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INTRODUCTION...............................................................................................................................PAGE 1

LIGHT & MOOD................................................................................................................................PAGE 6

UNDERSTANDING LIGHT.........................................................................................................PAGE 13

DIRECTION & PLACEMENT.....................................................................................................PAGE 26

WHICH ACCESSORY?................................................................................................................PAGE 31

LIGHTING DIAGRAMS...............................................................................................................PAGE 43
 W WELCOME
PHOTOGRAPHER

I'm glad you're here.

This guide was created with one goal in mind - to help photographers

become more confident with studio lighting! Whether you shoot

fashion, beauty, portrait or lifestyle photography I’ve got you covered.

Think of this guide like a studio lighting handbook. Research it, print it

and take it with you to every set you are working on!

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Let me let you in on a little secret.. being a versatile photographer

with an extensive knowledge of lighting techniques is a great asset

and will lead you to being booked time and time again!

The most succesful photographers out there are able to master any

light set up. Why limit yourself when there are so many exciting and

portfolio enhancing set ups out there?

As a commercial photographer you will always have a personal

preference on what type of light set ups you like best (give me all of

that soft beautiful diffused light any day of the week). However, it is

good practice to learn as much as you can about studio lighting early

on so that you feel ready to tackle any client brief!

Having several 'go to' light set ups in your back pocket is important.

This not only garners trust with your client, it gives you confidence

and shows your level of experience. It also opens up opportunities

with more types of clients!

If you are a portrait photographer or wedding photographer lighting

skill is equally as important. Having a variety of lighting styles in your

portfolio makes your work versatile, gives you an edge on other

photographers and enables you to deliver the best imagery to your

clients.

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When I started out as a photographer in my teens natural light was

my comfort blanket! I knew exactly how to control it and how to

visualize what I wanted. If the light felt too harsh I'd choose to place

my model under a tree or in the shade of a building or simply avoid

shooting in midday sun. If I wanted soft diffused light I'd place my

model a few feet from a window or use sheer curtains to diffuse the

light.

During the first few years of my photography career I was scared of

studio lighting. The studio environment felt sterile and uninspiring

and I found it difficult to translate what type of lighting I wanted

when working with clients. I was often left feeling frustrated and

confused when picking out equipment to rent or purchase.

Fifteen years ago there were no online courses or guides on studio

lighting! A lot of what I have learned is through years of observation

and a lot of trial and error. Although it has been a long journey, I'm

glad I was thrown into the deep end as it taught me to think on my

feet (a real asset to have when working with commercial clients!).

Today I find lighting exciting. Every month I find myself yearning for

new lighting ideas and I get super excited when I find a new lighting

discovery!

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You most likely are reading this introduction and thinking about

going straight to the lighting diagram section! I know it's tempting

but bear with me! If you start reading this guide from start to finish,

you'll get a lot more out of it!

I've put together a section called 'Lighting & Mood' which talks about

the relation of lighting and the mood of your shoot, as well as a

section on accessories I use and recommend. You'll also find insightful

information in the 'Soft or Hard Light?' and 'Direction & Placement'

sections which help you brush up on your lighting knowledge. These

sections are all designed to help you translate the lighting diagrams

more accurately and allow you to understand my creative thought

process.

Remember that practice makes perfect. Use this guide to help you on

your journey but don't be afraid to experiment with mixing and

matching the set ups I am sharing with you. To become a master of

studio light you need to take in as much knowledge as you possibly

can and experiment as often as you can. Through experimentation

you will find your photographic style.

My biggest recommendation when it comes to learning lighting

would be to challenge yourself often. Think of the one light set up or

modifier that intimidates you the most and learn to master it (even if

you don't end up using it, knowledge is power!).

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There are three creative fundamentals in portrait, fashion, beauty and

lifestyle photography - lighting, styling and posing. In my opinion,

lighting is the most important element. Without light, a photograph

connect exist. With good light, a photograph can be extraordinary.

Believe me, I have shot many editorials and client shoots where I've

been disappointed in my lighting technique. When I look back I

realize it's due to my lack of skill and knowledge! I often tried to hide it

with creativity (styling, color toning & retouching!).

Lighting enhances the mood in a photograph. It’s part of what makes

your potential client or viewer stop in their tracks when they turn a

page in your portfolio, or perhaps scroll past your image on a social

media website. In today's industry you have to stand out!

If you can grab a viewer's attention immediately with your lighting

style & knowledge then you already have a head start in the industry.

Having a memorable portfolio leads to bookings. It’s what photo

editors, creative directors, art directors and many other types of

clients are looking for when they look through countless images and

view portfolios day in and day out.

The same can be said if you are a portrait of wedding photographer -

lighting enhances the emotion in your work. For you, lighting helps

you tell a story. The way you compose with light is a huge part of your

style and is a selling point when clients are considering you!

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A successful photographer knows how to compose with light and

they understand the connection of light & mood. If you start to

approach each shoot with a set intention then executing your

concept becomes a whole lot easier! You should always have an idea

of what light set up you are going for before you get to your set!

When thinking of a mood or concept start to write down keywords

that will help you decide your lighting set up. Are you creating images

with an upbeat, bright, airy mood? Or something more vibrant and

bold? Perhaps your keywords are punchy and colorful? Or perhaps

your client has requested a timeless and painterly look?

On some shoots (such as personal portrait clients or celebrities) I only

have to think about making my subject look their best in their desired

environment. If a client or photo editor came to me looking for a

timeless romantic portrait then I'd choose soft lighting (usually a 5'

Octabox in a feathered position) because it's the most flattering for all

subjects and helps convey the romantic storytelling theme.

If I am photographing an advertising campaign focused on a skin

product then I may have two goals. The first would be to to highlight

the product on the skin and the second would be to make my model

look and feel beautiful (selling the dream!). I most likely would choose

a semi-soft light that wraps around the subject and adds a beautiful

glow to the skin.

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A 7' white diffused umbrella close to my subject is going to create

softer light than a 5' Octabox at the same distance because the 7'

umbrella is a larger source.

A 5' Octabox is going to be softer than a 2.5' octabox at the same

distance, purely because the 5' Octabox is a larger light source.

A bounced strobe or umbrella into a white wall behind me (6ft from

the subject) is going to be softer than a 5' Octabox a few feet away

from my subject, purely because the bounced light is creating a large

source of light when bounced.

When thinking of hard light - The smaller (narrower) the light source

the harder it will be. The further away your light is in relation to your

subject means that you'll get harder and more distinct shadows.

Moving your light closer will soften those shadows.

Once you understand the size and placement of your light source &

how it effects your image you'll start to feel like you have more control

over your set ups and get a better idea of what accessories to use!

When testing the light at different distances don't forget to increase or

decrease the power of the light otherwise the results can be

misleading!

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 KEY & FILL

As you go over the lighting diagrams you'll notice the words 'KEY' and

'FILL'. In a nutshell, key and fill are two light sources and one is more

powerful than the other.

They KEY light is the light source that is slightly stronger or perhaps

doing the majority of the work (in power). This light is the main source

that illuminates the subject. Perhaps your key light is a 5' Octabox.

A FILL light is often used to fill in (or light up) the shadows. Perhaps

your fill light is a bounced or direct white umbrella that is lifting the

shadows. Some photographers also use fill lights to light the sides of

the hair, light up the background, make jewelry or products pop or

enhance catchlights! When using FILL light the word SUBTLE is

important. Your key should be doing the majority of the work - the FILL

light should be making a subtle but noticeable change.

When you are combining light sources (or using multiple lights) it's

much easier to translate if you think about your intention with each

light source & modifier. I highly recommend starting your set up with

your key light. Test in power increments (on the pack or head of your

strobe) until you are happy with a good 'base' (this could be slightly

under exposed or perfectly exposed depending on your intention).

At this point you can see what is needed to enhance your set up or you

might be happy with the results of just one light!

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 KEY & FILL

I don't always decide to use key & fill. Sometimes it makes more sense

to equal the power of the light source on 2-3 (or multiple) lights.

You will notice in the diagrams that I don't always mention KEY or FILL

and there are a few reasons why.

Symmetry. I may decide to use two light sources to wrap light around

my subject so that it's equal on both sides. In this case, it makes sense

that both of my lights would be at an equal power.

Distance. Two light sources may be at the same power and one is

slightly further away from the model than the other. In this case none

of them can be named KEY or FILL because both lights are at the same

power.

Type of modifier and how it's used. A 7' Umbrella, a beauty dish and a

bounced umbrella are going to look different at the same power due to

size of the modifier and the placement.

There is no right or wrong or rthyme or reason. Lighting is a recipe and

there are many ways to create that recipe. I've spent hours creating a

recipe only to notice how beautiful the natural light is streaming

through a studio window and then decide to change my plans (and

that's ok too! Whatever it takes to get the job done!).

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Having a clear understanding of the type of light you want to helps

you make better choices when doing shoot pre-production or making

equipment purchases.

Generally soft light creates flattering light with characteristic soft

shadows and diffused highlights. You can compare it to a cloudy day -

the sun is the main source & the clouds acting as a diffuser!

Hard light makes distinct hard-edge shadows, bright highlights and

packs a punch of contrast. You can compare it to a sunny day. The sun

is your direct small light source.

Semi-soft is a mix between both of the options above! Hard light with

filled in shadows and slightly softer highlights (it sounds confusing I

know!). There are a lot of accessories out there that are classed as

'semi-soft' (such as the beauty dish). Some hard-light accessories can

be changed to 'semi-soft' when additional lights or diffusion is added.

For example - a bare bulb strobe (typically a hard light when direct at

the model and used as a main source) can become semi-soft when

combined with another light with a modifier that is larger and softer.

Personally, I am always drawn to soft light because I think it's the

most versatile type of light there is (and of course the most flattering

for all subjects!). You simply can't go wrong with a 5' Octabox, direct

white umbrella or bounced umbrella! You'll notice I use these a lot!

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I won't be showing you how to use a silver umbrella, parabolic

umbrella or how to use magnum or harder light reflectors/grids in this

guide simply because I rarely use them and I didn't want this guide to

be 1,000 pages long (perhaps a future guide?). When creating this

resource my intention was for it to be as accurate as possible about

what I do and use! However, I would encourage you to test out a wide

variety of lights and modifiers whenever you can!

Having a solid understanding of soft, hard and semi-soft lighting is

important because at some point in your career a client will say "I

want soft but hard light" and you will stand there and think that they

have no clue what they are talking about. I guarantee it. Most

creatives in this industry are clueless about lighting or how to

compose it but that's ok, that's not their job its mine! Your job is part

photographer and part problem solver! Your clients will expect you to

have a vast knowledge of lighting techniques.

Deciding between soft and hard light depends on your idea/concept

& mood. Are you doing a beauty shoot where the focus is on the

colorful make up? Then a hard or semi-soft light source would be a

good choice as it looks great when paired with bright colors & bold

concepts. On the other hand, if you are photographing a portrait of a

middle aged client who wants to look and feel feminine and beautiful

a softer light source would be more suitable & flattering (for example

a 7' Umbrella (w/ diffusion sock) or 5' Octabox).

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Perhaps I want to add visual impact and drama with defined shadows

under my subject's chin. In this case I would choose a semi-soft or

hard light (typically positioned overhead of my subject) because I

want to show the contrast between light and dark & it's the easiest

way to create visible shadows.

One thing to note is that it is okay to take time to test the light on set!

I almost always take two hours to test the light from the moment I

walk on set. During this time I am working with my assistant to find a

lighting formula that suits the brief and we use each other to see how

the light looks (this also makes for funny behind the scenes images!).

The lighting testing process is done by testing one light at a time and

adding additional lights gradually (if necessary). Each time a new light

source is added we start with the lowest power on the pack or head

and increase until we are happy with the overall exposure. Once I feel

happy with the testing phase, my subject gets in for final testing.

When testing light you should never feel rushed because rushing

leads to stressing and the last thing you want to feel when starting a

shoot is stressed! If you have a quick shoot, turn up over an hour early.

If you have a larger commercial job and you're worried, then turn up 2

1/2 hours early. Whatever it takes for you to feel content and happy

with your lighting set up. Your client will pick up on your confidence

when you are prepared. Energy is an important thing on set!

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There are other ways to explain the direction of light and placement.

These placements of light are not as obvious as front, side, back and

overhead light but they are important to know (and for when you are

reading the lighting diagrams!).

Feathering The Light - Feathering a light source is when the light

(and modifier) is slightly angled away from your subject and the 'fall

off' light is lighting them resulting in a very soft, diffused look. The

placement results in less specular highlights and and gives an even

exposure across the subject. Photographers almost always feather the

light when using modifiers with diffusion such as the 5' Octabox or 7'

Umbrella (with diffusion sock).

Bouncing The Light - This is when you bounce a light source into a

reflective surface such as a white wall, ceiling, reflector or v-flat.

Bouncing creates a larger source of light and often wraps around the

subject resulting in no shadows. This technique can be used as a key

light but is also popular as a fill light when combined with a key

source.

Wrapping The Light - Wrapped light is created by light sources

bouncing into walls or white v-flats surrounding your subject and

creates an even spread of light. The intention is to create a soft

diffused light with no shadows. Popular in fashion or lifestyle e-comm

or look-book shoots when the desired look is clean even lighting.

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One of the most asked questions I get is "What lighting accessory do

you recommend I buy first?". It's impossible to answer this without

understanding more about you as a photographer, your goals or the

type of work you do!

What you should be asking yourself is - What do you want to achieve

with photography? What type of lighting interests you? What type of

imagery inspires you? Answering these questions will help you

understand a lighting style and give you a better idea of what

accessories to purchase.

Let's face it, studio lighting equipment isn't cheap. Taking the leap to

owning in gear can be daunting and overwhelming. I've been there!

It doesn't matter whether you're just starting out or you are looking to

invest in your next piece of kit, this accessory guide will be insightful to

you!

You don't need the most expensive or latest gear to create portfolio

worthy images. Believe me. I started out by using entry level strobe kits

and accessories and I sometimes still buy or rent non-major brands

because certain items do the same thing! An umbrella is an umbrella

(one might be slightly stronger and last longer, but it's still an

umbrella!).

Now I am mostly using Broncolor gear because reliability & consistency

is a big factor as a working commercial photographer.

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When I started out I primarily worked with a Canon rebel camera and a

broken 50mm lens (the manual focusing ring had broken and I used it

so often I didn't want to send it out for repair!). I learned to master

natural light and my only light shaper was a white reflector. This was

my lighting set up until I could afford my first studio kit!

My first strobes were two Bowens entry level strobes and a medium

Softbox. Again, it took a while before I could make my next investment

but I managed to create an entire portfolio & gain clients with very little

gear! Remember I have spent years building my kit to where it is today!

Make your investment on the most important part of your kit - your

strobes. Accessories & modifiers do not have to be expensive purchases

and can be added over time.. If you do not have the money to invest

right away then make a small EQ goal list after and work towards it.

It's wiser to expand your kit when you have a better understanding of

studio lighting and what you modifiers you might need.

Do not worry if you cannot replicate some of the lighting set ups right

away, focus on the ones you can replicate and work with what you have!

Want to know what I would choose if I could go back in time? In my

opinion, an ideal started kit is - 2 Strobes, a 5' Octabox, 2 x 3' Umbrellas,

2 C-Stands, 2 Sandbags, A medium white circular reflector, a Backdrop

Stand, a variety of neutral colored seamless paper rolls and some A-

Clamps. There's a lot you can do with this small kit!

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This is my favorite section of the light guide (and I hope it will be yours

too!). I created these lighting diagrams to help you master studio lighting

and give you a deeper insight into my own lighting techniques. All of

these set ups can be used for portrait, fashion, beauty and lifestyle clients!

Studio lighting shouldn't be scary. Think of the studio or a room as a

blank canvas. You are capable of creating anything you dream up, you

just need to be clear on what you want! There are endless ways to light a

scene or subject.

If you are new to studio lighting, review each set up and learn more

about each accessory and try to understand the connection. Ask yourself

questions as you review them and try them out for yourself. Why has she

used this light for this set up? What does that light do? Why is this

modifier placed this way? Another tip would be to think about the

styling (wardrobe, make up and hair). You will get the best out of testing

the set ups when you think about the connection to light & mood and

treat it like a real shoot for your portfolio.

If you have been using studio lighting for a while and you are proficient in

using strobes already I still think you'll find this section insightful. I truly

believe every photographer (no matter how experienced) should be open

-minded with new lighting approaches and techniques.

Have fun trying them out!

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