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The edges of your subject’s face will be obscured in the shadows, as well as slightly out of focus, if you choose a wide aperture. To achieve this look, direct the lights directly at each other, so the subject’s face is illuminated only at the extreme edge of the lamp. This results in most of the attention being focused on the eyes.
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To add drama, I chose a very wide aperture and intentionally blurred out the subject’s ears and body. This variation of parallel light is great for actors, artists, or anyone who wants a unique portrait (I’ve also used this for corporate work). Instead of choosing a flat, even light, we can create more drama by intentionally casting shadows on both sides of the subject’s face. Now that we’ve learned the basics of parallel lighting, it’s time to create a different look using the same basic setup. And while I avoid the “set it and forget it” approach to studio lighting, the basic setup can be adjusted fairly quickly if the subject is photographed with their nose to the left or right. The benefit here is that you can focus on posing for your clients and finding their best angle without worrying about dramatic changes in lighting if you turn their face from side to side. Since the light is even across the face, you can easily rotate the subject’s nose to the right or left without changing the result much, as with the key / fill setting. A great setup for beginnersīesides being fairly easy to implement, there is another reason to love parallel lighting, which is beneficial for beginners. Normally, I use a three-light setup with a bottom fill, but removing the bottom light makes dealing with glare much easier, and the side-by-side setup provides similar results to the setup. I also choose parallel lighting when there is a client wearing highly reflective glasses. That’s it! It’s really simple to do and everyone will love how they look using this light. It will probably be somewhere around 12 inches from the light, but remember that finding the sweet spot is a game of millimeters, so keep an eye on how the light hits your face and adjust. You want your subject to be in a space where both lights meet, as the softest light will be in this area. Next, take a moment to make sure your subject is in the sweet spot of light, because if they’re in front or behind the focus point, they’ll have strange shadows on the frame. Point the center of the left light towards the camera’s right shoulder and the right light towards the left shoulder of the camera, instead of the face. The feathering in a parallel setup is pretty easy to do. This is important because shedding will create a soft, pleasant light, while directing the light directly at your subject will result in harsher highlights and shadows. Coverage is achieved by not directing the light directly at the subject, but instead tilting it so that only the edge of the light hits their face. The most important thing is to secure the lamp feathers. The first thing we want to do is place each light about 12 inches in front of our subject and as close together as possible without the lights obscuring the subject’s shoulder.
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In our first setup, we’ll create an even, flattering light, with no harsh shadows on the face. And, because it’s pretty simple to do, it’s perfect for those just starting to familiarize themselves with their way around the studio. It works well for all ages, genders and also for companies, actors, models and other types of clients. There are many reasons to love a parallel lighting system, but the biggest benefit is that it produces even, flattering light without heavy shadows. Although I use Westcott Peter Hurley Flex Kit, the same result can be achieved using a strobe light and a 1′ x 3′ strip box. Parallel lighting is a two-light setup where one light is placed on each side of your subject, parallel to each other and perpendicular to the ground. In this tutorial, I’ll show you three simple parallel lighting tricks to create portraits that everyone from the boardroom to Broadway will love. Creating an even and beautiful light in the studio doesn’t have to be difficult.