How to photograph a client
 

by Karin Wells
This and other information can be found on my website at www.portraitartist.com/wells

A Single Source of Light

I've always loved the paintings of the Old Masters and often have copied their works in order to understand the masters' use of light and composition. Their lighting is simple, elegant, and comes from a single light source. Over the years, I've devised a method of achieving this single source lighting with the use of my camera and artificial illumination equipment. Because I personally find a natural daylight source to be inconsistent and often paint into the night without a model, I heavily rely on my camera for reference "notes".

I've found that it is difficult, if not impossible to produce a good portrait from a poor photograph. For example, shadows that look wonderful when you have the model sitting in front of you, can unhappily appear as solid black in the resulting photograph. Another inferior result comes from the use of high-speed film in low light, making the photo grainy. There are two variables that determine how much light intensity is needed - lens aperture and film speed. The faster the film speed and the larger the aperture setting, the more grainy and inferior the resulting photo. What a portrait artist needs is sharp, brilliant pictures with good depth of field. The only way to get this, especially with moving children, is to have lots of steady light, a slow speed film, and moderate or high apertures.

The placement of the light in relationship to the subject is critical. As a rule of thumb, when photographing most clients, I set up my light to the left of the camera and above the subject. This placement will produce shadows appearing in a pattern that photographers call, "Rembrandt Lighting". Since paintings, like books, read from left to right, this direction of light is oftentimes the most pleasing. With older clients, I like to keep the lighting as frontal as possible in order to minimize the appearance of creases and wrinkles on the skin.

To reflect light back into the shadow slide of the model (so that the shadows don't look black in the resulting photo), I place reflectors (white cardboard will do) opposite the light source and "off camera". Bounce more light than your eye tells you to back into the shadows, so that you will be able to see detail within the shadows. Most professional photographers use another light to accomplish this, but I urge you to resist the temptation. I find that the results can be excellent when served by a single light source and a reflecting board.

I often photograph my subject with a neutral background. My discovery of a portable "Background System in a Bag" by Photek, makes traveling to the client's location a breeze. It consists of a large, 8'x12', pearl gray material with collapsible supports. In composing the actual painting, this neutral background allows me the flexibility to add objects or landscapes that I've photographed separately.

I use a 35mm Canon EOS Elan camera (auto focus) with a Tamron 28-200 zoom lens. I prefer a slow (160 ISO) professional film by Kodak, Vericolor III. It gives me accurate color, clear detail, and soft shadows.

The "White Lightning Ultra 600" studio flash manufactured by Paul C. Buff, Inc. of Nashville, TN., illuminates the subject while showing exactly where the shadows fall. It is lightweight and portable, and allows me to shoot at a faster speed, thus eliminating the need for a tripod. I also use a Wein light meter (any will do) to determine the aperture on my camera. When I click the shutter, a strobe ring at the base of the modeling light automatically flashes and illuminates the subject with the correct amount of light. I also use a diffuser, softbox or white umbrella to provide light that wraps gently around the form.

It takes time, study and practice to produce beautifully lighted photographs for use in portraiture. My system has worked well for me to mimic the single light source.

Surroundings of the Photo Setup
 

Karin, Hi. I have my lighting set up all ready to use, based on your above advice. My questions are: What are the surroundings when you take your photos with the lighting setup?

Is the room filled with indirect light from the outdoors? Do you use blackout shades to make the room as dark as possible? Or do any additional light sources get cancelled out as soon as the photolamp goes on?

Are you using a strobe or a regular photobulb? 250 watts? 150?

Do you go to the clients home sometimes to shoot the photos?

Thanks,
Renee

I shoot in ambient light as my strobe is powerful and will cancel out other light. I keep the room dim enough so that I can determine shadow patters using just my modeling light.

The White Lightning that I have has both a strobe and a modeling light.

The stronger light that flashes in order to snap the shutter and take the picture is the strobe. It overrides the modeling light.

In a pinch, I have even used an ordinary 100 watt light bulb as the modeling light to pre-determine my shadows.

I prefer to shoot in my studio because the setup is ideal. However, it is sometimes necessary to go on location to shoot.

Lighting update
 

Here is some additional info. on how I shoot a subject. Right now I am using a white umbrella to bounce a softer and more gentle wraparound light onto the subject. Please understand that all this is experimental, but at the moment this seems to work OK.

Set your umbrella at a 45 degree angle from your subject and position the umbrella so you get light in both eyes.

The light source should be about 3 or 4 feet from the subject. I usually have the light 12" to 18" above the model's head. Be sure to have the camera lens at the model's eye level.

I don't shoot in a dark room, but the lights are low enough so that it would be difficult to read a book with small type.

Now here is the part you have to play with: with the light pointed into the white umbrella (away from the subject) I adjust it so that the light it casts just catches the subject with the outer (back) edge (i.e., the path of light is mostly in front of the subject - falling between the model and the camera).

In this position, I try to aim the light directly at the top of the head or the forehead. This position seems to help the light "wash" down the figure and give the picture "atmosphere".

I plug my Paul C. Buff lights directly into my camera. Then I set the aperture somewhere between 8 and 11 depending on how sharp I want the background in focus

Karin,

Hi. I just dropped family off at the airport after a great holiday visit. Now, back to work!

My son gave me the Photek Background in a Bag and have since realized the support does not come with the fabric! So, ready now to buy the framework to hold up the fabric (another $150) and my question is , "did you buy the support from Photek as well?" Is that the strongest one?

Nowadays companies sell everything so that you must buy the accessories, prices that must be factored in. For instance, my Sony Cybershot-DSC-P50 comes with a 4Mb memory stick. It only holds one pic so I had to buy a 128Mb stick.

On the strobe, Paul C. Buff no longer carries the 600 series, and now have the 800. How high does that make the light? You start with a 150 watt modeling light, correct? So, when the flash goes off, how bright is the light on the model? It doesn't wash out the color, does it? Can you adjust the amount of light coming out of the strobe?

You and I have spoken before about the umbrella versus a relector board. I returned my 40" umbrella as I found the coroplast white board clamped onto two additional light stands to reflect light better IMHO.

Renee

The Photek support is made especially for the fabric you have and I recommend it.

With a PC Buff strobe, you can choose just the amount of light you need. This company is most helpful and I suggest that you ask them for the particulars about each of their models.

Do not confuse an umbrella with a reflector board - they have different purposes (see blackboard below).

An UMBRELLA acts to soften the light...and you can use it with your light in two ways:

#1.
You can put the umbrella between the light and the subject. Then shine the light through the umbrella onto the subject...this will soften the light.

#2.
Another way to soften light is to turn the light away from the subject and shine it into an (opaque) umbrella behind it. The umbrella faces the subject.

A REFLECTOR is placed opposite the light in order to reflect light back into the shadow side of the subject.

I hope this is helpful.

(blackboard)

Karin, Thanks. Yes, I see the different uses for the umbrella versus the board.

Btw, your subject has a lovely smile.:D

Renee

Karin, I just sent an order for the Photek support system for the background in a bag.

I am about to place an order for the Ultra Zap 800 lighting system from Paul C. Buff. They have a sale on a 20" relector that is adaptable with the UZ800.

Is the relector a necessary thing to buy?

Renee

..."Is the relector a necessary thing to buy?"

For reflectors I have used some of the following;
white sheets, white poster board and painted white walls.

Anything that bounces light will do.....commercial reflectors are indeed expensive...but convenient to store, transport and use.

I'd say it is up to you if you wish to spend the extra money...good luck.:sunnysmil

Karin,

Not reflector boards. This kind. Is this reflector a good buy or not needed with the ultra zap? I guess this would be used with the modeling lamp.

Thanks.
Renee

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With a spring mounted bounce plate, these white pan reflectors are designed for Ultra, UltraZAP and X-Series lights with any modeling lamp. A 80

Karin, or anyone,

What's the difference between a photobulb ($8.95) and a "modeling light" ($27.95)? Also, before I spend over $300. on the ultra zap, why isn't the modeling light enough? I don't get what the additional light from the strobe does? Is the strobe mostly to provide enough light to fill?

I feel that I am going to need to take a studio lighting course soon!

Renee

That 20" reflector pictured above would indeed soften the light - but might be bulky to travel with. However, for that price.....

The modeling light will show you where the light falls and defines your shadows. Remember that shadow patterns are an important design and composition element.

The modeling light is too weak to use alone with your camera settings. The strobe plugs into the camera, overrides the modeling light when it flashes, captures the image, and insures that you can capture on film what you actually see.

The strobe is necessary if you are photographing children or animals. (i.e., Your subject does not need to sit very still - good with adults too).

In a pinch, I have used a regular light bulb in place of the modeling light....but prefer the bulb suggested by the manufacturer.

Basically all the advice in the world won't substitute for experimentation and finding out what works best for your individual needs.

Theoretically natural lighting is best but I live in a place where the weather does not cooperate and I really need studio lighting that I can count on.

UZ 800 light and The background in a Bag
 

Karin, I just sent off the order for the Ultra Zap 800 light, and the stands for the background in a Bag just arrived.

Wow, are the stands heavy! Do you carry all this equipment to your clients' homes or do you have it all set up in your studio?

Btw, when my light arrives, expect some offlist "Help me!" posts to arrive from yours truly! :D

I am still trying to figure out my new Sony digital camera! So many modes, so little time. :bewildere

Renee

Karin, Hi. I have been very busy painting.and haven't even had time to read through my ultra zap manual. Could you give me the settings for the back of my ultra zap lamp that you usually use?

I had to photograph these brothers outside in the cold a couple of weeks ago. We nearly froze! I've been taking in new commissions and I hate reading manuals and would appreciate the help. Thanks.

Renee

On my White Lightning strobe, I set the slider on the back to 1/2 power and keep my model light on at all times.

This setting may or may not work for you depending on your ambient light, distance from subject, etc.

Reading the manual (and taking notes) will be worth the time and effort it takes. Expect to experiment a LOT and Good luck!

BTW, this is a really cute pose for the little children's portrait, but beware of open mouths with teeth showing...this can be tricky (to say the least) to paint. Also, maybe this ought to be a vertical painting rather than a horizontal one?

I think that this kind of picture is best posed in a studio with controlled lighting...much less of a hassle to paint...

Karin, Thanks for the quick tip on the light. At least I can give it a try. I know there's no avoiding the manual, but I have been so busy painting that this quick lesson will help me for now. I took one look at all those controls and groaned. I detest learning new technology everytime I buy something new. Just finally figured out my new digital camera.

Yes, that was my first thought as well, to paint this vertically but the client overrode my suggestion. Plus, he wanted the big smiles and I am pretty good with downplaying the teeth, so off we go. These kids are so sweet , the job is a pleasure, not to mention it went for a good price.

I have to say that Chris Saper's new book is a great help. I finally am getting that "shadow" means cool not dark. Whew. That finally sank in. Thanks Chris.

Renee

New lighting equipment
 

Renee,

Hi, I have been reading through the posts you and Karin exchanged about lighting. I am wondering how your new system is working out?

I don't even have a digital camera so that is the first thing I am tring to research. A couple of months ago I tried to figure out a simple 'studio light' system but after visiting a couple of camera stores here in Houston I decided I didn't know enough to even know what I need. Oh, I also felt like I needed some kind of photography degree to get it all figured out. I would appreciate any suggestions from anybody that reads this too.

Thanks,
Joan

Joan, Hi. I have this commission going and today put three new figurative entries into a local art show. I have to get a painting of Central Park ready for a gallery by May 3rd. I am lucky I finally understand my new Sony cybershot p50 (don't buy it) enough to get good shots out of it. It takes awful shots of paintings but fabulous pics of family.

On my "must figure out" list is the George Foreman grill my sis-in-law gave us for Christmas, The ultra zap light, and three other things that require reading the instructions. Our world is filled with new technology and I am running to catch up! I'll let you know asap.

The first and simplest lamps I bought before I purchased a Bogen stand (love it!!) were the Smith-Vector lights from B & H photo, NYC. They are simple 13 foot light stands and with a 200 watt photobulb are simple to use, approx. $120. for the set.

Now the spring is here and I am out in the park again, painting plein air. I am all over the place when it comes to art and I still haven't decided what kind of an artist I'll be when I grow up!! :D

Renee

Here's the commission so far. This was photographed in dim lighting so the parents could see the details. They love it so far.
Renee

Karin's Workshop
 

I'm intrigued, but rather confused trying to follow this thread.

We look forward to seeing Karin's photographic techniques demontrated live on May 6 in Greenwich, CT!


Karin Wells Photo Reference Workshop