WEEK 1 PHOTO STUDIO

Size for a Photography Studio

● A photography studio should at least be 625 sq. ft. (58.06 sq m)
● The size can also depend on the equipment needed, what kind of photoshoots, and the
amount of walking space needed
● Ideal size for a studio is around 1,250 sq. ft. (161,.3 sq m)

Types of Equipments Essential for a Photography Studio

Ideal Sizes for Backdrops and Backdrop Stands
● 5-foot (1.52 m): Best for headshots and portraits
● 7-foot (2.13 m): Best for headshots and portraits
● 12-foot (3.66 m): Great for full-body portraits and for the use of props
● 20-foot (6.1 m): Great for photographing large families or groups as well as video
shoots
Backdrops
Backdrops are essentially backgrounds that often create a clean and consistent look for
images
This can take up quite a chunk of budget
When investing in backdrops, pay attention to the dimensions before purchasing
Types of Backdrops
● Muslin
○ Very versatile, lightweight backdrop
○ Used for portrait Photography
○ Doesn’t wrinkle easily
○ Easy to store
○ Best colors to use: Black, Brown, or Off-white in Midrange size
○ This can last for years if taken care of
● Canvas
○ Durable and High-quality
○ Offer Fantastic details
○ What painters use to protect the floor/furniture
○ More expensive
○ Can be DIY
 ● Seamless Paper
○ Photographers favorite type of backdrop
○ More cleaner and feel in the photos
○ Keep things simple
○ No excessive edits needed
○ Lesser chances of wrinkling compared to muslin and canvas
● Other Options
○ For food photographers, cotton, vinyl or even just plain old wooden planks
are great backdrops. Also inexpensive to source or purchase.
○ Sometimes an old tabletop also works great. For headshots or even
indoor family photos, even just a plain sheet works. It depends on the
look, feel and color you’re after.

Backdrop Stands and Support System

● When using an external backdrop, a support system is needed
● Holds your backdrop and prevent sagging, drooping, or falling down
Support Systems
● Clamps
● Backdrop Stands
● Ceiling Mounted Rails
● Push Pins & Duck Tape (But not recommended)

Lighting Equipment
● Essential in Photography Studio
● Every studio will have different types of lighting equipment
● Specific shoot will determine what lighting is needed
○ Overhead lighting: This lighting doesn’t take up a lot of space on the ground
because it’s attached to the ceiling. However, the ceilings should be tall enough
to accommodate the lighting. At least 12 feet (3.66 m) tall is the average height
needed.
○ Umbrella lighting: Umbrella lights come in various sizes ranging from 20 inches
(50.8 cm) to over 7 feet (2.13 m). The more miniature umbrellas are great for
smaller shoots, while the larger ones are best for group shots.
 ○ Softbox lighting: This lighting is helpful in many photography studios. Generally,
the size of the softbox should be about the same size as the subject. Therefore,
a studio might need multiple softboxes in the photography studio.
Lighting Setups for Photography studios can be segregated in terms of Characteristics
● Color of output light – is it tungsten light or florescent light?
● Direction of light needed – is it overhead, under, side light or even circular/all around?
● Quality of light – is it a continuous light source or an external flash type setup that
works off a trigger?
● Quantity of light required – how many light sources are need to get the job done?

WEEK 2 STUDIO LIGHTING EQUIPMENT

Types of Light
Strobe
● Powerful flash unit that dominates the photography studio
● Dedicated flash unit
● Often referred to as monobloc or monolight
● Usually mains powered (Battery-powered offerings in markets is always
available)
● Power output between models can vary greatly
● Cheaper strobes offer as much power as cheap third-party flashgun

Continuous Light/ Hot Light

● Serve same lighting functions as strobes but doesn’t flash
● High-powered lamps that can usually be fitted with modifiers
● Mostly associated in videography but still have place in photography
● Hotlight Moniker comes from the fact that they tend to be very hot
● Can present fire Hazards when close to bulbs (Doesn’t apply to LED Lights)
Flashgun/Speedlight
● Small light with a hot shoe mount for placing on top of cameras
● Small but competent light sources that are invaluable for portable studios
● Highly portable and with some comes with high power outputs
● Versatility ultimately limited to size and output but are still useful for off-camera lighting

Light Functions
● Key light –
○ The main light shapes the subject.
○ Usually the brightest and most prominent light
● Fill Light
○ reduces the intensity of shadows created by the key light, thereby decreasing the
overall contrast in your scene.
● Rim light/backlight
○ lights the subject from behind
○ Helps separate the subject from the background
○ Often, rim lights are positioned so that only a sliver of light is visible on the sides
of your subject.
● Background light
○ Lights the background.
● Hair light
○ Add emphasis to the subject’s hair.
○ Can also be used to help bring up the exposure of the subject’s head if it is
blending into the background.
● Ambient light
○ This is any light that is present before the addition of any other lighting sources.
○ This could be from lights in the room or daylight from a window or outside.
Modifiers
Umbrella
● Most basic modifier
● Good for soft, diffused light
● Usually come in silver or white
● Can be attached to the strobe via mount
○ Light reflects back to the subject when attached
● Creates a larger light source that creates a softer light
● Can have a lot of spill
● Hard modifier to control

Translucent Umbrellas/Shoot-Thru Umbrellas

● Doesn’t reflect light
● Diffuse material which aimed the light through
● Softens light without benefit of directionality

Softboxes
● Workhorse of the studio
● Comes in variety of shapes and sizes
 ● Acts to shape and soften light to be more flattering
● Tend to be quite directional
● Easier to control and further modify

Strip Boxes
● Soft boxes that are Longer and Narrower rectangles
● Produce a narrower beam of light
● Great for lighting the subject from behind for a rim light effect

Octoboxes
● Another type of softbox but in an octagonal shape
● Useful for shaping the light for portraits
● Tend to be quite large
● Ideal modifier for portraits
Reflectors (Modifier Kind)
● Goes directly on strobe
● Channel light in a specific angle for a very directional light
● Very Hard light source
● Most are designed to take a variety of grids
● Reflectors lick 110-degree reflector provide a very directional and hard light
source

Snoots
● Direct your light into a very tight and controlled beam
● Designed to focus your light in a very narrow beam
● Great for hair and background lights
Barn Doors
● Fitted with 2-4 flaps to manually adjust the aperture of light through
● The flaps can help narrow the focus of light to a specific aspect of the subject
● Can be use to flag the light from hitting an unwanted spot

Beauty Dish
● Directional modifiers that are in between of soft or hard light
● Offers contrasty of light
● Great for beauty, fashion, and portraiture photography

Grids/Honeycombs
● Modifiers for modifiers
● Further modify directionalight of light
● Placed on a reflector, softbox, or beauty dish
● Narrow beam of light further to help ensure that the light is only falling on your
subject
Mount
● Modifier attached to a strobe
● All lighting manufacturers have their own proprietary mounts associated in their
systems
Gobo
● Placed in front of a light source to change the shape of light
● Either narrow the beam or complicate it to create complex patterns
● Imagine a venetian blind with light streaming through

CTO & CTB GELS

● Color Correction gels used to correct the color temperature of a given light
● Can be use creatively since gels can be use to any color needed
Reflectors (Reflective Kind)
● Allows to reflect light from the key light back to the subject
● Means of creating a fill light without using a second light source
● Important part of any studio kit
 ● Comes in variety of shapes and sizes from the ubiquitous 5-in-1 reflectors to
fancy tri-flectors sometimes used in beauty portraits.

Diffuser/Scrim
● A Piece of translucent material placed in front of a light source to alter shape or
reduce the intensity of light
● Some diffusers do both

Flags
 ● Used to block or flag light from falling in unwanted scenes
● Stop excess light falling in the background
● Reduces exposure on parts of a subject that aren’t the focal point
● Helps ensure that the face is the main focus of the image

Studio Accessories
Light stands
● Simple a stand that holds the light source
● Ensure that the light stand can hold the weight of the light
● High-powered, dedicated strobe requires more support
Dolly
● Light stand with wheels
● Most useful
Rails
● Fixed on walls and Ceilings that allows light to be move relatively freely around a
space without a hassle of a light stand
● Help keep cords out of the way
Reflector Stand
● Dedicated stand for Reflectors
Background Stand/Support
● Any support system designed to hold a backdrop in place
● Can be free standing or wall mounted
Clamps
● Come in all shapes
● Use to hold all manner of things in place
● Bulldog clips are indispensable for holding canvas and backdrops up
 ● Double-headed clamps can affix a table and hold a flag/reflector
Trigger
● Devices that allows a camera to communicate with the lights
● Ensures that flashes fire while the shutter is open
● Ranges from basic models with one function to complex devices that allow full
control over the settings of multiple light
WEEK 3 BASIC POSING
Key Takeways
Subject Comfort
● The first thing a photographer must do for the subject is to make them
comfortable
● Posing stools and benches are comfortable and helps ensure a good and upright
posture

Portrait Photography or Portraiture

● Photography of a person or group of people that captures the personality of a subject by
using effective lighting, backdrops, and poses
● Can be artistic or clinical (for medical study)

Composition in Portrait Photography

● Rule of Thirds
○ Better to understand is the rule of thirds and when to break it
● Centering
○ Avoid Centering your subject
○ Frame the model slightly off to the sight as it is more aesthetically
pleasing
○ Has something to do with Golden Ration
○ On televisions or movies, it’s noticeable that actors are often shot off
center
○ Related to rule of thirds
● Eyes
○ Always focus on the eyes
● Amputation
 ○ When framing the portrait, avoid cropping the subject at their joints
○ Has an illusion of amputating a limb and is undesirable
1. Hands:
● Girl’s fingers should be long and elegant.
● Guys should have hands lightly fisted (like they are holding a small rock).

2. Feet:
● Feet hip width apart will give a look of strength
● Feet at different angles or heights (on a step, chair etc) will give better “balance” to
depth.

3. Arms
● Elbows bent express a comfortable casualness.
● Arms straight give a feeling of formality and often stiffness (to be used with much
caution)

4. Head / Chin
● Head - Tilt ...... Turn...... Chin down
● Head tipped back to the “high” shoulder will feel fun and flirty - use for female.
● Head down toward the “low” shoulder can express power or position (especially when
shooting up at the subject). looks the masculinity.
● Up, down, side…experiment with the different possibilities to see what’s most flattering
for your model.
5. Legs
● Legs spread hip width apart while standing will give an air of strength.
● Generally while standing, one leg should hold the body weight; the other leg can be
bent, or extended behind like a graceful dancer

6. Shoulders
● Should be on different “planes” (i.e. one slightly higher or lower than the other)
● Shoulders square on will express a strong attitude.
● Hunched up shoulders are never attractive. It makes your model seem like they have no
neck.
(football shoulder). Ask your model to sit or stand up straight and lower their
shoulders.
7. Joints
● One rule: If it bends, bend it. This goes for elbows, knees, wrists, etc.

8. Hips
● Girls who stand with hips tilted forward will appear more slender

The I-C-S POSE

I-POSE
● Poses in the shape of a letter “i”
● Tends to suggest a formal pose
● Can also suggest strength, elegance or a certain aloof-ness
● Model poses with feet together; hands and arms shaped equally on both sides of
the body
● In this type of photography pose the hands don't have to be by the side of the
model - that can look a bit too formal - but they should look fairly symmetrical.

Body position
Females: Bend the knees away from the camera
Males: Carried away to the legs closer to the camera
Head Position
Females: Tilt head towards the higher shoulder
Males: Tilt head towards the lower shoulder

C-Pose
● Model poses with the head bent to the right and makes a slight curve with the
 body to create a letter “C”
● Tends to be more feminine but it doesn’t have to be restricted to males only
● Add a little lightness to the model so it’s one to use when moving away from the
hardness or an “i” pose
● Quite easy to direct. Direct the model to place one foot out, slightly dianolly
forward or backward of the other; tilt head down towards the toes

S-Pose
● Models assumes an “S” shape with their bodes
● Creates the most graceful of model poses
● It might seem feminine for men but can add a certain cool-ness
● A tricky to direct the model
● Only for female; one foot forward and put the weight in front and twist your body
to form an “S”

Framing/Cropping — Framing the subject’s body the right way

● Head size is the amount of space taken up by the face and hair in comparison to the
body
● Standard press portrait is ⅓ of the image
● In Close up or Head Shot; the face and hair constitute about ⅔ of the image
● When trying to capture a more casual or editorial type of image, the expression of the
subject is still the primary subject. Hands are seen in three quarters portraits so that
there’s a base to the portrait
● Full Length Portraits are more on the clothing rather than the person’s expression. Head
Size is now about 1/10 of the image so be aware of foot, hand, and elbow angles; Keep
 the feet in the image
● Avoid cropping at any of the joints of the body; This includes fingers, toes, elbows,
knees, and wrists. Cropping the model's chin is also odd.
● Always crop below the knee, mid-thigh, waist, across the forearm, or through the top of
head. When cropping the model’s waist, ask the models to bring their arms up so you
don’t have to crop their arm
Sample posing for women
● Ski Slope
○ An easy, sitting-on-the-ground pose with excellent balance
○ Provides a wide triangular base and long, dynamic diagonal lines
 ● Standing S
○ Classic Female pose
○ Clear alternating posing lines slimming yet helps define body curves
● The Lean
○ Very graphic and dynamic pose that will not work for every subject and every
outfit
○ Exaggerates the female’s S Curve
○ Effective for posing series of images:
■ Full Length
■ Three-Quarter-Length
■ Tight Head-and-Shoulders portraits
● Head and Shoulders
○ Depending on the subject’s build, hair, and facial shape
○ Tipping the shoulders and tilting the head toward the higher shoulder is the most
feminine look
● Position of Hands
○ Main Rule — no flat tense hands
○ Hand must be soft and flexible
○ Should only be seen from the rear side

Sample Posing for Men

● The Mountain
○ Very easy, ground-level pose for senior male
○ Tipping the head toward the raised knee forces all posing lines to converge,
creating a very masculine C pose
○ Very comfortable pose and can field several good images when photographed in
different crops, angles, etc.
● Standing C
 ○ Turning the subject to the side and hav him shift his weight to his back leg
○ Will tip most of the posing lines in one direction
○ Tip his lower head toward his lower shoulder to complete the construction of an
elongated C
● The lean
○ Most Favorite pose
○ Multifunctional pose for senior boys; works with everyone
○ Provide a three-foot wooden ladder for the male to put his foot on, have him lean
his arms on his leg, & tip his head to his lower shoulder
○ Works great for sports portraits as well
● Head And Shoulders
○ Depends on the build, hair, and facial shapes
○ Several poses can be used for this portrait
○ Keep the head tipped toward the lower shoulder to give a more masculine effect
● Position of Hands
○ Try to show the edge of the hand and avoid too many prominent knuckles.
○ A closed hand is good for males as long as they don’t close it too tightly.
Straining the knuckles and shortening the fingers

Tangina tamad na ako itype yung rest sa inang ppt 3 na to hehe

WEEK 4 DYNAMIC VS STATIC POSES

Static Posture
● A posture of a person standing, sitting, or lying very still
Dynamic Posture
● Posture in movement
Dynamic Composition in Photography
● Attention grabbing, high-energy and exciting
● Portrays a subject as full of energy
● Creates a feeling of movement
● Introduces tension to an image
● A sense of excitement and energy engages the viewer instantly
● Use angles and uneven spacing between elements to convey images with dynamic
composition
Why use Dynamic Composition in Portrait Photography?
● Portrays subject as full of energy
● Creates a feeling of movement
● Introduces tension (good or bad) to an image
● An image has a sense of excitement and energy, it engages the viewer instantly.

How to create Dynamic Composition using lines.

● Diagonal lines create angles, so when they are dominant lines in an image, it makes the
composition dynamic.
● By including diagonal lines in photos, the sense of energy and movement is conveyed,
and the viewer is made to work.
 ● Our eyes are drawn around the image, back and forth, so we experience actual
movement.
● Adds to the perception of movement in dynamic photos.
Types of lines to use for Dynamic Composition
● Implied with gaze or direction of movement.
● Created with positioning of limbs.
● Natural features in the landscape, such as rivers or waves surging to the beach.
● How you position yourself in relation to your subject and the background can also turn
vertical and horizontal lines into diagonal lines
● Straight lines that disappear into the distance create diagonals as they diminish, such
as; Roads, Railings, A line of trees etc.

Dynamic Composition - color, contrast, perspectives and asymmetry.

● Other compositions need to convey the same level of excitement, drama and energy to
create unity in composition.
Strong colors create Dynamic Composition
- Superheroes wear strong, eye - catching colors for a very good reason - they’re
dynamic.
Tonal contrast
● Our eyes want excitement and images with a high dynamic range from deep shadows to
bright highlights feel dramatic.
● Make sure you have some shadows and highlights in there for interesting total contrast.
Perspective impacts for Dynamic Composition
● High and low viewpoints alter perspective.
 ● A different perspective adds to dynamic composition, so get low or get high.
Asymmetry creates Dynamic Composition
- Many people love symmetry and it’s a lovely thing, but not for dynamic composition.

Static
● Opposite of Dynamic.
● Create a sense of calm and orderliness with a feeling or stability, tranquility and security
in an image.

Why use Static Composition in Portrait Photography?

● Not everything in life needs to be high energy and exciting.
● Portraits need to instill a sense of trust in the viewer by making the subject appear calm
 and in control.
How to create Static Composition using lines
● Horizontal and vertical lines convey both dependability and strength.
● Dependable 90 - degree angles bring the sense of calm and stability needed for static
composition.
● Nothing is going to slide off a level table, so no energy is required to keep it there.
● A building standing straight and tall is not expected to fall over, so it conveys strength.

Static Composition - color, contrast, perspectives and symmetry.

- Like with dynamic composition to create unity in composition of static images, we need
to use more than just horizontal and vertical lines.
Subdued colors for static composition
Reduced tonal contrast in Static Composition
- There’s a huge range of tonal contrast between the two extremes.
- Reduced tonal is more static, calm.
Straight on perspective for static composition
- For a nice, calm, dependable image, photograph your subject at their level.
- Photograph down somebody = vulnerable position. Viewers will be looking down on
them.
- Photograph them from below and they become powerful, because the viewer will be
looking up at them.
Symmetry emphasizes static composition
- Humans crave balance, even though we seek out imbalance by inspecting an image
that’s symmetrical.
 - That's the point of symmetry - it’s just there.
- Nice and calm and dependable, so we don’t get pulled in any direction.

WEEK 5 HEADSHOT LIGHTING PATTERN

WEEK 6 BASIC LIGHTING PATTERNS USING STUDIO LIGHTS
- LIGHT FUNCTIONS
- KEY LIGHT - main light with which you are shaping your subject. Brightest and
most prominent light.
- FILL LIGHT - reduces the intensity of shadows created by your key light, thereby
decreasing the overall contrast in your scene.
Several things you need to control and think about to make a flattering portrait
- Lighting ration
- Lighting pattern
 - Facial view
- Angle of view

BASIC LIGHTING PATTERNS

1. Split Lighting - splits the face exactly into equal halves with one side being in the light,
and the other in shadow.
- Often used to create dramatic images
- Tends to be a more masculine pattern and as such usually more appropriate or
applicable on men than it is for women.
2. Loop Lighting

- create a small shadow of the subject’s noses on their cheeks.

- Light source must be slightly higher than aye level and about 30 - 40 degrees
from the camera.
- The shadow of the nose and the cheek do NOT touch.
- Keep the shadow small and slightly downward pointing.
- Most common or popular lighting pattern as it is easy to create and flatters
people.
3. Rembrandt Lighting - named because of the rembrandt painter.
- Defined by the triangle of light on the cheek.
- Shadow of nose and cheek meet which creates the trapped triangle of the light in
the middle.
- Make sure the eye on the shadow side of the face has light and has a catch
light.
- More dramatic, so like split lighting, it creates more mood and darker feel to your
image.
4. Butterfly Lighting - butterfly shaped shadow that is created under the nose by placing
the main light source above and directly behind the camera.
- Basically shooting underneath the light source for this pattern.
- Most often used for glamor style shots and to create shadows under the cheeks
and chin.
- Flattering for older subjects as it emphasizes wrinkles less than side lighting.
5. Broad Lighting - sucjetc’s face is slightly turned away from center, and the side of the
face (which toward the camera) is broader than the light.
- Produces larger area of light on the face. Shadow side appears smaller.
- Sometimes used for “high key” portraits.
- Makes person’s face look wider and can be used on someone with a very slim
face to widen it.
6. Short Lighting - puts the side turned towards the camera (that which appears larger) in
more shadow.
- Often used for low key or darker portraits.
- Put more of the face in shadow. More sculpting. Add 3d qualities. Slimming and
Flattering for most people.