27. Dramatic Portraits In this shoots Karl explores two different lighting modifiers to produce stunning dramatic portraits. Comments July 5, 2017 Log in to Reply Pradeep Somanahalli Great work Karl..:) Thanks for bringing all of it to me..:) February 4, 2018 Log in to Reply Michel Thibert good day I am from Canada Are you living in Nepal ? July 5, 2017 Log in to Reply sastri prasad HI KARL, HOW DO YOU ADJUST F STOP THAT MEANS RATIO BETWEEN THE MAIN LIGHT AND BACKGROUND LIGHT WITHOUT USING A LIGHT METER FOR FASTER TUNNING UP THE SHOOT. THANKS IN ADVANCE. SASTRIPRASAD July 5, 2017 Log in to Reply Karl Taylor Hi Sastri, please watch chapter 1 and 6 of Light Source in the portrait section for a full and complete answer to this. July 5, 2017 Log in to Reply Phil Alden Is the example photo from the next section on the Deep Umbrella (Chapter 28)? July 6, 2017 Log in to Reply Karl Taylor I’ll check that for you on the full res file in the morning and get back to you. October 20, 2017 Log in to Reply Martin Howard Great info as always. The beauty dish seems to produce more pronounced shadows under the eyes. Do you lighten this area in post? The beauty box doesn’t seem to make the shadows quite as noticeable. October 21, 2017 Log in to Reply Karl Taylor Hi Martin, yes if necessary but a lot of it will be to do with the exact angle of the light, distance and of course the model. I find the 70cm beauty dish to be more sparkly and 3dimensional but my preferred modifier is the para 133 but as we limited ourselves to the more inexpensive modifiers for this course I didn’t use it in this course. You can see the 133 para in action in other modules. October 22, 2017 Log in to Reply Martin Howard Thank you! This is easily the best photography education for the money and I consider myself a fairly experienced shooter. Lots of inspiration as well as information here. Cheers! November 21, 2017 Log in to Reply Bogdan Rusu Hello again Karl. Great video, as always. I was wondering, besides the differences the beauty dish vs. the beauty box obvious does in the overall lighthing how does this affect the catchlight that your clients request. Have you ever been in a situation when among others you were required a specific catchlight? November 21, 2017 Log in to Reply Karl Taylor Hi Bogdan, no although sometimes if a catchlight is unsightly (for example some people don’t like the catchlights from the Para 222) then we can retouch the eyes to create a new catchlight. This is commonly undertaken in advertising images but catchlights from the Beauty box or a beauty dish are easy to transform into a solid circle in photoshop. January 31, 2018 Log in to Reply J.Jean-Claude Davilmar I prefer the beauty dish more sparkly thank you. April 6, 2018 Log in to Reply john leigh Hi Karl, these tutorials are fantastic resources as well as inspiration. I have a question regards creating dramatic or side lighting on female models with mature or non smooth skin – Using double diffused large softbox close in and with a reflector or light below this to reduce some shadowing, yet try to retain some drama, this still means I find myself doing rather a lot of retouching as the models unhappy with seeing all the imperfections. If there a technique you use to be able to get dramatic lighting for such skin types and yet minimise texture or is it a case of drama lighting leads to retouch work or have to avoid altogether and go for soft lighting only on such skin types? April 8, 2018 Log in to Reply Karl Taylor Hi John, I’m afraid the physics of light says NO. Essentially when you are describing ‘drama’ I think you are leaning towards higher contrast and more dramatic shadows but in doing so this reveals texture (wrinkles) The only way to avoid texture is by using extremely large soft lighting very close to the model, or use directional light from directly behind you such as a large Para 222 (expensive). Comments You must be logged in to leave a comment.