If there’s one photographer synonymous with the headshot genre it’s probably Peter Hurley. In this video, Peter walks us through 5 tips that he says will help you light headshots and push your images from good to great.
When you start to break out of using only the available light and start looking towards adding your own lights, it can get quite expensive rather quickly. Whether you’re shooting stills or video, quality lighting kit is just expensive. But it doesn’t have to be.
There are ways to create fantastic lighting looks on a much lower budget using commonly available cheap lights. In this video, Brent from ShareGrid, along with ShareGrid member Casey, shows us how we can create a fantastic lighting setup for portraits or interviews for less than $100.
The three-point lighting is the basic and the best-known setup for portraits, but it’ also the bread-and-butter of interview lighting. Coming to you from Spiffy Gear, this video will show you the basics of three-point interview lighting in a clear and concise way. There’s a breakdown of the setup, and then you’ll see some small additions to the setup that make a big difference.
Along with buying camera gear, investing in lighting can cost you a lot of money. If you’re just starting out, it can all be a bit too much for your budget to handle. Jay P. Morgan has some budget DIY solutions for creating 3-point lighting setups. He suggests four setups that you can construct yourself on the cheap. Nothing should cost you more than $150.
The basic three point lighting technique is a staple in portraits. It’s a simple and straightforward setup. It consists of a key light, a fill light and a rim light. It’s a technique anybody interested in portraits should learn. And it’s not necessarily because it looks particularly amazing, but it allows you to learn the basic principles of lighting any subject.
In this 7 minute video, Australian photographer PJ Pantelis, walks us through the three point lighting setup. He explains how each light contributes to the shot, showing them all separately, and together in various combinations. The actual lights and modifiers used aren’t important in this exercise. It’s all about learning how each light interacts with our subject’s features and each other.