Day 2 continued the journey of learning and discovery.
Students not only refined their skills but also shared their experiences and takeaways, reflecting the impact of working with tools like the snoot, power station, fog machine, and lighting setups. With gear from Digitek and Viltrox, the sessions turned into a stage for creativity and confidence.
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Day 1 was packed with hands-on learning and real-time practice.
Students explored lighting setups and experimented with tools like the snoot, power station, fog machine, and more. With professional gear from Digitek and Viltrox, every moment was about turning theory into action.
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How to Make a DIY Dappled Natural Light Background for Portraits
Creating a do-it-yourself lighting setup for dappled natural light backgrounds isn’t as tricky or as involved to achieve as some setups and techniques, but it is a nice little idea to play with if the occasion arises.
The good news is, you barely need any kit to make this work, and truth be told, I was actually packing away my lighting gear when I saw this natural light pattern form on my scrim after a shoot. I quickly asked the model back and decided to grab a few frames as the naturally formed dappled light background looked amazing. Here’s how to get the same look yourself…
The natural light background created in-camera here, looks an awful lot like a cloudy day, when in fact it’s not created by clouds at all…
What Do You Need?
1. A white sheet or bounce board
2. Another thin white sheet or scrim
Yes, that’s honestly all you need, so to all the people who complain about tutorials written for people with a full studio's worth of kit, this little setup is for you.
What You'll Also Need
1. Bright, sunny day
Sorry, there was one more item I forgot to mention and that’s the Sun. Sadly this last item will prevent most of us Brits from pulling this setup off for 51 weeks of the year, but if you get lucky and the Sun does indeed come out, this is a very quick and easy look to achieve.
The Setup
The setup itself involves you placing one white sheet or bounce-board behind you and then you place the other thin sheet or scrim behind the model. To be clear, yes I am using a purpose-built scrim here, but a single cotton sheet will do just as well for the look we’re after. When positioning the two sheets, be sure to also position your model with the Sun behind them.
Lastly, try to set the whole thing up in front of some bushes or trees to get the desired dappled light effect on the scrim behind your subject. Take a look at the diagram below to see what I mean.
The setup works as the hard sunlight shines through the trees behind the subject and essentially projects the dappled light and shadows onto the white sheet behind them, resulting in this beautiful pattern on the background.
The same sunlight is also so strong that it hits the white sheet behind you and bounces back onto the model which in turn bathes them in this beautifully soft light as well. Effectively you’re getting two lights in one here as the same light is illuminating the background as well as the model too.
The Final Look
There are some clear benefits to this look and firstly, of course, is its ease of implementation. Sure, you need the Sun to be out, but if you live in a region where the Sun isn’t revered like a mythical creature like it is here in England, this isn’t too much to ask for.
Secondly, the look this light gives to the model is extremely flattering as the bounced sunlight hitting the sheet behind you and illuminating the model is extremely soft. Plus, when the model is stood close to the scrim sheet behind her, a little light bleeds through and delicately lights the edges of her face and body to further add dimension to the body too. Look again at the images here if you missed them at first glance. See how the edges of her body and jacket are highlighted?
Lastly, I was particularly impressed by how the dappled light effect on the background actually looked like clouds on a sunny day behind her. This is of course just an illusion thanks to the dappled light from the trees behind, but it's an interesting way to achieve this effect if that’s what you’re after.
Closing Comments
Ultimately this is a very easy setup to achieve as long as the Sun is out. There are a couple of things I want to mention though that are worth bearing in mind when setting this up.
Color contamination
Be mindful of your surroundings when doing this and by that I mean be aware of what the Sun is actually bouncing off around you. Sure it will bounce off the white sheet behind you and light the subject beautifully, but the Sun is also bouncing off of everything too. In these shots, I had a red-brick building to my right and as a result, I was getting a red cast on the right of the model (her left). I reduced it in post so it's not too visible here now, but it's certainly worth being aware of.
Adjusting the amount of dappling
One other thing to play with is adjusting the amount of dappling you get on the background behind your subject. I liked the blurred and out-of-focus dappling I was getting on my background, but you can choose to make it sharper or more blurred depending on how close you position your setup to the trees and foliage behind you. Placing your setup quite close to the trees will result in very blurred mottling and puling the setup further away will get you sharper dappling effects. Just something to play or at the very least be aware of if you’re not getting the desired effect when you try it yourself.
Good luck and have fun playing with this one. Be patient though, as the scriptures have foretold the return of the Sun in due course, let’s just hope we can remember where this article was when that great day does indeed come to pass.
About the author : Jake Hicks is an editorial and fashion photographer based in Reading, UK. He specializes in keeping the skill in the camera and not just on the screen. If you’d like to learn more about his incredibly popular gelled lighting and post-pro techniques, visit this link for more info. You can find more of his work and writing on his website, Facebook, 500px, Instagram, Twitter, and Flickr. This article was also published here.
Credits: Photographs by Jake Hicks. Featured model is Annabelle Strutt.
#lighting #tutorials #dappledlight #jakehicks #lightingsetup #portraiture
Lighting White-on-White or Black-on-Black Photos with Just One Flash
The most complex scenarios one can get in lighting are black on black and white on white. These scare most photographers, regardless of the genre. If black absorbs light and white bounces, how can you achieve natural-looking results with just one light?
Still-life photography is a very popular genre that is in high demand. For this reason, many photographers consider product photography to be quite lucrative. That said, product photography requires very intricate knowledge of lighting and how to deal with complex situations.
Are two of those annoying light scenarios are black on black and white on white.
Why Is This Important?
These two scenarios are probably the best way to see if a photographer really knows light. Importantly, black on black and white on white isn't unique to still life photography. I’ve had to photograph such scenarios in fashion as well.
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White backgrounds are commonly found in E-commerce shots, with the ability to crop and change the image easily, white background images have become a standard for many websites such as eBay or Etsy.
Black backgrounds on the other hand are fantastic in showing details of shiny metallic objects, jewelry. A common place to find black background shots is in luxury ads. An overall dark image captivates the viewer’s attention to what’s most important: the product or subject.
White on White
There are several techniques to photograph this setting. The most important consideration is creating depth and shape as we want to highlight the subject at hand as best as possible. Let’s look at a simple setting: A white battery charger against a white backdrop.
1. Black Frame
Goal: My goal is to create an image where the object doesn’t blend in the white background, has defined edges, and the background is evenly lit without any significant hotspots.
2. Test Light
Let’s introduce the first strobe. Placing it on the side that’s closer to the camera yields this result:
That does not look compelling and is far from what I need. There is an unwanted shadow behind the charger, moreover increasing the power blows out the highlights beyond imaginable.
In order to create an even diffused soft illumination, I need a large source. In this case, a white umbrella is the best option. As the object is white and matte there isn't too much necessity to control direct reflections from shiny surfaces.
Introducing my first strobe, I see that there is some shadow edge definition, but really not that much. The closer side has completely blended in with the background. In order to add definition, I must cut the light. Chances are, you’re like me and don’t have a warehouse of flags and grip. When it comes to cutting light, most matte black objects will do the job adequately well.
I used my graphics tablet and empty boxes to create a setup -- each of these things will cut light and hence add definition to my subject.
Here's the resulting photo straight from the camera:
Here is how I achieved my goal of creating this simple-looking but a technically complex image with just one light:
Black on Black
Because we all love flash photography, our next subject will be flash itself. The task is to capture a unit for a hypothetical campaign. The main requirements are to make sure the image shows the details of the unit. This seems not that difficult.
As a general rule of thumb, you need to make sure that the outlines are visible. While in white on white that was about cutting light, here it is about adding light. Outlines will be only visible if they are a different color than the general image.
1. Black Frame
Goal: The goal is to create an image of the flash where the edge definitions are shown clearly. The flash itself must have volume and stand out from the background which is to remain black.
2. Test Light
Same process, but slightly different midset. I want to show how symmetrical flash is, hence I place my light slightly on top. Bare bulb, just as always.
This yields a wild range of problems: from the overexposed flash tube to the unevenly lit flash body. Naturally, this isn’t the desired result. I want to smoothen out the light and gradate it. For this, I need a soft diffused source.
Placing an umbrella on my strobe and placing the modifier directly above the subject yield this exact result.
However, there is a problem, the reflections in the body are not the same. This, while being a small detail can be a crucial one. In order to make my reflections the same, I introduce two white walls into the frame: a collapsable reflector and a foam board. It doesn’t make a huge difference what you use as long as they have a similar texture and are white.
Here is the final result (straight from camera):
This achieves the goal, again with one single light.
Background Considerations
It is important to know that not all black is equally good at absorbing light. For example, black paper, although being dark is pretty useless if the light hits it. It produces a huge amount of diffuse reflection and therefore will show up as dark grey.
If you want to photograph an object that is resting on a black background, you may want to pick out something that produces direct reflection, or polarized reflection. For this reason, acrylic black is a great choice for such applications.
Closing Thoughts
The setups shown here are products of a different approach to light, one that doesn’t think in terms of setups. While not better than the approach in terms of setups, it does allow me to be freer with how I make light.
In simple terms, if you think of light as an instrument and not a setup you will be able to craft complex setups even from one light and simple modifier. Naturally, feel free to use the setups used in this article -- however, they are crafted to serve a specific purpose, not to taken from the Internet and used as-is.
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How Do Pro Photographers Light Their Photographs?
How does renowned portrait photographer Albert Watson light his photos? With a foolproof three-light setup that makes his photos look amazing, of course! Except… he doesn't. In fact, setups are very far from what professional photographers do when they light their work. Here is what mindset photographers have when they light.
We all start in the same place: a YouTube video showing some amazing setups with just 1 light. When we watch a video showing a 4-light setup, we’re already feeling pro. And yes, for some photographers being able to do a four-light setup -- a nice rim, fill, hair, and key light -- is enough. These setups give a simple formula to use when lighting a scene.
Many photographers can create these light setups, but very few are professionals. So, how do pros light their photos? What setups do they use? How do they decide?
Setups Are a Myth
The first thing I want to emphasize is that setups don’t exist on a professional set. Never has anyone asked me to do a three-light setup, nor has anyone asked me to create great results with only one light.
Being able to do a classic portrait setup and have top clients is a thing of the past. Back in the 80s, you could impress someone with a clean white background, but now it's not about that at all.
Competition is fierce, and many photographers end up learning as many setups as possible so that they have a vast mental toolbox. This results in companies selling kits for “perfect portrait light” “perfect beauty light” “perfect fashion light”. What this creates is a set mentality that there is one right way to light fashion, a different one for beauty, and the third one for portraits.
The best analogy I can give is if you were told there is only one way to eat bread: plain with butter. You can't make toast, add jam, or even make a sandwich.
I think it’s pretty clear that thinking in terms of setups is limiting. It’s not wrong, but it puts a label on something that is undefinable: perfect light.
So How Do Professionals Light Their Photos?
Before I go into how to learn the art of lighting, let me take you through a sort of step-by-step process that I’ve applied to light so far.
1. Black Frame
It all starts with a single frame. If I’m in the studio, I take a black frame to make sure there is no ambient light. On-location, I take a perfectly exposed frame. Although now I have an intuition about exposure, I still do it as a good habit. If anything, it lets me know I tethered in properly and that everything is working.
2. Ambient Control
With the test frame complete, I introduce light. If studio ambient light is desirable, I may increase ISO or perhaps lower the shutter speed. Generally, I don’t touch aperture too much as I like to have a wide plane of focus around f/11. On-location, I will play with the settings to get a good amount of ambient light.
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3. Introducing Artificial Light
Again, this all starts with a single light. If you want to be a purist, you can start with a light directly in front of the subject. Setting the power, and then seeing what that light makes is the next step. Some questions to ask yourself at this moment are:
Answers to these questions will form a base for what you want to do next. This may include adding a modifier, moving the light further, or perhaps even adding additional lights.
A good way to think about this step is to take on the mindset of a painter. Each light is a brush that adds dimension to the image. You should be careful about what you add and don’t to each picture.
Remember that with every light comes a great deal of responsibility to control it -- don’t forget about things like flags, scrims, or butterflies. Those will help you sculpt the end result and come up with a unique image that is yours. Truly yours.
The end of this process should yield a light that looks good to you. Determining what looks good and what doesn’t comes from being deeply caring and passionate about the subject. While I don’t want to sound like a loosey-goosey artistic type, good light just clicks with the subject like a puzzle that fits perfectly.
Deep care for the subject enables you to understand what light fits correctly. If you photograph 1950s cars, you may want to show the chrome on the bodywork. If photographing popsicles wets your whistle, you will inevitably find a way to show them in a light that is right.
What separates great from the good is that obsession with the subject in front of the lens, no matter what it is.
How To Learn Light?
Knowledge of light comes from experimenting and appreciating what each surface does to light, how it reflects or bounces, diffuses or travels directly, etc. This understanding then enables you to appreciate each modifier.
For example, a 5-foot octabox will have the same light spread as a 2-foot, but the softness will be different. A 1×6 softbox turned sideways will produce a hard vertical but soft horizontal shadow. Diffusion paper on a small source won't make the light soft.
There are virtually thousands of examples like these that come from understanding what each little tool does to light.
I’ve written a separate piece on learning light earlier this year. If you want a more detailed explanation, give that article a read!
Closing Thoughts
Professionals light their images in order to achieve an aesthetic rather than execute a bog-standard setup, just like how painters paint in order to convey a mood rather than do a technique exercise. Of course, good technique is important and helpful, but knowing four one-light setups is not a good technique -- making your own light setups with 1, 2, 4, 10, and more lights to fit the aesthetic is a good technique.
I promise you, knowing how to light will not only bring progress to your photography but it also enables you to solve some of the most complex problems that arise on set.
About the author : Illya Ovchar is a commercial and editorial fashion photographer based in Budapest. The opinions expressed in this article are solely those of the author. You can find more of Ovchar's work on his website and Instagram.
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