Today my goal is achieve dramatically different looks, using not just costume and props, but different lighting to create totally different moods. 

I also want to give the historically accurate costumes a distinctly contemporary twist using three dimensional lighting in addition to traditional lighting patterns usually used for fine art portraits. This will give us the  fine art fusion I’m looking for.

The new AD series syncs wirelessly with the touch screen X3 trigger making it wonderfully easy to switch things up.

Throughout the shoot, the AD600Pro II will remain in the reverse umbrella, one ad200proII will remain in a beauty dish, and an additional ad200proII is on hand in a softbox for use when needed.

Our first look is the Regency period of the early 19th century. We start with some bright, clean beauty portraits. With clever positioning of lights and reflectors, we can achieve a crisp beauty light that is both flattering and striking.

By placing the umbrella behind our model, the light providing a soft hair light and is also bounced back onto the subject’s face from the reflector and flats. The silver beauty dish directly in front provides a gorgeous pop of specular light.

Then, by turning off the light in the beauty dish and using just the reverse umbrella behind and to the right of the model, we can use one light and a reflector for a soft yet dramatic, short lit portrait. In just a few steps, we have a completely different mood.

As you can see, not much work is needed in post production, but I can’t resist adding a digital overlay of wisteria onto my handpainted canvas backdrop to enhance the fine art feel.

Then we go back in time to 18th century Venice.

The ad600ProII in the reverse umbrella is providing a gorgeous Rembrandt lighting pattern. The ad200pro in the gridded beauty dish is set high and behind the model pointing down to give us a subtle pop of light on the hair and perhaps give the illusion of an imaginary light on behind the folding screen.

Time to shake things up. I happen to have some frames in my studio the exact colours of the Venetian gown we are using, which gives me an idea. I layer the frames in front of and behind the model, and add the second ad200proII in the softbox to add a fill light. This three dimensional lighting really pulls out the detail in the gown, props and hair. 

With the new colour codes of the AD series and x3 trigger, I can see at a glance which light is on which group, and adjust the power accordingly. I can also quickly turn lights on and off as needed.

We end this set with our Venetian lady’s hair let loose, and a languid, alluring pose on the floor, lit with the ad600proII in the reverse umbrella.

Our last set for the day will transport us to medieval Scotland. I want to combine a continuous light source with flash and add in-camera motion blur.  I slow the shutter speed right down to 1/6th second to let this continuous light bleed into the shadows, and blur any areas not lit by the strobe.

To really add the feel of motion and action, I move the camera as I click the shutter. The ad200proII is on full power. The FS200Bi. LED mat is set to a warm 2700 kelvin, and set low on the lightstand. I want it to look like action is taking place and there is a raging fire somewhere off in the distance. 

Hopefully these techniques will inspire you to create too using Godox’s vast range of photography products. Godox offers a one-stop solution for all your photography needs, from lights to modifiers, to stands and more. I’m Sarah Edmunds and we’ll see you next time. Until then keep creating with light.