30
Technique
1 Without Rotolights
The studio Peter was working in has large
windows, with walls in between, giving him large
amounts of ambient light coming into his
shooting set-up. This image shows what the
model looks like purely shot with ambient light,
without the use of any additional lighting from
his Rotolight set-up. He later deployed two
Rotolights to add in both rim lighting from the
side and fill lighting to the front left for
eliminating shadows that might be caused by
the walls between the windows.
2 Head and
shoulders portrait
With two Rotolight Anova PRO 2 lights in place
for rim and fill lighting Peter shot the model
looking to the left. Peter explains, ‘I try to use
the Rotolights to mix the lights. You can see
that there is not too much difference between
the shots without and with light because it’s
always my main concern that you don’t initially
see that there was additional light to the
ambient light. That’s part of my style.’ The
settings were Nikon D5 and focal length was
160mm, 1/800sec at f/2.8; ISO 1000.
3 Head and body,
seated portrait
This head-on portrait again uses
rim lighting to the left of the
model and fill lighting from an
Anova PRO 2 to the front left. As
with many of Peter’s portraits the
idea is to set up the lighting and
be happy with it for the duration
of the shoot without adjusting it
regularly. He reveals, ‘Rotolights
are really easy to work with and it
doesn’t give you this artificial look
of flash and so on.’ The shooting
settings were Nikon D5 and focal
length 170mm, 1/800sec at
f/2.8; ISO 1000.RIM & FILL LIGHTS ON A PORTRAIT