E.L.. Shapiro Loc: Ottawa, Ontario Canada

Multiple Lighting Techniques for Wedding Photographers- Part 4

Lighting Plans, Strategies and Logistics.

The functions of the off camera light or lights are many fold. As stated in my previous posts, a multiple lighting system will provide a wide variety of portrait lighting effects for your formal portrait and group shots. In candid and photo-journalistic imagery, the additional lights also have a variety of functions. They add a 3-dimensional aspect each image, negate the flat and undesirable affects of single on-camera lighting and open up unnaturally dark background, especially problematic in large churches reception venues.

Setting up lights in a studio or a static location is not especially difficult providing you posses basic lighting know-how, however, covering a wedding is an entirely different environment. At weddings we are usually working in a restricted time frame under sometimes unpredictable or arduous existing lighting and space conditions. Even during a typical scheduled formal session, there is a relatively small window of opportunity to get everything done in a precise and efficient manner. Oftentimes we are dealing with somewhat nervous or anxious folks. Once the ceremonies and festivities commence, everything is in flux and we are dealing with ongoing action, crowds of guests, and sometimes ruckus and emotionally charged activities. For the uninitiated, even basic camera handling, with one on-camera speedlight, under such conditions can be challenging and there is no time to fumble with unwieldy gear or light stand or cables that can cause accidents or injuries or create an obtrusive situation. Experienced wedding shooters already understand all of this but the introduction of additional lighting gear requires a predetermined, well rehearsed and highly expeditious “game plan”. There are various approaches and solutions that can be applied and combined.

One method is sometimes called ROOM LIGHTING. This is where an off-cameras light or multiple lights are strategically placed on the perimeter of the room, away from highly trafficked area, where the will not pose a tripping hazard or shoe up in the camera's field of view. Theses can be radio synchronized Speedlights, battery powered strobes or
AC operated mono-lights (if there is a safe and convenient outlet available). The light(s) should be mounted on sturdy light stands that can be extended to a minimum about 13 feet in height. Sometimes I use elastic cords to lash the stands to a heavy chair, a rails, a pipe, column or pillar for additional stability. I am careful not to damage anything! Some churches, receptions or ballrooms have balconies or elevated galleries- these are great places to place lights as they are out of the way and well off the dance floor. This method has various lighting functions and forms. The additional light or lights can provide a general all-over lighting that is available to the photographer from any position the room. The off- camera light(s), depending on their relationship to the camera/subject axis can serve as a frontal light (20° to 45°), a side light (90°) or at 135° the same light becomes a kicker/back-light. I will elaborate on each of theses function as this article progresses.

The MOBILE lighting method requires an assistant who mans the second light which is mounted on a mono-pod. My assistants are photographer-in-training so they are familiarized with all the lighting patterns that need to be applied under a wide variety of circumstances. This is an important part of their training and function. They anticipate each shot and know my routine and shooting style. This method works well when there is multiple locations and tight schedules that do not allow for advance lighting setups. We can quickly move from the bride's home or place where she is dressing, the groom's location, the church or other ceremony venue, any outdoor setting, and the reception venue- even doing shots inside of cars or limos with full lighting control and accessibility- no light stands, no wires and no delays.

In every case, there is an advance and routine game plan. Think of how plays are planned out in football games. There are diagrams and strategies- every player knows where he or she has to be for each situation and what spur-of-the moment alternatives have to kick in when unexpected events occur.

It is possible to employ some multiple lighting scenarios as a single-handed solo operator, perhaps at slower moving events, smaller wedding where there is not much tumultuous goings on or in a relativity small or single location. The second light can be mounted on a caster based light stand and wheeled into place when needed or placed in a static position on the parameter of the room. Possible? Sure! But I don't recommend it! You will end up running around the room like a one-armed-wallpaper hanger- it too awkward and you are libel to become too preoccupied with moving the light around and miss spontaneous shots or peak expressions or end up with bad lighting due to misplacement of the second light- hot spots, bad highlights and distraction shadows can result form hastily or incorrectly placed lights. I always work with at leas one assistant- sometimes two or three.

So...the possible physical dangers are accidental tipping over light stand or cable, injuring someone, and/or damaging equipment. The possible technical and aesthetic debacles are bad exposures, blocked up, blown out or misplaced highlights, shadows cast from one person or object to another, equipment showing in the camera field of view and/or lens flare caused by stray light from back-lighting striking the lens. Sound of like a nasty sack of gremlins, but all of this can be easily avoided by proper setup, advance planning and solid technique-READ ON!

Most of the time, in candid situations, I use direct unmodified lights. I use units that are more powerful than the average Speedlights because oftentimes they are place at relatively far distances in keeping with the aforementioned safety and practical placement issues. Direct lighting, when properly placed have more “snap and sparkle” than bounced or indirect general lighting. Here's some additional theory relative to his practice: At closer distances, modified light sources such as umbrella and soft box configurations, can yield exceptionally soft and even lighting. A further distances, the softening effect if theses systems begin to diminish. At 15 or 25 feet away form the subject, there is not much difference between the effect of a direct light to that of a light bounced form a medium sized umbrella . The spread of light may be a bit better with the umbrella but there will be a loss in the intensity or quantity of the light unless the power in substantially increased. Bouncing lights off of white wall or ceiling in small room has kind of a light tenting effect- soft and natural but it may be relatively flat. In a large room, this bounce method is usually ineffective unless the lights are extremely powerful. Sometimes, aiming the light into the corner of the room where the walls meet the ceiling will work well in terms of coverage and depth of lighting.

ROOM LIGHTS should be far enough away so that the do not get in the way and high enough so that the provide adequate depth of lighting. If they are high enough and aimed somewhat downward toward the far end of the room and feathered slightly upward so that they skim across crowds of people, this provides more even and detailed. This provision of DEPTH OF LIGHTING helps prevent, negate and eliminate the possibility of overexposed foregrounds and underexposed backgrounds and adds nice detail and texture to many scenes.

I am in the process of preparing a series of diagrams to further illustrate the range of position of the the lights in various scenarios, situations, subject treatments and categories such as formals and candid shots. In the meantime, I will start things off with some written explanations.

PORTRAITS AND FORMALS: At many weddings, when time and space permit, I will set up a portable s”studio” system using mono-lights equipped with soft boxes, and modeling lights. If good natural backgrounds are not available, I might even bring in a portable background. This system enables me to apply precise portrait lighting forms which are compatible and flattering to the facial structures and body styles of individual subjects, emphasize delicate textures in he fabrics of bridal gowns, retain good shadow detail in dark formal-wear and create dramatic, moody, romantic and artful lighting effects. Of course, with modeling lamps, it is possible to SEE the lighting and adjust it according to the kind of aesthetics that are desired.

When this kind of setup is impractical, I can SIMULATE portrait lighting with my portable basic 2 light system. With study and practice, good lighting can be achieved by instinctively placing your Speedlight or portable strobe by“guesstimating” their angles to the CAMERA SUBJECT AXIS. The placement of the 2nd or MAIN light is expressed in degrees (°)

0°: The on-camera light acts as a fill source and is subservient to the main light. It provides sufficient exposure to render detail in the shadow areas and by varying its intensity (effective power output) and/or distance, we can control contrasts by means of the RATIO, that is the difference in density between the highlights and the shadows. The on-camera light can also serve as the main light when the function of the off-camera light becomes a KICKER or a back light used to furnish string highlights know as edge or rim lighting. I will explain the function of a feathered background/kicker light later on.

20°-35°: This range of positions can be used for closeup, head and shoulders, ¾ length, and full length individual portraits. We are simulating what is known as butterfly, modified butterfly or “loop” lighting when the subjects are approximately full face to the camera. The main light is held moderately high- above the subject's eye level. Groups require a lesser angle for even coverage and individual portraiture benefit from a greater angle. This range of angles can also serve as a general lighting for a wide scope of candid shots.

45°- In full face face poses this position creates what is known as classic Rembrandt lighting on full face poses and butterfly lighting on 2/3 face poses. The shadow effect is more pronounced as the angle increases. This can also be applied to a number of candid concepts.

90°- Often termed a side-light, this will create a split lighting on a full face pose and a Rembrandt effect of a 2/3 face. It is best suited to individual portraits and specialized group poses, but is not recommended for larger groups.

135°- This is a very versatile position with lots of creative potential. It is often called a KICKER, a rim light or a PROFILE LIGHT because it dramatically outlines the facial features in a profile pose ,in closeup, head and shoulders, ¾, and full length views. With careful positing, it can be used with single or multiple subjects. When used in conjunction with other off-camera lights, the kicker is used as an accent light to place a secondary layer of highlights and secular highlights on facial features such as the bridge of the nose, the outline of the far cheek in a 2/3 facial view and the so-called angles touch- just above the upper lip line.

This is a good time to introduce the angle of incidence theory as it applies to kicker lighting.. The angle of incidence law states that the angle of incidence is equal to the angle of reflection. Simply stated, as it apples to this case, is that light striking the subject from an angle of 135° to the camera/subject axis, will seem brighter and more intense that a light striking the subject at a lesser angle even if the power output of both lights are the same and they are equidistant from the subject. This can sometimes bring on overexposed burned out highlights unless the power output of the kicker light is reduced or attenuated, moved further away from the subject or feathered off. Another problem to avoid is stray light for the kicker striking the lens thereby causing flare and the accompanying extreme loss of contrast and image quality. A good lens shade helps but the primary precaution is to keep the kicker light far enough away and feathered away form the camera. Of course, you want to keep it out of camera's view so the flash unit itself and the assistant does not appear in any part of the composition or in the background.

BACKGROUND AND EXTENSION LIGHTING: This is a method of solving the problem caused by the affect of the inverse square law as it apples to flash lighting. We know that when we set our exposure for the subject, based on distance, the light falls off dramatically behind the subject. This results in the “cave” or black hole black background . Those effect also poses a problem if we need to shoot a long receiving line or a shot of a long dais or head table form a more acute angle. The concept or a background or extension light is to extend the rang of the on-camera light by aiming the 2nd light into the background or continuing the effect of the on-camera by aiming hr 2nd light into the area where the fall off of the on-camera light begins.

FEATHERED OFF KICKER LIGHT: This is a 2 light system, that is very handy and easy to use for a wide variety of candid shooting, especially on dance floors for crowed shots, very active “ethnic” or folk dances and fast breaking action. The on camera light becomes the main source and the second light is held in the kicker position but it is feathered off to where some of its beam strikes the back of the subject and the other edge of the beam opens up the background.

OK- all of this is gonna make more sense when I finish my diagrams. I am gonna post a couple of images done with multiple room lighting. In one of the images, I shot right into my lights to illustrate how locating lights in a balcony are positioned. I showed the shot to the couple and the loved it- the said it has a very festive and theatrical feeling. I have done that again with colored gels over the lights- kind of a disco or rock-show look!

I'm still using my phone to copy transmit pictures- so excuse the poor reproduction. My computers are still in the shop. The operating systems are obsolete and I have the feeling that I an gonna need some better up to date hardware. Time for a new Mac$$$.

Next edition: Exposure elements and lighting ratios.


I'll work on the diagrams over the weekend.

Regards, Ed

ps; Pleas see next post for pictures. Having trouble with edits and posing images form my phone- Thanks.