Smoothing of light hitting subject

Take a look at the link listed below. It helps to explain the question I am trying to answer for myself. I know the closer the light and larger size of modifier the softer the light hitting subject. I have read the article, watch the video and emailed the photographer who was less than forth coming on editing technique so I thought I would drop it on the forum.

The lighting on the subject looks smooth and perfectly placed. When I use my 24x36 softboxes I get more spread than this photographer does. Distance of course makes a difference in hard and soft light but the spectrum is still in every direction. I am a bit lost in a technical and editing standpoint.

I would like opinions on how the lighting on his subjects has such a smooth transition along with the shadows. I know his work and outcomes are why he makes the big bucks and is the professional. I want to create something that helps me get on a path of producing images of this type and professionalism.

Thanks in advance.

*******link below*******
https://iso.500px.com …hoto-shoot-with-clay-cook

Did you not read to the end of the article? The lighting diagram is right there. If your getting light all over the place you need to grid your boxes. The photographer also has a significant distance from model to background.

flowrider wrote in post #17389173
Did you not read to the end of the article? The lighting diagram is right there. If your getting light all over the place you need to grid your boxes. The photographer also has a significant distance from model to background.

Of course I read the end of the article......I am trying to figure out if his smoothness of light on the subject is done from lighting techniques or editing. I don't always ask the right question or ask it the right way but for the life of me I cannot figure out why people make remarks in a forum like "Did you not read the end of article" forums are for not only discussion and sharing of images it also for help. Sometimes folks can read and study different aspects of photography and still not understand it. If everyone understood as soon as they read it there would be no need for videos and tutorials.

I downloaded a couple of the before-after samples. Cut, pasted, aligned in Photoshop so I could do quick toggles for comparison.

I see a ton of editing. Lots of liquify, cloning blemishes, etc. Of course a lot of color grading too. But I don't see any significant chances in shadow/highlight balances, so I'd concluded the results you admire are from original lighting and not post production editing.

Consider that not all softboxes are created equal. Size matters, of course, but so does the amount of baffling inside the box. Some cheaper boxes have no baffling, so the light coming out is harder than from one with baffles.

I humbly offer examples from a recent session of mine. The images in this gallery were made in my home studio with one softbox, one unbrella, and very little room to work. My softbox is only 32 X 24 and has one baffle located about mid-way between the flash head and front diffuser. If I take that baffle out I get a much different result. Harsher shadows. I place the softbox as close as possible, about 24 to 30 inches. The umbrella for fill light is set back about 5 to 6 feet.

I leave the umbrella in place, but change the angle and height of the softbox to get different shadowing on the face. On the shots with more shadow, the box is 45 to 90 degrees and the power of the fill is turned down. I think the shadow transitions in these shots look similar to the samples you pointed to.

These images have been processed with a little skin work, but little or no changes in global contrast. On some I did use ACR shadow recovery on the really dark hair, but not on the face.

http://kellyphoto.smug​mug.com …nina/Giani-for-Christmas/

The umbrella behind subject or in front of subject for fill light?

Umbrella fill in front, about 45 degrees. Very simple and conventional set-up.

Sometimes I use a 3rd flash behind subject for hair light, but not on any of the shots in the gallery I showed.

I'm hindered by a small workspace. Only about 12 feet by 6 feet with a low 7 foot ceiling. I have to sit the subject on a low stool to have enough room to effectively use a hair light.

Forgot to mention before - sometimes it helps to "feather" the softbox to get even softer light. Simply don't point it directly at the subject. Point it a little behind so you are only using one edge and avoiding the hot spot in the center.