{"id":13484,"date":"2013-02-14T06:19:25","date_gmt":"2013-02-14T10:19:25","guid":{"rendered":"https:\/\/neilvn.com\/tangents\/?p=13484"},"modified":"2017-11-13T15:51:06","modified_gmt":"2017-11-13T19:51:06","slug":"lingerie-photo-session-video-light-studio-flash","status":"publish","type":"post","link":"https:\/\/neilvn.com\/tangents\/lingerie-photo-session-video-light-studio-flash\/","title":{"rendered":"Lingerie photo session: Video light & Studio flash"},"content":{"rendered":"

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Lingerie photo session: Video light & Studio flash<\/h1>\n

Olena<\/a>\u00a0is a wonderful model that I love working with because of\u00a0her natural instinct for posing. So for a test shoot in my new studio space<\/a>, she was an easy choice.\u00a0(Here is Olena’s\u00a0model mayhem portfolio<\/a>.) We shot several outfits, using different lighting setups. This one is interesting because of the simplicity of the setup – using a gridded\u00a0Profoto RFi 1\u2019\u00d74? softbox<\/a>\u00a0(affiliate<\/em>)\u00a0to control the light, and a Lowel ID-Light<\/a>\u00a0<\/strong>(affiliate<\/em>)\u00a0as a back-light to give that warm glow to her hair. It really helped enhance the intimate feel of the sequence of photographs.<\/p>\n

Here is the pull-back shot that will show how the lights were placed in this quite simple setup:<\/p>\n

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The camera settings reveal how the video light, which has much less power than the flash, was able to register.<\/p>\n

1\/20 @ f\/4 @ 100 ISO<\/p>\n

That slow shutter speed did the trick<\/a>. It allowed the continuous light from the video light, to register. But I also pulled the flash output to the lowest possible, and that gave me f\/4 @ 100 ISO at that distance .. and this was a more sensible choice of aperture and ISO, so that I didn’t need to pull the shutter speed even lower.<\/p>\n

The main light was a Profoto RFi 1’\u00d74′ softbox<\/a>\u00a0with a\u00a0degree soft-grid<\/a>\u00a0(affiliate links)<\/em>. I used the softbox in a near-horizontal position so that there was this lovely warp of light around her, but the light was still fairly contained. I didn’t use a grid on the softbox this time. Just the softbox in a plain way.<\/p>\n

The distance from the light-grey backdrop turned it into a dark grey background. The Inverse Square Law is your friend in this instance.<\/p>\n

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Composition and posing<\/h2>\n

In terms of posing, there were several images that worked. I liked the photo above the\u00a0most of all, because the tilt to Olena’s head matched that of her upper arm. The way her arms and hands wrap, was the result of careful adjusting of the “elements” in the frame.<\/p>\n

These two images below show the differences, and why they weren’t picked.<\/p>\n

The image on the left doesn’t have those fluid lines to how her arms and hands and face are placed in relation to each other.<\/p>\n

The image on the right-hand side, has her chin slightly hidden behind her wrist. I do like the way her hand rests on her shoulder, but in the final image, her hand is now wrapped around her neck in a more intimate gesture, and doesn’t draw attention from Olena’s face.<\/p>\n

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These kind of adjustments are done while shooting, and observing. There’s a certain instinct involved in looking at the composition, and immediately recognizing the ways the image can be improved. It’s the same kind of thought-process as described in the\u00a0article on\u00a0adjusting a pose with incremental changes<\/a>.<\/p>\n

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Photo gear used during this photo session<\/h2>\n