Hi, I’m Karl Taylor,
photographer and photography instructor.
Hello, I’m Urs Recher,
photographer consultant at Broncolor in Switzerland.
Well, Karl, I’ve been cleaning up my last ‘How-To,’
And during this time,
you have been setting up all the Picolites you own.
Yes, I’ve been confusing myself, actually,
with all these Picolites.
I wanted to do a demonstration
on a product shot with Picolites
so we can give you a run-through
of the set-up
So, If I run through each light, one at a time,
starting with the background,
just got a piece of colored card there.
That Picolite,
as you can see,
is giving a sort-of fairly broad illumination on the background,
slightly brighter in the center.
Then, the top Picolite,
with a Fresnel,
illuminating the top of the shoe,
and putting a little relief detail on the logo, there,
of the shoe.
Another Fresnel here,
illuminating this portion of the shoe,
casting a little bit of a highlight
on the front of the shoe.
But, that glossy highlight actually looked acceptable,
so we’re OK with that one.
This spot is on spot position,
so this is very narrow
lighting, here, and this is…
we opened this a little bit more,
or you opened this a little bit more
For wider
To cover more
Yeah, just to spread it out a little bit more
‘cause it was a little bit dark down in this portion of the shoe,
so spread it out a little bit more to spread it over this area here.
Then, the projection attachment is just illuminating the heel only on the shoe.
So, using the blades,
and directing and controlling a very thin slit of light,
just the heel is being illuminated.
Then I have lots of problems with this area of the shoe here,
not having enough light in here.
Couldn’t put light on it directly,
because the shoe is round, glossy, made it very difficult.
So, we’ve just gone for a soft, broader light here,
while shining a Picolite with some barn doors into this
to get a little bit of soft illumination
and a soft highlight along there.
Finally, there’s just one light in the corner
actually illuminating the corner of the room,
and that’s to create a nice big, soft light
for this edge light along the top edge of the shoe here.
So, all the way along that edge of the shoe here
is actually illumination reflected off of the walls of the studio.
Indirect lights
indirect from the corner of the studio.
And that’s about it.
I think what we’ll do is we’ll turn all the lights off
except for the background light,
and we’ll just take a shot building up each light,
so that the viewers of the video can see
OK
each light and what it’s doing independently.
We see what they do.
Urs: Great, let’s do this. Karl: OK, so let’s turn them all off.
Right, so let’s take the first shot.
And this should just be the background only.
There you go,
that’s it.
So, let’s move on to adding in the next light.
I’ll just put in light number one,
which…oh, no, sorry, not that one.
Light number two, which is the Urs: All right
Karl: top light.
This is going to be
Urs: That’s the one through here?
Karl: Yeah, and also for the logo on the shoe,
just a little bit of relief detail.
And, let’s add in the next light
which is the projection attachment onto the heel.
There you go,
so that’s just now added that illumination just in on the heel.
Urs: Oh, yeah, perfectly.
OK, so just turning on the sort-of main shoe light, if you like.
This is the one that’s illuminating the top,
broad area of the shoe, here.
There you go.
So, that’s the one, there, that we had to be careful of the sheen here,
that this level of sheen was quite nice.
It showed the shoes were glossy,
but it wasn’t too aggressive a highlight.
It actually added quite nicely.
Now, the next one’s gonna be quite interesting,
‘cause this will be this light on the outer edge of the shoe.
And, if we turn that one on
Urs: And I shoot it
Karl: Yep.
So, this is the light going into the corner of the studio.
And, there you go, that’s light reflected off the wall,
or the walls from the corner of the studio back onto the shoe.
And then finally,
this edge here was a little bit dark.
Urs: The tricky one, huh?
Karl: The very tricky one, this one.
Now, we could have left it,
and we could have said, “OK, let’s go with a sort-of dark feel,”
but at least we’ve got an option, here,
to keep it or not keep it.
And, by adding this one in,
we are bouncing off the white card,
just with a subtle amount of light,
a lower power on this one.
And, there you go, just that very faint sheen of light.
So, that’s pretty much building the shot up
with lots of little, small Picolites.
Took a bit of messing around,
and there’s a few little tiny tweaks to make to it,
but it gives it a different,
sort-of more mysterious lighting
feel than just big, broad soft boxes would of.
Urs: Good Karl: Excellent
Anyway, hope you enjoyed that how-to video and tutorial.
For more how-to tutorials,
where can they see those, Urs?
Urs: On the website
There are the ‘How-Tos’ on bron.ch/broncolor.com,
or, if you like us on Facebook,
you can, on Facebook, you get the regular updates
whenever we have something new to show you.
Karl: Well, thanks very much for watching.
Urs: Thank you, and bye-bye.
Closed Captioning by www.theaccessproject.photography