From: "Collin Brendemuehl"
I love that shot. And after reading Charles Abel's
Professional Portrait Lightings, I've been tempted to do
some of the types of shots. But time does not allow,
at least not yet. And I'd love to do them in both
film and digital, for a variety of reasons.
So this is just for the exercise.
I began by asking myself: What lights were used?
and then tried to figure out the scene.
So here's my analysis:
There is a light to the left, accounting for
the glare off the phone and the tip of her nose.
To account for the nose and (her) right cheek shadow,
it looks like it's roughly 1 ft higher than her head,
(depending on its distance from her)
and right at 90 deg to the left.
Then there is a light on the right for some fill,
seen in the bracelet on her left arm and on the phone cord.
It also looks to be close to 90 deg to the side.
Then there was a third light for the back right background,
intentionally lighting only part of it to add to the contrast.
But there's a trick here. The mirror is reflecting white or light gray.
That means it is pointing at something like a wall or curtain
being lit by a fourth light.
How'd I do?
Reasonably well.
Three lights; main on the (viewer's) left & fill on the right. The main
is almost 90 deg to the camera with a grid and is about 2 feet above the
model's eye level.
The fill has a grid & snoot. It's aimed at the back of her left
(viewer's right) shoulder; feathered off to provide a rim light.
The third light is very low power on the backdrop - just enough to make
the pattern visible and provide separation.
The "mirror" is the back of one of the hotel chairs from the meeting
room where the class was held. She's sitting sideways, right on the
front corner & it's lit by the spill from the fill light.
The chair was upholstered in a kind of off white vinyl. The bracelet on
her left arm is mostly lit by the main.
--
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