Say cheese! Using strobe lights for portraiture

Cameron White dribbles the ball for an Athlete of the Week feature photo, for the Owens Outlook.       Photo by Sean Ferry

      Portraits should capture the essence of your subject. Easier said than done. I find portraits to be the most challenging and the most rewarding photography assignment. 

     

Lighting diagram for above portrait.

    Lighting always plays the biggest role in whether or not your portrait is going to turn out. Often times we have to work around the ambient light that is available, but whenever able I bring along strobe lights to ensure I can get the images I want.

      Studio strobe lights not only give us the ability to shape and modify the light in an infinite number of ways, but also allow the image to be taken without interference from ambient light. For the basketball player portrait the strobes were set at a high power level, requiring an aperture small enough to knock out all of the bright fluorescent light shining straight down onto the gym floor.

      Separating your subject from the background is a great way to make your images jump off the page. I like to accomplish this either by lighting the rim of my subject or by subtly lighting the background directly behind the person.

       Making sure the person you are photographing is comfortable is the only way to get a decent expression their face. Being able to make small talk while adjusting camera settings and lights will make your job more enjoyable for everyone involved. 

Amy Houstin poses for a headshot.  Photo by Sean Ferry

       Group shots can be a bit tricky, you want to make sure the light source is falling on all of the members of your group. Make sure nobody's face is obscured (If you can't see the camera, it can't see you). The arrangement of the group should be so everyone is around the same distance from the camera (or within your depth of field) for giant groups a high perspective is often helpful. 

      Headshots are deceivingly simple and require patience and practice to perfect. I always try to remember that the head-shoulder axis should be dynamic ( i.e. shoulders square with the main light, chin turned directly toward camera). 

      Tilting the head one way or another will change the mood of your headshot. All business or professional headshots should be taken with the top of the head slightly tilted toward the far shoulder, creating a dominant and powerful look. The head can also be tilted toward the near shoulder to create a more demure, innocent looking headshot.

      Lighting is always personal preference and I don't believe in reserving certain light patterns for certain types of faces; everyone has a unique face that deserves a unique photo.  

Owens' Womens Soccer Team with their Division XII regional award. The ladies traveled to Fla. to compete in the national tournament. Photo by Sean Ferry.