Help me recreate a portrait

[mrelsewhere]

I would appreciate your help. I need to duplicate the look of these outstanding portraits set in a medical facility. My shoot is scheduled for April 20.

Am I right in thinking the photographer used a 50mm (at f/5.6) and a soft box? Is that it? But I suppose what worries me most is finding the right balance between natural light and strobe. I admire the way the photographer lit the subject without blowing out the background. Any advice?

 

[Vtec44]

Based on the catch lights, it looks like the key light is done using 1 large diffuser and the fill is done by using a wall, soft reflector, and or existing natural light source (large window). In some photos, a key light (either strobe or natural) was utilized. For you to not to blow out the background, they key light and the background light has to be close in brightness level, or within the DR range that your camera sensor can handle before losing all the details.

 

[tirediron]

Can't see any EXIF data, so hard to say; the depth of field is fairly shallow, so f4 5.6 seems about right. As for balancing the exposure, meter the window exposure and then adjust flash output to match.

 

[tecboy]

What is so outstanding in these portraits?

 

[Derrel]

Look at Dr. W's eyeballs in this shot: Emily Wesolowski M.D. Pediatrician InterMed P.A. Portland ME

To me, this looks like a large umbrella box, which is basically, a reflecting umbrella that has an outer cover of black fabric, and a front diffusing panel made of translucent white nylon fabric. The studio flash head is large enough that it created an easily-seen small, black dot in the center of the catchlight. Around that black dot is a very bright, white-colored "doughnut" of light. The light is very close to her, and is a large light: see how the rounded catchlight is very large, in comparison to the eyeball? The light appears quite rounded too, like a 10-rib umbrella, like say the Photek Softlighter, which is more-rounded than typical 8-rib designs.

This shot of Dr. Jim was lighted by a small, square softbox, placed low, and camera left, with him right next to the window.James W. Wilberg M.D. OB GYN InterMed P.A. Portland ME Look at the reflection in the window...you can see a woman standing at the corner on the sidewalk, with a large purse at waist level. Some kind of Picasso-like element, or sheer accident?

This shot of Dr. Emily Wood is horribly botched. This photo is way out of focus on the nose, and hair, and it has hashy, nervous bokeh...looks like it might have been shot wide-open on a cheap optic, like a Canon 50/1.8 which is known for hashy, nervous bokeh (I know, I owned one for several years...it's a poor lens for this kind of work, but it is cheap.). This photo demonstrates inexcusably poor lenswork. Emily Wood M.D. Infectious Disease InterMed P.A. Portland ME I am gonna guess hand-held, window light + overhead office light. Uggg. Awful.

On the ones lighted with the umbrella or softbox....yes...this is simply a mix of flash + window light. The flash exposure is determined by ISO level, flash-to-subject distance, and flash power level, and the outdoor lighting would be regulated pretty simply. For example, the outdoor light can be "brightened up" by using a slower shutter speed, and can be "dimmed" by using a faster shutter speed. In these shots, the photographer has tried to get a fairly close balance of brightness between the indoor lighting with flash, and the outdoor lighting. The softbox shots might even be continuous light.

 

[Braineack]

looks like they handle it just like a single light outdoor portrait.

outdoor is well exposed and subject has a single large light source on them.

 

[fjrabon]

drives me crazy that they didn't gel their flash, and thus you have two different skin colors, but maybe that's just me.

As far as advice goes, agree with what others have said.

 

[Braineack]

 

[mrelsewhere]

Thank you, all, for your impeccable standards and for taking the time to respond. Thanks, Derrel, for looking so closely and noticing things I would never have seen myself. When I have more time this weekend I will be sure to practice metering for the background. I suppose it's simple in theory, but I'm sometimes overwhelmed by real-world variables.

If you were creating this look on location, what lens would you use? What would you use for a main light? I've had luck with my Alien Bees at home in the studio, but they're cumbersome and require manual adjustment.

 

[mrelsewhere]

What do you think of Gavin Hoey's setup in his video Balancing Flash with Low Ambient Light?

 

[Derrel]

SNIP>If you were creating this look on location, what lens would you use? What would you use for a main light? I've had luck with my Alien Bees at home in the studio, but they're cumbersome and require manual adjustment.

Use whatever lens you like. 50mm, 70-200 zoom, 85mm, ot 100mm. Just try and stay 7 to 8 feet away from the subject; do NOT shoot from closer.

Have you ever heard of this old-fashioned method for ultra-fast setups?

Select a modifier that is not too big, like a 40 to 43 inch reflecting umbrella with a dull, white interior finish and a black outer backing. Tie a length of string to the monolight's mounting bracket. With the light positioned "just so" on the umbrella shaft, set the light to about 100 Watt-seconds of power, with the idea that the light unit's output has been set to a definable, easily repeatable setting. Then, take some test shots of a human face, and get the light-to-subject distance set so that when the string is stretched tautly and placed right at the chin of the person, that the exposure is dead-on for an f/stop of f/11 at an ISO value of 100. Once you've figured out the exact distance, tie a good, solid knot in the string. Move the light farther away, and figure out where to tie a knot for f/5.6.

You will now be able to set the umbrella up, and move it up and angle it down and get a dead-on exposure at either f/11or f/5.6 at ISO 100. Since you measured with about 100 Watt-seconds of power, you have PLUS or MINUS lash power adjustment power options accessible very easily.

 

[mrelsewhere]

Thanks- can't wait to try this! Sometimes the old ways are the best ways.

 

[socjiuyon]

looks like they handle it just like a single light outdoor portrait.

 

[mrelsewhere]

looks like they handle it just like a single light outdoor portrait.

Yes, I think you're right, socjiuyon. This is why I feel a little out of my element. Stupid question: would you try to reduce glare/reflections on the window by using a polarizing filter? Would that even work?

 

[mrelsewhere]

Select a modifier that is not too big, like a 40 to 43 inch reflecting umbrella with a dull, white interior finish and a black outer backing.

Derrel, why an umbrella over a softbox? Would it be better because it throws more light around the room?