r/LightLurking

I’m curious how he creates such soft lighting with minimal shadows despite the camera being directly overhead. The subjects also appear to be only just above the background… is it just a giant scrim (2x the subjects) with a hole cut for the camera? I feel like it would have to be very low to get the angles but then the camera would be too close for a lens that wouldn’t distort. Or are these composite?

I’m at a loss. Any input would be fantastic.

Feel free to google for other similar examples.

Long time lurker first time poster.

I am looking to emulate some of Vince Aung's style, both in mixing flash and daylight to create some surreal 3D feel and and his amazing color rendition / analog format look.

I've seen another older post discussing some of his previous work but its now closed for comments.

Im planning on using an older Canon ELAN7N and some EXRT2 speed lights w/ hss in a diffused umbrella to downplay the ambient daylight (yay/nay?) but I would really really appreciate any suggestions for film stocks / lens filters / dark print + scan technique/vendors to get some of the tonality he has in these examples (From Zara Kids).

Thanks in advance and kudos to Vince for the inspiration.

Credit:
Photographer Vince Aung
Groomer Zenia Jaeger
Set designer Bette Adams
Producer Briet Olina

More Images: https://www.brietolina.com/work/zarakids

Hey everyone,

Does anyone here know how these photos were lit? Trying to emulate the lighting but I am shooting in a small room without windows but I do have some strobes and modifiers.

My resources:

• white seamless backdrop (86 inches wide)
• 3 strobes (1x 600w, 2x 300w)
• octobox 36 inches
• octobox 48 inches with grid
• 2 V-flats
• 72" 5-1 reflector
• 24" beauty dish with grid
• deep magnum reflector with grid
• I think I have another 36 inch octobox with grid

Thanks in advance!

Wondering the modifiers and lighting? Thank you for any help?

Does anyone know what camera settings or lighting Aidan Zamiri might use for his Caroline Polachek shoots?

I know it’s actually full frame mirrorless not medium format or film, but it has that really soft, cinematic editorial look.

Any guesses on lens, aperture, lighting setup or how much is done in post vs in camera would be appreciated.

Sorry, I couldn’t find the original photographer. But the photos are from ig: ghostbar.us

Need to create this kinda light in a smaller space (though high ceilings) and no daylight available. I have a 600w and 300w light. I can't get any more lights but can get any modifiers.

Thinking large scrim with 1 stop diffusion etc. Would an umbrella bounceback through the silk be helpful?

Credits: first 2 pics Jonathan Frantini, 3rd pic Phil Englehardt, 4th
Heikki Kaski

I recently got this parabolic softbox it was bit difficult to assemble and now I'm completely clueless while trying to disassemble this one . The strings are really strong , unlike the usual box type softbox these are bit difficult. Does anyone have any idea or tutorials to disassemble this one .

Was thinking just a large soft box from the side? Maybe with some gridding to control fall off? Sorry if basic I’m very beginner and more into the creative aspect rather than the technical for now.
EDIT:Credit
Instagram:@souljit.das

Looking for opinions on how to create something like this feeling (in a location house..)

I think lighting is fine but I'm guessing the backdrop is heavily edited but am wondering what exactly was done. Apologies, not sure who the photographer is to credit.

​

Photo: Li Guo

I reckon one massive light source as fill behind the camera and a strip box (?) on the side

Hello everyone,

I've been looking at Demarchelier's work and a few ITV., shoot on set.. I can't tell if he is using continuous light or a mixture of both on set (meaning most of the time).

My personal questions are not so much on where the light is placed, but the feel of it, the result, the texture you get with one another.

1. It seems to me that shooting with flashes would bring something a bit more "clinical" with more details (with a close aperture). It's only a guess based on his pictures shot on film from the 90's ( aside from the whole film emulation which plays a big part Im sure)

I would guess that photos 1 -4 are with continuous light, maybe?

2. Is the continuous light seen on set only used to see and shape the light and then the flashes takes over ? could it be a mixture of both to brighten the set or certain areas...

3. And finally, could anyone recommend me a good key light in a studio set up (lets say for the octa Elinchrom Rotalux 135 cm). Is there a model that could do both flashe and continuous on a budget but still getting some decent results. ( around 600 under a 1000$)

I hope Im not out of topic with theses questions, I would really love to hear from people who have experienced both on set.

Thanks guys in advance for your precious time!

Would love tips on a conservative set up this natural / flagged diffused light.

What’s the best way to get similar lighting with low ceiling? (Not possible to light overhead

Beginner working on music video where an entire set is built from neon-lit objects, string lights, and translucent materials — think cool-toned, low-saturation, shifting between teal, lavender and soft mint. Less rave-bright, more like light passing through frosted sea glass or an opalite stone.

Wanted to shoot on consumer camcorders, toy cameras/GoPros, and lens filters for natural haze...use props and practical lighting rather than post-production to avoid everything feeling "processed"....but wondering what is achievable through:

• Practical props and materials (translucent fabric, resin objects, diffused LED strips)
• In-camera filtration (diffusion filters, lens nets)
• Color grading in post

Concerned that consumer-grade cameras' limited dynamic range will hurt my grading options. Is it smarter to nail this practically on set and treat post as a light touch, or is there more flexibility than I think?

Any experience with this look appreciated!!! <3