Commercial Photographer's Master Lighting Guide: Food, by Robert Morrissey

By Robert Morrissey

Advertisement photographs are powerful, expertly lit photos that command the audience awareness and speak whatever concerning the services or products that grabs and holds the audience cognizance. during this e-book, Robert Morrissey introduces reader to the instruments of the exchange. Readers will how one can select and place lighting fixtures for a wide selection of jobs - from huge items like automobiles to small, extra tricky items like jewelry. With the fundamentals coated, the advisor is dedicated to the creation of over forty pictures, made for genuine assignments.

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Extra resources for Commercial Photographer's Master Lighting Guide: Food, Architectural Interiors, Clothing, Jewelry, More

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This the back-right corner and aimed at the subject. light creates highlights around the subject that This light creates highlights around the subject ensure her separation from the background. that ensure her separation from the A strobe with a 30-degree grid is aimed at the background. background, creating a halo effect in the shot. A medium softbox is positioned in the front-left A medium softbox on a large studio stand is corner of the set, 45 degrees to the subject. A positioned at the left of the set.

Of course, you’ll need a larger backdrop pole, larger stands, and the paper of your choice. This set is safe, predictable, and inexpensive. It can also be quickly assembled and disassem- Tools for a Larger set four sawhorses two hollow doors two large stands backdrop pole large paper backdrop three medium A-clamps two Manfrotto Super Clamps This diagram shows the elements required for a large product setup. bled. As with the smaller set, it can be stored easily when space is limited. Tips: Ask the client for a list of the shot’s contents and props.

48 Part 2: Using Light Modifiers 7. Umbrellas U mbrellas can be found in the tool kits of most photographers. These modifiers attach to a strobe head and produce a soft, directional light. The color of an umbrella’s lining affects the quality of the light that is produced. A silver lining produces a cooler light than a gold one. Umbrellas made with a white interior create a higher level of diffusion but do not impact the color of the light produced. To create the series of portraits of Mia, my model in this chapter, I used umbrellas with white interiors.

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