Laws of Light episode for you on how to best place and set your softbox to light exactly what you are focusing on.
Enter the GIVEAWAY to win a 2011-7 SKB Case and Photo Backpack: www.theslantedlens.com/give
Follow The Slanted Lens-
Support Us by using Affiliate Links
Shop Jay P’s Gear:
Jay P’s Gear @ B&H:
PhotoFlex Medium Lite Dome
PhotoFlex Large Lite Dome
Jay P. Morgan has been working as a Commercial Photographer and Film Director in the Los Angeles area for more than 20 years developing an impressive list of clients from Paramount to McDonald’s. Jay P.’s experience with elaborate set design and extensive lighting are key to the success of his illustrative work.
Visit the webpage:
Visit our SPONSORS
Morgan Photo Retouch:
Triple Scoop Music:
hi this is JP Morgan today on the slanted lens we're gonna talk about placing a softbox two people set a softbox down and it will look much different for both of them why is that because simple little things create a much different look with a softbox so let's talk about those things how to finesse a softbox so it will give you exactly the image that you're after number one why should I place my softbox horizontal or vertical instantly enough a softbox has a round area of coverage and it doesn't matter whether it's horizontal or vertical it's the same area to area of coverage you can look at our lesson on soft boxes I show you the patterns we shot on the wall it does not change whatsoever whether the box is vertical or horizontal what does change is what the softbox can see on the subject matter so if you want there to be fill on the shadow side if you want a softer image you want your box to be horizontal because now this side of the softbox can see the side of her face it's going to be softer I can move this around and I can open up the side of her face much easier now if I want harder and I don't want to see you on the corner then make it vertical and bring it back so now my light doesn't see the side of her face anymore more I move this around the more Moody it's going to get because the light can't see around her most we will just set a softbox up and they aim it straight at the subject matter and that's what it lights it's lighting the background equally to the foreground is sliding her entire body I can feather the softbox so that I can light less or more of her body if I decide you know what I really want my background to be dark I will feather this towards the light towards my camera and if I decide I really want that pink sweat of hers to not be so bright then I'll feather this up I now have gone I'll bring this down a little bit like feathered up this little more and this is a scary place for people because they're going or soft boxes and aiming at her at all going you know what I've been getting it off from the sweat and I still have a nice let in her face with a fill card sliding in there I can open this up and it looks very nice on her face even though I'm bouncing it up and out understandably we're bouncing it into the ceiling that creates a little bit of a fill light in our scenario here but the reality is I've created a vignette on her sweater by feathering this up I'm feathering it towards the camera now if I want the background to be brighter and still have that vignette on her sweater then I'll just simply I'll rotate this back towards the background and bring it forward a little bit lighten up her face well I've still been getting her sweater it's not as bright I can probably vignette that even a little more but I want my bringing it down and up that's now opened up my background I mean it's a dark background to begin with but it's made it so it's a little brighter and she's separating a little easier on that background now but it's still feathering up and towards the background that really makes quite a difference on her I've talked about grids ever since I started doing this kind of stuff a grid it cuts down what the softbox can see it has these squares they're about an inch and a half or two inches deep and so the actual face of the softbox is now cut the angle of view for the softbox it's narrows the angle of view makes it much narrower so it's like putting it's like feathering the box but it's done for you with a grid automatically that grid narrows the area of coverage it cuts it down significantly it's much easier for me to really make sure that I don't have I want to be able to bend yet her sweater now there's my there's my vignette on my sweater it's very easy to do it cuts the light off from the background I don't have to pitch it so far towards the camera but it does make it so that I can really make that background black so I get nothing on there whatsoever or I could start to know that area coverage is just too tight it's not gonna allow me to light that background but that's what I want when I put a good grid on there I really wanted to narrow the area of coverage so what's the difference when a large softbox in a small softbox well I just happen to have my chopsticks here so I can show you exactly what the difference is as six or eight feet the area of coverage of a small softbox is going to be the same as a large softbox but at the origin a small softbox has a very small area of coverage whereas a large softbox has a very large area of coverage so as we get it in closer to our person's face and it gets into this three to four-foot range now the face is seen more with the large softbox we see into the shadows on the right and left because the box is out here it's origin is larger where it starts is larger and so it sees into the shadows whereas the small softbox is smaller it's origin is smaller it doesn't see into the sides it doesn't see into the shadows as much and so it's gonna be harder the shadows are gonna be darker so large large softbox softbox when they get out to six or eight feet they cover the same area but the origin is bigger with a small with a large softbox and smaller with the small softbox so we get contrasting and hard light soft and beautiful light there's the difference between a small and a large softbox so there's our larger softbox now when you put those two side-by-side you can see that the smaller one is just it's a little more contrasting in the shadows and the larger one is a much less contrast in the shadows that's why people like these huge sources behind the camera like you get a huge round octodome or you get a large softbox because it just simply gives you this flat soft light all the way around so it does make Haley look prettier but the issue is what are you trying to communicate what's the mood that you want in the image if you want it to be soft and beautiful use those large sources if you want to be hard and in more gritty then use those smaller sources they had they communicate much differently if you're in Sin City you're not gonna use large soft sources it doesn't doesn't match it doesn't work but if you're in Sense and Sensibility then we have large soft sources you know we have window light we have light coming from everywhere cuz it's just soft and mushy so it just depends on what you're trying to communicate what is it you're trying to communicate that's why you choose different sizes of soft boxes we do critiques here once a month I'll look at your images and give you some advice I'll help you get the great images that you deserve to be making and taking so keep those cameras rolling and yes all right Squarespace a great place to host your domain and put your website don't waste your energy on designing and working on your website spend your energy creating images not websites Squarespace has already taken care of that for you go to Squarespace comm free trial no credit card needed make sure you subscribe to the slanted lens will do amazing things like use chopsticks