A Image 252 > Image 253 this series of three images, matted and framed together, became the couple's favorite images from the shoot. At the beginning of this shoot (image 250), the two soft boxes were placed about two feet apart, along the arc of equal exposure (see the sidebar on page 14), and metered as before. The scenario was set up close enough to the background to throw enough light on it that a hair light wasn't critical (image 250B). Adding a hair light, however, created a little more visual interest by defining the line of her shoulders (image 251). Without making any changes in the position of the lights it was possible to move the couple toward the lights so they were both evenly lit. Note that even though she is looking at the camera the lens is focused on him (image 253). About half way through the shoot I turned off the hair light.
The single highlight on camera left and the position of the couple made the soft light even more intimate as it fell off into the shadows (image 252). Since we can't see either of the faces clearly, the emotion they were feeling is communicated by shape and body language.
Depending on the number of people you will photograph, be certain the two key lights are set far enough from the group's center to insure sufficient depth of light. For this family portrait (image 254), the lights were set far enough from center to avoid noticeable fall off from left to the intimate portrait > 109