When it comes to lighting for isolations, there are few things to keep in mind. The first step is to ensure that you have enough lights to perform the task. This means you'll need at least three, and depending on the size of the subject, possibly four. There are a couple of methods to light a set or studio for isolations using three light sources, so I will address these first. Each method has distinct advantages and disadvantages, as I will outline.

Method I - Using three light sources

The first method to light a set using three lights requires the use of a strobe (or other light source) on a boom arm. The Main (or Key) light and the Fill light are set approximately at 90 degrees from each other, pointing at the subject at approximately six feet.

The subject should be approximately six to eight feet away from the white backdrop/background.

The third strobe on the boom arm is placed above the subject and between the subject and the background and is pointing down toward the background approximately midway down. The use of a soft box for this background light ensures even spread of light, as does placing the light closer to the subject than the background. See Figure 1.


Fig. 1 Using boom arm

The advantage of this method is it puts a pool of light directly behind the subject, and as such any fall-off or cleanup that may be required will be away from the subject at the edges of the image, where it's easier and quicker to clean up.

This method works extremely well for head and torso images. It does requires some additional finessing of the overhead light to perform full body isolations, but certainly is practical, even for the full body images.

Set the relative power of the background light to 2x-3x times the power of the main light. Keep in mind, this will need to be adjusted for correct balance, depending on the exact distances involved, and size of umbrella or softboxes used for each light.

Method II - Using a translucent backdrop

This method uses a different approach, in that the third light source is directly behind the subject, pointed at the subject, but on the other side of the backdrop (muslin, paper or translucent plastic), and therefore shooting through the background. See Figure 2.


Fig 2 Using translucent background material

This system has three distinct advantages:

1. The subject can be closer to the background, virtually touching the backdrop, which means a smaller studio can possibly be used, although the light behind the backdrop needs to be sufficiently far enough away so as to diffuse the light sufficiently.

2. Since the light is coming from behind the subject, this system cannot produce any shadowing.

3. The system can easily be scaled down to do small product isolations.

The initial setup is the same as the previous method, as far as the Main and Fill lights go. The important factor regarding the background light is that you'll have to adjust the intensity of this light through experimentation, depending on the translucency of the background material.

This method will also require a softbox on the background light so as not to be too hot immediately around the subject. As with the previous method, if any cleanup of the image is required, it is around the edges of the image and easy to fix.

A good place to start with the relative light intensities is starting with the background in the 2x-3x more power than the main, and adjusting the fill for desired shadowing effect. Again, this will need to be adjusted for correct balance, depending on the exact distances involved, and size of umbrella or softboxes used for each light.

Method III - Using four lights/strobes

This method uses four lights/strobes, so is the more expensive option. However, this has the advantage of better lighting backgrounds for bigger subjects. Main and Fill are set up the same, with two background lights projected onto the background, one on each side. See Figure 3.


Fig 3. Four light setup

Both the background lights need to be in the 2x times the power of the Main range.

As stated, this method is best for lighting large cycloramas, full body and large subjects. It also requires the most physical space. Since the two background lights are further away from the subject, it does mean that any fall off of light is in the center directly behind the subject, and as such may require the most strenuous cleanup.