Soft, but not flat. Hoow's it done?

Hi everyone, enjoying the forum very much by the way.
I am new to portraits, but have some studio Kit now. My lighting has been described as 'flat' and maybe it is. However I don't want harsh lighting, I want soft lighting.
How can I get away from the flat look whilst keeping the light soft? Doesn't the soft light kill the shadows?

confused of Grimsby
aka Dave

The closer the main, the softer the shadow, the further the main, the more noticeable the shadow. Both play a vital roll, it depends on what you would like to achieve, plus, light placement will make or break your subject, even the intensity of the shadow and where it travels, it is all about the SHAPE of the subjects face and the proximity of face to camera.

Full on
Half
3/4
2/3

Which side? the left or right?
Eyes, semetrical or is one larger then the other, or is one lower then the other at same size or different size.
How about the shape of face?

Ratios are important and especially where the MAIN is placed as per fill and kicker.

Continue SIR ED

The harshness (or softness) of the shadow transition is a relationship of the size of the light source in relation to the subject.  The reason that light gets softer as the light is moved closer is because it's size is increased.  Try something for me:

Set up a light with an umbrella (or other large modifier if you have one) in a corner of a large room,
Walk to the other corner of the room (OK, now turn around and put the light back where it was ),
When you get 12' away or so, turn around and use your thumb and index finger to measure how big the light is
   (It's not very big is it...)
OK, now walk toward the light (I had to say that), cut the distance in half to around 6',
What happened to the size of the light in relation to your position?  You can't measure it with your thumb and index finger anymore can you?

This is the phenomenon that is affecting your light and it's 'harshness'.  The closer it is, the larger it is in relation to your subject, the further away it is, the smaller it is in relation to your subject.  This is why the sun is 870,000 miles in diameter, but acts like a pin light when it comes to the shadows it produces.

Another thing that will help to keep light from being really specular (sometimes makes shadows appear harsh) is to 'feather' the light.  The easiest way to do this is to point it directly at the subject, and then slowly rotate it toward the camera until you see the specular highlights begin to soften (yes, you can actually witness this happening).

One more thing, flat light is from no direction of light.  By simply moving your main light off axis of the camera, you create direction.  Try using a reflector for fill instead of another light for a bit and notice how the ratio of the shadow can be changed by the distance and placement of the reflector.  The nice thing about reflectors to learn this is that you can actually see what's happening.  You may find what you like doing this.  When you're ready to add a fill light, I would suggest setting your main light first without the fill's modeling light on, that way you can see the true effects of the main.  Then set your fill so it creates a mild ratio and experiment until you get what you are looking for.

Someone on this forum just did a little stint on light ratios and how to calculate and use them, it might be of some use to you as well... except the retard did it with a spool of thread of all things.  He's not too bright, but we'll forgive him I guess .

Hope this helps you some as well,

Travis