Learn a few things that must be known in the studio.

The first person who learns to play in a studio is not the light, but the shadow. Looking at the shadow on MODEL's face, he can't help but turn on another light. But there will be shadows on the two lights. The more shadows the lamp uses, the more shadows it will play until it finally produces a large flat light. So the first thing to learn about studio flash is to recognize the change of the shadow, not to eliminate it.

When a beginner first touches a canopy flash, he is afraid of shadows, so the first thing he thinks about is jumping lights. Anyway, he flips the lights back to the ceiling or the wall and lets the diffuse light bounce back, so that no shadows can be produced between the subjects of the shooting.

Shadowless cover

As long as you take pictures in the studio, people use shadowless masks and take it for granted. Shadowless masks are part of the studio, but have you ever wondered how photographers used to control the light when they didn't have shadowless masks? It was around 1987. The so-called shadowless masks began appearing in studios and were not yet a common light control tool. Before this period of time, the photographer for the shed control light mostly in the way of standard cover straight or stick tracing drawings to deal with the problem of light, but the standard cover out of the light tone is very hard how to do, the shadow is very heavy and how to eliminate it? The solution is to hit a light, or use the third lamp, the use of the far and near light ratio of the lamp, so that Shadows fade, so the photographers at that time played a real role in lighting up the lights.

Reflective umbrella control lamp method

If you're in Grade 4.5.6, what kind of light did the master use when he used to take a photo at the photo studio? At that time, the most commonly used is an arm bracket, riveted on the ceiling, two movable arm brackets locked a canopy flash, above which an umbrella (reflective umbrella). Then the light diffracted by the reflector umbrella is allowed to produce a softer light quality, which is slightly harder than the shadowless light. Nowadays, in the era of digital photography, few people use reflective umbrella control lights.

The concept of modern shed flashing lights

Nowadays, the use of shadowless cover has become the standard equipment of most studios, and many beginners of flash studios mainly use shadowless cover lamp method. The concept of light control of reflective umbrella or standard cover may be strange to them. Modern studios, in addition to shadowless cover, and then with a combination of radome or honeycomb film, forming a main light and effect light collocation. What would you do if you weren't asked to use a shadowless mask to control the lights? Maybe you'd think about it again.

Cold light lamp

It's actually a modified fluorescent lamp, designed?? Its manufacturer manages to keep the temperature between 5,000 K or so, but strangely enough, the color is an unspeakable bias. This kind of light, which looks very bright but needs to be turned on [high ISO] to take pictures, is an option for many corporate art designers because its continuous light can help those who have not studied photography to take pictures. But that's why it's so weird that when corporate candidates start asking for a job, they start asking for more work. So what is the problem of cold light and Art + Photography?