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23

Look at your own shadow. If you can't find your shadow then the light is as soft as it possibly can be. If you have a hard edged shadow then the light is hard. If you can make out your shadow but it's faint or the edges are not defined then you have somewhere in between (which can often give the best results).


10

Here's an excellent video tutorial focusing on the jawline. There was mention about the "double-chin" effect. This video gives super examples on how to reduce or even eliminate that problem. It works great! It's all about the Jaw


9

Seems like you're generally overexposing by maybe half to a full stop. You could just use the sunny 16 rule and stop down from what you get. Your results seem consistent enough to pull that off. A better idea would be to buy an external incidence meter, such as the Minolta IVF. They run very cheap (<€100) and will, once you get the hang of it, make sure ...


8

Passive lighting is reflected light, such as with reflectors. Active is the opposite, an actual source of light, such as a light bulb or flash. But I must say these are terms I try to avoid since many people have different views on this. I really only use the term Passive lighting when I am outside and use a reflector to bounce the sun. I am not sure if ...


6

The biggest mistake I've seen lately is that someone will buy a cheap, fast prime (usually a 50mm f/1.8) to go with their fancy new entry-level DSLR, then they never stop that prime down to anything other than WIDE OPEN. Shooting at f/1.8 can be a lot of fun, and can be quite useful, but there are so so so many times when f/1.8 is simply not the best ...


6

The sunny 16 rule applies in direct sunlight. These images all appear to be shot on an overcast day or in shade. (Which was wise on your part, as this will generally produce much better looking images of flowers) Shooting with the sunny 16 rule in shade/overcast would cause underexposure. I would agree with @xiota that the lab is compensating for any ...


5

The only factor that matters is what you are looking for visually in your shot. Harsh shadows, soft shadows, no shadows, these all can be valid to have in a photo. It depends on what you want it to look like. There is no right or wrong answer. Look at how the light falls on your subject and decide if you like it. Soft shadows tend to have a more serene ...


5

Two light setup #3 ( Key + kicker/rim light) This setup uses a softbox/umbrella at 45 degrees, with a reflector for fill. The second light is a "kicker" which provides glancing light on the head and shoulders which can add a lot of drama to the shot. It could be positioned to also provide some spot lighting on the background. It may be necessary to use a ...


5

When artificial lights are used in photography they're commonly diffused such as with a softbox. If the light has to be bounced off something to get it to the right place, the diffusing can be combined with the reflecting. The difference in reflectivity isn't that great - no more than about than a stop, depending on how much of the scattered light is ...


5

That's fairly obviously a single hard light (no modifier) directly above the optical axis of the lens. The flash could either be a significant distance above the camera or it could be a camera mounted flash bounced off a neutral colored ceiling. It looks to me to be the former, but if it is the latter then a flag (an opaque object used to block light) was ...


4

It's more about fat/thin than male/female. Short lighting is more flattering for wider people, while broad lighting can be used more freely with thinner faces and forms.


4

I was in your situation and after playing arond with some light bulbs and a borrowed manual flash I've discovered that (unsurprisingly) a flash is better. You can get a YN480 flash on eBay for arond $40 - it's a manual flash, that means you have to put the camera on manual mode and adjust exposure and flash power manually (but it's easier than it sounds, I ...


4

With that type of a budget, you are much better going the DIY route, putting in some of your own time instead of your own money. For portrait photography, you can find a huge benefit to having a beauty dish. I made one of these myself for only a few dollars. You can find examples of how to do so on many internet forums, but here is one example. These were ...


4

I am not going to claim that this technique was thought of by me, but on another website I read the suggestion to have the subject stick their tongue against the top of their mouth, almost to the point that you would when swallowing. It should reduce the double chin effect. Obviously you would want to suggest this with great compassion and in the right ...


4

Reduce the power of the background light in relation to the overall image. A Blown up white image in a background should be just barely overexposed. If you are using a histogram on the camera take pictures from darker to lighter untill you just get the overexposure on the white and stop there. If you are using an incident lightmeter overexpose to 1 or 2 ...


4

One "Grain of salt" point to keep in mind: A camera with an unreliable/out of tune shutter will offer headaches. Applying 'correct exposure' to a camera with an incorrect shutter speed or aperture control will not give you the expected results - If you still see errors in future photos after applying better exposure methods, then explore gear issues. [And ...


3

Useful light is the area directly illuminated by the light source. Spill light is the area lit indirectly by the light source. At least that is the terminology I've always used. You can probably find at least a few other names to call them here: http://lowel.tiffen.com/edu/glossary/


3

Matt Grum's answer is the golden ticket answer. That rule of thumb method will work most of the time, but eyes work differently to photographs, and sometimes our eyes adapt to the light and we can't make out the shadows as definitely as they would be represented in a photograph. Here are a couple more tangible approaches that I use. For digital photography ...


3

Petapixel has a great Demo of focal length (the Hitchcock Zoom), using 20mm and getting closer will make you skinny: Try a video and alter your 'hip angle', direction you are looking and distance from camera (framing); this will quickly allow you to find a frame where you feel you look your best (which has a small effect in others perception). In the first ...


3

Peter Hurley, the world's best headshot photographer, stresses the importance of the jawline and how easily it can change a picture. http://www.youtube.com/watch?v=Qe3oJnFtA_k Also, if the clothes don't fit right you can use binder clips in the back to hold the clothes tighter and make the clothes seem fitted. http://www.fat32online.com/wp-content/uploads/...


3

The foil reflector gives a more soft and diffused light.


3

Take a look at this post, It will probably solve most of your doubts: https://graphicdesign.stackexchange.com/questions/96192/what-are-the-mechanics-of-bounce-light-how-does-it-work/96248#96248 I've always wondered why, when light bounces into an object and illuminates its dark side A normal object, like a vase, does not bounce light into its own dark ...


3

Lighting for shots such as this one is not about absolute lighting levels, it is about lighting ratios. The 'dark' parts of the picture don't need to be in absolute darkness. They just need to be less bright than the bright parts of the scene by enough to make them dark by controlling exposure. As long as the side you want illuminated is lit brightly enough ...


3

The simplest way to do what you want it to make HDR. Bracket several exposures with +-1 or +-2 stops then use software to combine in single image with light and dark areas exposed closest to your vision. In such very high contrast scenes this can help a lot. Of course you can try with single RAW file and try to compress high contrast to acceptable level. ...


3

First of all you need to understand the concept of "dynamic range". (Maybe you do, I don't know) The dr is the ability of your camera to render as much darktones and highlights at the same time. Have a look about this concept on youtube. You have to be aware that the human eye has the hability to render a better DR than most of digital cameras. On average, ...


3

Lot's of great answers already here on exposure, so simply going to add: play to the strengths of your film. You're using color negative film, no? All color negs handle underexposure...like absolute garbage...but tolerate overexposure very, very well. Up to 3 or 4 stops even! (https://petapixel.com/2018/02/05/test-reveals-exposure-limits-kodak-portra-400-...


2

Two light setup #1 (Key + Fill ) This is a very common setup, where you put one light directly behind the camera to provide fill (nice even light over your subject). Being directly behind the camera, it will light all areas of the subject visible to the camera and will not result in any visible shadows on the background. The second light is the "key" ...


2

Harsh light is more directional while soft light is more diffuse. In most cases this means that with a harsh light source you will experience a more contrasty scene than with soft light. So you may want to be very careful about correctly capturing highlights and shadows when shooting in harsh light. For most hi-end digital cameras underexposing is a safe bet....


2

The best example of Rembrandt is on the dummy head. What is referred to as Rembrandt is the style of lighting which often appears on subjects painted by Rembrandt the famous artist. It was one of his "trademarks". The triangle patch of light in Rembrandt will be on the side of the face most prominent to camera. When the reverse is the case, this is ...


2

I would say rethink using flash. If the reason it's discouraged is green-eye and that deer-in-the-headlights look, it's simply a matter of learning to use flash correctly, whether that's bouncing an on-camera flash, or taking the flash off-camera. Just my opinion, but I think your concerns about the power/light output from low cost continuous lights is a ...


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