all goes back to what I have been saying about looking at your lighting and analyzing what is happening. In this particular case, the unmodified spotlight was giving me a beautifully soft portrait, so why mess with a great thing? Some might say that lighting with tungsten spots produces a porcelain-like look. I can say for certain that it is a look I could never accomplish with strobe lighting. Hot lights have a look and feel of their own, and I could never do without them.

**Left—** Photo 3. **Right—** Diagram for photo 3.

Photo 4 shows the same bride. For this image, I attached the barn doors to the spotlight and closed them down a little for a little more contrast. Notice the light. Because the barn doors are closed down, it is covering the subject's facial area and just the edge of her flowers. When you begin to close down the barn doors, you will notice it gives you a burned-in, vignetted look. This draws your attention to the main image area—in this case, the bride's face.

**Top—** Photo 4. **Bottom—** Diagram for photo 4.

Photo 5 (page ) shows the extreme light control that using barn doors allows. The doors were closed down to an opening of around 3/4 to 1 inch. Just a sliver of light was allowed to hit the bride's face, which gives what I call the "old Hollywood" look and feel. The amount of fill light you use is up to you and depends on your artistic vision.

**Left—** Photo 5. **Right—** Diagram for photo 5.

# **GLORIOUSLY GLAMOROUS**

I am always looking for fresh faces for my personal portfolio. I saw this young lady on a modeling web site. She needed photographs, and I wanted to photograph her. We did what is called a "TFP" or Trade for Print. For those of you needing models, it is a great way to meet some really great people and be creative. However, many models no longer need to add to their portfolio and will work for cash only. That is fine with me as long as they have the look I am after. Just as with any business deal, you need to be careful for the scammers.

Just to reiterate, my favorite model is the everyday person off the street!

# **THE STRENGTH IN A PORTRAIT**

I've said it before, but it's worth repeating: in most cases, smiles bore me. They seem to keep the story in a person's face from breaking through. If you disagree, that's fine. I respect your opinion. That's the great thing about art—you do what you want, and as long as the final image looks the way you want it to, it's all good.

The strength in this man's face was enhanced by the lighting used. A strong forehead and wrinkles exaggerated by the shadows from the lighting emphasize character lines. The lighting has also chiseled the face, creating a feeling of attitude and forcefulness.

# **CAPTURING ATTITUDE**

This young man approached me many years ago about photographing him. I did, of course, and I have many times since. As an artist, there are times when I want to do my own thing and do not want to answer to a paying customer and their desires. When I TFP with a model or pay them, then it's my shoot my way (to a certain extent, of course), and I can create as I wish.

This man is one of my favorite models. He enjoys our sessions, and I love them, so it's a win-win situation.

# **FINE ART MADE EASY**

Here we have two fine art portraits that are timeless, tasteful, and beautiful.

Let me start by saying that I believe one of the most difficult things to do is pose someone nude. You are dealing with several issues that do not come into play when you pose a typical portrait.

The first and biggest challenge is the model's insecurities. We all have our issues—even the most beautiful and well-built people have perceived flaws. When your models take their clothes off, you had better have your act together and make your subjects feel beautiful and sexy. The male models, I have noticed, are more insecure than their female counterparts and yes, it is our job to boost their ego. You must work around any issues your model may have and make your subject look like a god or goddess, all while making sure he or she feels special and comfortable in front of your lens.

Now, let me explain the "made easy" part of the section title. The first time I work with models, I try to keep my lighting to a minimum so I can concentrate on the posing and the bashfulness that sometimes come up in fine art nude shoots. Both of these images were taken with one light on a boom well above and slightly behind the models. The light was spilling down on them and onto the background as well. I used a small amount of fill light as usual; however, in this case, it was back by the camera.

This light, produced by one light from above, is delicate, but it produces wonderful body lines, shadows, and specular highlights.

# **STRENGTH AND PASSION**

It's just a fact of life: we all have our passions, strengths, and weaknesses.

The passion this man has for bodybuilding had to be reflected in the way he was photographed. Weak, soft shadows in the image would destroy all he has worked for. I used harder lighting to create sharp, strong, deep shadows to showcase all of the well-developed muscles he worked so hard to achieve.

# **ONE LIGHT, ONE BEAUTIFUL CREATION**

By placing one light on a boom above your subject, you can create some gorgeous images. Each of the three images in this section were made this way. I used a small, focusable 150-watt light, positioned about 5 or 6 feet behind and above each subject.

This is a wonderful lighting setup for fine art nudes. Look at the strong, beautiful lines this light created. A little light goes a long way. Give it a try—you'll love it.

# **FOR THOSE WHO GAVE ALL**

I love photographing our veterans. They are proud, strong people who deserve our respect and admiration.

In this image, I showcased the man's hands by throwing light across them to create depth and a feeling of ruggedness. I always admired my father's hands, which looked similar to this gentleman's. With age and hard work, our bodies bless us with skin that showcases our hard work and determination. Each wrinkle is like a trophy we have won over the years. As photographic artists, we should document them and showcase them.

# **FROM ONE ARTIST TO ANOTHER**

This gentleman is a professional photographer who was in one of my photo classes in Wisconsin. Throughout the years, I have made it a point to photograph my comrades for my personal portfolio, and I give each one a print as a special gift.

I fully intend on doing a book series on photographers whom I have photographed. One of the greatest things photography has given me is the chance to meet great and talented artists from all parts of the country as well as Canada.

# **HAVE FUN AND CREATE**

I normally use very few props in my photos. I find they end up dating a portrait and become much less interesting as time goes on. I was doing a shoot for this young lady and decided to change the look and shoot through an old window pane I had purchased at an antique store. In this shot, it works; it created a totally different feel to the image. Always keep your eyes open for new portrait ideas. It makes creating more fun.

# **HIGH-FASHION GLAMOUR WITH HOT LIGHTS**

When photographing my high school seniors and other young clients, I often get a fan out. Using a fan makes the shoot a little more fun and has a positive impact on a shoot—and the seniors love the wind-blown hair.

The main light was a spotlight at camera left. Fill light was added in line with the nose, and some kicker light was aimed onto the blue jeans.

# **MOVIE STAR EYES**

I believe the eyes are an entryway to the soul. A person's eyes tell their story without their uttering a word. Now, each and every one of us may have a different opinion as to what the story is, but we can agree that there is a story there. As long as your portrait conveys a message, you have done your job.

# **PRACTICE MAKES PERFECT**

This image is of my older son, who was always kind enough to pose for me. I'm sure he had other things he would have rather done, but I guess that's the price you pay for being a photographer's son.

This shot was made years ago. At the time, I would find classic images and re-create the pose and lighting. It was my way of teaching myself to progress in my art. I cannot imagine how many hours I spent studying classic images and the trying to replicate them. Well, I guess we learn by doing. At least, it worked for me.

# **A LITTLE BASHFUL**

This is the way this model positioned herself in the chair as I was finalizing my lighting setup. When you are working with your clients, always be mindful of their pose and expression. Some of the best shots I've ever taken were just natural poses the client had put themselves in.

In this image, I had one light between the model and the background and one light on a boom from overhead. Very little fill was added.

# **GLAMOUR 101**

I feel strongly that once your subject is in place, you should walk around the pose to look for other shots. It is very easy to set up your initial shot, shoot it, then move along. When you fail to look for alternative shots, you probably miss two or three poses that could be shot from other angles that would be as good as or better than the initial image.

This particular pose came from circling the pose and looking. I ended up shooting from above the model standing on an 8-foot ladder.

The lighting on this was one main light coming from above the subject at camera left. It crossed the body, helping to accentuate the model's curves and create a sense of form. A kicker light was used to highlight her legs. Very little fill light was added.

# **CLASSIC HOLLYWOOD**

This couple wanted an image with a classic Hollywood look. They work wonderfully with the camera, and they have become great friends of ours.

The lighting for this image was very basic. The main light came from above, lighting the woman's face and spilling onto the man's face at a slightly lesser intensity. I put a hair light on the woman and a background light behind the man. The fill light was in line with the man's nose.

# **GET CLOSE**

I have been in this business for many years, and I can tell you, with confidence, that the best-selling image is usually a close-up. I think it comes down to the theory that the eyes are the entry-way to the soul.

Nevertheless, to make sure the client has a variety of images to choose from, I also try to do a full-length and a 3/4-length shot in each session.

# **SHOOT IT AS IT HAPPENS**

Some of the best images come about when you are simply watching the client and capture an image when the right moment presents itself.

In this particular session, the baby was being restless and fidgety. I noticed that Dad kept looking down and talking to him, so I shot the portrait as the moment transpired.

Sometimes the children in the image dictate what is going to happen. You might as well just shoot and hope for the best. Some of my best shots have been the spontaneous takes such as this one.

# **IT CAN BE SIMPLE OR DIFFICULT—YOU DECIDE**

Let's not make reading and re-creating shots like these any harder than it needs to be. Study these images and follow the light. Where is it hitting the face? Can you tell if barn doors were used? Where else does the main light spill? Study these photos as if you are back in school. Look over the images carefully, and you will begin to see a pattern. Simply put, light what you want and the rest will fall off into shadow.

Photo 1 was created with the main light at camera right. A small amount of fill was added to open up the shadows a bit.

**Left—** Diagram for photo 1. **Right—** Photo 1.

**Left—** Photo 2. **Above—** Diagram for photo 2.

**Top—** Photo 3. **Bottom—** Diagram for photo 3.

Photo 2 was shot with the main light coming from camera left and fill light coming from the nose area.

Photo 3 was made with a main light with barn doors, a light on the background for separation, and a kicker to light the model's hair. Finally, a fill light was positioned in line with the model's nose. The light ratio was about 2:1.

Photo 4 was created with a main light with vertical barn doors and a small fill light placed by the camera. A small kicker light was used to illuminate the model's hair. Note how this accentuated the hair's form and texture.

**Left—** Photo 4. **Right—** Diagram for photo 4.

# **MR. PRESIDENT**

As I stated earlier, I always strive to photograph fellow professional photographers. This gentleman was the president of our Illinois Professional Photographers' Association, and I took a few lights to the hotel where we were having our conference and did my thing. The session was short, but we had a large crowd watching and asking questions before it was over. Professionals and amateurs alike find this lighting fascinating.

# **SET YOURSELF APART**

You can do what all the other photographers are doing, or you can set yourself apart from the pack. If your images look the same as your competitors', why should clients and models come to you? Hollywood-style, painting-with-light images are being created by very few pros. Why not offer this more unique style of portraiture?

I have been told many times that my images have a Karsh-like quality. I'm always flattered to hear that.

**Left—** Diagram for facing page image. **Right—** Diagram for portrait below.

# **THE LANGUAGE OF ONE'S EYES**

This young lady was working at the local mall when my wife and I came across her. I loved her look and wanted to add her to my portfolio. We are not bashful at all about asking people to model for us. They are usually very humbled by the offer and are excited to do so. I pay the models for their time with 8x10-inch finished photographs of their choice.

To light this image, I used a main light modified with a barn door at camera left. I used a small kicker light on her hair. The fill light was placed in front of her and in line with her nose.

# **LARGE FORMAT AND LOVING IT**

This gentleman is another professional photographer friend of mine whom I photographed for my portfolio. He is a very talented and knowledgeable darkroom printer whose work is derived mainly from large-format negatives.

# **DAPPLED LIGHT**

The lighting used in this image is similar to that created when sunlight filters through the leaves of a tree and hits your subject. This dappled-light look proves how much control you can achieve over your lighting when small lights—especially with snoots and barn doors. Dappled light can also be created by using a gobo. A gobo is a light-blocking modifier with shapes or patterns cut into it. When it is placed or held in front of a light source, a light-and-shadow pattern is cast on the background. This effect was first used on movie sets.

# **HAVE FUN AND CREATE**

The title of this section says it all. We set up this shoot in my basement and used friends and family to create a poker-night scenario. The light at the top of the print was the only light used in the image. In fact, I installed a lamp I picked up at the hardware store just for this session.

I think it is important to give yourself time to create images for yourself. Just have fun and enjoy the photography experience—it doesn't have to be all business.

# **SHADOWS AND HIGHLIGHTS—WHAT A TEAM**

Without shadows, a photograph is just a flat, lifeless piece of paper. Of course, when strong highlights _and_ shadows are present, a masterpiece is created.

Look at the photo below. The highlights on the model's stomach show off her beautiful, well-shaped form. The shadows falling across the same area lend a sense of depth and a feeling of roundness to the image.

The model's chest is well rendered by shadows and highlights as well, creating a feeling of roundness in an area that most women are very critical of.

To light the image, I used a main light, which came from camera left. I placed a background light behind the model so that it skimmed across the floral arrangement. A small kicker light was placed on camera right. This light source provided light on the column as well as on the model's stomach and jeans.

# **A STARLET**

It is so easy to take a normal portrait to another level and make it a work of art. You just need to use some imagination and understand what each of your lights will do.

For this image, I placed the main light on a boom above the model. A hair light was used to create depth and separation in the hair. A background light added some needed punch and created some separation. Finally, a touch of fill was added.

Remember, there is no right way or a wrong way to create an image—there is only the artist's way. Create with passion!

# **FINAL THOUGHTS**

I feel honored and blessed to have been in this wonderful business for over thirty years. I can't say I put a plan into action to make it all happen. It just happened. The intrigue of taking pictures as a young boy turned into a bona fide passion, which soon turned into a career. When I look back on my journey and the way that it played out, I know that, had it been scripted, it could not have worked out any better. Certain things in life happen for a reason. When I look back at my life, many things that seemed hard to understand are now clear. I have realized how many things came together in my life to move me toward my passion for photography.

The intrigue of taking pictures as a young boy turned into a bona fide passion.

A true passion or "calling" may temporarily be put aside for the busy and hectic thing we call life. For example, I began many jobs and started down many career paths but quickly left them behind when they interfered with my passion for photography. However, if it is meant to be, if it is your calling, it will surface again and again. Don't fight it; just go with it.

I hope my words and photographs have inspired you, but most of all, I urge you to do what you love in life. Grab your camera, look closely at everything around you, and consider how to photograph it to create your next masterpiece. Remember, the light is your oils, and you are the artist—now go create!

# **INDEX**

**A**

Adobe Photoshop, , , ,

Ambient light, ,

**B**

Background lights, ,

Background separation, , , , , , , , ,

Bare bulb lighting,

Barn doors, , , , , , , , , , , , , 118–19

Body language, , , ,

Booms, , , , , , , , , , , ,

Bowl lights,

Bridal portraits, 116–20

Burning/dodging,

**C**

Camera angle, ,

Capture, , , , , 53–56, 58–60, , , 109–10,

Can lights,

Children,

Close-ups,

Color temperature, ,

Compliments, 37–38

Composition, ,

Contrast, , , , , ,

Couples, ,

**D**

Darkroom, traditional, 57–59, , 81–82

paper selection, , ,

Depth of field, ,

Digital photography, , , , , 53–56, 58–60, 109–10,

Dimension, , , , , ,

Dimmers,

Dodging/burning,

**E**

Eyes, , , , , , , ,

**F**

Fill lights, , , 29–30, , ,

Film photography, , 53–54, , , ,

Filters,

Forte papers, , ,

**G**

Gobos, ,

Gowland, Peter,

**H**

Hair lights, , ,

Highlights, , , , ,

specular, , ,

High school seniors, ,

Hot spots,

Hurrell, George,

**I**

Ilford papers,

Inkjet printers,

**K**

Karsh, Yousuf,

Kicker lights, ,

**L**

Labs, 59–60

Lens selection, , 89–90,

Lighting patterns, , , , ,

loop, , ,

Rembrandt, ,

Light meters,

Light modifiers, , , , , , , , , , , , , 118–19

barn doors, , , , , , , , , , , , , , , , , , , 118–19

dimmers,

gobos, ,

snoots, , , , ,

softboxes, , ,

umbrellas, , ,

Light ratios, , , ,

Light stands,

Location photography, 117–18

Loop lighting, , ,

**M**

Main lights, , , ,

Men's sessions, , , ,

Metering light, 34–36, ,

Mirrors,

Model release form,

Models, finding, , ,

Mood, , ,

Motion,

Music,

**N**

Nudes, , , 125–26

**P**

Painting with light, , ,

79, , ,

Personality, capturing, 43–44,

87, , ,

Perspective,

Portrait length,

Posing, , , , ,

Print quality, 57–60

Proofs,

Props, , ,

**R**

Rembrandt lighting, ,

**S**

Setups, , 33–34, , 117–18 2-1-2; 33–34

one-light,  ,

Shadows, , 73–74, , , , ,

Side lighting, ,

Skimming light, , , ,

Snoots, , , , ,

Softboxes, , ,

Specular highlights, , ,

Spotlights, 24–25, , , , , ,

Strobes,

Studio environment, ,

Style, photographic,

**T**

Texture, , , , , , , , , , ,

Trade for print, ,

**U**

Umbrellas, , ,

**V**

Vignettes,

**W**

Wedding photography, 13–14, 116–20

White balance, ,

Wraparound lighting, , ,

redpajama_set_name: RedPajamaBook