Pho­to: Pye Jir­sa, medium.com

Can’t make a nor­mal por­trait with one flash? No mat­ter how! We have trans­lat­ed for you an arti­cle by Amer­i­can pho­tog­ra­ph­er Pye Jir­sa, in which he shows five spec­tac­u­lar light­ing schemes with just one light source and a cou­ple of acces­sories.

Source: Ado­ra­ma

In this arti­cle I will talk about five stu­dio schemes with one light. For these I use the Pro­fo­to A10, but you can use any flash. Also, we will only be using basic mod­i­fiers, main­ly the umbrel­la. For all setups, I will give you dif­fer­ent equip­ment options, regard­less of what I use myself.

You can find the mod­el, Sam­my, on Insta­gram (@boom_shenanigans).

Scheme #1: Rembrandt Light

Pho­to: Pye Jir­sa, petapixel.com

One of my favorite schemes is Rem­brandt light­ing. For this scheme, you need to place the flash at an angle so that the light falls most­ly on the near side of the face, and only slight­ly reach­es the far side of the mod­el’s face. Usu­al­ly with this scheme, the light forms a tri­an­gle on the face (see image above).

Here is a sim­ple trick for this cir­cuit. Have your mod­el look direct­ly into the cam­era, and then place the light source where you can only see a small part of the far side of the mod­el’s face (see image below).

Pho­to: Pye Jir­sa, petapixel.com

Now just add a mod­i­fi­er to the illu­mi­na­tor. I use a stan­dard translu­cent umbrel­la. I have a Canon RF 50mm f/1.2 lens screwed onto my cam­era. I use set­tings (1/200, f/4, ISO 100) that would make the pic­ture com­plete­ly dark with­out flash. I also remove all ambi­ent light so that the only light you see in the pho­to is the light from the flash.

Let me remind you that Rem­brandt­ian light is char­ac­ter­ized by a small tri­an­gle on the far side of the sub­jec­t’s face. You can con­trol the size and loca­tion of this tri­an­gle sim­ply by adjust­ing the posi­tion of the face. If you want more light, turn your face a lit­tle clos­er to the source; if you want a lit­tle less glare, turn it off.

V‑flat pro­vides a large white sur­face for reflect­ing light onto the mod­el. Pho­to: Pye Jir­sa, petapixel.com

Also if you want to fill in the shad­ows you can use v‑flat to bounce the light back onto the mod­el. This is a great stu­dio acces­so­ry, but if you don’t have one, you can use a 5‑in‑1 reflec­tor with the white side fac­ing the light source. Of course, you will also need a reflec­tor hold­er.

Scheme No. 2: Paramount, or Butterfly

Pho­to: Pye Jir­sa, petapixel.com

The fol­low­ing scheme is named after the Para­mount stu­dio and some­times “But­ter­fly” because it cre­ates a small but­ter­fly-shaped shad­ow just below the nose.

To use this set­up, place the flash direct­ly above the mod­el’s head, point­ing it at a down­ward angle. I am using the same umbrel­la from the pre­vi­ous set­up. This is a very sim­ple scheme that does a great job of high­light­ing the hair, as well as the out­line of the cheeks and face. You may need to exper­i­ment with the height of the light source to make sure you are get­ting fill light in the eyes. If there is not enough light in the eyes, just dim the light­ing a lit­tle.

Scheme number 3: Shell

Take a reflec­tor and add it to the pre­vi­ous dia­gram and you will get a “Shell”. Have the mod­el hold the reflec­tor at waist lev­el or place it on her lap if seat­ed.

Pho­to: Pye Jir­sa, petapixel.com

We start­ed on the sil­ver side of the reflec­tor — you can see that the light bounces off of it and fills in all the shad­ows and also adds a lot of high­lights.

You can con­trol the effect in two ways:

1. Move the reflec­tor clos­er to the sub­jec­t’s face. The clos­er the reflec­tor, the more light fills the face (move fur­ther away to make less light).

2. We can con­trol the light in this cir­cuit by sim­ply using the white side of the reflec­tor.

When the light­ning got stuck in the 5‑in‑1 reflec­tor and we could­n’t use the white sur­face, we just took foam. Pho­to: Pye Jir­sa, petapixel.com

If you don’t have a reflec­tor, just take a sheet of paper, a piece of Sty­ro­foam, or some­thing else white. Bring the reflec­tor clos­er to the mod­el, choose a pose and take a pic­ture.

Scheme No. 4: Square

Pho­to: Pye Jir­sa, petapixel.com

In this scheme, we fill the space with light from all sides. In addi­tion to the umbrel­la and reflec­tor, I use v‑flats on both sides of the mod­el. If you don’t have a v‑flat, take two reflec­tors and hang one on each side, with the main light at the top and the third light at the bot­tom.

A pro­fes­sion­al ana­logue of such light­ing will cost thou­sands of dol­lars. And this is a very sim­ple and effec­tive way to do the same with­out any equip­ment. The great thing about this scheme is that it per­fect­ly fills in shad­ows all over the face. This set­up is great for close-up shots of the face.

Scheme number 5: Flat backlight

Pho­to: Pye Jir­sa, petapixel.com

For this cir­cuit, you need to take a reflec­tor and (fas­ten!) Make a square hole in it right in the mid­dle.

Set your flash above the back­ground in the mid­dle. Pho­to: Pye Jir­sa, petapixel.com

I placed the flash direct­ly above the back­ground (see pho­to above) and angled it down­wards, essen­tial­ly cre­at­ing a two-light set­up, actu­al­ly using only one. The light from the flash, “slid­ing” over the top of the mod­el’s head, bounces off the reflec­tor back onto the face. The result­ing light­ing resem­bles the pre­vi­ous scheme, but the light on the hair here falls from behind the back of the mod­el.

Pho­to: Pye Jir­sa, petapixel.com

You can keep all the equip­ment in your hands, but if you plan to use this cir­cuit often, I would rec­om­mend pur­chas­ing a reflec­tor hold­er. They are quite cheap and can save your equip­ment from falling.


От Yara

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