INTRODUCTION
Lighting is essential to photography, and the last thing a photographer should sacrifice in quality. With a two-dimensional medium, light creates a sense of space, context, and interest. In this section, we will discuss how to shape and manipulate light with purpose. First, let’s lay out some fundamental lighting concepts:
The larger the light source, the softer the light will be on the subject.
The smaller the light source, the harder the light will be on the subject.
The closer the source is to the subject, the softer the light will be.
If you’d like to experiment with light and shadow length, try this: turn on the flashlight on your phone. Move your phone around a small nearby item to see how it corresponds with shadow. The lower the light is in relation to the subject, the longer the shadow will be. The higher the light is in relation to the subject, the shorter the shadow will be. The closer the source is in relation to the subject (left and right), the shorter the shadow will be. The farther away the source is in relation to the subject (left and right), the longer the shadow will be.
GENERAL LIGHTING TERMS & POSITIONS
– The key light is the most intense light source affecting the subject. This light will dictate the most prominent highlights and shadows.
– The fill light illuminates or softens shadows.
– A side light is placed to the side of a subject, often to highlight an edge.
– An edge light or “kicker” is similar to a side light, but it is usually positioned at a diagonal behind the subject.
– A hair light is often positioned directly above the subject. With portraits, this light creates a flattering highlight on hair.
– A back light is positioned behind the subject, often creating an outline, spotlight effect, or flare.
– A background light is typically positioned away from the subject, towards the background.
– Lights are often described in terms of their relation to the subject. If there is one key light and two fills, one fill may be called “Top Fill” (above the subject) and one may be called “Front Fill” (in front of the subject). These terms facilitate communication during a shoot when light position or settings need to be adjusted.
If some of the information above don’t seem relevant yet, that’s okay. We’ll continue to discuss these concepts as we explore different kinds of light. Lighting is typically defined as natural, strobe, or continuous.
NATURAL LIGHT
When photographers use the sun as their light source, they are shooting with natural light. Natural light can be harsh or soft, depending on the time of day and naturally occurring diffusion. Natural light at morning and dusk is typically soft and diffused, while midday sunlight is often harsh. Many photographers take advantage of natural diffusion like clouds or tree cover for flattering portraits at anytime of day.
A photographer may shoot with natural light due to aesthetic, authenticity, or convenience. Natural light requires less lighting equipment, but it also sacrifices a lot of freedom and flexibility. With natural light, the photographer is dependent on weather, time, and environmental factors.
For more control, accessories and modifiers can be used to shape or manipulate natural light.
Reflectors are used to “bounce” light – creating a soft, diffused fill for shadows. Many photographers use collapsible, round reflectors, while others use a simple white foam board or sheet. When using a reflector, place the subject between the reflector and the light source.
Remember, the larger the reflective surface, the softer the bounced light will be. The closer the surface is to the subject, the softer and brighter the bounced light will be. Collapsible reflectors can flex, which creates different shapes and spread of bounced light.
Scrims, also known as silks, are used to diffuse light. “Scrim” describes a white sheet stretched across a frame, placed between a light source and the subject. Scrims are often used outside to soften direct sunlight or shade the subject. When the light passes through the scrim, it becomes softer and less intense.
Flags are used to block light. A flag is a black or opaque object, typically made of fabric or foam board, used to obstruct light. When placed between a light source and the subject, a flag can eliminate unwanted or unflattering highlights and reflections. If the flag is closer to the subject, it will create harder shadows. If the flag is closer to the light source, it will create softer shadows.
Remember, the larger the reflective surface, the softer the bounced light will be. The closer the surface is to the subject, the softer and brighter the bounced light will be. Collapsible reflectors can flex, which creates different shapes and spread of bounced light.
Scrims, also known as silks, are used to diffuse light. “Scrim” describes a white sheet stretched across a frame, placed between a light source and the subject. Scrims are often used outside to soften direct sunlight or shade the subject. When the light passes through the scrim, it becomes softer and less intense.
Flags are used to block light. A flag is a black or opaque object, typically made of fabric or foam board, used to obstruct light. When placed between a light source and the subject, a flag can eliminate unwanted or unflattering highlights and reflections. If the flag is closer to the subject, it will create harder shadows. If the flag is closer to the light source, it will create softer shadows.
Natural sunlight comes from a source that cannot be moved by the photographer, so the subject and camera must move to create different lighting styles.
COMMON NATURAL LIGHTING STYLES
Backlight
Sunlight is behind the subject, shining into the lens. Backlighting can create beautiful silhouettes, haze or lens flare, and edge lighting on the subject’s hair and profile. Backlit subjects are often photographed around sunset at “Golden Hour,” when the sun is low and its light is diffused. To create a glowing, airy look commonly used by wedding photographers, shoot at a large aperture (like 2.8) for shallow depth of field and expose for the backlit subject. The background will have some color, but it should be mostly blurred and washed out in white light.
Side Lighting (Split Lighting)
Sunlight is on one side of the subject, illuminating half of their face while leaving the other side in shadow. This style is often created using window light, which can be soft yet directional. Without a bounce or reflector, this look can be dramatic due to heavy shadows on one side of the face. If this style is a bit too harsh, use a reflector to fill the shadows on half of the subject’s face. This effect is possible outside, but only when the sun is low and can cast more directional shadows.
45 Degree Lighting
Using window light again, have your subject sit with sunlight on one side (like with side lighting). Have the subject rotate slightly towards the light. This is called “45 degree lighting,” where the subject’s face is still shadowed for interest and depth, but the shadows are softer and more flattering. The window (source of light) and the subject’s face (direction) should create a 45 degree angle. This effect is possible outside, but only when the sun is low and can cast more directional shadows.
Soft, Diffused Lighting
Shoot your subject in the shade, using naturally diffused sunlight for flattering or minimal shadows. This approach can allow photographers to shoot with a large aperture as well, creating more visual interest by separating the subject from the background. Wait for cloud cover, shoot in the shade of a building, or find shade under some trees. This style works best when the background and subject are lit similarly. If the subject is shaded but the rest of the scene is bright, the background could be distracting or unflattering. Need more interest? Try to shoot with tree cover in the background. When light comes through the trees, the background will have dappled light and you might get some beautiful green and white bokeh.
If you see something that might work, try it. If it’s not working, try something else. With natural light, the photographer expends little energy and time trying out different lighting styles. Sometimes the unexpected “tests” will become your favorite shots.
STROBES
Strobes produce a flash of light when triggered. Strobe lights can be powered by AC or battery and can vary in intensity, color, consistency, and sync speed. Portable flashes with a hotshoe mount – such as Speedlites – are generally not identified as “strobes.” For the sake of setups and concepts, the same information in this section may also work with a variety of flashes.
Strobes boast many advantages over natural and continuous light. First, strobes can emit a lot of light. For this reason, many portrait and product photographers use strobes. If the photographer shoots at f11 to produce a sharp image, he or she will need a lot of light to compensate for exposure. Strobes are also relatively lightweight and mobile. Unlike natural lighting, strobes can offer a photographer precise and consistent light from multiple sources.
STROBES
Strobes produce a flash of light when triggered. Strobe lights can be powered by AC or battery and can vary in intensity, color, consistency, and sync speed. Portable flashes with a hotshoe mount – such as Speedlites – are generally not identified as “strobes.” For the sake of setups and concepts, the same information in this section may also work with a variety of flashes.
Strobes boast many advantages over natural and continuous light. First, strobes can emit a lot of light. For this reason, many portrait and product photographers use strobes. If the photographer shoots at f11 to produce a sharp image, he or she will need a lot of light to compensate for exposure. Strobes are also relatively lightweight and mobile. Unlike natural lighting, strobes can offer a photographer precise and consistent light from multiple sources.
STROBE LIGHTING CONCEPTS
– Refresh Rate, or recycling time, is the amount of time between flashes to “recharge” and fire another flash at the designated power.
– Sync Speed is the fastest speed at which the flash will illuminate the scene before the camera shutter closes. If the camera shutter speed is higher than the flash sync speed, the photographer may see a black line or shape obstructing the image. This element is actually the camera shutter. Many flashes will not allow the camera to fire at a faster speed than the sync speed (typically max 1/200 sec). Sync speeds are measured in seconds and vary between strobes.
– Lamp is another name for the bulb.
– Head is the component of a strobe system that often contains the lamp. Many heads contain a modeling light, a cable to connect with power or battery, and an adjustable mount.
– The Modeling Light is a continuous light specific to each head used to facilitate focus or visibility.
Monolights are self-contained strobes, where the power and lamp are within the same head. Monolights often plug directly into AC power, although recently more models can use rechargeable batteries for wireless lighting. If a monolight uses batteries instead of AC power, it will likely have limited power capability and slower refresh rates over time.
Monolight heads have integrated stand mounts for ease of use with light stands and c-stands. Unless the photographer has a remote to make adjustments, these lights need to be within reach to change settings on the back or side of the head. Each monolight needs to communicate with the camera to trigger a flash, via radio or optical signal. Monolights are typically capable of producing 300ws-1200ws.
Power pack strobes are “pack and head” systems where the power and lamp (bulb) are separate. With these strobes, the head plugs into a power pack or generator. These packs can plug into AC power or large rechargeable batteries.
Packs often contain 2-4 connections for heads, so different lights can be adjusted and moderated from the same power source. As a result, heads that are out of reach are easy to adjust without sacrificing position. Heads can also use extensions to position even farther away from the pack. The pack needs to communicate with the camera to trigger a flash, via radio or optical signal.
Depending on the product, packs can distribute power to multiple lights symmetrically (each head has identical power capability) or asymmetrically (heads may have different power capability, especially when multiple heads use the same pack). Models also vary with power adjustment. Some packs adjust light as measured in fractions of total power output, while others adjust lights by “stops.” Power packs typically output between 1200ws-4800ws.
The beauty of studio lighting is that there are endless possible setups to light different subjects. That being said, many “standard” light setups are shared and taught as a springboard for a reason: they’re frequently appropriate and successful.
Remember, the “key” light is the most intense light, either by position or output. The key dictates the most prominent highlights and shadows. Any lights used to soften or illuminate shadows are considered “fill” lights.
COMMON LIGHTING STYLES
REMBRANDT
A kind of side lighting where one side of the subject’s face is illuminated and a triangle of light appears under their other eye. This setup is typically more moody with a darker background. This style is named after the famous 17th century Dutch painter.
LOOP LIGHTING
The key light should be in front of the subject, 45 degrees to the left or right in relation to the camera. The key should create flattering shadows and depth. “Loop” lighting describes 45 degree lighting where the key is positioned slightly above the subject as well.
HARDBOX
A setup in which shadows are hard and distinct, imitating harsh midday sun. This lighting is often used with product photography and fashion portraits. A hardbox light modifier creates this effect, although other techniques can produce similar results.
BUTTERFLY
The key light is above the subject, casting a butterfly-shaped shadow beneath the nose. This lighting creates flattering shadows beneath the cheekbones and chin. Because the light is more flat , wrinkles on skin and clothing may become less noticeable.
SPLIT LIGHTING
The key light is positioned to the subject’s side. Without a fill, the key illuminates half of the face and leaves the other half in shadow. This setup can be used with any number of lights depending on shadow intensity and quality preferences.
CLAMSHELL
2-3 lights are placed in front of the subject, above and below the face. For neutral, even lighting, all lights should be almost equal in power and spread. This effect can also be achieved by using one top light and a reflective surface (bounce) underneath the subject’s face.
DIRECTIONAL
This generally describes a setup in which the key light casts a longer shadow, often at a diagonal. This setup works especially well for products and food. To cast longer shadows, positioned the key light lower and at an angle from the subject.
HIGH-KEY WHITE
A common description for headshots and e-commerce photography with a bright, white background. The background should be lit evenly, so this setup often requires two symmetrical background lights in matching intensity and spread.
CONTINUOUS
Continuous lights perform exactly how their name suggests: when turned on, they will continuously produce light until turned off. Continuous lighting typically consists of LED, tungsten, or fluorescent bulbs.
Continuous lighting is most often used for videography, but it can also be used with “stills” photography. Strobes cause disruptive flashes, so a video shoot cannot record while strobes are being used. For this reason, commercial photographers may be expected to use continuous lights when shooting simultaneously with video. Aside from video, some photographers prefer to shoot with continuous lighting rather than strobes due to convenience, light quality, or budget.
Continuous lights come in various models and configurations, which can use AC power, battery, or a combination of the two. Some lights also have an electrical ballast to limit and control the amount of power the light uses. Many smaller continuous lights can be mounted on a light stand or c-stand, but larger continuous lights require junior stands. For more information on grip gear, check out our Studio section in Fundamentals.
MONOLIGHT
A self-contained system where the lamp and power are in the same head. Monolights accommodate most modifiers such as reflectors, barn doors, and beauty dishes with a standard bowens mount. Light intensity and temp are typically adjusted on the back of the head.
LIGHT PANEL
Light panels often produce soft, flattering light. Panels are typically rectangular and can be described by their size or ratio (1’x2′, 2’x2′, etc). Intensity and temp are typically adjusted on the back of the panel or on a separate ballast. Panels also accommodate modifiers such as grids and softboxes.
FRESNEL
A fresnel, pronounced “fruh-nel,” is a durable, industry-standard light. The lamp can move closer or farther away from the front, creating a spotlight or flood light. Fresnels can adjust intensity, color temp, and even tint. They also support modifiers such as grids, scrims, and barn doors.
PROS & CONS OF CONTINUOUS LIGHTING
PROS
– Continuous lighting can be used in venues that don’t allow flash photography.
– Less distracting or startling to the subject and bystanders (think sensitive subjects like babies and animals.)
– Continuous lights can be used for photo and video.
– No sync required to transfer signal from the camera to a continuous light.
– Allows the photographer to see in real-time how the light will appear in the image.
– No refresh rate, so the photographer can shoot quickly with consistent light.
– Helps to light a studio or set, which increases overall visibility for crew and subjects.
CONS
– Continuous lighting can’t output the same intensity as strobes. Due to less power output, it is more difficult for a photographer to freeze motion with continuous lights.
– Another consequence from less power is less control over ambient lighting. With strobes, the photographer can “stop down” the environment and negate most unwanted effects
from other lights.
– Continuous lighting is usually larger and heavier than comparable strobe systems. The grip equipment required to support continuous lighting is often larger and heavier as well.
– While the lights can be less expensive than some strobes, batteries are very expensive.
– Continuous light can be straining to the crew and talent.
LIGHT MODIFIERS
Light modifiers change the shape, quality, and intensity of light. While some modifiers are appropriate with natural light scenarios like scrims, flags, and reflectors, a majority them are used with strobes or continuous lighting. When purchasing light modifiers, first confirm compatibility and mount type with the lighting system you already have.
Beauty Dish
A beauty dish is a shallow, parabolic reflector that causes dramatic shadows. When attached to a light, the small, aluminum plate at the center of the beauty dish is positioned in front of the bulb. This reflective plate bounces light back into the round sides of the dish and wraps light around the subject.
The curvature of the dish causes light to fall off beautifully (especially around a subject’s face). This modifier is often used with portrait and fashion photography because it creates somewhat hard, even lighting without a hotspot in the middle of the source.
Beauty dishes can also be modified with a fitted, translucent diffuser called a “sock.” When a beauty dish has a sock stretched over the front, the light is diffused and resulting shadows are much softer. Beauty dishes come in a variety of sizes, often between 16-30 inches. Like many other aluminum reflectors, beauty dishes are not collapsible.
Softbox
A softbox is a modifier that creates soft, even light.
Softboxes come in a variety of shapes and sizes, many of which have specific names. A softbox with 8 sides, for example, is often called an “Octabox.” A tall, narrow softbox with four sides is often called a “Stripbox.” Softboxes are also described by their dimensions, such as 1’x3’, 2’x3’, and 3’x3’. Fortunately, soft boxes are collapsible for easier travel and storage.
A softbox generally consists of a fabric shell, rods, and a speedring.
The fabric shell shapes the light, then allows it to pass through a front diffuser. Along the seams of the fabric shell, there are small sleeves for the rods, which maintain its tent-like structure around the light. The rods are held taut by a speedring, a metal mount that fits the softbox to the studio light. Remember, speedrings are brand-specific to the light you use, not the modifier. A Profoto speedring must be used with a Profoto light, regardless of the softbox brand.
Softbox shape affects light falloff as well as any highlights produced in the image.
Softbox size affects light quality: the larger the source, the softer the light will be. The smaller the source, the harder the light will be. Resulting light is made even softer if the source is closer to the subject.
Umbrella
An umbrella can be used to diffuse or spread light. Umbrellas produce soft, even light, and create pleasant, circular catch lights.
A translucent, white umbrella can be used to diffuse light directly when a light source shines through it. These are often called “shoot-through” umbrellas. A reflective (often silver) umbrella can be used to spread light when a source bounces light into it. When bouncing light into an umbrella, the light intensity will be slightly diminished. This effect can be corrected by raising the power, moving the light closer to the subject, or by using a reflector in addition to the umbrella. Umbrellas are relatively inexpensive, collapse and store easily, and come in many different sizes.
Some umbrellas are also accompanied with a sock or diffuser, which further softens light after it is bounced. A reflective umbrella with a sock is sometimes referred to as a “Brolly Box,” combining the characteristics of an umbrella and a softbox.
Before purchasing any modifiers, first research the brands that are compatible with your light system. For many lights, the shaft or pole of the umbrella fits through a small hole above or around the bulb.
When bouncing light, the closer the umbrella is to the light, the less spread and more power it will produce. The farther the umbrella is from the light, the more spread and less power it will produce.
Barn Doors
Barn doors are hinged panels that can be attached to the front of a light, commonly sold in 2 or 4-door configurations. Think of these like a small set of flags for your light. Barn doors can fold in and out independently from one another, shaping and directing light that passes through while limiting spill. This modifier is lightweight, relatively inexpensive, and frequently used with continuous lights.
Hard Box
A hard box is a modifier that imitates harsh, direct sunlight by creating hard shadows. The hard box is essentially a black box that reduces the size of the light source and absorbs spilled light rather than reflecting it. The box is mounted on top of a light source and allows light to pass through one perpendicular, narrow opening.
Reflectors
Reflectors, sometimes called lamp reflectors or “cans,” are rounded, cone-shaped metal modifiers that shape light and can increase light intensity. Not to be confused with collapsible reflectors, lamp reflectors fit on the front of a head or lamp and allow light to pass through (rather than bounce off of a flat surface). Reflector shape, length, diameter, and finish can vary.
These factors can affect how a reflector focuses or spreads light (called “zoom”), the resulting shadows, light intensity, and the shape of light that falls on the subject. Reflectors are often used with background lights due to control of light spill.
Umbrella reflectors, sometimes called “discs,” act similarly. The only distinction is that the reflector is typically much shorter to accommodate an umbrella.
Many photographers use a reflector with an umbrella to increase light intensity (compensating for the loss of intensity when light is bounced into the umbrella) and make the light slightly more punchy or dramatic.
Grids
Grids focus light even further. Grids look like honeycomb frames and are often made of fabric or metal. Metal grids fit directly into a reflector or inside barn doors. Fabric grids often attach to the front of a softbox or can be stretched across a large frame like a scrim. Grids can direct light with more or less spread depending on the size of the honeycomb openings in front of the light source. If the holes are smaller, like in a 10° grid, the light will be more focused. If the holes are larger, like in a 60° grid, the light will be less focused (more spread). Grids come in a variety of sizes/dimensions to accommodate different modifiers.
Snoot
A snoot is a cone or cylinder-shaped tube that focuses light and reduces unwanted spill. Snoots can also come with compatible grids. Why use a snoot rather than a reflector with a grid? A snoot typically creates a very small light source, which produces harder light. A snoot is shaped like a funnel, where the small end allows light to pass through. When a snoot is unavailable, a narrow cylinder of cinefoil (black foil used to shape light) can create similar results.
Ring Light
Rather than a typical light modifier, a ring light is a specialized light source commonly used for portraits, beauty, and macro photography. Similar to a clamshell lighting setup, a ring light produces soft, even, flattering light as well unique circular catchlights. Many photographers position a ring light directly in front of the subject, allowing the camera to shoot through it while light wraps the subject.
As the name suggests, a ring light is shaped in a circular or ring shape, and can be purchased as a strobe or continuous light. Ring lights can be mounted around the lens, to the base of the camera, or on a standard light stand.
Gels
A gel is a transparent material placed or mounted in front of the light source. While some gels simply diffuse light, most gels add or affect the light’s color. Gels can be mounted in a frame or taped directly to the front of a light modifier (although heat and long-term exposure can fade and damage gels).
Color-correction gels affect the light’s color temperature, balancing color in the scene. Common corrective gels are CTO (color temperature orange) and CTB gels (color temperature blue). Gels come in a variety of hue saturation or overall transparency. Non-corrective colored gels are used to introduce creative, unexpected hues and affect overall image aesthetic. Photographers often combine gels with complementary colors to produce visually pleasing yet dramatic results.
Lantern
A lantern is a balloon-shaped modifier, like a hybrid between a softbox and shoot-through umbrella. The lantern allows light to pass through diffusion like a shoot-through umbrella, but its black-sided shell on top encloses and directs the light, like a softbox.
Often used as a large top-down light source, lanterns soften and spread light. The only part of a lantern that does not allow light to pass is the top, which eliminates unnecessary spill.
Globe
Similar to the lantern, a globe diffuser floods your scene with omni-directional light (the opposite of directional light, where the light source location is more evident). This diffuser creates soft, evenly spread, wrap-around light with minimal shadows. While some globes are made of fabric and appear more like a lantern, the ProGlobe we use most is made of acrylic (and looks more like a large light bulb).
A globe diffuser may be used to fill a small room with soft, top-down light or help fill shadows in a larger space. We recommend this modifier for lifestyle, interiors, and large-scale product photography.
OVERPOWERING THE SUN
What exactly does it mean by overpowering the sun? In short, it means that your flash/strobe has to dominate the sun, in regards to illuminating your subject.
Flash vs. Sun
Overpowering the sun means that your flash/strobe has to output more lumens to illuminate your subject compared to the sun’s rays hitting your subject. If your flash outputs the same amount of light as the sun’s rays lighting your subject, you would be able to lift the shadow areas to that of the sun lit areas but this would then only be matching the sun, not quite overpowering the sun. Considering that the output of the sun is of a magnitude that no flash could ever produce (nor would it be safe if it could), it sounds unachievable. However, given the distance of the sun from your subject, it is actually quite possible, even with a single speedlight especially if it is placed very close to the subject. To truly overpower the sun where your flash would serve as the key and the main light, you would need more power from your flash, use more flashes or place your flash closer to the subject. There is one other method to achieve the same effect as overpowering the sun, which is to shoot at a higher shutter speed which then stops down the light from the sun and then using flashes with a High Sync Speed to light your subject. You can read more about this here: Overpowering the Sun with HSS
What does the sun meter at?
First, let’s understand how much light the sun outputs before we move on to how much flash power is needed. At the brightest time of the day, typically around noon when the sun is overhead, your subject will meter at 1/200th, f/11 and ISO100.
This means that on a clear sunny day around noon, if you set your camera at 1/200th shutter speed, f/11 aperture and ISO100, the image of your subject would be exposed correctly under normal conditions. However, the shadow quality may be questionable if depending on how your subject is positioned towards the sun or if they are in a partially shaded area where surrounding objects are casting shadows on them.
Personally, when shooting outdoors with strobes, I prefer to shoot at 1/160th shutter speed because it gives me a little ‘safety’ in regards to capturing the flash fully on my camera’s sensor even as the PocketWizard (flash trigger) sync speed is rated up to 1/250th. If you get too close to the flash sync speed’s limit, it will result in a slight loss of light towards the bottom of the frame (though sometimes not noticeable).
Why do we need to overpower the sun?
The most common reason to have to overpower the sun is so that the photographer has control over the lighting situation. Being able to overpower the sun places the control of the treatment and outcome of the image back in the hands of the photographer. Using this technique, we are able to use the sun as another light source at our disposal and to act as a key, fill, hair light or backlight/edge light or potentially, not at all (but you would need a lot of flash power to completely negate the effects of the sun’s illumination). We can then use our flash(es) to light our subject in any fashion we want to create our desired outcome. Keep in mind again that your flash has to be able to output light that is at or higher than the sun on your subject. If you are shooting at 1/200th, f/11 and ISO100 and you do not see the effect of your flash on your subject, it means it is not powerful enough and/or too far away.
Taking this a step further…
So now that we know what camera settings will help expose and control the light from the sun effectively, what happens when we underexpose the image by a stop or more? If we set our shutter speed at 1/200th and stop down on aperture to f/13 or f/16 at ISO100, you will essentially be stopping down your image and underexposing it. Of course, this means that your subject will also be underexposed. If you do this and increase the light hitting the subject from your flash to make up for the underexposure, you will only be underexposing your background while keeping your subject properly lit, thus, creating a very surreal and dramatic effect which is usually indicative of images that have the ‘overpowering the sun’ look. By underexposing and stopping down the background, you will see an increase in saturation, especially in the sky. See visual examples provided towards the end of this section.
What kind of flash/strobe has the power output to overpower the sun?
In general, if you have your flash set at maximum power and placed approximately 6-8ft. from your subject, a bare bulb flash with no diffuser that has an output of 500w/s will have enough power to overpower the sun. This is a generalization because the output of a 500/ws rated flash will differ from one manufacturer to another (as will their Guide Number indicators) and so it is hard to measure everything on a consistent and accurate scale.
If you have a flash that is rated at 750w/s or higher, you will almost be guaranteed to be able to overpower the sun, especially when using an efficient reflector head.
Note that using a bare bulb flash or a flash with a reflector head on your subject will create very hard shadows which will match the harshness of the sun and that may be your desired outcome but if not, you will want to use a softbox to soften the hard shadows created by your light. As such, since a softbox or similar diffuser will cut the light output of your flash, you will want to use a flash that is rated at 1000w/s or higher to be on the safe side. Alternatively, you could move your light closer to the subject to make up for the difference in the loss of light from your diffuser.
Here are some examples of flashes that we recommend for outdoor photography to overpower the sun (battery operated for convenience on location):
– PROFOTO B1X 500W/S AIR TTL LOCATION LIGHT KIT
– FLASHPOINT XPLOR 600W/S HSS TTL
– FLASHPOINT XPLOR 600W/S PRO HSS TTL
– ORLIT ROVELIGHT RT610W/S TTL
– BRONCOLOR SIROS 800W/S L WIFI
There are plenty of other flashes that have more w/s power that can easily handle overpowering the sun but these are not battery powered which means you will need access to A/C power or a capable sine wave power generator.
The Breakdown
Here are visual examples of what we mean by overpowering the sun:
Sunlight Only
This raw image is only lit by sunlight with the camera settings at 1/160th, f/14 and ISO 100. As you can see, with these settings, we are underexposing the image by about 2 stops and with the angle of the sun being overhead around noon, the shadows from the sun are not flattering.
Sunlight and Flash
Now we added 3 lights to illuminate our subjects and you can see the effect of the lights on our models and the surrounding ground they are standing on. By underexposing the background and then lighting our subjects, we are bringing the attention and focus to our subjects and the foreground. At this point, our flashes are acting as the key and hair light while the sun is acting as a background light and partial fill.
Behind the Scenes
Here is a look behind the scenes showing you the 3 strobes that we used for this set (our additional front fill light cannot be seen in this shot but it is placed on the left of the camera). Our key light, hair light and additional front fill were used to achieve the look and outcome of a surreal garden portrait that could not be achieved with sunlight alone. This is a raw unretouched image.
The Outcome
Here is a retouched final product image showing the outcome and desired treatment for our client. Keep in mind, once you know how to overpower the sun and to use the sun as an additional and controllable light source or to cut it out completely, you will be able to produce surreal outdoor portraits and not be dependent on shooting solely with natural light. You can decide how much you want your background to be underexposed or not at all and to match your subjects.
Final Thoughts
Now that you know how to overpower the sun, the question is, can you also achieve this with Continuous Lighting? The answer is yes, since the concept of light and exposure is the same. The only difference is that you will have to use very high powered continuous lights that can output the same amount of lumens as your flashes to achieve the same effect, which typically means that your set will be extremely bright and hard for your subjects to keep their eyes open. For flashes/strobes, the high powered light that is output is only for a brief fraction of time and so it really does not effect your subjects and prevent them from keeping their eyes open. Diffusing and softening the high powered continuous lights with modifiers then becomes essential so that your subjects aren’t struggling to keep their eyes open, which then means your continuous lights have to be even more powerful – just things to keep in mind. Finally, keep in mind that you will not be able to employ the High Speed Sync (HSS) method to overpower the sun if you are using continuous lighting.