So what we're gonna do now is look at some different one light techniques. We're gonna look at bt lighting, direct lighting non standard style. So when I look at under lighting when I look at one light strip lighting simulated window lighting, was when I look at a white wall shop says can have a look and see how we set up and how we do these particular setups and how the images come out. So this is called an underlining shop. So let me show you what that looks like in the actual studio. So what we've got here is one light under lighting.

Now you'll often see this in fashion photography. It lights up the clothes and the faces well it's quite dramatic because a lot of the light falls on the subject is an unnatural lighting position because it's coming from underneath and we're not used to looking at lighting in that way. Since but it's quite dramatic. You will also see I've got a flag over here and the reason I've got this large flag is because I want to accentuate more of the shadow in the other side of the subject. So when we have that there you can see I've got the flag turned off. You can see it lights up the subject a little bit more, and then having off a tiny bit more light on a little bit more drama around the neck and around the edges.

So that's a very simple lighting setup. Very good if you're trying to do fashion shoots or anything like that, you know, create a little bit drama, a little bit of interest, and you're just using one light. You can do this with a studio strobe. You can also do all these techniques with speed lights. But as we recommend in our portrait lighting course where we use just speed lights to show Let's do lighting on a budget, you might have to take your ISO up to compensate when using speed lights rather than studio strobes because you're not going to have the same power. Now here's a slightly different look.

This is a one light and we're using a striplight to create a lot of drama. And with this one, we've put a really nice shadow on the background as well because of strip lights, natural properties, so strip light and give you some really, really interesting looks. So let's just have a look at the stage and see what we've got. So as you can see, we've got a very thin large strip light on the subject 45 degrees. And we've also then it's probably it's actually it's over 45 degrees, this one's probably about 55 degrees. Subjects looking into the light again, and now we've got blocker there just to put a bit more I back in the other side.

So what we then get with that is we do get quite a very strong, dramatic look. Now, what we want to have a look at here is what we call a standard window light technique. So we want to create standard window light, we want to simulate window light. So as you can see, we're shooting this in a two thirds view. We're only using one light, and we're creating quite a nice dramatic look. How are we doing that?

So what we've got is we've got a large softbox quite close. So again, so nice wrap, and we're simulating a window. And that's how we're getting that light. And you'll notice on this I've broken my rule of having the light above and pointing down with this one. I want it quite straight, because I'm literally simulating a window and a window is not slanted or Windows straight. Now what I want to show you is a slight variation on this.

Just think you're going to find quite interesting. So that's the standard window light. Now, this is a creative window line. And we've wrapped the light around the face a lot more, it's a lot softer, a lot less dramatic is more beauty shop orientated. What did we do differently, let's just return to the stage. Still got the one lights in the same place.

But watch this. We now have the light in front of the subject. That means that this light is going to wrap around a lot more on this side of the face and create a much softer light. So by just moving the light forward or moving the model back a little bit, we can create a very, very interesting light. And that's a top tip as well. If you're doing natural light photography, and you Got a window, just change into position like that can create a completely different look.

Now we've got a full face windows sharp. So a lot more ramp now it's a lot more soft. And let's have a look at how we set that up. So this one was we just now move the light around. So now our subject much more closer to a 45 degree angle, and our subject looking into the light and we're getting a lovely wrap all away around the face. And that's the effect we get there.

So let me just go back and review those quickly. So that was our first standard window light, and we moved the softbox forward and got more round. And we also created a lot more shadow on the background because the softbox was pushing the light past the background. So we've got this nice shadow and then we brought all the way around. We've got an easy Like we've now we've got light on the subject as well. Now this is a standard.

You're going to see this a lot in magazines this particular shot and if you're wondering how they do it, let me just show you this is a white panel on a white wall and all we've done is we put beautician folks in the petri dish on her face, on the bridge of her nose. Let me just show you that so you can see how that works. What we want to do is we want to put the petri dish painless and Windows like that. Now we've got a very strong effect. Now is a pretty standard one light beauty shot on a white background. Now I'm not convinced the software is actually generating the shadow that well on this I'd expect the shadows be a little bit softer.

But that is Essentially, a one light beauty shot on a white background. And you'll see this so much in the fashion magazines and on the billboards, in shops and on the posters. As you go through a shop, you're going to see this type of lighting quite a lot model against the background. One beauty light coming down, center right in the eyes, and the cheeks here, and then the light falling off and dropping off. So let's just go back and review all the one light techniques we did. This was the underlining technique, very dramatic, we switch to a strip box, again, a lot of drama, but the lighting was even from top to bottom.

Then we had our standard window light with a large softbox and we moved it forward, got a bit more wrap. Then we moved around even more and got more light onto the background. And then we finished up With simple one light, hard, fashion sharp, and when I say hard fashioned sharp, what it means is, that's a hard light source. And we've got this particular Look, if we wanted to soften that a little bit, we'd probably just do a big soft box. So here's the same image we have a softbox as a comparison where this shadow has been softened a little bit, and you can see it's not as dramatic is not as powerful. So please have a look at that what we've done.

We've just placed a large softbox at this angle to the subject, but it doesn't work quite as well as the hardline version.