Jason Christopher, LA Commercial & Fashion Photographer Bio

I love to shoot fashion.   There are so many reasons why.  I love the couture clothing, I love to photograph women and I also love to create a mood.  One of my favorite techniques to create mood in an image is to use a fog machine.  You can pick one up for about $25.  In these photos I used a medium soft box as my main light and placed it camera left.  To light the fog I placed a strobe behind her and off camera.  My assistant ran the fog machine off camera right.  The back light was about 2 stops brighter than my main.   You have to tell your model to be in character all the time and to NOT look back at the machine.  The fog dissipates rather quickly and it’s difficult to get just the right pattern of fog so it doesn’t look like it is being shot out in a stream.   My assistant used a piece of cardboard to blow the fog around and “shape” it so it looks the way it does.                                             

Now if you look at the photo on the left you will notice an edge light on her cheek.  That is coming from the back light that is illuminating the fog.  So in essence you can kill to birds with one stone.  It’s actually a very challenging shoot.  If you get a model in that is inexperienced she will want to always look back at the fog machine because she is so in awe of it, why I have no idea, but I go crazy because the fog will be perfect and the model will decide to make sure it looks perfect and will look back and I miss the shot.  Oy vey !  lol  So reinforce to your model to stay in character and DON’T LOOK BACK at the friggin machine !  Sara, the model in these photos is an experienced model so I didn’t have to remind her to not look back.

Yes these images were retouched.  The model’s skin was smoothed and of course contrast, levels etc., the standard stuff was done.  My lighting however, was just how you see it.   And that’s really all there is to it.  A two light set up and that’s it.  Please don’t hesitate to ask me any questions, comment whether you like it or don’t.  You won’t hurt my feelings.

You can learn how to shoot like this and much more by taking my private one on one photography work shop.

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This is a very popular beauty photo of mine that everyone asks how I lit and how I got the cool looking catch lights.   I want to clarify a couple things first though.  Catch lights are the reflection one sees in the pupil of the eye of the actual light modifier that the photographer uses.  How a photographer creates those catch lights is based upon which light modifier he or she uses.

So catch lights can be in the form of an umbrella, a soft box, a beauty dish, a Mola reflector , a bare bulb, a Photoflex or Westcott reflector etc.  And it is where you place those light modifiers that determine where you see the catch light / reflection of your light modifier.  Ok so with that said here is the photo that demonstrates my use of a small umbrella and a round 36″ silver Photoflex reflector.

In this next photo I show you the close up of the eyes so you can actually see the metal splines of the umbrella on top of the pupil and the round silver reflector on the bottom of the pupil.

I created a lighting diagram for you.  In this beauty lighting diagram the background paper is gray in color.  The model is about 9 feet from the background.  The strobe that is behind the model is facing the back of her hair and is placed 3 feet away from the model and is one and a half stops brighter than the main light.  The ratio will vary depending on the lightness or darkness of the hair color.  The strobe is on a stand and the same height as the model’s head.

The umbrella I am using is a Westcott  32″ white satin with the black backing left on it.  I place it right in front of the model and above eye level as you can see in the catch light.  It’s about 4 feet away from the model.  I am standing right under it.

The silver Photoflex umbrella is placed on a Westcott reflector arm at breast level and I angle it until I like the amount of  fill.  This is subjective to each photographer.

Be sure to click the images so you can see them much larger.  Lighting techniques like this are part of what I teach in my private photography workshops.  We learn one on one as you watch me set up the lighting , shoot and direct the model.  Then it is your turn to shoot and direct the model.  Hands on experience is vital to learning.  I welcome your comments, questions and thoughts.

So this is the lighting diagram I promised to show you for this image of our model laying back on the log.

Photo that demonstrates lighting for photo shoot on the beach

This is a lighting diagram of my lighting

So as I said in a previous post I was right under the soft box and sometimes I was standing with my legs really wide to capture her at the perfect angle.  The soft box was roughly 8 feet up on a C-stand and tilted up so I didn’t blow out the log and also to throw some light on the beach sand in the background.

So as you can see a one light set up is all that was needed.  Pretty friggin easy.

➢    When placing your soft box or umbrella in relation to the model, start at the distance of the circumference of the umbrella or diagonal measurement of your soft box. So if the circumference of your umbrella is 45in. then place it 45in. away from your model.  If the size of your box is 36in. then place it 36in. away from your model.  The angle & height you place it at is dependant upon what type of lighting you choose.  So start with these “rules” and then break them as you wish.