Light Modifiers

Photography is light and can easily be described as “writing
with light.” Just as an artist uses a paintbrush to create
a painting, a photographer uses light to create or record
an image on his digital sensor or film. Incorporating light
modifiers into the lighting mix enables a photographer to
control their chosen light, thus creating a photograph that
shows depth and dimension with a unique style.
In my first book, Sculpting with Light ®: Techniques for Portrait
Photographers (also from Amherst Media), you learned
how to place your subjects relative to your light source and
how and where to place your light to create pleasing portraits.
Now it’s time for you to learn how to control the light
you have—whether it’s available light or artificial light. To
control your light, it is essential to become familiar with light
modifiers and the different qualities of light they produce.
Only with light modifiers will you be able to take control of
your light and start creating a style—or, better yet, your
style—of photography.
A light modifier can be described as any apparatus that is
placed on a light source, over a light source, or between a
light source and the subject to change the original look or
quality of that light source. As an example, let’s imagine a
scenario in which the sun is our primary light source. On a
sunny day, the light illuminating our subject is quite harsh.
When the clouds come in, they act as a light modifier, changing
the light quality from harsh to soft and diffused. Can you
see why using modifiers is essential?
There are many different light modifiers on the market.
Some are better than others, but all perform essentially the
same task: they change the light’s quality. Light modifiers
are a photographer’s paint brush. They assist you in controlling
not only the amount of light, but the quality of the light
illuminating your subjects.
Each of the different light modifiers for studios and oncamera
flash units has its own distinct purpose with regard to
INTRODUCTION
light. My intent is not to confuse you by showing the countless
modifiers on the market. My intent is to shed light on
the most common light modifying equipment used, my personal
favorites, and how they can affect your results by
changing the quality of the light within your photographs.
Then you, as the photographer, can decipher what “look”
you like for your particular photography needs.
Sometimes photographers, myself included, are inclined
to go back to what is familiar; when we allow ourselves to do
this, however, our art doesn’t grow, change, or become better.
For my part, writing this book has forced me to look differently
at my photographs and my style of lighting. My
hope is that it will inspire you to do the same—that you will
gain a more comprehensive understanding of light modifiers
and discover ways to refine your own style using them.
THE ROLE OF THE PHOTOGRAPHER
With so many new photographers entering the market, it
is imperative that you step up your photographic skills. No
longer is it enough to just get a good exposure, to use one
light in the studio, or to illuminate your subjects using direct
on-camera flash. If you shoot in this manner, your photographs
will look just like those produced by amateurs who
merely “take” (or “snap”) pictures. Back in the film days,
the primary differentiation between professionals and amateurs
was the equipment used and use of lighting techniques.
Today, it is very common to find yourself shooting a wedding
using exactly the same equipment as the guests attending
the wedding. Whether you are a seasoned professional
who has become complacent or an amateur with aspirations
of making a living as a professional photographer, you owe
it to yourself—and to your clients—to make photographs,
not take photographs.
A professional photographer makes photographs that
show depth and dimension—images that are three-dimen-
INTRODUCTION 9