LightingI've been asked from time to time how I light the images that appear on our web site. Here's a brief synopsis and explanation. I always use at least three lights—the key, fill, and a boom with a softbox. Occasionally, I may use a background light, an accent light of some kind, or a focusing spotlight. But these are the exceptions. Most every conventional image was illuminated the same way—with a key, fill, and hair light.
Michael Libutti some years ago discussed the four main factors that determine the quality of light a key light produces: angle, size, distance, and intensity. All four principles apply to proper key light placement in dance photography.
Key LightThe key or main light is the principle source of light. I place the key light on about a 45 degree arc from the camera position and raise it to a position two or three feet over my head. I then feather the light considerably, which allows only the edge of the light source to light the couple. It may seem counter intuitive to watch 95% of the light disappear off to the side of the couple, and indeed, many times my assistants have wanted to pivot the light stand so the light appears to be directly falling on the subject. However, flash readings confirm for me that the light that's falling where I want it to fall (on the couple itself) will measure f11 with 100 ISO. There is little light left over for the background itself.
Once the key light is correctly raised and feathered, the second issue, size, needs to be addressed. I either use large Balcar white umbrellas (w/ a black back) or Larson softboxes to produce large soft light without fear of lens flare. Since I’m sometimes operating in inconvenient places, it is important that I control as many variables with my lighting as possible, while still retaining the flexibility that large soft lighting provides. With Powerlights and Larson soffboxes, I can often bring in my key light just out of view, feather the light, and still get f 11, which is amount of light I want from my main light.
Fill LightI place the fill about shoulder height, just out of view, on the opposite side of the key light, and measure it at f 6.3, or halfway between f 5.6 and f 8.
If I want to lighten the background I exchange the Larson softboxes for large Balcar umbrellas. White on the inside and black on the outside, these large umbrellas provide an even soft light, which may spill onto the background enough to render it a bit lighter in photographs. The black surface of the umbrellas prevents lens flare.
Hair Light
I used to use a Plume wafer softbox as a hairlight, but I found that removing it from the ceiling of my studio is such a nuisance that I abandoned it in favor of a mini-softbox of indeterminate design and origin. That’s where I hold my meter, and where the heads of the blond surfer boys are likely to stop. I shoot at f 11
At this point we're ready to go. For us, it's at this time that one of our employees takes the money; another checks gum, wrist corsages, ties, boutonnieres, then guides the couple to an on-deck circle, off-camera, in a visually advantageous position, then poses the couple. I refine the pose, if necessary, removing hands that grow out of shoulders, getting hair out of faces, making sure that jackets fall properly, etc., I generally don’t like to have people watching the couple whose portrait I’m doing, but if the next couple sees us set up, they can be a little easier to pose.
There is no "right" way to light a dance photograph. Many of our clients use a simpler one light solution. The boom can be a nuisance, especially in Father-Daughter affairs, where the light has to be carefully monitored in order not to illuminate those "follically challenged". (How's that for a euphemism?). Nevertheless, I've found that my system provides an attractive three dimensional depth and modeling without deep dark shadows that I've only seen achieved with a multiple light system. I like it.
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