Using the 7' OctoDome for Portraits and Fashion

Prior to setting up our lights for this studio shoot, we first took a shot of our model on the set with just the built-in flash of the camera activated. We find it advantageous to take these types of "before" shots so that we can contrast them against the shots in which we develop the lighting (figure 1 & 2).

Although this first result shot is fairly well exposed, the quality of light from the flash creates an unnatural look by casting a sharp, distracting shadow along the back wall. It's as though we're looking at our model from behind the wheel of a car with the headlights on.

Lighting Comparisons in Portraits
To examine the effects of the flash further, we moved in tighter and took and head-and-shoulders shot with the flash still activated (figure 3).

Even close up, this lighting is less than ideal. Notice how the tiny catchlights in the eyes make the eyes look dark. And because the light is traveling in the same direction as the camera lens, it flattens out our model's features and casts a dark shadow to the right side of the model's head.

Next, we decided to do away with the built-in flash by deactivating it and setting up a StarFlash strobe and an ADH (silver) umbrella. For comparison purposes, we maintained the direction of the light by placing the strobe/umbrella set-up directly behind the photographer (figures 4 and 5).

As you can see from the result below, the substitution of the built-in flash lighting for the umbrella lighting makes a huge difference. Notice how the light is more natural looking, that the shadows on her face are much softer, and that there is no distracting shadow on the wall in the background. Also notice how the catchlights in the eyes are bigger and that the irises are better illuminated (figure 6).

To soften this light even further, we replaced the 45-inch umbrella with a 7-foot OctoDome and set it in roughly the same position, with the soft box directly behind the photographer (figures 7 & 8).

The result shows an even softer light quality than the previous shot with the umbrella. Which makes sense, given the following lighting principle: the larger your light source is, the softer the quality of light will be.

In the result, notice how the shadows under the chin are much softer and lighter than they are in the previous shot, and that the eyes are brighter and "sparkle" more with the larger catchlights (figure 9).

Here is a side-by-side comparison of the result shots taken so far. Comparing the first result with the last, it almost seems as if we're looking at two different people (figure 10).

Lighting Comparisons in Full-length Shots
Next, we decided to take some full-length shots and develop the lighting along the way.

First, we started out with the ADH umbrella and StarFlash 650w strobe mounted to a LiteStand with Casters, and positioned it to the left of the model, approximately seven feet away (figures 11 and 12).

The result shot shows a big improvement over figure 2. The lighting from the umbrella off to the side renders our model in a dynamic and dramatic way. Our model's facial features and dress have a smooth, three-dimensional feel, yet are fairly high in contrast.

The shadows on the floor are relatively soft, and you can see the reflection of the umbrella somewhat in the wainscoting section of the back wall (figure 13).

Next, we replaced the umbrella with the 7-foot OctoDome, kept the same position of the light relative to the model, and took another shot (figure 14).

Although not vastly different from the previous shot, the result below does show some significant changes. Most notably, the overall contrast is reduced with the OctoDome, giving the facial features and dress a significantly softer quality. The shadows on the floor are both softer and lighter. However, the reflection in the wainscoting is still apparent (figure 15).

Reducing Contrast with LitePanels
Before tackling the reflection issue, we decided to bounce some of this soft light into the shadow areas of our model. So, we set up a 39x72" LitePanel Kit with the Soft Gold fabric facing the model, and positioned it to the right of the model.

We didn't want to create too much fill, as we liked the overall effect of the main light, but we wanted enough to warm up the skin tones and lower the overall contrast somewhat (figures 16 and 17).

The LitePanel did a nice job in lightening the shadows in the face, the dress, the shadows on the floor, and even the back wall, while not taking away from the overall mood of the main light. As you can see, the contrast has been nicely lowered (figure 18).

Preventing Soft Light Spill
While we liked the overall lighting on the model, we weren't crazy about the reflection of the OctoDome in the wainscoting, as well as the overall tonal level on the back wall. Instead, we wanted to have a greater sense of separation between the model and the background so that she would "pop" forward.

The easiest way to increase this separation is by either lightening the subject, or edges of the subject, or darkening the background. In this case, we decided that a darker background would look best, so we prevented light from falling on the background by attaching directional Grids to the face of the OctoDome. The OctoDome Grids have Velcro® sewn into the sides that allow you to attach them to the face of your soft box quickly and easily (figures 19 and 20).

As you can see from the result below, the Grids really made a dramatic difference in overall feel of the shot and allowed our model to "pop" forward within the frame. Because the Grids direct the soft light primarily onto our model, it allows the background to fall more in shadow. The effect is that the viewer's attention is drawn primarily to the model (figure 21).

Upon closer inspection, we thought that the background was a little too dark, and decided to angle the box an inch or two toward the background. As you'll see, even a subtle adjustment like this can make a big difference in light levels.

Adding a Hair Light
For a final touch, we decided to set up a second StarFlash on a Boom and Boom Stand toward the back of the set, and angle it so that the light hit the back of the model's head. To keep this light traveling straight and prevent it from illuminating the floor and creating another shadow in the foreground, we added a 40-degree StarFlash Grid to it (figures 22 and 23).

To get an idea of how this hair light would affect the shot, we disabled the main light and took a test shot with just the hair light. The result looked just how we wanted it to look: with light illuminating just the right ride of the hair and shoulder, and no light spill on the floor (figure 24).

Once everything was in position, we powered up the main light again and took a series of final shots (figure 25).

The image below ended up being one of our favorites. The minor adjustment we made to the angle of OctoDome helped to brighten the background a little, while still keeping the edges darker. Note how the OctoDome still maintained a directional, diffused light quality on our model. The LitePanel added a warm, subtle fill that did not compete with the effect of the main light, and the hair light added some nice highlights and further separation from the background (figure 26).

NOTE: After the shoot, we opened up this final image in Photoshop and used the Clone Stamp tool to "clean up" the distracting tape marks, etc. on the floor. To learn more on how to use this tool, as well as many others in Photoshop, check out the Digital section of Web Photo School.

In the comparison lineup below, you can see how these changes in lighting have a dramatic affect on the look and feel of each shot (figure 27).

The lighting in any portrait or fashion shot greatly determines the outcome of the shot. Be sure to experiment with different lighting configurations, get comfortable with your lighting gear, and above all, have fun!