Softbox Lighting Techniques

This book was an exciting challenge to take on. I received an e-mail from the editor of PC Photo magazine after my book, Lighting Techniques for Fashion and Glamour Photography, was released and was asked if I would write an article on the basics of using a softbox. “Sure, no problem,” I replied. The PC Photo article ran, and I received an e-mail from Craig at Amherst Media saying that he loved the softbox article and would I develop it into a full-length book on some of the creative uses for softboxes? “Uh . . . sure, no problem,” I replied. Well, the reality is that I had no idea how I was going to take a topic that filled four pages in a magazine and turn it into a book. But I dove in, and tackling it became a wonderful odyssey where I was given license to play. I had to try many new things because I had to come up with new techniques to write about. I wound up driving my assistants nuts because we would show up at the studio or on location with a truckload of gear
and they would ask me what we were doing. I’d say, “I have no idea, but let’s set up X (whatever toys we had available) and see what she (our model) brings!”
Each shoot became a “work in progress” as we tried new and different combinations of lights. We played with lights of many different sizes and styles in the studio and on location. We used different Adobe Photoshop techniques and tricks to enhance—and in some cases make major changes to—the images. In this book, I will take you along on my odyssey to continually invent new ways of looking at and playing with light while producing professional-caliber images.
You’ll be introduced to some of the laws that govern light and get an idea about why digital photography can be more difficult than film photography. You’ll see some of what have become my favorite tools—both on the set and in postproduction. Most importantly, I hope you will be inspired to try new and different approaches in ways that will keep the creative juices flowing and will keep you asking, “Yeah, but what if I . . . ?


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