When it comes to portrait photography, it is very important that we pay attention to what the shadows are doing in the photo. Shadows must be flattering for the model and they cannot exist distracting to the viewer. If you are reading this post, then hopefully you have already started to see that these fiddling things brand a big difference.
Creating shadows that are flattering to the model will take a few shots to see what lighting style looks the best on them. (In this post, I won’t get into detail most lighting styles. However, you tin download this handy PDF of basic lighting styles.)
If you lot are interested in learning more than about flash photography and the many different things you can do with information technology, and then I would advise you accept a gander at the lighting class we offer at photoclasses.com. Calculation light will make a difference to your photos, no doubt, only information technology needs to be a
Autonomously from having hard light on your model’southward face, the near distracting shadow that can be found in a portrait shot is the one cast past the model onto the wall behind them. It instantly becomes a really dark hulk behind them that is trying to steal attention abroad from what should be your focal point – the model. As a portrait photographer, we should never but accept the default calorie-free/shadows that evidence up in the photograph. Our models desire to look great in forepart of the camera and our careful and skilled control of the lite volition assist make that happen.
Here is what it looks like to have shadow cast onto the wall behind the model.
Here is what it looks similar to accept the shadow gone. Big Deviation!
Fixed – Shadowed Wall
The reason that the shadow shows up on the wall behind your model is because they are either too close to the wall or the direction of the low-cal is angled in such a way to show the shadow.
Typical setup to achieve Shadowed Wall
Hither’s a few tricks you can try to help remove or at least reduce what we will now call the “Shadowed Wall Result.”
1. Move the model abroad from the wall.
two. Add in fill up light for your groundwork. This could be a second light, reflector, or anything that volition put light on the groundwork.
three. Change your lighting mode position. Endeavour to get the shadows to get downward (Butterfly lighting) and minimize the shadow that reaches the wall.
iv. Remove the model. Only take a photo of the wall and characterization the photo, “The Invisible Man.”
There is an incredible amount about lighting that we tin can learn and apply in our photography. The nigh important affair to have away from this is that nosotros should
settle for poor lighting or distracting shadows. Nosotros are in control of the light and all it takes is a lilliputian bit of experimenting and moving things effectually to get something that is actually quite nice.