# data[].attributes.body
a. Model Contracts & Legalities

Model Release Form (for portfolio & commercial use)

TFP vs Paid Work (Time For Print vs. paid shoots)

Usage Rights (where images can be published)

Agency Guidelines (if model is signed)

Parental Consent (for under 18s)

# data[].attributes.body
b. Pre-Shoot Communication

Moodboard sharing (Pinterest / PDF deck)

Wardrobe styling (neutral basics + statement looks)

Grooming guidelines (skin prep, hair, nails)

Location scouting (permits, weather, accessibility)

# data[].attributes.body
A model’s Portfoilo needs versatility – agencies want to see how they can look in different styles.

Must-Have Portraits:

1. Headshot (natural look) – clean face, minimal makeup

2. Beauty Close-Up – makeup-focused, skin detail

3. Half Body Shot – editorial and casual look

4. Full Body – posture & proportions

5. Movement/Dynamic Shot – walking, hair movement

6. Black & White Portrait – timeless, dramatic

7. Fashion/Editorial Look – styled, magazine vibe

8. Commercial Look – smile, lifestyle feel

9. Outdoor Natural Light Portrait – golden hour, soft background

10. Studio Lighting Portrait – high contrast, dramatic

# data[].attributes.body
a. Classic One-Light Setups

Rembrandt Lighting (45° softbox)

Beauty Dish High & Center (fashion look)

Clamshell Setup (beauty / headshots)

b. Multi-Light Setups

Three-Point Lighting (key, fill, rim)

High Key White Background (2 background lights + soft key)

Low Key Dramatic Portrait (strip boxes for edges)

# data[].attributes.body
Rembrandt Lighting (45° Soft box)

Setup:

Place a large softbox (or umbrella) at roughly 45° to the subject and slightly above eye level.

Camera is positioned directly in front.

Effect:

Creates a triangular patch of light on the cheek opposite the light source.

Balanced mix of light and shadow - dramatic but natural look.

Best For:

Classic portraiture.

Masculine or strong editorial looks.

Timeless headshots.

Pro Tips:

Use a reflector opposite the light if shadows are too deep.

Works best with soft, diffused light modifiers.

# data[].attributes.headline
Beauty Dish High & Center (Fashion Look)

# data[].attributes.subject
Beauty Dish High & Center (Fashion Look)

# data[].attributes.body
Setup:

Position beauty dish directly in front of and above the model, angled down 30–45°.

Camera directly under the light source.

Effect:

Crisp, glamorous light with strong highlights and sculpted cheekbones.

Defined contrast while keeping skin texture flattering.

Best For:

Beauty shots, editorial, high-fashion campaigns.

Makeup-focused portraits.

Pro Tips:

Use a white/silver reflector below the model’s chin to fill shadows (“bounce back” light).

Keep model away from the background to avoid unwanted shadows.

# data[].attributes.body
Honey comb grids are essential on the fill-in light.

Otherwise the light would illuminate the floor in an unpleasant way.

The grids give more control to direct the light where needed.

# data[].attributes.body
Setup:

One key light (softbox/beauty dish) above and angled down.

Reflector or second light directly below, angled up.

Camera between both.

Effect:

Even, flattering light with minimal shadows.

Smooth skin, bright eyes, polished beauty look.

Best For:

Beauty, headshots, cosmetics photography.

Beginner-friendly glamour portraits.

Pro Tips:

For more control, replace bottom reflector with a low-powered fill light.

Keep background simple to emphasise the face.

# data[].attributes.headline
Multi-Light Setups

Three-Point Lighting (Key, Fill, Rim)

# data[].attributes.subject
Multi-Light Setups

Three-Point Lighting (Key, Fill, Rim)

# data[].attributes.body
Setup:

Key Light: main source, 45° to the subject.

Fill Light: opposite side, lower power, softens shadows.

Rim/Back Light: behind subject, separates them from background.

Effect:

Balanced, cinematic lighting with depth.

Professional look without harsh shadows.

Best For:

Corporate portraits, interviews, film-style headshots.

Pro Tips:

Keep fill light 1–2 stops weaker than key.

Add a hair light above/behind for glossy highlights.

# data[].attributes.headline
High-Key White Background (2 Background Lights + Soft Key)

# data[].attributes.subject
High-Key White Background (2 Background Lights + Soft Key)

# data[].attributes.body
Setup:

Place 2 lights evenly spaced, pointing at the background to blow it out to pure white.

Add a soft key light in front (softbox/umbrella).

Effect:

Clean, bright, shadowless look.

Creates separation between model and background.

Best For:

Fashion lookbooks, catalogues, commercial headshots.

Pro Tips:

Meter background to be at least 1 stop brighter than the subject.

Avoid lens flare by flagging background lights with barn doors.

# data[].attributes.headline
Low-Key Dramatic Portrait (Strip Boxes for Edges)

# data[].attributes.subject
Low-Key Dramatic Portrait (Strip Boxes for Edges)

# data[].attributes.body
Setup:

Place two strip softboxes (one left, one right, slightly behind subject).

Optional kicker light for face or a grid spot from above.

Keep background unlit or very dark.

Effect:

Strong contrast, rim-lit subject, moody aesthetic.

Highlights contours and shape of body/face.

Best For:

Dramatic editorial portraits.

Male fashion, fitness photography, creative concepts.

Pro Tips:

Black clothing/background enhances drama.

Add haze or fog for cinematic edge lighting.

# data[].attributes.body
Soft, warm tones, hair backlit, reflector fill

# data[].attributes.body
Use scrim/diffuser for softer skin

Embrace shadows for editorial look

# data[].attributes.body
Use leading lines & textures

Off-camera flash to balance ambient

# data[].attributes.body
Use leading lines & textures

Off-camera flash to balance ambient

# data[].attributes.body
Wide shots for mood + tight portraits

Long lens compression for dreamy background

# data[].attributes.headline
Off-Camera Flash & On-Location Setups- a. Basic OCF Setup

# data[].attributes.subject
Off-Camera Flash & On-Location Setups- a. Basic OCF Setup

# data[].attributes.body
1 Speedlight + Softbox (Godox AD200 or similar)

Radio trigger (manual control recommended)

Position 45° from subject

https://digital-photography-school.com/a-beginners-guide-to-working-with-flash-off-camera/

# data[].attributes.attachment_link.readable_text
I spent the first three years of my photography career avoiding the use of off-camera flash.

Why?

Because I couldn't wrap my head around the concepts and science behind it.

I tried to cover up my struggles by saying things like "I'm a natural light photographer," or "I really don't like the aesthetics of flash photography."

But I eventually - reluctantly! - invested in a flash for my first Nikon. This was the '90s, pre-digital, pre-autofocus, and pre-TTL. I had to calculate how much power to use via a chart on top of the flash.

Each photoshoot I went on that required flash was preceded by a sleepless night filled with anxious dreams about turning up to the shoot naked. And the thought of having to use flash also had a mild to moderate laxative effect on me.

Luckily, those days are long gone and shooting flash off-camera has never been easier! In this tutorial, I'll show you the quick and easy steps I take to shoot portraits using off-camera speedlights.

The gear essentials

If you're going to use off-camera flash, here's what you'll need:

1. Speedlights

I use speedlights most often when I'm traveling and need light, portable flashes, when I'm working on location without access to power, or when I'm working in small, confined locations where studio flashes would be too powerful or cramped.

I work with two Canon speedlights. A great alternative if you are looking to save a few bucks is the Yongnuo YN560 IV. It has a very similar look to Canon speedlights as well as Nikon's SB speedlight series.

2. Remote triggers

Remote triggers allow you to fire speedlights when they're not mounted to your camera. As you can imagine, this is essential when using off-camera flash.

The cheapest and most reliable way to fire your speedlights off-camera is by using a sync cord - basically, you connect your speedlight to your camera via a long cable.

The drawbacks of using a cable are that it reduces the distance you can be away from your flash, and it can create a tripping hazard. That said, I still carry a couple of spare sync cables in my kit; remote triggers do fail from time to time, and the sync cords have saved me on a few occasions.

The next option for firing off-camera flashes is cheap infrared triggers. These do the job of setting your flash off remotely, but they're sensitive to bright sunlight and affected by external factors such as alert lights on emergency vehicles and forklifts, etc., so they can go off without warning. I started out with a $30 set of triggers and used them for a couple of years before trading up to PocketWizards, which I've been using for the last eight years.

3. Light stands

Speedlights don't float in the air - which means you need something to hold them up!

Now, there are three options when it comes to mounting speedlights off-camera:

1. First, you can use a light stand. Light stands vary in price from $20 to $200+ dollars, depending on the make and construction.

2. Second, you can use a GorillaPod and mount your speedlight to a door or place it on top of something near your model.

3. Third, you can mount your speedlight to an extension pole (or monopod) and have someone hold the light above your model. I like to do this because it gives me more options when shooting, and it also means there aren't any light stands that get in the way of my shot.

4. Light shapers

Using a speedlight as a bare light source creates a very hard style of lighting similar to harsh sunlight. This looks great in certain situations, but I prefer to soften and control the light source with a small or medium softbox. This creates a much softer, more flattering, and more realistic-looking light source.

A good softbox to start with is the LumiQuest Mini Softbox. It'll attach to your speedlight with velcro and can fold flat for easy storage.

5. Camera with a hot shoe

Finally, you will need a camera that works in Manual mode. It must also have a hot shoe.

Note that the "hot shoe" is just a square bit of metal on top of the camera that an external flash or wireless trigger slides into.

Working with off-camera flash

Once I got over my fear of off-camera flash, I started to believe that great portraits needed artificial lighting regardless of the environment. I often added two or three lights to my portrait shoots because I thought that anything less was lazy or unprofessional. I actually felt guilty when I shot with natural light because I thought it was cheating.

Fortunately, I've gotten over those thoughts. Here's what I know now:

Finding great light and being able to use it are learned skills - and so is knowing when to use fill-flash in a portrait.

Nowadays, whenever I set up portrait shoots, I always look for opportunities to use great natural lighting first. It's the most beautiful and flattering light for portraits, so if it ain't broke, no need to fix it.

Having said that, there are many times when natural lighting is only just okay or even terrible - and sometimes a portrait needs more mood or drama than the available light can provide.

The following is an example of how I used off-camera flash to light a heavily backlit image. My objective was to create a shot that looked naturally lit. This technique can be used for any portrait that requires off-camera fill flash.

In the first shot (A), you can see that my model was heavily backlit, which makes a great silhouette but not such a great portrait.

For the second shot (B), I attempted to correct the lighting by increasing my ISO, which overexposed the background and brought more detail to the motorbike, but leaves the model's skin tones flat, dull, and underexposed. It also added extra noise to the shadows. At this stage, I could have used a reflector to bounce light back onto the model to help create better skin tones.

Finally, for the third shot (C), I used an on-camera flash. As you can see in my example, the Canon speedlight did an okay job of lighting my model, given that I was about five meters (sixteen feet) away using a 200mm lens.

But the thing I don't like about using flash on-camera for portraits is that it tends to make the subject look unnatural and have a flat appearance. On the other hand, by using a flash off-camera, you can control the direction and amount of light going onto your model to achieve a more natural look.

Which leads me to my off-camera flash setup:

My speedlight was positioned approximately one meter (three feet) from the model. I set it at a 45-degree angle because I wanted to make my model look like he was lit from the side.

I was working with a 70-200mm zoom lens set to a focal length of 200mm because I wanted to blur all the details in the background.

My camera was approximately six meters (20 feet) from my model.

My ISO was set at 100, and my aperture was set to f/4. I was working at f/4 rather than wide open at f/2.8 because I find it very difficult to make eyes look sharp at f/2.8 at that distance and in such extreme lighting conditions.

Setting up the gear

For this motorbike model shoot, I mounted my speedlight to a light stand via an adapter and used a small LumiQuest Softbox to soften and shape my light.

To manually adjust the flash output of your speedlight, first switch the setting from its default of TTL to M (Manual mode). I recommend you start with the following settings:

First, if you're shooting in full sunlight and you need an aperture of f/16 or higher, use a power setting of 1/1 (full).

If you are shooting at f/2.8 or f/4, start at around 1/16-1/32 power.

The diagram above is based on Canon's 580EX II speedlight. For any other flash, check your manual for instructions on how to increase and decrease power. It should be very similar.

Now take a look at how I set my flash power:

Flash set at 1/32 power is underexposed, skin tones look muddy, and there's no detail in the blacks.

Flash set at 1/16 power is starting to look better.

Flash set at 1/8 power is looking good, but I prefer slightly brighter skin tones.

Flash set at ¼ power is the correct reading for the look I was going for.

Flash set at ½ power gives slightly overexposed skin tones, which is perfect for many portraits, as it creates a very flattering light (no model will ever tell you they love seeing all the detail in their pores and skin tones!).

Flash set at full power is overexposed; there's very little detail in the skin tones and the blacks are too light (gray).

A step-by-step guide to how I lit this shot with off-camera flash

Now that you know how to set up your flash and how to determine a good exposure, I'd like to run through my motorcycle photoshoot.

How did I get a nice final result?

Let me take you through the step-by-step process:

1. Take an ambient reading to determine the correct exposure for the background (without any flash). In this case, my ambient reading was f/4 at 1/125s and ISO 100. This exposure was set for the entire shoot.

2. Ask yourself if adding flash will improve or detract from the shot. In this case, the answer is a definite yes - it will improve the shot.

3. Bring in your flash and set it up as per the diagrams above.

4. The quickest and easiest way to figure out the best flash power settings is to use a light meter. (If you don't have a light meter, you can still work with off-camera flash. It will just take a bit longer to work out your exposure.) I believe a light meter is an essential tool in good portrait photography, and I would never leave home without one. When you use a light meter, you know you'll end up with the most accurate readings and lighting becomes easy. I suggest you set up your lights per the diagram above, start at a power setting of 1/32, and gradually increase your power in small increments (1/32, 1/16, 1/8, 1/4, etc.) until you get your desired result.

5. Set your light meter to non-sync and press the button on the side of the meter. The non-sync button will flash on and off indicating that it's ready. If you don't have an assistant, I suggest taking a radio slave off-camera and using it to test-fire your flash so you can take a reading. Hold the meter in front of your subject's face and point the sensor dome toward the camera.

6. Keep increasing or decreasing the amount of light until you have it a half stop to one stop over the ambient setting.

7. If you want a clean, beauty-style shot with lots of shadow detail, add one stop of fill-flash and shoot at your ambient meter settings.

This is something I strongly urge you to practice with as many patient friends, family members, and pets as possible. That way, you can build up your confidence and really get to know your equipment.

And here's my final image:

Notice the different background? It's from a shoot I did in St Mark's Square, Venice last year. I merged the two images together using Photoshop.

Working with off-camera flash: Conclusion

Now that you've finished this article, you should be ready to capture some beautiful shots using off-camera flash!

So make sure you have the right equipment. And make sure you follow my process carefully.

You'll come away with amazing results.
What are your experiences working with off-camera flash? Have you tried it? Does it intimidate you? Share your thoughts in the comments below!

Gina Milicia

# data[].attributes.attachment_link.title
A Beginner's Guide to Working With Flash Off-Camera

# data[].attributes.attachment_link.description
I spent the first three years of my photography career avoiding the use of off-camera flash. Why? Because I couldn't wrap my head around the concepts and science behind it. I tried to cover up my struggles by saying things like "I'm a natural light photographer," or "I really don't like the aesthetics of flash photography."

# data[].attributes.body
Cross Lighting: flash behind subject, natural light in front

Day-to-Night Look: underexpose background, light subject with flash

Gel Lighting: coloured gels for mood

# data[].attributes.body
Beginner Models: keep poses simple, natural movement

Agency Standard: neutral expressions, strong posture

Fashion/Editorial: angular, exaggerated poses

Commercial: approachable, smiles, candid looks

# data[].attributes.body
Culling (select only best 10–20)

Skin Retouching (natural, avoid plastic look)

Color Grading (consistent look across set)

Export for Web & Print (high res & compressed)

# data[].attributes.body
By the end of this workshop, participants will be able to:

Set up and shoot with classic one-light setups.

Build multi-light setups for commercial/editorial outcomes.

Direct models effectively under different lighting conditions.

Evaluate images and select the most appropriate setup for a brief.

# data[].attributes.headline
Suggested Schedule (1-Day Intensive – 6 hrs + breaks)

# data[].attributes.subject
Suggested Schedule (1-Day Intensive – 6 hrs + breaks)

# data[].attributes.body
Session 1: Introduction (30 mins)

Icebreaker: Each participant shares their previous lighting experience.

Trainer Demo: Show sample images for each setup (Rembrandt, Beauty Dish, Clamshell, Three-Point, High Key, Low Key).

Learning Point: Explain how different light shapes mood/genre (commercial, editorial, portrait, beauty).

# data[].attributes.headline
Session 2: Classic One-Light Setups (2 hrs)

# data[].attributes.subject
Session 2: Classic One-Light Setups (2 hrs)

# data[].attributes.body
Exercise 1: Rembrandt Lighting (45 mins)

Step 1: Position a softbox 45° to model at eye level.

Step 2: Demonstrate triangular highlight under eye.

Step 3: Students shoot in pairs (one photographer, one model).

Reflection: Compare natural vs reflector-filled shadow.

Exercise 2: Beauty Dish High & Center (30 mins)

Step 1: Set beauty dish above model’s eye line.

Step 2: Add reflector under chin.

Step 3: Students rotate through shooting positions.

Reflection: Discuss effect on cheekbones & skin detail.

Exercise 3: Clamshell Setup (45 mins)

Step 1: Place main light above, reflector or fill light below.

Step 2: Students capture headshots.

Step 3: Experiment with reflector vs fill light.

Reflection: Which version is more flattering for beauty shots?

# data[].attributes.body
Exercise 4: Three-Point Lighting (45 mins)

Step 1: Set key light at 45°, add fill opposite, rim behind.

Step 2: Students build setup in small groups.

Step 3: Shoot & compare with only one light active at a time.

Reflection: How do each of the 3 lights change the image?

Exercise 5: High-Key White Background (30 mins)

Step 1: Light background with 2 lights.

Step 2: Add softbox for subject.

Step 3: Students take fashion/commercial portraits.

Reflection: Discuss exposure balance between background & subject.

Exercise 6: Low-Key Dramatic Portrait (45 mins)

Step 1: Place strip lights to rim-light subject.

Step 2: Shoot with minimal face light add grid spot if needed.

Step 3: Experiment with poses for dramatic effect.

Reflection: Compare soft vs hard edge lighting.

# data[].attributes.body
1. Classic Executive Headshot

Clean, sharp suit or smart-casual shirt.

Simple background (grey/black/neutral).

Direct eye contact = authority + confidence.

2. Creative On-Set Portrait

Candid or posed shot behind a camera, script, or on a film set.

Highlights professional environment.

3. Lifestyle Portrait (Relaxed)

Smart-casual outfit, natural light (café, urban background).

Shows personality outside the boardroom.

4. Cinematic Black & White Close-Up

Strong lighting contrast (Rembrandt or low-key).

Serious expression, moody atmosphere.

5. Director’s Chair Portrait

Sitting with arms rested, subtle props (script, headphones, clapboard).

Storytelling element: his role behind the scenes.

6. Profile Shot (Side Portrait)

Crisp side angle, minimalist background.

Emphasises sharpness, vision, focus.

7. Candid Laugh/Smile Portrait

Natural expression, mid-conversation or relaxed.

Adds approachability and warmth.

8. Outdoor Environmental Portrait

Urban streets, industrial, or artistic location.

Smart outfit, shallow depth of field = modern, stylish vibe.

9. Editorial Fashion-Inspired Portrait

Strong pose, stylish clothing, dramatic lighting.

Adds flair and presence (good for magazine/press features).

10. Desk/Work Environment Portrait

Leaning on desk with laptop, notebooks, storyboards visible.

Balanced between creative + professional.

Together, these 10 portraits create a versatile portfolio:

Professional credibility (executive headshot, profile, desk).

Creative authenticity (on-set, director’s chair, editorial).

Human side (candid, lifestyle, outdoor).

# data[].attributes.body
Image Review: Each participant selects their best shot from each setup.

Group Critique: Discuss technical execution + creative effect.

Assignment: Plan a mini-shoot applying 2 setups to one subject for contrasting moods.

# data[].attributes.body
Lighting diagrams (printed handouts).

Posing cheat sheet (to keep models engaged).

Pre-shoot checklist (gear, contracts, setup order).

Feedback forms (to record progress).

# data[].attributes.body
1. Clean Headshot (Natural Look)

Neutral background, minimal retouching.

Shows face shape, hair, skin — essential for agency submissions.

2. Full-Body Shot (Agency Standard)

Simple clothing (plain tee, jeans, boots).

Arms relaxed, strong stance.

Emphasises proportions and posture.

3. Profile Shots (Left & Right)

Crisp side portraits.

Standard requirement for agencies.

4. Black & White Portrait (Strong Expression)

Low-key or Rembrandt lighting.

Dramatic, timeless, masculine edge.

5. Lifestyle Portrait (Candid & Approachable)

Outdoors or casual environment.

Natural smile or relaxed laughter.

Shows personality + relatability.

6. Editorial Fashion Portrait

Styled look with bold clothing.

High-fashion pose with dramatic lighting.

Adds versatility for magazines/campaigns.

7. Movement Shot (Dynamic Energy)

Walking, turning, adjusting jacket.

Captures confidence in motion.

8. Athletic / Strength Portrait

Sportswear or shirtless if comfortable.

Defines physique, stamina, confidence.

Agencies often request fitness/body shots.

9. Suit/Smart Look Portrait

Tailored jacket, smart pose.

Polished, professional, marketable for commercial/editorial.

10. Personal Story Portrait

Symbolic, authentic to his journey (e.g., incorporating tattoos, scars, or subtle storytelling props).

Not always agency standard, but powerful for self-promotion and editorial storytelling.

Together these create a balanced male model starter portfolio:

Agency essentials: headshot, profile, full-body, lifestyle.

Versatility: editorial, fashion, movement, fitness.

Identity: black & white drama + personal story portrait.

# data[].attributes.headline
Starter Portfolio List for Agency Applications

# data[].attributes.subject
Starter Portfolio List for Agency Applications

# data[].attributes.body
1. Clean Headshot (Natural Look)

Minimal makeup (if any), natural hair.

Neutral background.

Straight-on, clear expression.

2. Profile Shots (Left & Right)

Simple, clean backgrounds.

Standard requirement for agencies.

3. ¾ Length Portrait

Casual outfit, body visible to mid-thigh.

Neutral pose, relaxed hands.

4. Full-Length Shot

Plain clothing (jeans + fitted tee).

Shows body proportions clearly.

5. Smiling Portrait

Genuine expression, natural light.

Shows commercial/lifestyle potential.

6. Black & White Portrait

Strong expression, natural styling.

Adds timeless editorial feel.

7. Casual Lifestyle Shot

Outdoors or natural setting.

Relaxed body language, candid vibe.

8. Editorial/Fashion Pose

Styled look (jacket, bold clothing).

Dynamic pose to show versatility.

9. Movement Shot

Walking, turning, or adjusting clothing.

Shows confidence and fluidity.

10. Simple Studio Shot

Clean background, flat lighting.

“Blank canvas” look agencies want for castings.

11. Optional Fitness/Body Shot (if comfortable & relevant)

Shirtless/sportswear for men, form-fitting for women.

Shows physique without over-styling.

12. Optional Personal Style Shot

Something that reflects personality (tattoos, unique fashion, cultural identity).

Can help stand out but should not dominate the set.

# data[].attributes.body
Golden Rule: Agencies want to see the real person first. Keep it simple, natural, and professional. Better to have 10 strong images than 30 average ones.