CHAPTER 6
GROUPS
Early in my journey with strobes, I bumped into a problem that many photographers who are new to lighting encounter. I had reached the point that I could create the soft, natural light look I was going for when I was photographing one person. As soon as I added more people, everything seemed to fall apart.
I remember one session in particular that still haunts me to this day: A couple came in with one-year-old twins for holiday photos. It was mid-November, the kind of day so dark and stormy that the streetlights never turn off.
At that point in my career, I’d become a lighting-hybrid photographer, using strobes when working with one person and trying to make natural light work when photographing groups. But on this day, there was no way to make natural light work. I knew I was going to have to use strobes for the entire session, and I panicked. I made all the mistakes I’ve spent this entire book teaching you not to do.
I overthought and over-complicated things. I set up multiple lights and turned the power up way too high. I forgot to meter and ended up with photos I was embarrassed to hand over to my clients. I felt so bad about their pictures in fact that I ended up refunding them. Sadly, they never came back.
I’m sharing this story because I know I’m not alone. Lighting couples, families, and groups stresses out a lot of photographers. What I’ve learned and what I’m going to teach you now, however, is that lighting multiple people really isn’t that different from lighting one person. With just a few small tweaks, you can easily apply everything you’ve already learned to photograph groups with just one light.
THE PROBLEM WITH GROUPS
The most common problem people face when photographing more than one person is getting even light and proper exposure on everyone, especially when using a lighting pattern like 45-degree light set to one side of the group. In this case, the person closest to the light might end up brighter than the person on the other end (FIGURE 6.1). This is due to the Inverse Square Law.
INVERSE SQUARE LAW
The Inverse Square Law is a physical law that states that the intensity of light (its brightness, spread, and fall off) is inversely proportional to the square of its distance from the subject. The good news is, you don’t have to understand anything in that sentence to use the Inverse Square Law in your photography (whew!). In fact, you already know a lot about how the Inverse Square Law works just from observing light.
FIGURE 6.1 Uneven light is a common problem when photographing groups. In this image, the modifier, a Westcott 7' Parabolic Umbrella with diffusion panel, was placed on the left side of the group, closest to the mom, about three feet away. As you can see, the light on her is much brighter than the light on the dad and daughter on the other end of the image.
You know, for example, that the closer your light is to the subject, the softer and brighter the light is. You also know that the farther away the light is from the subject, the harder and dimmer it is. You can observe all these properties by looking at FIGURES 6.2A–B. Both were captured using a Profoto B2 strobe head, without diffusion, at ISO 100 with a shutter speed of 1/125. I did not adjust the power of the light between taking the photos, and I metered for the highlights on each. The doll was set one foot away from the backdrop.
In Figure 6.2a, the light was positioned very close and looks almost like a spotlight. It’s soft but bright, requiring an aperture of f/8. The majority of light is focused on the doll, with very little spill onto the stool and the backdrop. In Figure 6.2b, the light was positioned four feet away from the doll. It is harder (notice the sharp shadows, especially on the backdrop) but dimmer, requiring an aperture of f/2. At this distance, the light spreads out, illuminating all of the doll, stool, and backdrop.
FIGURES 6.2A–B In Figure 6.2a, the light is positioned very close to the subject. The light is focused on the doll with very little spill onto the stool and the backdrop. In Figure 6.2b, the light is positioned four feet away. The light is much harder and dimmer.
As you pull the light back, the intensity and quality of the light changes. The farther the light source is from the subject, the harder and dimmer the light gets. Light proximity also affects the spread of the light. The farther you pull the light back, the wider its spread. You can see this by looking at FIGURE 6.3.
When working with a relatively large modifier, the results will be more subtle, but the same rules apply. The closer the light source, the softer, brighter, and more focused the light will be. The farther away the light source, the harder and dimmer the light will be, and its spread will be wider. To illustrate this point, I photographed another series of images with the light at varying proximity, only this time I used a relatively large modifier, the Photoflex 5' OctoDome, to soften the light. In FIGURES 6.4A–D, I started with the light positioned one foot away from the doll, and moved it away from the subject in one-foot increments. Notice how the quality, intensity, and spread of light change as the light moves away from the subject. I used a bare strobe head, which is a relatively small light source, to clearly show the Inverse Square Law and how it affects light intensity, quality, and spread of light. These images were all captured at ISO 100 with a shutter speed of 1/125. Notice how the light changes as the source is moved.
FIGURE 6.3 These images were all captured at ISO 100 with a shutter speed of 1/125. Notice how the light changes as the small light source, a bare bulb, is moved away from the subject.
For FIGURES 6.5A–C, the doll was once again placed one foot away from the backdrop and the images were captured at ISO 100 with a shutter speed of 1/125 using a relatively large modifier, the Photoflex 5' Octodome. In FIGURE 6.5A, the modifier was placed three feet from the doll. The light is bright (f/8), but soft and focused, with the majority of the light falling on the subject. In FIGURE 6.5B, the modifier was placed six feet from the doll. The light is dimmer (f/4), is harder, and covers a wider surface. Notice the light on the stool and the backdrop. In FIGURE 6.5C, the light was placed twelve feet away from the subject. Once again, the light has dropped in intensity (f/2.8). It is harder (notice the shadow behind the doll), and covers a wider surface, illuminating the entire backdrop.
FIGURE 6.4A These examples were shot with bare strobe head (a small light source). At one foot from the subject, the light is soft and focused, but bright, requiring an aperture of f/8. ISO 100, f/8, 1/125.
FIGURE 6.4B At two feet away, the intensity drops by two stops to f/4. The light is looking harder and illuminating a wider surface. ISO 100, f/4, 1/125.
FIGURE 6.4C By three feet away, the intensity has dropped again, requiring an aperture of f/2.8. At this distance, the light is even harder and wider, and it covers more of the backdrop. ISO 100, f/2.8, 1/125.
FIGURE 6.4D By four feet away, the light is quite dim, requiring an aperture of f/2. The light is also harder, and its spread is very wide, illuminating the entire backdrop. ISO 100, f/2, 1/125.
FIGURE 6.5A These examples were taken using the Photoflex 5' Octodome, a relatively large light source. The modifier was positioned three feet away. The light is soft but bright, requiring an aperture of f/8, and the majority of the light is falling on the doll and stool. The backdrop looks even, with no visible shadow. ISO 100, f/8, 1/125.
FIGURE 6.5B The modifier was placed six feet away from the doll. The light is still relatively soft, due to the size of the modifier, but dimmer, requiring an aperture of f/4. You can also see that more of the light is hitting the backdrop, and you can make out a slight shadow behind the doll. ISO 100, f/4, 1/125.
FIGURE 6.5C When I moved the modifier twelve feet away from the doll, the light became dimmer still, requiring an aperture of f/2.8. But at this distance, there is more light on the backdrop than the subject and the light is harder, resulting in a stronger shadow. ISO 100, f/2.8, 1/125.
RELATIVE SIZE AND THE INVERSE SQUARE LAW
While the the Inverse Square Law tells us that our light will get harder as we pull it away from our subject, it is important to note that using a relatively large modifier will soften your light, even as you pull it back.
FIGURE 6.6A was captured using a Profoto B2 bare strobe head, a relatively small light source. As you can see, the light is hard—even at this distance. Notice the shadow on the backdrop and compare it to the shadow in FIGURE 6.6B, which was taken with a relatively large modifier, the Photoflex 5' OctoDome. You can see that using a modifier will get you a wider spread of light that can help when photographing groups. Using a relatively large modifier will help you maintain a soft, natural-looking light.
Knowing the Inverse Square Law and how light proximity affects quality, intensity, and spread is important, especially when photographing couples and groups. When lighting groups, producing even light on everyone is of paramount importance. The Inverse Square Law helps us do that. 
FIGURES 6.6A–B Both images were captured with the light source six feet from the doll. At this distance, the light produced a wide spread and illuminated the backdrop evenly. But, notice how the quality of the light changes due to the relative size of the light source. Figure 6.6a was captured using a bare Profoto B2 strobe head—a relatively small light source. The distance of the light combined with the smaller light source produced a harder light. Notice the sharpness of the shadow on the backdrop.
LIGHTING ONE PERSON
As you learned in Chapter 5, to create natural-looking light when working with one person, use a relatively large modifier with diffusion, bring that modifier in close to your subject, and position it so that the majority of the light is coming from above (FIGURES 6.7A–B). The close proximity of the light will soften its quality. Turning the power down on your strobe or flash will help control the light’s intensity. Metering and adjusting the power on your light accordingly will help you reach your desired aperture. If you notice more than a three-stop difference between your highlights and your shadows, bring in a reflector or V-flat on the shadow side of your image and move it closer as needed to fill in shadows.
You can use any lighting pattern you like to achieve your desired look, but I prefer 45-degree light. In the 45-degree pattern, I can change the look of my images without having to move my lights by simply changing the film stocks or backdrop I’m using. When working with a baby or small child, this lighting pattern allows space for me to move around my subject, providing soft, directional light from many angles.
FIGURES 6.7A–B Figure 6.7a shows a pullback view of my go-to 45-degree lighting setup. In this image, my modifier, a Westcott 7' Parabolic Umbrella, is three feet away from my subject and positioned so that the majority of the light is falling from above the subject. The white wall of my studio is acting as a reflector, bouncing light into my shadows. Figure 6.7b shows the image captured with this setup. In this photo, there is a two-stop difference between my highlights and my shadows.
My goal when using artificial light is to create images that look like they were captured with soft window light. Using just one light and one relatively large modifier with diffusion set to the 45-degree position gives me that look. Knowing the rules of the Inverse Square Law allows me to easily use this simple one-light approach when photographing more than one person (FIGURES 6.8A–F).
FIGURES 6.8A–F Figure 6.8a shows a pullback view of my go-to 45-degree lighting setup with a newborn. With my modifier set in this position, I can move around the baby I’m working with, getting a variety of shots (Figures 6.8b–f) without having to move my light.
LIGHTING TWO TO THREE PEOPLE
When photographing a couple or a small group, making sure that each person in the frame is evenly lit is always my goal.
When photographing one person, I keep my modifier close to my subject: two to three feet away. When photographing two to three people, simply pulling my modifier back to four to five feet from the group allows the light to fall over a wider surface, ensuring that everyone in the frame is evenly lit.
We know that pulling the modifier back will produce a harder light, but don’t worry: Using a relatively large modifier will soften the quality of the light, even when it’s pulled away from the subject.
Pulling the light back also makes it dimmer, which will require you to turn up the power. Metering until you reach your desired aperture will help you decide how much you’ll need to increase the power on your strobe or flash.
As you can see in FIGURES 6.9A and 6.9B, the setup I use to photograph two to three people is the same as when photographing just one person. My go-to aperture is f/4. At f/4, everyone in my frame will be in focus, but I still get a relatively shallow depth of field, which I like.
FIGURES 6.9A–B In Figure 6.9a my light is about four feet away from my subject and lifted up, so that the majority of the light is falling from above. I then metered (for the shadows, because I was shooting film) and adjusted the power on my light until I reached an aperture of f/4. Figure 6.9b shows the final image.
FIGURES 6.10A–B In Figure 6.10a, my modifier is positioned about four feet away from my group and lifted up so that the majority of the light is falling from above. I metered each person and adjusted the power on my strobe until I reached an aperture of f/4. Figure 6.10b shows the finished product.
The 45-degree angle of the light adds dimension and creates the soft, window-light look on all of my subjects. The white walls in my studio act as a reflector, bouncing light back into the shadows and keeping the difference between my highlights and shadows in the two- to three-stop range (FIGURES 6.10A–B).
When working with two to three people, meter for the highlights and shadows for each person just like you would when working with one person (FIGURES 6.11A–D). Metering each person will tell you whether or not your light is falling evenly across the frame.
FIGURES 6.11A–D When working with more than one person in a frame, take a highlight and shadow reading on each person to make sure the light is falling evenly on each person. Use the shadow reading when working with film and the highlight reading when working with a digital camera.
FIGURES 6.12A–B An example of pulling the light back (Figure 6.12a) and the final image (Figure 6.12b), captured on Kodak Portra 800 film at ISO 800, f/4, 1/125.
If you notice you have more than a three-stop difference between your highlights and your shadows on each person, bring in a reflector or white V-flat on the shadow side and move it closer as needed. If you notice a difference in exposure (more than two stops) between the person closest to the light and the person farthest away from the light, pull your light back (try in one-foot increments) until the light is more even (FIGURES 6.12A–B).
LIGHTING FOUR TO SIX PEOPLE
Once you feel confident lighting two to three people, lighting a larger group will not seem so hard. I routinely photograph larger families using my same one-light, 45-degree setup.
FIGURE 6.13 I meter each person in the fame to ensure everyone is evenly lit. I then meter using the shadow reading when working with film or the highlight reading when working with a digital camera. If I notice that my light is brighter on one end of the group than on the other, even after pulling it six to seven feet away, I will feather it slightly to ensure that everyone is evenly lit.
To light a larger group, remember the rules of the Inverse Square Law. The farther your light source is from your subject, the wider the spread of light will be. Simply pulling your light and modifier back will allow your light to spread out and cover a wider surface. Just remember that pulling your light back will create harder and dimmer light; however, using a relatively large modifier will soften your light, even when it’s pulled back. Turn the power on your strobe or flash up until you reach your desired aperture to ensure that you have enough light to work with.
When photographing larger groups, I pull my light back about six to seven feet from my subjects to create a wider spread of light (FIGURE 6.13). I then meter each person in the frame to make sure everyone is evenly lit, and adjust the power on my strobe until I reach my desired aperture (f/5.6 to f/8, depending on the size of the group).
FEATHERING
Feathering is the technique of turning your modifier away from your subject so that the light is coming from the edge of the modifier rather than the middle of it (FIGURES 6.14A–B).
You can use feathering to control the direction of your light. If you want to light a person but not the wall behind them, for example, feathering your light away from the backdrop will help you achieve that goal. In FIGURE 6.15A the light is set at a 45-degree angle to the doll, illuminating it, the bed, and the wall. In FIGURE 6.15B, the light is feathered away from the wall. Notice how even the light is across the doll. The transition from highlight to shadow is gradual. Also notice how feathering the light this way changes the amount of light falling on the wall and lighting up the back of the bed. With the modifier feathered away from the wall, the color of the wall changes from white to gray.
FIGURES 6.14A–B
FIGURES 6.15A–B
Feathering is also a great way to create even light across a group of people. When using the 45-degree pattern to light a group, the person closest to the light tends to be brighter than the person farthest away from the light. Pulling your light back and feathering it slightly will give you even light on everyone.
In FIGURE 6.16A, the modifier was positioned at 45 degrees to the family on the left side and set three feet from away the mom. In FIGURE 6.16B, the modifier was in the 45-degree position but pulled back to six feet from the mom, and feathered slightly, allowing for a wider spread of light and resulting in a more evenly lit image. FIGURE 6.16C shows my light in the 45-degree position, pulled back about six feet away from my subjects, and feathered slightly, away from the back wall. This produced even light over the entire family.
FIGURES 6.16A–C
FIGURE 6.17 This family of six was captured on Kodak Portra 800 film at ISO 800, 1/125, f/5.6. I used a relatively large modifier, the Westcott 7' Parabolic Umbrella, with a diffusion panel and pulled it back so that it was about six feet away from my group. I feathered it slightly and metered each person to make sure everyone was evenly lit.
To feather your light, simply pull your light out so that it is slightly in front of your group and turn it, so that the edge of the modifier rather than the middle of it is facing your subjects. Use your meter to help you determine that your light is falling in a similar way on each person in the frame. This technique is easy and results in beautiful, natural-looking light on everyone (FIGURE 6.17).
ROOM TO PLAY
Yes, I’m a studio photographer—but that doesn’t mean my family sessions are calm and quiet. I work with kids. And kids move. A lot. Babies crawl and toddle. Older kids dance and jump. As a family photographer, I want to capture it all, the formal portraits and the movement. And I do.
A lot of family photographers worry that using strobes and flash will limit the spontaneity of their work. I’m here to tell you that is not the case. Just because I use studio lighting doesn’t mean I can’t capture movement. In fact, using lighting makes capturing the movement of the kids I work with easier! Remember, the pop of your flash will freeze motion, which means that when using strobes and flash, you can photograph all of that delicious little-kid energy without fear of motion blur! You can do it with just one light, by using the same principles you would use when photographing groups—create a wide spread of light so that the frame is evenly lit, allowing for proper exposure on everyone. Creating these same conditions for kids gives them a wide, evenly lit space to play (FIGURE 6.18).
When I’m setting up a space to photograph kids playing, I approach it exactly the same way as I do when I’m setting up my lights to photograph a group (FIGURE 6.19). I pull my modifier back six to seven feet, and feather it slightly. This allows my light to spread out wide, filling up a good portion of the shooting space in my studio.
FIGURE 6.18 For this session I let these energetic boys jump on the bed in my studio. To light them playing, I pulled the light back about six feet from the bed and feathered it slightly away from the back wall. The white wall to the right of the bed acted as a reflector, bouncing the light back in the shadows. Because I was shooting film, I metered for the shadows on both boys. This allowed me to see that the light was even across the entire bed (f/4 in the shadows), which meant that wherever they bounced, they would be in perfect light.
FIGURE 6.19 These images were captured on Kodak Portra 800 film at ISO 800, f/4, 1/125.