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amazing Wedding Studio Lighting at the Louis Phaethon Beach Hotel paphos, Cyprus

amazing Wedding Studio Lighting at the Louis Phaethon Beach Hotel paphos, Cyprus

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For an effective executive portrait,the first thing to consider is the main light.While the main light is often looked upon as playing the key role, I think of it as a foundation for the overal lighting.

I like to use a high ratio of lighting in a portrait, especially in an executive portrait.It helps to add

depth and presence to the image,and it also lends a psychological strength that people like to see

in a portrait of a high-powered business person.

I use the modeling lights to check my lighting. I will want the light to '' wrap'' around the subject. In order to create the wrap-around lighting, it essential to add an accent light that '' rakes'' across the front plane of the subject. Place this light near end behind the main light and adjust it with a very small beam with a barn door or a snoot. A barn door works better, though, because it is flexible andI can adjust the beam of light. This light should be at half the power of the main light, so that it does not overpower the main light or burn out the highlights on the subject.

What we are really aiming for is added detail in the face and a gentle fall-off to the shadow side of the image.In many cases, I utilize a bare bulb strobe to create a greater roundness end separation between the subject and the background. This also helps in creating the rich wraparound effect hat I seek whenever possible.

When using strobes, it is important to turn off the modeling lights during exposure.This is essential because many of the settings with important foreground and background elements requirethat the shutter be ''dragged.'' ''Draggint the shutter'' refers to long exposures up to a minute or sometimes longer that allow the natural light to be recorded in the background, separaty fromexposure of the main subject. This provides a full view of the environment and it allows the viewer' s eye to see into the picture, creating a feeling of depth in the final photograph.

Keeping the modeling lighs turned off ensures that the maint subject is not part of the background

exposure and that there is not a ''ghostly'' image of the subject in the final photograph.

Bear in mind that these are not multiple exposures, but one long exposure which begins with

flashing the lights in sequence.

Demetris Charalambous WPO

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