Lesson 9: Continuous and Strobe

In this class, we explored motion with strobes and continuous light sources.

First, we used two strobe lights (one on the subject and one on the background) to freeze motion. Our subject (Martin) jumped and we easily caught him in mid-air. Though the camera’s sync speed is up to 1/250th of a second, the flash fires even faster than that (Paul C. Buff’s White Lighting 1600 strobe fires for 1/600th of a second). This means that the effective shutter speed is 1/600th of a second.

800 Strobe on background, 1600 strobe on subject
ISO 100, 1/60, f14; Motion is frozen

Then we introduced a continuous light into our setup. We left the 1600 strobe on our subject, but replaced the light on our background with 2 large CFL bulbs plus an orange gel to differentiate that light by its color temperature. Adjusting our shutter speed all the way down to 1/2 sec, we were able to properly expose for the light on the background. 

Continuous Light only on background (2 CFL bulbs with orange gel)

We then added the strobe back in to light the subject. When the first curtain opens, the flash fires, capturing our subject in 1/600th of a second, then the shutter remains open to collect the rest of the light before the second curtain closes. 

Continuous (CFL with orange gel) on background and strobe on subject,
ISO 400, 1/2 second, f14

When Martin danced during the exposure, the flash froze the motion of his body, but since the shutter remained open, the ambient light helped us capture the rest of his movement as blurred lines.

Continuous (CFL with orange gel) on background and strobe on subject

on moving subject, ISO 400, 1/2 second, f14

We then switched the lights, the continuous light was placed on Martin and the strobe was moved to the background. When we tried motion here, all we captured was the blurred lines of Martin's body. This is because there was no flash to freeze his movement. Due to the long exposure we were also able to add in light painting with flashlights to create an additional effect.

Strobe on background, continuous light (CFL with various colored gels) on
foreground, with movement, with and without light painting (flash lights)

We also experimented with firing the strobe several times during one exposure. This allowed us to capture the same person several times in one frame. This recorded a different kind of movement.

Strobe only, 2 bursts. ISO 100, 4 seconds, f11

ISO 100, f11; Strobe only, multiple bursts

Top and middle rows: 4 seconds, 2 bursts, with and without light painting

Bottom row: 8 seconds, 4 bursts

While we haven’t changed the shutter speed all semester, this class taught us that by controlling it as well, we have even more creative options to choose from when we use studio lighting. 

Production Stills by Ryan Herzog

Assignment 9: Strobe + Continuous Light

Each person will post their own images and analysis.

Make a photograph that demonstrates motion. You may either freeze your subject or show motion blur.

You must use at least one strobe. 

Post: One photograph. Give a description of your setup and what you were trying to capture and how you achieved it in your image.

Lesson 8: Grids and Snoots

In this class, we experimented with using grids and snoots. Instead of spreading out the light with softboxes and umbrellas, we looked at how to focus or narrow the light to affect very specific areas of our images.

We started by setting our 1600 strobe 6 feet from the seamless gray paper. The smallest grid (10 degrees) gives us the most focused light, while the largest grid (40 degrees) gives us the widest light. As the degrees get larger, more light is allowed through, so the exposure must be adjusted to compensate.

We used cinefoil (black heat proof foil) to make a make-shift snoot. This material is easily shaped and can be used to focus the light even further than the 10 degree grid and also make shapes with the light. We shaped it slightly by wrapping it around a roll of tape in the studio.

Using what we saw from the demonstration, we chose a low-key Old Hollywood style photograph to replicate.

Elle Olins by Neil van Niekerk

Reilly O'Brien by Hana Non

We used 3 lights, 1 key with a 10 degree snoot that was also flagged to cover half of it, 1 background light with a 20 degree grid and one fill that was to the subject's right side.

The lighting set-up:

As it turns out, there is a behind the scenes of the original shoot on Neil van Niekerk's blog



































Production stills by Jaclyn Sands

Assignment 8: Grids and Snoots

Each person will post their own images and analysis.

Research film noir portraits. Choose one photograph to replicate. Use AT LEAST two grids or one grid and one snoot.

Spend some time editing your image in Lightroom (convert it to black and white and adjust the lighting using all of the global and local adjustments available to you in the develop module.)

Post a description of your setup (drawing/diagram even better) and discuss how the grids helped you achieve the lighting in your portrait.

Lesson 7: Size Matters

In this class, we experimented with light sources of different sizes. The main takeaway from class is:

Smaller and farther away = harder shadows and contrasty light (think of the sun)

Bigger and closer = softer shadows and light (think of a cloudy day)

Things to consider:

• Think about the size of your light from your subject’s perspective.
• You can change your light’s relative size by moving it closer or farther away from your subject.

Remember, quality of light directly affects the emotional feel of your image. Make specific decisions about what equipment to use and what size your modifiers need to be in order to create compelling photographs.

Demo: With the light was 5 ft away from subject first we had the subject stand as close as possible to the wall and observed the effects of different sized light sources.

Notice that as the source becomes bigger the cast shadow becomes more diffuse.

Next we moved the subject 5 feet from the wall (light is still 5 feet in front) and tried the same light sources. 

Notice that as the source becomes bigger the cast shadow becomes more diffuse. Also notice that the background stays relatively the same value.

Last we experimented with trying to get two light sources of different sizes to appear the same/create the same effect on the subject by moving them closer and farther from the subject. 

Production stills by Christine Krescholtek

Assignment 7, Size Matters

Each person will post their own images and analysis.

Part 1: Take two photographs of a still life setup. The first will be with just the reflector on the 1600 strobe. Then, without moving the light at all, add the small white umbrella to the strobe & reflector and take another photo. (Don’t forget to meter for both pictures!) Describe the difference between the shadows and overall lighting in these two images.

Part 2: Then, take two portraits. Using, the large umbrella in one and the small umbrella in the other, your goal is to produce the same type of lighting in each photograph. Think about subject placement, the light, and the background. Measure and record the distance of each light source from the subject and then describe how you came to this conclusion. It may be be useful to use a tripod for this so that you are not changing the camera angle much.

Post: 4 photographs. Label each as follows:

1. 1600 Strobe with Reflector ___’ from subject

2. 1600 Strobe with Reflector and White Umbrella ___’ from subject

3. 1600 Strobe with Reflector and Large Umbrella ___’ from subject

4. 1600 Strobe with Reflector and Small White Umbrella ____’ from subject

Don’t forget to describe the differences between the photos in Part 1. Then write a short paragraph describing what you did to find the correct distances for the photos in Part 2.

Lesson 6: Focus and Depth of Field

FOCUS

Choosing your focus point is incredibly important if you want to ensure that your photograph will be sharp. 

1. Set your camera to Single-point AF (Manual Selection)
2. Compose your image.
3. While still looking through the viewfinder, push the AF Area Selection button with your thumb. Use the dial on top, the dial on the back, or the arrows on the dial in the back to move the highlighted square around. Determine what you want to be focused in your photo. (Make sure to place the box on an area of contrast - for portraits, this is usually the eyes. If you choose the cheek, your camera will have a hard time locking onto the focus).
4. Press the shutter button halfway to make sure focus is achieved. Then take your picture.

You can also try auto focus lock by pressing the button halfway and then move the camera or re-frame your shot but be aware the focal plane may shift and your photo will no longer be in focus.

Always double check your focus on the screen - this is easiest to do while shooting tethered, especially if you have someone else running digital tech for you. 

DEPTH OF FIELD

Depth of Field is the area of the image that appears acceptably sharp from foreground to background. It is affected by:

• the aperture

• the size of the image sensor

• the focal length of the lens

• the distance between objects in the scene

We used different set-ups to observe this happening in the studio. First we tried it on a larger scale using people as the subjects. 

First we varied the aperture to see different depth of field effects.

F11, 1/60, ISO 100, 18mm

Focus set on Ryan, everyone in focus front to back

F 3.5, 1/60, ISO 100, 18mm

Focus set on Ryan, Jaclyn and Christine are becoming blurry

Next we varied the focus distance

F 3.5, 1/60, ISO 100, 18mm

Focus set on Ryan, Jaclyn and Christine are becoming blurry

F 3.5, 1/60, ISO 100, 18mm

Focus set on Jaclyn; Ryan and Christine are slightly blurry

F 3.5, 1/60, ISO 100, 18mm

Focus set on Christine, Jaclyn is slightly blurry, Ryan is more blurry

Next we tried the same thing with a smaller subject.

Varying Aperture:




F 4.5, 1/60, ISO 100, 35mm

Shallow Depth of Field















F 22, 1/60, ISO 100, 35mm

Greater Depth of Field (everything in focus front to back)











Varying Focal Length:



F 5, 1/60, ISO 100, 60mm

Less Depth of Field + See less of the scene














F 5, 1/60, ISO 100, 18mm

Greater Depth of Field + See more of the scene










Next we varied Focus Distance:



F 5, 1/60, ISO 100, 18mm

Closer to Subject

Less depth of field












F 5, 1/60, ISO 100, 60mm

Farther Away from Subject

Greater Depth of Field

















































Production Stills by Zonghan "Martin" Yang