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Rolando Gomez's Lighting for Glamour

128 Pages · 2014 · 9.34 MB · English

  • Rolando Gomez's Lighting for Glamour

    LIGHTING


    Rolando Gomez’s


    for


    GLAMOUR PHOTOGRAPHY


    Techniques for


    Digital Photographers


    Amherst Media


    ®


    PUBLISHEROFPHOTOGRAPHYBOOKS CheckoutAmherstMedia’sblogsat:http://portrait-photographer.blogspot.com/


    http://weddingphotographer-amherstmedia.blogspot.com/


    Copyright©2010byRolandoGomez.


    Allrightsreserved.


    Allimagesbytheauthorunlessotherwisenoted.


    Publishedby:


    AmherstMedia,Inc.


    P.O.Box586


    Buffalo,N.Y.14226


    Fax:716-874-4508


    www.AmherstMedia.com


    Publisher:CraigAlesse


    SeniorEditor/ProductionManager:MichellePerkins


    AssistantEditor:BarbaraA.Lynch-Johnt


    EditorialAssistancefrom:SallyJarzab,JohnS.Loder


    ISBN-13:978-1-58428-999-9


    LibraryofCongressControlNumber:2009939767


    PrintedinKorea.


    10 9 8 7 6 5 4 3 2 1


    Nopartofthispublicationmaybereproduced,stored,ortransmittedinanyform


    or by any means, electronic, mechanical, photocopied, recorded or otherwise,


    withoutpriorwrittenconsentfromthepublisher.


    NoticeofDisclaimer:Theinformationcontainedinthisbookisbasedontheau-


    thor’sexperienceandopinions.Theauthorandpublisherwillnotbeheldliable


    fortheuseormisuseoftheinformationinthisbook. CONTENTS


    ABOUTTHEAUTHOR .......................................6


    PREFACE .................................................7


    AGrowingTrend ...........................................8


    TheImportanceofGoodLighting ..............................8


    Acknowledgments .........................................10


    INTRODUCTION ..........................................13 1.LIGHTINGBASICS .......................................17


    QualitiesofLight ..........................................17


    Direction ..............................................17


    Intensity ...............................................19


    Color .................................................23


    Distribution ............................................26


    Contrast ...............................................26


    ContinuousLights:FluorescentandTungsten ....................28


    Flashtubes ...............................................31


    RingFlashandNoveltyRingFlashUnits ........................37


    NoveltyUnits ..........................................42


    ThingstoConsiderWhenPurchasingaRingFlashUnit ...........42


    On-CameraFlashorSpeedlights ...............................49


    NaturalLight .............................................51


    OpenShade ............................................54


    LightingPatterns ..........................................56


    ParamountLighting ......................................56


    LoopLighting ..........................................57


    SplitLighting ...........................................57


    RembrandtLighting .....................................57


    Find,See,andFeeltheLight .................................58


    PracticeMakesPerfect ....................................61


    QuickReactionTiming ...................................62


    2.WHITEBALANCE ........................................64


    CustomWhiteBalance ......................................64


    WhiteBalanceTricks .......................................65


    ColortheBackground ....................................65


    GiveYourSubjectaTan ...................................76


    InstantSunsets ..........................................81


    3.LIGHTMODIFIERS .......................................82


    ThePhysicsofLight ........................................82


    Scrims ..................................................86


    WhiteandBlackCards ......................................86


    Cutters,Flags,andGobos ....................................87


    Gels ....................................................89


    Softboxes ................................................90


    MetalGrids,Louvers,andHoneycombs .........................91


    4 LIGHTINGFORGLAMOURPHOTOGRAPHY StripLights ..............................................95


    Octaboxes ...............................................98


    Umbrellas ................................................98


    MetalReflectors ..........................................100


    BeautyDish .............................................101


    HowItWorks .........................................102


    4.METERINGANDEXPOSURE ...............................104


    The90PercentRule .......................................107


    ClothingSelection ......................................108


    Separation ............................................108


    AddingDetail .........................................108


    Composition ..........................................108


    TheSunny16Rule ........................................109


    5.SUPPLEMENTARYLIGHTING ..............................112


    Rim,Hair,andAccentLighting ..............................112


    Kickers .................................................115


    LightingtheBackground ...................................115


    6.THECALIFORNIASUNBOUNCEWAY ........................117


    White,Silver,Gold,andZebraReflectors .......................118


    BlackReflectors ..........................................121


    InSummary .............................................121


    CONCLUSION ............................................122


    RESOURCES .............................................123


    INDEX .................................................125 ABOUT THE AUTHOR


    R


    olando Gomez, a Lexar Elite photographer, transitioned from combat


    photographytoglamourandfashionphotographyin1999andstillfree-


    lances as a photojournalist. Known for his “flamour” (fashion and glamour)


    styleofphotography,he’staughtover450workshopsandseminarsinMexico,


    Canada,Germany,Belgium,theNetherlands,andtheUnitedStates.Healso


    providesprivatephotographyinstructionandprivateglamourphotography.


    Rolando has had photo assignments in thirty-nine countries. He holds a


    bachelor’sdegreeincommunicationfromtheUniversityofTexas,SanAnto-


    nio,wherehegraduatedsummacumlaude.In1994,hewasnamedoneofthe


    top-five military photographers by the Department of Defense. In 2007, he


    conductedathree-countryEuropeantourforCalumetPhotographic.


    AformerU.S.ArmyStaffSergeant,hewasthepersonalphotographerfor


    General George A. Joulwan for four years and spent twenty-six months doc-


    umenting the Latin American drug war in South and Central America, for


    whichhewasawardedtheDepartmentofDefenseMeritoriousServiceMedal


    (DMSM)asabucksergeant.


    Rolando’s work was the subject of a September 2006 Rangefinder cover


    story,“MysteriesofLighting.”HewashonoredasalightingmasteratPhoto


    Plus Expo in 2004, 2005, and 2006. He has written three popular books:


    Garage Glamour: Digital Nude and Beauty Photography Made Simple (Am-


    herstMedia,April2006),RolandoGomez’sGlamourPhotography:Professional


    TechniquesandImages(AmherstMedia,2007),andRolandoGomez’sPosing


    TechniquesforGlamourPhotography(AmherstMedia,2008).


    In2009,helecturedatPhotoPlusExpoon“InternetStrategiesandGuer-


    rillaMarketing.”Thatsameyear,Rolandoreleasedhisfifthphotographybook,


    PhotographicTherapy:ThePowerofPhotographytoHelpBuildorRebuildSelf-


    Esteem. The book is free for download at www.freephotographybooks.com,


    and in the first three months after its introduction, it was downloaded over


    30,000times.


    RolandolivesinSanAntonioandisthefatheroffivebeautifulchildren,in-


    cluding four gorgeous daughters and one handsome son. To learn more,


    pleasevisithimatwww.rolandogomez.net.


    6 LIGHTINGFORGLAMOURPHOTOGRAPHY PREFACE


    A


    A


    s I say in all of my books, creating a book is sometimes fun, sometimes


    hard, sometimes sad—and sometimes you just want to quit. I’ve never


    considered myself a quitter, but the past two years have been very difficult—


    not just for me but for many people and for many reasons, not just the tough


    economic times.


    Before I agreed to write this book, I consulted friends and family. Should


    I do it again? I asked. Most said yes. Some people wondered, do you have


    time? Still others asked, is it worth it? Obviously, with such a busy schedule, I


    asked for a bit of help from a good friend, photographer and filmmaker, Tom


    Suhler.


    Authors of how-to photography books stand a better chance of getting hit


    by lightning than making the New York TimesBest Seller list. For us, writing


    books is obviously not about the money. I’m not sure where I find the time


    to take on the task, but my passion for creating images drives me to spread the


    gospel of photography and share information to help promote not just glam-


    our photography, but all forms of photography.


    This book limits me in space (thank goodness!), and it’s impos-


    There is no substitute for putting


    sible to put everything about photographic lighting in one book.


    what you read into practice.


    One of the world’s greatest photography schools is Brooks Institute


    of Photography in Santa Barbara, California; even they spend years


    teaching their photographers how to become photographers—I can’t do it in


    ten books, much less four. Not to mention, there is no substitute for putting


    what you read into practice. So get your friends, families, and loved ones in


    front of your camera and practice. Find a military service member or veteran


    and offer them free photos for their friends, family, and loved ones. The end


    PREFACE 7 result is, you get to practice to become a bet-


    ter photographer. I’ve been shooting for over


    thirty years, and I’m still practicing. We are all


    students of photography. No one ever gradu-


    ates from photography; they just have the op-


    tion to move forward another level with hard


    work, commitment, and passion for the craft.


    A GROWING TREND


    This is my fourth book for Amherst Media


    and my fifth book overall. Obviously, Am-


    herst Media believes in my writing and photo-


    graphic talents, and during these tough eco-


    nomic times, their ability to take one more ABOVEANDFACINGPAGE—Before breaking out artificial light, I’m always


    looking at the natural light. If it will suffice, I will use it—especially dur-


    chance on me says a lot. Not many in this in-


    ing the later hours of the day, as in this image of Eleya in the Virgin Is-


    dustry give the genre of glamour photog-


    lands. I purposely strive for this warmer, natural-light look; notice how


    raphy much respect, but that’s changing due


    the warmth of the rocks adds to the image, matching the similar tones


    to the popularity it has gained through digital to the model’s skin. Asking Eleya to hike up her skirt (facing page)


    photography and the advent of the Internet. helps add just the right amount of sexiness to the image and also cre-


    I still remember the days when I would ap- ates action. (CAMERA: Canon EOS 5D fitted with a Canon 85mm f/1.2L


    proach a potential sponsor at an annual pho- USM lens. SETTINGS: 85mm effective focal length, 1/200 second shutter


    speed, f/6.3, white balance at 6000K, ISO 100)


    tography trade show, only to be laughed away.


    Most of the photo industry executives I’d speak to would tell me how much


    they loved my work, but they were always concerned about the public’s views


    on sexily photographed women.


    I spent years building my name and credibility and have begun to succeed


    with sponsors, as I’ve shown them that the genre of glamour photography is


    here, has always been here, and will always be here. Many subjects enjoy glam-


    our photography as a form of photographic therapy—the art of helping build


    or rebuild a subject’s self-esteem. For more on photographic therapy, down-


    load my fifth photography book, Photographic Therapy: The Power of Photog-


    raphy to Help Build or Rebuild Self-Esteem, for free at www.freephotography


    books.com.


    THE IMPORTANCE OF GOOD LIGHTING


    I believe that good lighting is the key to making great images. If an image is


    not properly lit, then the subject’s self-esteem may take a hit. My first sponsor


    was Dynalite. I spent three-plus years using their products for my personal


    and commercial photography, and it was my lighting of choice for my photog-


    8 LIGHTING FOR GLAMOUR PHOTOGRAPHY LEFT—Beautiful skylines can add cool


    elements to an image, especially


    when working with low-light and at


    night by simply using fast, or wide


    aperture lenses. When I’m on loca-


    tion, as in this image of Eleya while


    at the Palms Casino, Sky Villa Pent-


    house suite. Super fast lenses, like


    my Canon 85mm lens, will create ap-


    pealing backgrounds when used at


    their widest aperture, especially with


    lights at night. New digital cameras


    today also allow for high ISO’s and


    low noise, or electronic grain. So I


    simply asked Eleya to sit on top of


    the retractable television and care-


    fully framed the image to capture the


    background lights while illuminating


    her solely with ambient room light.


    raphy workshops. Eventually, I was courted by Hensel lighting, a lighting sys-


    (CAMERA:Canon EOS 5D Mark II fitted


    tem comparable to Dynalite in some ways, with higher-end products too. It with a Canon 85mm f/1.2L USM lens.


    took me three months to make the switch, and when I finally did, I realized SETTINGS:85mm effective focal


    some of the things that I was missing that helped take my photography to the length, 1/80second shutter speed,


    f/1.2, white balance at 4400K, ISO


    next level. Then came Broncolor and Profoto, asking me to try out their lights,


    2500)


    and I began the journey of taking my photography to an even higher level


    with their help. In these ten-plus years of hosting workshops where sponsors


    FACINGPAGE—With Elite Agency model


    have supplied me with the tools for my attendees, I’ve learned one thing: light- Jenni at a higher vantage point, I was


    ing makes the ultimate difference. It’s not about the make and model of the able to capture her warmth (empha-


    sized by the warm, late-day light)


    camera. Rather, it’s the quality of the light and the quality of the glass I’ve used


    and contrast it with the cool blue


    to capture the images with that have helped me throughout my photographic


    sky. Notice the direction of the light;


    career.


    it comes from the side, not from the


    We all start somewhere, and if I could do it all over again, I’d have saved front. This also accentuates the fact


    enough money to start with the best lights, like those from Dynalite, Hensel, that she is looking into the empty


    Profoto, or Broncolor, instead of starting from the bottom and working my space I’ve left in the image. (CAMERA:


    Canon EOS 5D fitted with a Canon


    way up. I’m sure it would have saved me a lot of heartburn over the years, and


    70–200mm f/2.8L IS USM lens. SET-


    my photography would be even better. As photographers, we should always


    TINGS:120mm effective focal length,


    strive to make each image better than the last, and with a great set of lights,


    1/640second shutter speed, f/5.6,


    it’s that much easier. white balance at 6000K, ISO 100)


    ACKNOWLEDGMENTS


    I would like to thank my family, friends, and loved ones who have stood by me


    through the years. I also want to thank fellow photographer Tom Suhler.


    10 LIGHTING FOR GLAMOUR PHOTOGRAPHY


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