Lighting Techniques for Photographing Model Portfolios: Strategies for Digital Photographers

derstanding of the flow of the show. At the last dress rehearsal, I was able to

shoot many images usingtungsten settings and daylight settings todialin the

color temperature of the lighting. I noted which scenes I’d photograph using

atungstenwhitebalance,whichtophotographusingadaylightwhitebalance,

and when I’d need to boost up the camera’s ISO. Based on my notes, I shot

the first two shows and was able to present the client with a full range of pho-

tos from each scene.

For this image, I shot with my camera’s white balance at the tungsten set-

ting and a shutter speed of^1 / 125 second. From my research, I knew there

would be brief moments during this scene when the actors were stationary.

The result was a correct exposure. However, the art department decided to

add a rain effect and purple coloring because this scene was performed to the

songPurple Rain.

Highlight One Asset.

Another nice challenge you can set for yourself when working on your light-

ing skills is to photograph an image designed to show off one particular as-

pect of the model’s appearance—and to do this without dramatically com-

promising the lighting on the rest of her body.

Manyphotographersusefrontallightingwhenphotographingmodels,be-

cause it gives a beautiful look on the face. However, it can also compromise

the model’s body by making it look very flat. To accentuate the legs in this

shot for the model’s portfolio (7-33), I used one light source (a 22-inch

White Lightning parabolic) and placed it farther to the side than is normal in

a beauty image. This was to accentuate the model’s legs and body shape by

creating the shadows needed to show depth and form. Note, however, that

when you use a side-lighting technique to accentuate the body, it can cast

shadows on the face that may not be attractive—especially for women.

Toovercomethis,youcandirectthemodeltolooktowardthelightsothat

it fills in the mask of her face. This works as long as it doesn’t create an ex-

aggerated shadow of her nose on the cheek. If the strong side lighting still

picks up a few facial imperfections, they can be cleaned up in Photoshop. In

this case, however, the lighting was used to create a split effect on her face.

Onesideofherfaceissmoothlylitwithalmostnoshadows(thebeautylook),

the other side is almost completely in shadow. There’s so little detail visible

on the shadow side, that we don’t see unflattering shadows—it’s virtuallyall

shadows.

To keep just a bit of detail on the shadow side of the model’s body, keep-

ing it from going totally black, I positioned a white reflector to pick up stray

light and provide a low level of fill light. Taking a few test shots and review-

ingthemhelpedmedeterminethebestpositionforthisreflector,ensuringI’d

get the tonal values I wanted.

CREATIVE TECHNIQUES 119

camera on tripod

22-inch parabolic

white discreflector

7-33(facingpage).Dramatic lighting
can be used to highlight one part of the
body—but you have to pay attention to
avoid creating problems in other areas.

To accentuate

the legs in this shot

for the model’s

portfolio, I used one

light source...