Download Issue 112608

7/28/2019 Download Issue 112608

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The ProoTo AdvAnTAge:

Fo Poaiand Wdding

PoogapsLiging Ingdins /da Bc

Callng: Pooo D1 vs. Spdligs

Ging So /d d

Composi Li A Supo /A Mcgbb

Anaomy o a Poai /T Cbll


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02 LighTing ingredienTswiTh dAvid BiCho

14 ChALLenge:

ProfoTo d1 vs. sPeedLighTs

30 ProfoTo d1

46 BATPAC

48 geTTing The shoTwiTh dixie dixon

56 ACuTeB2 Airs

60 how To CreATe A suPerhero-esqueMovie PosTer in Less ThAn Two

hours wiTh Andrew MCgiBBon

66 Air reMoTe

68 AnAToMy of A PorTrAiTwiTh Tony CorBeLL

74 LighT shAPing TooLs

sofTLighT refLeCTors 74

ProfoTo uMBreLLA xL 80

ProfoTo giAnTs 84

ProfoTo uMBreLLAs 88

ProfoTo rfi sofTBoxes 90

refLeCTors 100

sPeCiAL APPLiCATions LighT

shAPing TooLs 108


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110 ri soTBox TiPs And TriCks

Choosing The righT siZe o

soTBox or The righT JoB 112

BuiLding your seT, soTBox

By soTBox 114

using soTBoxes To CreATe

A PereCTLy even, whiTe

BACkground 116

CreATing hArd LighT wiThA soTBox 118

CreATing Long And even

highLighTs wiTh soTBoxes 120

CreATing A giAnT ring LighT

wiTh soTBoxes 122

124 reAd More And JoinThe ConversATion

Cont

ents


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2

LightingIngredients

with David BichoSwedish photographer and lighting guru

David Bicho is a man o many ideas. One

o his recent ideas was to shoot a model

covered in ood ingredients oil, salt, four,

cocoa and licorice, to name just a ew.

Why, you might ask?

It wasnt about the ood, says David. The

real reason was that I wanted to shoot one

ace but with dierent textures. Ive always

been ascinated with how dierent a ace

can look depending on how you light it, and I

wanted to explore this phenomenon urther by

experimenting with dierent acial textures.

As with most experiments, David did not know

exactly what to expect. For instance, he soon

learned that oil and salt do not mix very well.

Instead, what was supposed to become a

beautiul, crystal texture ended up looking like

a skin disease. Ingredients such as four, cocoa

and licorice, on the other hand, turned out even

better than he had hoped or.

Obviously applying four, cocoa or licorice

creates very dierent textures. Still, i we

look at the portraits David shot, he evidently

managed to maintain a consistent look and ee

throughout the entire series.

So how did he do that? The short answer is:

with lighting...


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LICOrICe ShOt

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t . v . A

ac a lct. T

cptl mpl act a t tat-pt

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a da. A la lt c qal la a

batl ct tat acctat t ap

t ac. t a, i c t t a

d1 mlt a a Pt gat 240 rct a

ma lt. T gat rct, c mt

a at m, ta cama lt, qt

cl t t ml.

i t a a c d1, pp t a stb

16 r, ta cama t b t ml.

T tb a pp t a bl cl l t

cat bl ct a t ac t

ltt t ma-p att a appl.

all, i a a t d1, qpp t a 10 ga bl cl l, a bac lt. Tat

t lt tat bl t lt a t

bac, b t ml ac.

i at t t mlt, i a a la am

c ba l a tabl t t ml.

LiCoriCe shoT dAvid BiCho


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6

The oam core board was used to lighten up

the shadows around the models chin, orehead

and nose.

Finally, the black fags were also crucial. The

shiny licorice reected every single light source in

the studio, so it was just as important to fag o

light as it was to add light. I believe I had eightfags in total: three on each side o the shooting

area, and another two right behind the model. You

can actually see one fag in the image. You see

that large black area on the right hand side o the

background? Thats a ag.

THE ACCIDENTAL LICORICE SHOT

As mentioned above, some things went as plannedand some did not. Besides that, there were a

couple of occasions when things happened almost

by accident.

The second licorice shot wasnt planned, says

David, It just happened. The make-up artist

had just started to apply the licorice, when I

realized how cool it looked and that I had to shootit. So I just tweaked the setup and pushed the

release button.

Because o this, the set up was quite similar to

the other licorice shot. I had a D1 with a Giant

Refector as main light. You can see it refecting

in her eyes. Speaking o which, this image is also

a great example of the amazing skin textures youget with the Giant Refector. That kind o broad

highlight detail that you can see all the way rom

her orehead down to her eyes and urther down

to her lips only the Giant Reector can do that

Again, the background was lit with a D1 with

10 Grid. But I didnt use any color gel this time

Neither did I use any fll light. Another importantdierence is, o course, that we added certain

elements during postproduction. The gold make

up, the hair and the pigtail, all that was added in

Photoshop by my talented assistant Maria.

a. Prooto Giant 240 Refector

b. Sotbox 1x6' RFi

c. 10 Grid.

c

THE ACCIDENTAL LICORICE SHOT DAVID BICH

a

b


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COCOA ShOt

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mccpt tat tb ca l t a

at lt. Bt a , a t tb t

aa ma t a tcall a lt c.

CoCoA shoT dAvid BiCho


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ProiLe CoCoA shoT dAvid BiCho

LighTing ingredienTs wiTh dAvid BiCho

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t t pt lt t t cl placmt.

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c tat i a a c d1 pp

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a. Zoom rfco

b. Sogid o 1x4' Sobox

c. Wi oam co boad wi blac ga ap

a

b

c


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Lour shoT dAvid BiCho

LighTing ingredienTs wiTh dAvid BiCho

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atmt, am t. y ca m

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FLOUr ShOt


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14

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ChOOSING the rI

b

Call: Pooo


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|LIGht ShAPING |

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tOOL FOr the JOB

l

D1 vs. Spdligs


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Magnum Reflector10 06 24

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Softbox RFi 3' Octa (90 cm) 25 Softbox RFi 5' Octa (150 cm) 25

Zoom Reflector10 07 85

Standard Zoom Reflector10 06 10

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ProGlobe10 06 73

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18

Solig rfco Wi/Silv

Ptap t t stlt rct a t Bat

d. T a t ckam mpl. T stlt rct

t pct cmbat llmat a ll-f

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l. T l pc a cp at

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t stlt rct btt ta tb ct.

ProoTo d1 vs. sPeedLighTs


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20

Sobox

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optal, atal , t a mak lt ctmz

t l at a tm.



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22

Pooo Gians

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lt a att a a lmm, pctacla lt

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aalabl 4 z t t l t t ac.



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24

Spo Small

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lt t cp, cla a. T lt a bl, amatc

ptat mtm t a l c l.



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26

| POWer |

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p. Lt t.

w t t plt a ct tm t a mblla, t

tm t ll, maal p, a tb abl t t a tt

/6.3 at iso 100 a 1/15 c.

two spd ligs a ull pow.



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w ct a l d1 mlt (p b t Pt

BatPac) t t am mblla, cl al t m

mamm p b 3 1/2 tp t t t am tpt a t

plt at ll p. nt tat t t at tt lt,

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p.

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cmp Lt sap Tl tm, a bqt aalablt

a a tal l.

Pooo D1 500 a 3 1/2 sops lss an ull pow.


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28

| SPeeD |

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ccl tm t plt at -p tt. Bt

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-p, -p t.

Spdligs: maximum 20 ams in on minu wi xnal bay pac.



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30

Pooo D1


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st ccl tm t p p t t act bjct,

a t at t a.

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m p t 300 m (1000 t).

T t a a Pt A tm, c cabl, ir la.

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optal BatPac -lcat .

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ct la.

Aapt tmal ctl at pt a

all t t mamm tpt m t a. 1500 a

p at ll .

Blt- 300w mll lt.

Blt- a l t a mamm

pmac.


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34

13

2

4

5

6

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9

12

11

10

13

14

15

16

17

18

19

20


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36

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I in s an advanag in using

sam sobs in sudio, li D1, a

I would ou on locaion. to m, is all abou

qualiy o lig a I'm going o g,

dpndabiliy o quipmn a I'm

going o us, and pdicabiliy. ta's

on o ings I li abou D1 sysm

is a I now xacly wa Im going o g

w I am woing in sudio o ou

on locaion. BAMBI CANtreLL


Bambi Canll:

Ovpowing Sun wi Pooo D1


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D1 250

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D1


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ot t b, t Pt d1 a t t, bt b a

acc ca ca atlt a ba

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fct tp.

D1 Umblla Wi Small100787

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D1 Accssois


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Power your Prooto anywhere! The BatPac isa portable power-in-a-bag unit, and comes

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46

BatPac


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Pooo Psns: BaPac poabl pow souc.


51/128

dixiedixon.CoM

ACeBook.CoM/dixiedixonPhoTogrAPhy

@iAMdixiedixon

dixiedixon.TuMBLr.CoM

Ging Sowi Dixi Dixon

it b r eatz

Wn houson naiv Dixi Dixon was a

sudn a klin hig Scool s was paid o

poogap Lil Lagu gams. Wilding

usy Nion FG, s mad n dollas

p ou, and so vy wnd, including

socc compiions. No bad o a id,

s says, ginning.


52/128


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50

Dixons ather was a hobbyist photog-

rapher, and provided her frst camera.

Her grandather was a landscape

photographer.

Not many proessional shooters can match Dixons

claim o only working as a photographer, but its

true. She shot or the high school yearbook, andone o her shots made the cover senior year. At

that point she decided she wanted to pursue

photography or a living.

Studying entrepreneurship in college, she learned

how to run a business, which has helped her

photo practice. She launched her business while

still attending school. The business backgrounddefnitely helps in accounting, she says.

During her junior year, she studied abroad with

a ashion photographer. During that time she ell

in love with ashion photography, which is the

genre she is known or. Beore graduation, she was

shooting weddings, but got tired o it. I started

shooting ashionable portraits o riends and thenstarted charging or them. My whole senior year, I

started my business and got my web site up and it

was really just shooting ashion portraits.

Since her frst camera at age ten, at the ripe old

age o twenty-seven, Dixon already has a long list

o clients and the television show Get Outunde

her belt. With talent and credits beyond her years

shes a photographer to watch. Dixon has quickly

become known or her ashion photography and

portrait work. Shooting with a Nikon D3X as he

main body, Dixon broke down two portraits sherecently completed.

GIRL PORTRAIT

The basic concept o this photo session was to create

natural looking beauty images. I wanted to highligh

the beautiul eatures o the model, make her skinlook glowy, and make her eyes really pop agains

the background. I looked through a ton o ashion

magazines or inspiration and came up with this

simple concept. I fnd a lot o beauty in simplicity.

In the studio, I have a basic idea o how Im going

to light something but once you get in there, it

always dierent, so you never really know untiyou get in there and shoot it. I used a Sotligh

Refector White with the D1 500 as my main light

The light is pretty low - Im probably ve-oot three

and its just above my head. With the Sotligh

MODEL: KAYLIN ROGERS WITH KIM DAWSON AGENCY

MAKEUP/HAIR: ROCIO VIELMA

GETTING THE SHOT WITH DIXIE DIXON


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52

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b

c

a. Sobox rFi 1x3'

b. Umblla

c. Solig rfco Wi


56/128


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ma, ca b m tact b t

clt a t l tat , bt

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cct. i cl t a t t t, t

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ptat. i l t t a bca t

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tp tb cl tat pll

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makp att i k t t tat lk a t mak

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a ll a t ta a am ppl

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GUY POrtrAIt

I's jus ndlss

wa you can dowi liging...


57/128

54


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AcuB2 AiS LiF Bay901101

T ActB la pac b tt t

am alt a lablt Pt a mall

batt at. o fcatl mp

pmac a a capact all a

ltt packa, t ActB2 jt 3.6 k

(8.9 lb)!

T mall z a lt t t ActB2

p t 200 ll p ta l

p a a l ca, all

t ta t lt lcat a ll a

t!

T cpat Pt A tm all

mt t m p t 300 m (1000 t) m

t cama.

56

AcuB2 AiS LiF Bay


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AcuB2 AiS/r US/Ce901102, 901103

T ActB2 600 As/r almt tcal t t ActB2 As. it

t am lt t a q Pt A mt

t tm, bt a a blt- Pctwza c t

t m.

58

AcuB2 AiS/r


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AcuteB Head900938

With our smallest battery pack, the AcuteB2,

there is also a special lamp head: the AcuteB

Head. At a mere 1.5 kg (3.4 lbs), gives you 600

Ws fashes and an innovative modeling light, using

a high-performance halogen lamp that, at 65 W,

gives you the brightness of 90 W. Combined with

ts an-ree cooling, it translates to longer lasting

batteries. The AcuteB Head includes: disc refector,

fash tube, 65 W halogen lamp, removable rosted

glass cover, protective transportation cap and a

10-foot lamp cable.

Acute Battery Including Cassette LiFe901105

The most advanced and reliable rechargeable

batteries available! These Lithium Ion Iron

Phosphate (LiFePO4), in short LiFe batteries.

They have a lietime our times longer than

lead acid batteries and can be used in a wider

temperature range. With 20% more fashes per

charge than older battery types and integrated

electronics protecting them against deep-discharge

and overheating, the Prooto LiFe batteries oer

long life and trouble-free operation.



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60

how o ca asupo-squ

movi posin lss an

wo ouswt A Mcgbb

I gos wiou saying a blocbus

movi poss a sul o counlss

ous o pospoducion and spnding

idiculous amouns o mony. Bu i you a

willing o a i down a noc, you can do

you vy own pos in jus wo ous!

st Aca ptap A Mcgbb

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ma a ma a abt t tat

pat ct cmpa. T t a

tat a p-, m pt-l

ma l b tabl (b a

, t?). Bt tm a t a t bt

a lmt, A a t cm p t a

c a a lt. h t,

pla mpl tp...


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how To CreATe A suPerhero-esque Movie PosTer in Less ThAn Two hours

ba

c

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4S t Ligs

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clp lt tp.

a. Wi Bacdop

b. Solig rfco Wi

c. Sobox rFi 5' Oca

Andrew MACgiBBon


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70

AArON

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pbabl t t 200, a t p a t at

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AnAToMy o A PorTrAiT wiTh Tony CorBeLL

a. Gay Samlss Bacdop

b. Sobox rFi 3x4'

a

b

AAron Tony CorBeL


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72

OL DONALD

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tl a m.

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bt t t lt t. i t ca, i

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c. Blac panl Gobo usd o limina infunc o any

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a

b

c

AnAToMy o A PorTrAiT wiTh Tony CorBeLL

oLdonALd Tony CorBeL


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MASter SerIeS:

Maw Jodan Smi's Favoi Lig Saping tools

see video AT:

ttp://.tb.cm/atc?=dj6k35


79/128

My avoi Pooo Lig Saping tool as

go o b Solig rlco Silv. W

always av i... lig a coms ou o

i is amazing. t's noing ls li i. tOM MUNOZ

T l-cl stlt rct cat a a lt pa

cp bat a a pct, l at t am tm

p t a ft, tak t t la ct aa.it pcall tabl lt bjct ct l

b mpaz.

Solig rlco Silv100607

76


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Diffuser

for Softlight Reflector100714

25 Grid for Softlight Reflectors100609


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Whether Im doing portraits

or a beauty assignment, or a

hair assignment, my Beauty

Dish is there... I use thewhite most of the time.

Its an incredible light...

a great tool.

MATTHEW JORDAN SMITH

78

The Sotlight Refector White gives a soter, wider

light spread or beauty and ashion images with

a soter tone without sacrifcing the directionalquality o the light. It is especially suitable or

lighting subjects where diused, yet distinctive

light is needed.

The Sotlight Kit includes 1 Sotlight Reector

White along with a 25 grid, to narrow the light

when precise control is needed, and a diffuser, to

create even softer light.

Softlight Reflector White100608

Softlight Kit901183


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80

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ptat-, ppl- a a ptap. T cata mt t tct lt, c all t t

llmat a t p mall p t jt

a l lt c. gat pcla lt a ap, app

tal a al pbl.

Pt' umblla xL a a amt 165 cm (65"), a ft t

all Pt a a a mlt. A ptal ta aapt

al aalabl, c all t ptap t mt t mbllat a lt ta, t t m Pt a

t pct m t ba! All mblla cm a

tapt ba.

PrOFOtO UMBreLLA XL


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82

Pooo Umblla XL tanslucn100328

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T a t-t mblla, a ca a tb-ct,

cat a t lt pct b. T paablc ap allt lt tbt t b ca b mpl l t at

t a a.


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86

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a t, bt t lt tpt. T l t a aal ma t gat wt pct lcat a ll.

A bl a aabl Lt sap Tl ptat a bat

ptap. T a zm pt, t ta .

A ltt a ct tapt ba cl.

Pooo Gian Wi 210100315


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The softbox is one of the most popular Light Shaping Tools.

At rst glance, its uncomplicated nature might trick you

into thinking that all sotboxes are the same. But as any

experienced photographer will tell you, there can be a big

difference between one softbox and another.

RFi sotboxes come in all sizes and shapes. To ensure ull control

or the photographer, they have a deeper shape, a recessed ront,double-layered diusers and a highly relective silver interior.

Optional accessories such as Softgrids and Stripmasks are available

for even more precise light shaping.

The RFi speedring adaptors make the RFi sotboxes compatible

with well over 20 dierent fash brands, ranging all the way rom

speedlights to high-end studio strobes.

In short, an RFi softbox is not just a softbox. Its a Light Shaping Tool.

PROFOTO RFI SOFTBOXES

90


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Pooo rFi Soboxs

see video AT:

ttp://.tb.cm/atc?=g6gkel2c


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Softbox RFi 4x6'

(120x180 cm)

254705

Great or ull-body portraits

and lighting large groups.

Softbox RFi 3x4'

(90x120 cm)

254704

Great or ull-body portraits

and lighting large groups.

Softbox RFi 1x1,3'

(30x40 cm)254701

Extra-small sotbox ideal or

hand-held use on location or or

ighting small objects or areas

within a larger scene.

Softbox RFi 1,3x2'

(40x60 cm)254702

Small, compact size makes

it ideal to use on location or

portrait, wedding, editorial,

and product photography.

Softbox RFi 2x3'

(60x90 cm)254703

The medium sized RFi 2x3'

(60x90 cm) is suitable or

portrait, wedding, editorial and

product photography.

Softbox RFi 2x2'

(60x60 cm)254706

60x60x47 cm. Can be used

as a hairlight, fll light and or

bringing out small details in

portraits. (23.6x23.6x18.5 in)



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SOFTGRIDS

RFi Softgrid 50

1x1,3'254620

RFi Softgrid 50

1,3x2'254621

RFi Softgrid 50

2x3'254622

RFi Softgrid 50 3x4'254623

RFi Softgrid 50

4x6'254624

RFi Softgrid 50

2x2'254625

RFi Softgrid 50

3x3'254626

RFi Softgrid 50

1x3'254627

RFi Softgrid 50

1x4'254628

RFi Softgrid 50

1x6'254629

RFi Softgrid 50

3 Octa254630

RFi Softgrid 505' Octa254631

RFi Softbox Kit

901182

The RFi Softbox Kit includes 1 Softbox RFi 2x3',

1 Profoto Speedring for RFi, and 1 Softgrid

50. Creates a very soft light that is perfect for

portraits and allows for precise light shaping.




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rady o ta You Liging

o Nx Lvl?

Cc ou ou rFi sobox ips and ics!

Coosing rig Siz o

Sobox o rig Job

p. 112

Building You S,

Sobox by Sobox

p. 114

Using Soboxs o

Ca a Pcly evn,

Wi Bacgound

p. 116

Caing had Lig

wi a Sobox

p. 118

Caing Long and evn

higligs wi Soboxs

p. 120

Caing a Gian ring Lig

wi Soboxs

p. 122


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100

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reFLeCtOrS


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Gid & Filold ki o Zoom rlco900649

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reLeCTors


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reLeCTors


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t o pic I lov a I in is unsung o o lig saping univs

a Naow Bam rlcos, and

avl on is small now. tos a

unblivably usul! ty concna

lig li a gidspo dos, bu y innsiy

lig." GreG heISLer

Ggoy hisl on Pooo Lig Saping tools

see video AT:

ttp://.tb.cm/atc?=u0JpZe


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108

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SPeCIAL APPLICAtIONS LIGht ShAPING tOOLS

Fsnl Small100789


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112

The larger the light source is

in relation to your subject, the

soter the light will be. This

simple act is one o the mostimportant lessons to learn

about light, and or this reason,

choosing what size o sotbox

to use will be one o the most

important decisions that you

will make prior to a shoot.

For instance, i you choose

a larger sotbox, you will get amuch more open, soter light

that more closely resembles

daylight. I, on the other hand,

you go or a smaller sotbox,

you will get a harder light with

richer contrasts, reminiscent o

interior light.

Take a closer look at the

two smaller images in this

article. The rst image (1) was

shot with the larger Prooto RFi4x6 while the second image

(2) was shot with the smaller

Prooto RFi 1.3x2. While the

rst image looks almost as i a

window was in the room, the

second image looks more as i a

lamp is turned on. The lighting

also aects the overall mood othe image. The second image is

undoubtedly moodier and more

dramatic.

Note that we used only one

rectangular sotbox or both

images. Also note that the light

was standing in the same spot

with exactly the same distance

between our model and the

sotbox diuser (when using

a sotbox, this is the distancethat actually matters not the

distance between the model

and the fash head).

In conclusion, by choosing

between a large and a small

sotbox, we can drastically

change the light and the overall

mood. Needless to say, thereis no right and wrong. It all

boils down to deciding on what

you want to achieve, and then

choosing the right sotbox to do

the job.

If you are planning to use a softbox for your next set-up, you

should think about more than simply what shape to choose

or where to put it. The size is just as important - perhaps

even more so!

Choosing the Right Size of Softboxfor the Right Job

RFI SOFTBOX TIPS AND TRICKS


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114

The main image (1) in this

article was shot using our

lights: one Prooto Sotbox RFi

3x3, one Prooto Sotbox RFi5 Octa and two Sotbox RFi

1x6. Again, some might be

intimidated by the amount o

lights but the act is that as

long as you build your set one

light at a time, it is almost as

easy as using just a single light

source!Let us take a closer look at

the second image (2). This was

shot using just the RFi 3x3.

The image is dark, moody and

admittedly not very inspiring.

But that is not the point. The

point is that we begin with

our main light, and when weare happy with the result, we

move on

to the third image (3).

Here, we add the RFi 5 Octa

as our ll light. Now, the

important thing to remember

is that the ll light should not

add to the character, and

instead just blend harmoniously

with the main light. That isthe reason that we chose to

work with the RFi 5 Octa a

large light source that creates

a sot and even light. The

ourth image (4) shows just

the ll light, but what is really

interesting is, o course, to see

how the main light and thell light work together in the

third image (3). Notice how the

shadows lighten up, how the

eyes are revealed and how the

dress starts to pop out when

we add our ll light. This is

actually a pretty good portrait

set-up. But there is more!In the th image (5), we

add the RFi 1x6 strip sotboxes

as our rim lights. The main

purpose o the rim light is to

give increased dimensions and

separate our model rom the

background.

For instance, take a closer

look at the models arms andnotice how they pop out o the

image. Also, notice the rim

light around her waist and how

eectively it separates her

rom the background.

The sixth image (6) is

just to illustrate what the rim

light looks like on its own.Note that both strip sotboxes

were equipped with Sotgrids,

which keeps the light o the

background and out o the

camera, and reduces fare.

Finally, let us return to our

main image (1). Look at it once

more, notice how main, ll andrim light work together to give

lie and color to the image,

and remember how easy this

seemingly complex set-up was

when we built it step by step,

sotbox by sotbox.

If you are used to shooting with just one or two lights then

using several lights might seem confusing. But it is actually

quite easy. It is just a matter of building your set, step by

step, softbox by softbox

Building Your Set,Softbox by Softbox



118/128


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116

Let us start by looking at the

main image (1) in this article.

Or more precisely, let us take

a closer look at the even,white background. This was

not created with umbrellas

but with two Prooto RFi 1x6

strip sotboxes. I we had used

umbrellas, we might have

needed three or even our o

them. In addition, the light

rom the sotboxes is easier tocontrol, which means that we

do not need any ags on our

set. Some would also argue

that the light rom a sotbox is

more even than the light rom

an umbrella.

In addition to our strip

sotboxes, we used one ProotoRFi 3x4 as our main light. The

second image (2) shows the

eect o just the RFi 3x4. The

image looks good in its own

right, and this setup could very

well be used or a traditional

portrait. But i we are going or

a more high-key ashion look,we are going to have to add

more lights!

The third image (3) shows

the eect o just the two

strip sotboxes hitting the

background. The important

thing to remember here is not

to use too much power. I thebackground gets too bright,

you will lose details in the hair,

the ringe details will burn

out and you will get a glowing

eect around your model. That

can, o course, be used in a

creative way, but that is not

what we are trying to do here.Here we set the background

lights to about -stop over

our main light and kept the

edge detail intact.

The ourth image (4) shows

the eect o both the main

light and the background lights

This is exactly the same setupthat we used or our main

image (1). As you can see,

the background is as white

and even as they come. Now,

remember that we needed

only three sotboxes and about

16 t wide space to do it all

in. You could set up a shootlike this in an ofce, in a hotel

lobby or even in your basement

or garage!

In conclusion, with the right

set o tools, you can create a

high-key ashion look with just

a ew sotboxes.

Many photographers use umbrellas when they need an

even, white background. Now, there is nothing wrong with

umbrellas but there are other, perhaps even more convenient

solutions.

Using Softboxes to Create aPerfectly Even, White Background



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2 3 4

1


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118

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a tb.

all, lt ta a cl

l at t ma (4). T

a t actl t am

a a t t ma: a . Aa, t

t tpcal tb lt.

T lt almt l lt

mt l

a a t c,

tct a t a.

i ccl, a

cat t t ltt jt tb.

o, t , t

tmat t tb.

t sobox is on o mos popula ools o lig

saping. Mos o us us i o ca a so, vn and

faing lig, bu wa w on og is a soboxis a vsail ool a can also b usd o ca a ad

lig wi sap sadows. tis aicl will a a clos

loo a is popis.

Caing had Lig wi a Sobox

ri soTBox TiPs And TriCks


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1

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4


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Nws

Vidos

reAD MOre ON the

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VISIt NOW


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