I’ve found that all flashes emit a bright flash of light when you fire them. Really expensive ones, really cheap ones, studio strobes, hot shoe flashes – they all do basically the same thing: They create a bright flash of light.
Now for creating different moods, specific atmospheres and for telling stories you can’t just use a bare flash bulb all day long. By physically modifying your light source, you are able to control the shape and spread of light in your images. Best of all, it enables you to build selective lighting designs.
The way of achieving this control is through the use of different (light) modifiers.
Light Quality & Shadow Patterns in Sexy Women Photography
Lighting, in most of my cases, needs to be diffused in order to create an appealing model shoot.
Spotlights can produce very dramatic fashion and character portrait images – partly due to their harsh quality, but also because of repetitive shadow patterns that can be created.
However, diffused light has many more applications, mostly for beauty and glam/nude photography purposes. Most of the time, softbox-lighting will be combined with other diffusers like a beauty dish for a more shaped light setting.
Quality Of Light: Shadow Cast/Pattern Simulation
To give you detailed visual examples, I’ve created a set of series using different modifiers for demonstrating the quality of light and shadow casting (hard <> soft).
For the simulation, I use the following setup:
- The distance between key light and subject is always 2.5m/8.2 feet.
- The subject is 80cm/2.6 feet away from the background. She stands so close to the wall in order to see and judge the shadow fall-off the modifiers produce.
- Key light power is adjusted according to the modifier used to get a balanced overall output (final photos). Meaning: a softbox absorbs more light internally than a silver standard reflector. Therefore, I increase the output power of the key light when using a softbox, for example.
Standard Reflectors
A standard reflector throws a direct, concentrated beam of light and creates deeper shadows on the subject which creates harsh light in return. These devices are all-purpose reflectors. Their diameter is between 18-34cm/7-14’’. The beam emitted from the flash light is restricted to between 90 and 120 degrees.
By using an additional metal honeycomb grid over a bare light source, you are able to pinpoint your light even more precise.
In this first simulation, I intentionally cast a harsh shadow to help you get a clear understanding of what I mean:
Beauty Dish
Light that is modified by the beauty dish can be compared with what you get from a parabolic reflector. But be aware that you still will receive hard light with semi-soft edges from it, and no hot spot in the middle of the light. This makes it perfect for your nude portrait lighting. The contrast is higher, while the shadow is sharper.
Be careful when placing the light and posing the model because you don’t want to reveal her flaws – nobody is perfect after all 😉
Softboxes vs. Umbrellas
Basically, you should shoot with both types of modifiers. If you just want to create a soft light in a very fast manner and other light characteristics are not very important, then simply take a shoot-through umbrella. It takes about 5 seconds and you’ll have a soft key light that spreads and spills all over the set.
In my beginnings, I used these umbrellas a lot because they were cheap and just right to learn lighting directions. As I started out with modeling photography, this simple modifier made sure that I basically could do nothing wrong in my early “beginner lighting days”.
Note: When you are just starting out, “umbrella vs. softbox” shouldn’t be an “either one or the other” decision to be made. I think that you’ll want to use both, depending on the shape of light and shadow) you want to sculpt.
Softboxes
Due to their incredible design, softboxes evenly spread light to all the surface areas of the box and the light itself is of a clean and natural quality. Though it does allow for open shadows, it does not necessarily create soft light only.
Varying the size of the softbox and the distance from the softbox to the subject can have a profound impact on the look and quality of the light and the associated shadow cast.
Restrictors Or Light Controllers: Barn Doors & Flags
Barn doors and flags are used to control or limit the light, to flag the light, to prevent the light from reaching places the photographer does not wish it to go. Unlike most modifiers, these are used to limit/restrict the light.
Barn doors are quite popular. They allow you to control the light at its source by preventing it from spreading either vertically up and down, or horizontally side to side, or (with a 4-door barn door) in all those directions at once. Barn doors allow you to shape the light, rather than soften or diffuse it.
Emotions Of Light: Use Shadows
The best photos are often those with shading. The balance between shadow and light is what makes photos more interesting and all the tools just described are designed to allow the photographer to apply those shades of light and shadow in creative and interesting ways. When we’re viewers of photos, our eyes automatically move towards the brighter areas of photos. Because of this, photographers can use these tools to move viewers’ eye when looking at photos to where they want them to go.
All of the tools described, whether they are diffusing and softening the light, or helping to create or prevent shadows, allow photographers to paint with light and shadow in ways that make more interesting pictures. And painting with light is exactly what photographers – in fact it’s what the word “photography” means – when they’re creating photos, i.e., painting on their blank canvases… in this case, their models.
PS: Shooting With Speedlights
When shooting with your speelights/speedlites/small strobes, the exact same principles will apply. The only differences are that the original light modifiers you put in front of your speedlight are most likely smaller. And smaller modifiers generally result in overall harder light characteristics!
In order to give you a glimpe of different light small modifiers, I did a quick test shot a while ago, supported by the attendance of the lovely, dressed, unretouched Jenni Czech. I decided to convert the images into black & white so we can fully concentrate on the light quality and character.
Once you discover (and experiment!) the versatile beauty of light modifiers, there’s no going back. And your sexy women photography will take a giant leap forward!
Related Reading
- “7 Useful Facts to Know about Photography Lighting“
- “Emotion Of Light: Basic Light Modifiers You Should Know About“
- “My Small Flash Units: A Very Portable Lighting Kit“
- “Lighting Design: Soft & Sensual Photography: Boudoir Style Involved“
- “Lighting Design: “Damn Sexy” – feat. Playmate Coxy Dominika“
- “Lighting Design: “Seducing Lines” – feat. Playmate Coxy Dominika“
- “‘Clothed With Darkness’: Lighting to Achieve Your Vision“
My preferred lighting source for my monolites is a 52″ silver umbrella with a fabric face, much like a softbox/octabox, but with out the grid. I have no studio space, and do not like the thought of trying to reassemble and disassemble a softbox for each session; I find it impossible to take apart the one strip box I have..
Hi Michael, thanks for your insights!
Hint (you probably already are aware of): If you like to control your light better with fabric grids (rim, hair..), there are umbrella-style folding soft/octa/strip-boxes existing. Various manufacturers are offering low-priced and good-quality solutions.
I am using those for my on location work myself. I paid for the bigger ones per box & speed ring ca. USD 100 max.
It’s really annoying to stick 4 boxes together in the beginning of the shoot and to loose about 20 minutes just because of these stupid rods…
Taking apart is much faster for me…but then rebuilding them… 🙁
Best,
Dan
Both the Paul C Buff soft boxes and Elinchrom soft boxes are based on that umbrella style construction. I don’t understand why other brands don’t adopt a similar style construction.
I own 2 softboxes (1 octo actually) with an easy-setup umbrella mechanism. These are 3rd party products but work just fine.
For getting an idea – Octo: https://www.bestoftechnic.de/Softbox/METTLE-MT-D-K-Serie/METTLE-Easy-Setup-Octagon-Softbox-90-cm-fuer-BOWENS-METTLE.html
60×90 SB: https://www.photoshop-becker.de/PHOTAREX-Quick-Setup-Softbox-60x90cm-with-Fabric-Grid-and-Bowens-S-Accessory-Mount
My favorite is a very large Buff silver parabolic umbrella. It acts like a massive beauty dish that’s great for lighting single models (even full body) or groups, and because it is fairly parabolic, really throws the light some distance without a lot of spill. The light is edgy and specular; really has some pop. There’s also a diffuser available that turns it into a massive octobox, and the light from that is very gentle and flatters most models. And it’s not too heavy to hang on a boom for bodyscapes (although dragging that boom around to locations can be too heavy).
P.S. Please forgive my website in horrible need of updating. Your instruction and book have inspired me to build a new portfolio and website.
Cheers,
Richard
Hey Richard, thanks a lot for your insights! Upload a photo if you like so we can see that particular characteristic this parabolic umbrella creates 🙂 Just a thought…
I’m flattered that I’ve inspired you to rebuild your portfolio! Wishing you all the best and looking forward to see a few shots from your work here 🙂 I will soon announce “readers submitted photos”; you will get an email too.
All the best from Prague,
Dan
I’ve used the Buff paras and they are a great value for the money. Used with the diffuser and they are like an octabox. Used without, and they offer a much crispier light.
Both of these photos were shot with a pair of Buff paras. One was placed about 45 degrees from the camera axis (the key light) while the other was placed behind the shooting position as fill. The Key was 51″ in diameter, while the fill was 64″ in diameter. The fill light had the diffuser fabric while the key light did not. You can see that while there is a pretty distinct and sharp shadow line, it still is reasonably open.
Attachments:
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This was shot with a single Buff para with the diffuser fabric on.
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Thanks for sharing your work and insights, Joe! Great to see how others are setting up lighting design and which light former were used!
Hi Dan, Great blog !! My go to modifier is now a 22″ white beauty dish. Easy to set up, fantastic in close consistent & even pulled back away from the subject. Add a white shower cap (sock) to soften it somewhat and it gives a creamy smooth skin on a female model. Use it as a rim or hair light with or without a grid gives a nice tight spread for real light shaping control. I love it so much i am going to get a 16″ silver one to boost the contrast in portraits. (the wife doesn’t know yet – she wont be pleased !!!)
Hers a shot with the dish in close (about 2ft – 60cm) with a grid.
All the best
Jason
Hey Jason, thanks!
Two things:
1) the shot above: 22″ beauty dish 2ft/60cm away from his face and such a small catch-light? I need to double check myself next time 🙂
2) If you get your 16″ silver coated: can you please add here a shot done with a sexy women so we get an impression on that? 🙂
Thanks for your insights & post here!
Best,
Dan
I’ve been using a 24 in softbox. It has a nice even soft light with a nice fall off too. However, lately I’ve been experimenting with a 36 in octabox with a grid. different quality of light.
Hey Wayne, thanks for your insights!
Try to use the 36 w/grid once very close to the model, like about 35” for a 3/4 shot – you will like it 🙂
Wow, Dan! This is one of the most informative and straightforward treatises I have read about light and modifiers in a long time. With your kind permission, I would like to use this material in working with my students.
Speaking about modifiers…as you and I have discussed, I have been delving deeper and deeper into video for fashion nude presentations. Perhaps being dragged kicking and screaming is a better descriptor? To that end, I have invested in a pair of Godox SL-series continuous lights. One has a max output of 20,000 lumens; the other is a 16,000 lumen unit. Yesterday, before I saw this article, I did some experimentation – tried an arrangement quite new to me.
Like Joe and some others, I have a Paul Buff 7-foot parabolic that I frequently use as a key light for fashion work. With or without the massive diffusion sock, it produces a “wall” of light that gently wraps around the subject. If bringing out the texture of the fabric is important, I will generally use it without the sock.
For my test, I decided to think outside the box and turn the parabolic with the 20,000 lumen unit attached upside down on a boom and place it directly overhead the subject (in this case, since I didn’t have a human model, Audrey stepped in as a volunteer). As I hoped, the light wrapped around Audrey’s head and gently illuminated most of her face. I then placed the 16,000 lumen light in a softbrella for fill. Both units were operated at full power and I shot both stills and video in this test using a Sony A7ii full frame body with Zeiss 24-70/2.8. For the stills, my settings were ISO 200, 1/100 shutter speed, and aperture 5.6.
To say that I am pleased with the result is a given, and I am very much looking forward to trying this design with a live model perhaps as soon as next week.
Attachments:
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Hi Allen,
Canadian portrait and commercial photographer Nathan Elson uses a variation of this setup for his stills portrait work. The picture attached is a screen shot of Nathan’s Instagram with a bts shot of a recent portrait session.
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Joe,
Thanks for this…yes, very similar. In my test, I was especially happy with how the video worked.
Great info Dan!!!
It’s always good to have a refresher in lighting. Sometimes you have to go back to the basics!!
You just saved me a couple hours!!! 🙂
Thanks Spencer! Glad it is a good summery for you. Simple basics are the best to be applied – we just have to remind ourselves over and over again 🙂