I need help with indoor lighting

I don’t like making mountains out of molehills or try to make out that the technological or artistic aspects of photographic lighting to be rocket science.  When it comes to fine lighting, however, things can be rather complex and certainly can not be learned overnight.  In fact, there is no guarantee that even a rocket scientist can ever learn the artistic part- that requires a talent for “seeing light” which is the essence of fine portraiture and great commercial photography.  The scientific part can be learned much the same as physics and geometry.  There are theories regarding of angle of incidence, reflectivity, illumination and light output that can all be memorized and put down on paper as diagrams, charts text and instructions, however all of this is just starting points as to light placement and equipment usage but all of this is almost useless as to the aesthetic of lighting.  Anyone can produce an image on film or a digital card providing there is enough light to do so. However to create art with light is entirely another matter.    I would LOVE to create a really comprehensive “course” in lighting on this forum, if I can find enough time to create sufficient instructional images to do the job properly.  Just showing fully finished portraits or commercial images is not really enough to teach lighting.  Lightings have to be built up by adding and subtracting light as required to help in creating an artistic interpretation of any subject. 

One principle that I consider axiomatic is that just publishing lighting diagrams is next to useless without showing or explaining all the nuances that need to be applied once the light stands are on the floor and the units are plugged in to a power source.  Think of lighting diagrams as road maps- they are guides.  If you drive your car while looking at a road map, you’re gonna crash into something or run off the road- you need to keep your eyes on the road and drive ahead.  In photography, you have to keep your eyes on the subject and observe what happens when you make both drastic and subtle changes to the position of the lights.  Vertical and lateral movements of the lighting units in relation to the subject position have so many effects and implication.  One can change the shape of a face, make dramatic statements and create a multitude of dramatic moods with finite adjustments of the lights. 

Basically, the same principles apply to indoor, outdoor and existing light scenarios same as the do in totally controlled studio lighting.  It is a matter of creating light or finding it but again, the theory and practice is exactly the same. 

I will start writing about the basics as soon as I confer with Ed F. and Ryan as to where to place them.  Oh- If you are just beginning to learn about fine lighting methods- forget about “jumping out of the box” because you ain’t in the box yet.  Like music, painting and many other visual or performing arts it is best to have a grasp of the BASICS.  In art, rules are made to be broken but are impossible to break the rules with any kind of savvy if you don’t fully understand them in the first place.  Not taking this approach is tantamount to a dog chasing his own tail.  He will probably never catch it and if he does and bites it, a great deal of pain and disappointment will surely result. 

What do y’all think? 

Ed Shapiro

   

Mike, you are nuts. I love to confirm it. But aren't we all?

There is a lot of mystery about photographic lighting.Yesterday I discussed this with a pupil of mine who is starting to understand it: there is no problem that is different from the lighting outdoors. It just takes a few years to understand this basic principle. After this "incubation time" it is that simple, you cannot understand what was so difficult. That is why I hardly stage any seminars any more. I don't know what to tell the people who spend their hard earned money te listen to me.

My advice: keep on trying, follow the rules, try to forget "jumping out of the box" (you cannot!) and it will come of its own accord.

(I think, from reading his text, Ed Shapiro has about the same problem as I do)

These are the 4 most common methods I use for lighting full length subjects. They all show that I am using one source and direction of light - along with a broad shadowless fill light: