Welcome to Workshop at the Ranch. Each month I will be writing an instructional article about photography. It might cater to sports coverage, new cameras and gear, techniques with Off Camera Speedlights or Large Strobe Systems, Lightpainting and more. These articles began in 2003. They are archived and available for you to revisit as often as you like. A broad pallet of my images with all camera data, equipment I use, special tricks of the trade, and my personal commentary will drive the content of each article. So, be my guest, settle back and “click” on any image you want to enlarge, and enjoy learning each month here on Workshop at the Ranch. Adios, Dave

Workshop at the Ranch - November 2005 - Building a Portrait

Workshop at the Ranch
November, 2005 Edition

Welcome to this edition of Workshop at the Ranch. For the last several years I have been invited to teach at one of the best workshops I know. Rich Clarkson's Photography at the Summit workshop ( www.richclarkson.com ) is a wonderful blend of faculty environment and students that addresses many aspects of photography while in Jackson Hole, Wyoming. One of my responsibilities is conducting a location lighting class using Nikon's SB800 Speedlights. The more I use these units the more fascinated I am with the possibilities to do creative lighting scenarios. Many thanks go out to Craig Ramsby, Director of Jackson Hole's Polo program at Melody Ranch who provided our class with one of his top athletes as a model. These five images are the step by step progressions our class used to build a portrait with Nikon SB800s. Rather than do the set up work for the students I decided to put them to the task by asking their opinion as to exposure and light positions and power output. I would then agree or make suggestions in an effort to guide them through the building of a portrait. Let's have a look..................

Image #1 My Nikon D2X is set up on a Bogen Tripod to help steady the camera as the available light was minimal and a slow shutter speed would be used. Our location is in the barn area at Melody Ranch. Saddles, Bridles, Polo Mallets and all the elements that let the viewer know this image is about Polo is in place. There is one small light bulb in the barn so I take a few test shots and look at the ambient light that is created by the one light bulb and choose an exposure of ISO100, 1/3 at f7.1. This is a very slow shutter speed but my subject will not be moving and the SB800 Speedlights will freeze any movement as well. I have chosen a warm Kelvin setting of 7100K to bring out the warmth in the wood and my lighting. Our single light bulb is directly over our subject. His Polo helmet causes most of his body to fall into shadow. I will use the SB800s to reveal my subject and the environment step by step.
Image #2 ONE Remote SB800...The class decided that we needed to reveal Alberto's face and did so by placing ONE Remote SB800 (designated Group A) on a shelf above the bridles to our subjects left (maybe 10 feet away). I took a few test shots and powered the Remote SB800 up and down via the Master SB800 located on the hotshoe of the D2X. We all took a look at each image and settled on a power output of -1.0. I pointed out to the class that an unflattering shadow from the helmet fell across our subjects eyes. The class decided that a lower position for the Group A Remote SB800 would be necessary.
Image #3 THREE Remote SB800s...The class decided to move our Group A Remote SB800 lower and to our subjects right. I placed the SB800 on a Bogen Lightstand with a Bogen 175F clamp in the stall to Alberto's right. I took a few test shots and powered up and down via the Master while looking at each image. The class settled on a power output of +1.7. The lower angle allowed light to fill in under the helmet. The class also decided to place a second Remote SB800 (designated Group B) on the near stall gate to Alberto's left. It is out of the cameras view and after a few test shots and took a look the class settled on a power output of -1.7. Our Third Remote SB800 (designated Group C) is positioned high on the back wall and is aimed to skim across the back wall in an effort to separate our subject from the background. A few test shots and the class settled on a power output of -1.7. I pointed out to the class that some things are beginning to work well for us but that I believe we can do better. There is just enough ambient light from the single light bulb to give a sense of place. Our Group A Remote SB800 is doing its job but is a little over powering and is visible in the image in the left stall. Our Group B Remote SB800 is also putting out too much light. And, the Group C Remote SB800 is too bright and not very well positioned.
Image #4 So we made adjustments accordingly and reduced the power output on Group A to -1.7 and moved it back slightly out of the camera's view, Group B to -2.7, and moved Group C down and behind the stall gate to create a low sunshine effect through the slats at a power output of -1.0. All our power adjustments are made via the Master SB800 on the hotshoe of the D2X. Much better. The combination of the ambient light and the SB800s just adding enough light to reveal our subject and environment from the shadows is very pleasing, but not perfect enough for one of the 20 students that attended my class. He did not like the shadow beneath Alberto caused by the single light bulb and requested that our subject move forward a couple of feet so as to cast the shadow created by the single light bulb in front of him.
Image #5 I agreed....The light from the Group A Remote SB800 still was sufficient on our subject and now the shadow was less noticeable. I repositioned the D2X so as to re-center our subject in his new location. I believe this was our best image of the day. I like Alberto closer to the camera (farther from the back wall) and I love the way the SB800s illuminate him and the interior of the barn. A very nice environmental portrait of our champion Polo player.

I hope you can see how a step by step building process can help you portraiture. I like to make use of some of the ambient light when possible and then add one, two, three, four or even more to reveal my subject with creative lighting using the Nikon SB800 Speedlight system. I would suggest that all these arrangements of camera, exposure and lights be completed BEFORE your subject arrives. No subject will ever wait for you to figure all this out. Bring a friend to "stand in" so you can compose and light the scene well before the star player walks in. With everything ready your subject can walk in, be photographed and walk out in a very short period of time. They will be very happy about your efficiency and most likely be spread the word of how easy you are to work with.

Well,......I hope you have enjoyed this edition. See you next time at Workshop at the Ranch..........................Adios, Dave