Ok, that should be an interesting comparison, I'll look out for it when you get a chance.

Thanks Richard! Hope you've found all the discussion and critique useful.

Thanks also Peter for the idea for a backdrop .... I'll check it out, Also those PhotoShop pointers are helpful, thanks.

Thanks also Stub, yes I should try a higher placement of the lights, at least the main one I guess. Also I'm sure you're right that a softbox would have been the better choice due to all the excess light spill from the shoot through umbrella. It was a new umbrella and I just wanted to use it really!

Well, I'm delighted that you liked my background at least

Its very effective .... Unusual how the contrast increases into the centre, but that pulls the eye in a very good way!

I'd be interested to see a version, or another shot of it, but not so high key .... its very white indeed and it would be interesting to see the outer parts with less exposure and a little more contrast.

No, I'm not really enjoying the cake smashing escapade either! Seems a bit silly. But they're real potent shots, and if the clients want it ....that's the business.

The others are really bright and full of vibrance, both colour and energy, and that's just what's needed for this happy occasion.

I too favour those with the bigger contrast range, and the favourite is the Sushi bar, plus also the one in the Temple. Generally I like the outdoors ones where you've got a long zoom and some DOF effects.

The mono film gives a timeless sense (I know that's a real cliche, but seems true here) ...they are images of the modern world but also convey a sense of the longevity of the subjects and places.

I find some of the building ones a little overexposed, perhaps 1/2 a stop?.

Looking forward to seeing your digital take on Japan as well!

Thanks Marie, I'm pleased you saw them

Ha! Gareth, it's good to see our high PU standards being vigorously enforced

I do value the frankness and feedback, and you have been very perceptive ..... you are right about the issue with space, that's my biggest hurdle at home for this sort of thing. I actually threw the black curtains over the sofa , and of course I had light spill onto it. The lack of space behind also meant that the third "kicker" light was difficult to keep off the front of the subjects, although as I said earluer I did rather like the effect mostly ..... I do see your point that it is distracting on my sons blue shirt, but I do like it on the faces.

The background was darkened with a levels adjustment layer, and I probably could have done a better job. But ultimately it's going to be better to get that physical separation, I see that ....just need to try and re-arrange the furniture and try a special backdrop instead of the curtain.

Watch this space, hopefully I'll find a solution soon and try some 3 light portraits again!

Thanks, much appreciated!

You're welcome Mike, I hope it might encourage a few here to be a bit more adventurous and try a multi-light set-up ..... its a bit experimental and I don't always end up with exactly what I thought I would, but that's the lot of the amateur!

Thanks Philip, I managed to get a few laughs out of them in between the threats!

Your observation is correct, that light is 'harsh' as its a small light source and relatively far away (1.5 meters approx.). I had originally intended it only to light up the hair and rim of the head from the back, but I was unable to position it far enough behind, and so it was also spilling onto the side of the faces. I actually rather liked the effect, as it seemed to give added depth and some sparkle, so I went with it. Peter (our pschlute) over at PF very astutely deducted that this was the reason why I termed the light a 'kicker', and indeed I did that instead of calling it a 'hair' or 'rim' light because of the way it was making that harder light over on the side of the faces.

I think whether we like it or not comes down to personal preference (I hope anyway!) .... however it does point up and illustrate very nicely the difference between soft and hard light sources, as you will see the soft umbrella effect on the subjects right side, and the hard snooted effect on the left.

Daron, thanks, and I hope you might be encouraged to try some flash with people sometime. Flash is one area where I do believe its better to get the technical aspects under control first, like learning how to get the things firing together, the triggering technologies and how to control the output..... and only then worry about the creative. If you can't control things exactly then creative work becomes very difficult I think. Certainly for me as an amateur, despite having everything technically under control, creative reults are still not always totally predictable and repeatable ... that's the gift of the Professional!

Thanks Peter, I'm glad you found them interesting

I'm not at all a fan of the blurry long exposure sky look, but here it is not too distracting and your sweeping views into the vastness of ocean ahead sure makes up for it!

1, 2 and 4 stand out for me, as they contain superb contrast between the highlights shadows with very few midtones at all. I feel this works well, whereas those that have a more even spread of tones reveal perhaps too much complexity. But it's a great exploration through this beautiful place, and no doubt the mono approach solves some of the inevitable technical hurdles of this type of image .... Not the least the issue of how to reproduce glimpses of blue sky thought the canopy with correct exposure.

I love No 2, where the reflections are almost stronger than the clouds themselves! It has a lovely creamy hue , plus the placing of the horizon line is just perfect!