Forbidden Light Studios: Blog en-us (C) Forbidden Light Studios [email protected] (Forbidden Light Studios) Mon, 11 Sep 2023 05:08:00 GMT Mon, 11 Sep 2023 05:08:00 GMT Forbidden Light Studios: Blog 120 90 Naughty Schoolgirl: Behind the Scenes Once again I have an opportunity to shoot with two of my favourite models but this time with a story in mind. Every mans fantasy. A naughty schoolgirl shoot but with a twist. The Headmaster in this tale is a Headmistress. 

I have obtained the perfect location for the shoot and while doing my initial test shots I have decided that two soft boxes will be needed to distribute the light evenly over both the models. Initially I have them both set up on the left side of camera but the movements of the models dictated that the key lights should be on the right. Once the action of the models moved into a tighter formation I then split the lights and used one soft box as a back light


Even though I am using 2 lights I still treat it as a one light setup. I just have a larger area to cover because of the action of the two models.


In a one light setup I always set my key light to about 45 degrees to one side and then adjust accordingly, one way or the other, to either light more area or deepen the shadows. After a few more test shots I am finding that 2 lights are now exposing too much of the background and starting to make the images appear flatter.


To compensate for this I add 40 degree fabric grids to each of the soft boxes. Grids are a honeycomb fabric that attach to the front of your soft box and help control the spill of light. They come in various sizes but the most common one is the 40 degree fabric. The smaller the degree the tighter the light spill. You can see the grid on the following behind the scenes shot.


Now that I have reduced the spill light on the background and I am happy with the angle of the key lights I do a few more shots to determine the proper exposure. Initially I find that a setting of F4 at 1/180 of a second with ISO 200 is the right balance. This is a little too shallow a depth of field for what I need so I underexpose by one stop and shoot at F5.6 knowing that I can boost the exposure later in Lightroom. This gives me enough depth to have the action in focus but to let the background soften a bit. I want the eye to be drawn to the pretty models and not the items on the bookcase. As the story progresses and the action moves I make small adjustments but have now set the lighting and exposure and continue with that through out the story.


One of the perks with working with good models is that even though I have told them what the story is about their input into the tale is invaluable and helps it to develop into another awesome shoot. The outfits were their idea and are perfect for the story. Thank you ladies and thanks, once again, to Lustrator for his behind the scenes shots and his assistance in making this project a reality. 



[email protected] (Forbidden Light Studios) behind the scenes camera settings how to Wed, 28 Jan 2015 23:18:38 GMT
The Farmers Daughter: Behind the scenes I have been wanting to do this shoot for awhile now and it all finally came into place. The perfect location, the perfect couple and the perfect time

With a shoot like this, where a story is going to be told, I have already edited it in my mind and know which shots I am going to need. It is scripted but, as my shoots have a tendency to do, they also take on a life of their own. I have visited this location on a number of occasions, envisioning what I have in mind, even taking some test shots so when we do arrive I am pretty much ready. I have chosen the location in the back of the barn where we are surrounded by hay bales and out of sight of any casual strollers in the area.

While my models get ready I snap off a couple of quick test shots to see how the ambient light will affect us. There is a big open door on the southern side and indirect sunlight is coming in nicely that day but after a couple of shots I find that in order to expose for the daylight I would have to have my settings at F2.8, 1/4 of a second at ISO200. That is much too slow to balance with my flash that I want to use as my key light. I want to use the natural daylight for fill and to give some of the shots a nice edge. Now the general rule of thumb when exposing with daylight is to find the right settings for that and then balance your other lights to it. That way everything in the frame will be properly exposed. In this case I found that a good setting for the daylight was to boost my ISO to 400 and shoot at F4 for 1/100th of a second. This was still a little on the underexposed side but as this was going to be my edge light and fill light I was ok with that. I was then able to set my flash at 1/2 power in the soft box and use that as the key. This was still a little under what I normally would like to have for an exposure but because the background was so neutral, ie: brown hay, I was happy with the shallow depth of field.



As I had not worked with this model before I started with a few "get to know you" shots, to see how comfortable I felt with her and how comfortable she felt with me. It didn't take long for both of us to get over that and right into creating some great photographs. 

Photo shoots are organic, and they grow, sometimes in directions you don't expect. I always try to engage the models, to let them know what we are trying to achieve and to take any and all their suggestions. Even though I, as the photographer, have the vision of the outcome, when a model has input into the creative side of the photograph then I get more out of them and it adds to the dynamic of the photos.


The initial shots are going great and as the story unfolds our Farmers daughter finds herself alone in the hay loft and decides to have a private play session with herself. The shots get more risque as the story unfolds. I have to smile to myself as it seems so many of my shoots start out with the model fully clothed but by the end they are wearing nothing. A trend I shall endeavour to keep. I'm looking forward to the part where the Farmer is introduced but a little worried as well. One softbox to cover two subjects can be challenging but with the help of the ambient daylight a good balance is achieved. On the shots where he is in the foreground I let the spill light from the softbox catch the side of him and with a little body language we get just the right amount of light in all the right spots.

Now, although I used to be a rope enthusiast I am by no means as good as the other riggers out there, so when it comes time for the bondage shots I am most grateful for the wonderful talents of my model and rigger. Although I have ideas of what I want to see his vision of that far exceed my expectations. I am truly grateful and by  the look on the models face she likes it just as much. Photographing good ropework is such a thrill for me. Even though its a photo shoot, when the magic between the two people and the rope begin to happen then all I want to do is stand back and capture that on camera. No more direction, no more posing, just let that happen and bear witness to it all. 

My thanks to both the models from this shoot. We got some great pictures and told a wonderful story. I am looking forward to shooting with them again.

Thanks also to "Lustrator" for all the great behind the scenes shots on his Nikon V1 camera, that he is so proud of, and for all his help on the day.

This is my first behind the scenes blog post and I am hoping to do more of these and pass on some of the photography and lighting tips. I hope you enjoyed.





[email protected] (Forbidden Light Studios) behind the scenes camera settings how to Thu, 20 Jun 2013 03:53:24 GMT