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For those of you who messaged me about this... here are some photos that should answer your questions.
Am I concerned about the highlight on the top of the head and shoulders? No. If this were a commercial job where you simply want white BEHIND the product, I wouldn't use this lighting set-up. It'd light the white seamless directly to avoid spill onto the product. But for people photography I don't mind the spillover... as long as that light isn't too far forward that it reaches the nose.
This is our youngest son, Owen. He looks so calm, patient and... stationary. Well, those of you who know him, know that is NOT Owen! Shirley would drop him in place, quickly get out of the way, I'd shoot, he'd run, then we'd start the sequence all over again.
Anyway, this is the result of a high key lighting technique for white seamless paper I learned in the 1980s from THE best lighting teacher ever... Dean Collins, but hadn't done it until recently (OK, I learn slow...ly).
Thanks Owen for holding still for the 1/125 second it took to get this shot. (Ain't he CUTE?) Yeah, the pose is a bit traditional, but for a studio portrait I like that look. I do plenty of casual, candid, real stuff outside of the camera room.
I bought about $5000 in new lighting gear in December. This is the result of a fifth of that purchase. LED light panel on his face, and two gelled Canon 580s on the curved glass block window behind him.
High school seniors next year are going to get some great new stuff from me! Keep pushing!
