Studio lighting setup black background

Positioned roughly two feet higher than eye level, the light source is angled slightly downward and hits the side of the face that is farthest away from the camera. Another key consideration in executing this lighting technique is ensuring that your camera flash does not interfere with the key light.

This method is most suitable for a dramatic look with ample contrast. If you want to achieve a softer and more natural lighting effect, you will need to supplement your shoot with a reflector. Begin by setting up the key light as instructed above. To use the reflector, place it at eye level, opposite of the key light at a degree angle, feet away from the model. If using a fill light, its strength should be no more than half that of the key light. Leveraging degree angles, fill lighting is placed opposite of the key light in order to supplement it.

Achieving the Rembrandt lighting method requires a controlled artificial lighting setup. As a result, this lighting style is best suited to being shot inside a studio. This is because outdoor environments can be unpredictable and let in too much natural light, making the contrast in light and dark harder to control.

While the setup itself is simple, finessing the balance of light transfer between the key light and the reflector can be time-consuming, so marking down these key spots can help save you time the next time around.

When working with lighting setups, it helps to know the best ways to apply them. Here are some helpful tips for working with this type of portrait lighting. Spot meters are a useful tool for working with harsh lighting with sharp contrasts. This means that the subject is captured in the light, while the rest of the shot is enveloped in shadow.

This method is also helpful when you are shooting with a smartphone, allowing you to achieve the chiaroscuro effect in-camera. In addition, using a spot meter is especially useful when capturing dramatic silhouette compositions. It helps capture the slivers of light while doing justice to the true black of the backdrop or background of the image.

However, few people know that Rembrandt himself used multiple candles as fill lights when posting his subjects to create this look. Similarly, you can introduce multiple light sources with the use of fill lights to produce different effects and ratios of negative space.

You can also try using softboxes that produce diffused light to subtly brighten the facial features of the model. Like the famous artist, you can hone your skills in this classic style of lighting by practicing capturing yourself or someone you know. This lighting effect has the ability to make a person look powerful or brooding, and learning its nuances can help you master all of its capabilities on set. Did you know that the most important thing in creating a black background is not a black cloth, wall or backdrop?

What we see with our eyes and what our cameras record can be very different. Our eyes see a wider range of tone and light values than our cameras can record in a single exposure. I encourage my students to look at light first.

Consider what you can see based on how the light is falling on your subject. Then think about how your camera will record it. If you are looking at a scene with even light and not too much contrast it should be easy to imagine.

Yet, If there is contrast, with more light on your subject than on the background, you can still create black backgrounds. Our modern digital cameras are capable to record a very wide dynamic range.

Early digital cameras and all film were able to capture a more limited range of tones in a single frame. Nowadays, we are able to make photos with more detail in the shadows and highlights. Our cameras are beginning to give results comparable to what we see with our eyes. To be able to perceive when you can achieve a photo with a black background you need to know when the light is right. You need to understand how to see the difference in the light value that is on your subject and your background.

Doing this requires that you ignore some of the detail that you can see, so you begin to see more as your camera does. This is a good skill for any type of photography. Think about how you will post process your image beforehand. Our cameras are able to record more detail. This means more tweaking in post to get a photo with a real dark background. The most important thing is to see when the light is right. In a portrait or still life setup, you control the lighting and background. If you prefer natural portrait backgrounds, you can still achieve black backgrounds.

To help you see if there will be enough contrast in a scene, squint your eyes and look at the scene. When you squint.

Highlights will stand out more. By looking at a scene in this way you will have a type of preview of what your photograph can look like.

If there is too little contrast in a scene when you are squinting at it this will be more noticeable. When there is more light on your subject, you will be able to get the background very dark.

Say you have the same amount of light on both your subject and background. Even if your background is black, you will need to manipulate the photo later. I use a black background when I am making portraits.

I only have limited experience with still life or other styles. But you can use this method with any subject you wish to photograph. If you have some control over your lighting setup, creating black backgrounds will be easier. And if you manage your setup well, you will have to do minimal post-processing. Choosing a black or dark coloured background will make things easier. Make sure your background does not reflect any light.

Shiny surfaces or plastic sheeting are not good because they will reflect light. I use heavy black curtains in the studio or some black stretch fabric when I travel. The stretch fabric is good because it does not wrinkle, which can reflect light. You will need enough space to separate your subject from the background. If they are too close together, the light on your subject and on the background will be similar. You want more light on your subject.

If you are indoors and using natural light , you can position your subject close to an open door or window.

Close all the other doors and window coverings. Turn off any electric lights. You want the room to be as dark as possible. If you have a black backdrop, hang this as far back from your subject as you can.

Depending on how dark the room is, this may not be necessary. Use the squinting technique I mentioned earlier to help you see where the bright areas are. Chose your camera angle so that you avoid seeing any light areas in the background. If you are using a backdrop, make sure you cannot see the edges or top of it in your frame. Softboxes should be used just out of view of the camera and then will give you a lovely soft diffused light.

If a large softbox is used close it will give plenty of wrap-around reducing the need for a reflector or fill light. In this example I used a Rotalux cm square and a white reflector. The Elinchrom Rotalux Softboxes are quite unique in that you can use them in several different ways.

Using these deflectors in conjunction with the front, internal or both diffuser panels you can obtain a huge number of different lighting effects with one simple accessory set. For more information on the Rotalux system with example photos, have a look at www.

One of the most flattering and glamorous lighting set-ups is easily obtained with one softbox and a great accessory from Lastolite called a Tri-flector. Basically it is three reflector panels joined together on movable joints. Heres a super set-up, which works every time! With your model seated place a flash head fitted with a softbox above the camera angled down to light from above.

Place the Tri-flector on a stand with the centre panel just above the models lap, the two side panels can be angled up at around 45 degrees on each side. This throws reflected light up under her chin and eyebrows and gives a beautiful effect that will emphasise your models eyes. In the example on the right I have also added a backlight and a black background to give real impact.

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