Download Commercial Photographer's Master Lighting Guide: Food, by Robert Morrissey PDF

By Robert Morrissey

Advertisement photos are powerful, expertly lit pictures that command the audience awareness and speak whatever concerning the services or products that grabs and holds the audience consciousness. during this e-book, Robert Morrissey introduces reader to the instruments of the alternate. Readers will the right way to opt for and place lighting for a large choice of jobs - from huge items like autos to small, extra complicated items like jewelry. With the fundamentals lined, the consultant is dedicated to the creation of over forty pictures, made for actual assignments.

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Extra info for Commercial Photographer's Master Lighting Guide: Food, Architectural Interiors, Clothing, Jewelry, More

Example text

All three lights are of the set. These are aimed at the background on full power. at a 30-degree angle. All four lights are on full power. 52 Part 2: Using Light Modifiers An umbrella is placed in the front-right corner An umbrella is placed in the front-right corner of of the set. A second umbrella is placed to the the set and is aimed at the subject at a 45- left of the subject. Both umbrellas are on full degree angle. A second umbrella is placed in the power. A strobe fitted with a 10-degree honey- back-right corner of the set and is aimed at the comb grid is placed directly in front of the first subject at a 45-degree angle.

Note: A medium thin softbox can be used in a vertical or horizontal position. ) Each of the following images in this series was made using an 80mm lens. In every setup, the lights were used at full power. For each shot, the model, Mia, was positioned on a tape mark on the floor. Natalie Cross served as my assistant. A medium softbox on a large studio stand is positioned at the left of the set. The light is at a 90-degree angle to the subject and is on full power. 58 Part 2: Using Light Modifiers A medium softbox on a large studio stand is po- A medium softbox on a large studio stand is po- sitioned at the front left of the set.

The portrait is exposed correctly. The highlights on the back of the model’s hair and on her skin are correct. The light on her face is flattering and does not promote any imperfections. The wrinkles on the subject’s dress tell the story of the fabric and fit. The background fades evenly from red to a darker, muted color in the red spectrum. Despite its technical graces, the rendition of the model’s face is bland. Even if a photo is techni- cally correct, you’ll find that you sometimes need to add a little something to make it work.

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