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Some basic questions on the SB-700
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<blockquote data-quote="WayneF" data-source="post: 229802" data-attributes="member: 12496"><p>Well, wives have different notions sometimes, mine surprises me with the reasons for her choices too. The choice may not have been about the obvious lighting factors as such. But direct light from on-camera is flat, even to a fault. Maybe it makes shadows behind the subject, but not ON the subject, which is all flat and even. So flat will fill and hide shapes like wrinkles, where side lighting makes shadows in them which shows better. Like craters on the moon, hardly visible at full moon, but very visible near terminator. Soft lighting from an umbrella there would hide them again, and still leave some interesting gradients. Or it could just be a facial expression she preferred, etc. Or it shows her new ear ring better. We have to learn to ask "why?". <img src="data:image/gif;base64,R0lGODlhAQABAIAAAAAAAP///yH5BAEAAAAALAAAAAABAAEAAAIBRAA7" class="smilie smilie--sprite smilie--sprite1" alt=":)" title="Smile :)" loading="lazy" data-shortname=":)" /></p><p></p><p></p><p></p><p></p><p>Yes, 45 high and wide was a pretty fast description. <img src="data:image/gif;base64,R0lGODlhAQABAIAAAAAAAP///yH5BAEAAAAALAAAAAABAAEAAAIBRAA7" class="smilie smilie--sprite smilie--sprite1" alt=":)" title="Smile :)" loading="lazy" data-shortname=":)" /></p><p></p><p>High means maybe up to about 45 degrees above the subjects head level, aimed down some. Sort of to mimic the suns high position, which we are accustomed to. Specifically, to cause shadows that the lens will see, on nose and far cheek, etc, to add modeling and interest, not flat and uninteresting. We intend to fill those shadows, and/or soften them, to not be harsh, to still add NATURAL tonal shading on the face. These natural gradient tonal variations show shape and depth of the subject, adds interest. The opposite of deer in the headlights. Shadows are good and natural and extremely desirable, we just have to fill them a bit, to be less noticeable (but still present and contributing).</p><p></p><p>And about 45 degrees wide, around towards the side from the camera (with respect to the subject). Exactly how wide is the basis of the various names of the setup. Maybe this is a good first introduction:</p><p><a href="http://www.sekonic.com/whatisyourspecialty/photographer/articles/the-five-basic-portrait-lighting-setups.aspx" target="_blank">The Five Basic Portrait-Lighting Setups | Photography How To Articles</a></p><p>or here</p><p><a href="http://digital-photography-school.com/6-portrait-lighting-patterns-every-photographer-should-know" target="_blank">6 Portrait Lighting Patterns Every Photographer Should Know - Digital Photography School</a></p><p></p><p>I don't worry much with the names, or the exact position (except I repeat my favorite). But be aware, Paramount (Butterfly) is for young perfect skin, movie starlets, and Rembrandt is high contrast, more for men. I just aim for about 45 high and wide, (more like Loop), and then pay attention to make sure shadows in eye sockets are OK, and that there are highlights on both cheeks. Light too far around misses far cheek. Subject is constantly turning anyway.</p><p></p><p>However, a more basic concept to know first is broad or short lighting</p><p></p><p><a href="http://www.expertphoto.dreamhosters.com/lighting/6195/broad-side-vs-short-side-lighting-whats-the-difference/" target="_blank">Broad Side vs Short Side Lighting, what’s the difference? | Expert Photo Training</a></p><p></p><p>The face turned a little away from the main light hides more of the the dark side and fully shows the bright side, which is called broad lighting. This makes faces look wider, broader because more of face is illuminated fully.</p><p></p><p>The face turned a little into the main light hides more of the bright side and shows more of the dark side, which makes the face look thinner, called narrow lighting. This is probably the norm.</p></blockquote><p></p>
[QUOTE="WayneF, post: 229802, member: 12496"] Well, wives have different notions sometimes, mine surprises me with the reasons for her choices too. The choice may not have been about the obvious lighting factors as such. But direct light from on-camera is flat, even to a fault. Maybe it makes shadows behind the subject, but not ON the subject, which is all flat and even. So flat will fill and hide shapes like wrinkles, where side lighting makes shadows in them which shows better. Like craters on the moon, hardly visible at full moon, but very visible near terminator. Soft lighting from an umbrella there would hide them again, and still leave some interesting gradients. Or it could just be a facial expression she preferred, etc. Or it shows her new ear ring better. We have to learn to ask "why?". :) Yes, 45 high and wide was a pretty fast description. :) High means maybe up to about 45 degrees above the subjects head level, aimed down some. Sort of to mimic the suns high position, which we are accustomed to. Specifically, to cause shadows that the lens will see, on nose and far cheek, etc, to add modeling and interest, not flat and uninteresting. We intend to fill those shadows, and/or soften them, to not be harsh, to still add NATURAL tonal shading on the face. These natural gradient tonal variations show shape and depth of the subject, adds interest. The opposite of deer in the headlights. Shadows are good and natural and extremely desirable, we just have to fill them a bit, to be less noticeable (but still present and contributing). And about 45 degrees wide, around towards the side from the camera (with respect to the subject). Exactly how wide is the basis of the various names of the setup. Maybe this is a good first introduction: [URL="http://www.sekonic.com/whatisyourspecialty/photographer/articles/the-five-basic-portrait-lighting-setups.aspx"]The Five Basic Portrait-Lighting Setups | Photography How To Articles[/URL] or here [URL="http://digital-photography-school.com/6-portrait-lighting-patterns-every-photographer-should-know"]6 Portrait Lighting Patterns Every Photographer Should Know - Digital Photography School[/URL] I don't worry much with the names, or the exact position (except I repeat my favorite). But be aware, Paramount (Butterfly) is for young perfect skin, movie starlets, and Rembrandt is high contrast, more for men. I just aim for about 45 high and wide, (more like Loop), and then pay attention to make sure shadows in eye sockets are OK, and that there are highlights on both cheeks. Light too far around misses far cheek. Subject is constantly turning anyway. However, a more basic concept to know first is broad or short lighting [URL="http://www.expertphoto.dreamhosters.com/lighting/6195/broad-side-vs-short-side-lighting-whats-the-difference/"]Broad Side vs Short Side Lighting, what’s the difference? | Expert Photo Training[/URL] The face turned a little away from the main light hides more of the the dark side and fully shows the bright side, which is called broad lighting. This makes faces look wider, broader because more of face is illuminated fully. The face turned a little into the main light hides more of the bright side and shows more of the dark side, which makes the face look thinner, called narrow lighting. This is probably the norm. [/QUOTE]
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