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Soft Retro Lighting - part 2 of 1 2

by Christopher Grey Published 01/08/2010

I kept the two softboxes where they were but added a hair light, a beauty-bowl fitted with a 25 degree grid to direct the light to the model without spilling any into my lens. It was powered +1/3 stop over the main lights. I used two pushpins to anchor a chunk of black indoor/outdoor carpet on the wall behind the model. Carpet absorbs much more light than black paper would ever do at this distance (four feet) behind the model, almost 100% in fact. Photo5.

The result against black loses a bit of its retro authenticity, but none of its visual power.

Now, back to our retro article.

Not every shot used soft light, and not every shot utilised backgrounds similar to the wardrobe. Frequently, photographers set backgrounds that were complimentary (the opposite colour) to the wardrobe.

Many lighting styles evolved during the fifties as well, including one that used both hard and soft light at the same time. I've written many times in other books and articles about how to use a double main light to get unique and spectacular effects but, fortunately, there are many ways to create it that are still discoverable, something that's great for me because I love the look (you will, too).

I began by setting a medium softbox approximately eight feet from where my model would be standing. I then placed a beauty-bowl, fitted with a 25 degree grid, about three feet in front of it. Both lights were angled the same, with the beauty-bowl centred on the softbox. This meant the softbox had to be higher than the reflector to get that angle. Photo7.

Just like the first example, it's important to meter each light separately, then together to get the working aperture. With the model in place, I metered the beauty-bowl first, powering it to a perfect f8. Whenever you work with a gridded light, it's necessary to meter the centre of the hottest light that falls on the model, because the light falls off dramatically from that point, especially when using a tight (ie small) grid. In this case I centred the light on the model, measuring the light from the centre of her face, right between her eyes.

Redhead posing infront of table

After turning it off, I powered and metered the softbox to f4, two stops less than the reflector, placing the meter in the conventional position under the chin. With both lights on, another reading was made to get my working aperture.

For accent and 'punch', I set a light with a standard parabolic and 20 degree grid aimed at the background, directly behind the model. This light was powered to +1 stop over the working aperture, as measured at the hotspot, guaranteeing a spot of light brighter than the background.

I placed another light, with a 40 degree grid on a boom, directly above and slightly behind the model, aimed at her shoulders. This light would illuminate her a bit like an aura, accenting her shape and posture.

The images I got with this scenario are superb. A wide spot of light accents her face, shoulders and upper chest, falling off to softer light below. The background light produces a complimentary colour to her wardrobe at the spot, and the hair light allows her retro hairstyle to absolutely shine.

Chris' latest book, Christopher Grey's Advanced Lighting Techniques, builds on previous books by presenting new and innovative ways to use light to produce great images. Chris will be presenting two Superclass events, Portrait Posing and Composition 101, and Portrait Lighting 101 as well as a Masterclass, The Business of Fine Art Photography. Chris is a talented and personable guy who is always willing to teach his students everything he knows.

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1st Published 01/08/2010
last update 09/12/2022 14:59:05

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