Light Modifiers

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PHOTOGRAPH 1-14. This portrait illustrates specular lighting. Notice that the contrast from highlight to shadow is great. SUBJECT: Siesha Torres. CAMERA: Nikon D200, 28–105mm f/3.5 Nikon lens, Lexar media. SETTINGS: AWB, manual mode, 1 /250 second, f/11, ISO 200. PHOTOGRAPH 1-15. Moving the softboxes closer to our subject creates soft edge transfers from shadow to highlight. SUBJECT: Siesha Torres. CAMERA: Nikon D200, 28–105mm f/3.5 Nikon lens, Lexar media. SETTINGS: AWB, manual mode, 1 /250 second, f/11, ISO 200. THE PHYSICS OF LIGHT 25
angle of incidence angle of reflectance DIAGRAM 1-7. <strong>Light</strong> travels in a straight line. When it strikes a surface, the angle of incidence equals the angle of reflectance. This concept is key to lighting your images successfully. Direction. The placement of the main light source relative to the subject is another controlling yet subjective factor in the quality of the light in your final portrait. <strong>Light</strong> travels in a straight line, and when it strikes a surface, its angle of incidence is equal to its angle of reflectance. For example, with front lighting, the light is directly at or behind the camera, producing a zero-degree angle of incidence and thus a zerodegree angle of reflectance. The result is flat lighting—an image that has no distinct transitions from shadow to highlights. For example, if the light source is moved 45 degrees to the left or right, off the lens axis, it will reflect back at the same 45-degree angle. This concept is important when positioning your light and modifiers to show shape and create depth on your subject. THE INVERSE SQUARE LAW Understanding the Inverse Square Law is very important to becoming skilled in the art of photographic lighting. This law describes how a change in the distance of the light source to the subject will change the intensity of the light on the subject. The Inverse Square Law states that when the distance of the light to the subject doubles (2x the distance), the light on the subject will be reduced to 1/ 4 of its original intensity—because the inverse square of 2 is 1/ 4 (1/22 ). This means that when you change the distance of the light to the subject, the exposure (or the output of the light) must be adjusted to compensate. 26 THE DIGITAL PHOTOGRAPHER’S GUIDE TO LIGHT MODIFIERS f/5.6 f/5.6 Distance of subject to light doubled, light intensity reduced to 1 /4 of original. light source remains at constant setting at camera axis Distance of subject to light halved, light intensity increased to 4 times original. f/11 f/11 DIAGRAM 1-8. The Inverse Square Law. If you move your subject from 3 feet to 6 feet from the main light, you’ll need four times the amount of light to arrive at the same exposure—two full stops more light. The beam of light widens as it travels farther from the source; because it illuminates a broader area, the light becomes less intense.
Page 1 and 2: THE DIGITAL PHOTOGRAPHER’S GUIDE
Page 4 and 5: TABLE OF CONTENTS Dedication . . .
Page 6 and 7: 9. USING MULTIPLE FLASHES . . . . .
Page 8 and 9: PHOTO BY DON JONES PHOTOGRAPHY. ABO
Page 10 and 11: Photography is light and can easily
Page 13 and 14: 1. THE PHYSICS OF LIGHT Have you ev
Page 15 and 16: ed magenta yellow blue cyan 14 THE
Page 17: cerning in your photographic lighti
Page 20 and 21: HIGH KEY vs. LOW KEY High-key image
Page 22 and 23: PHOTOGRAPH 1-9. SUBJECT: Gabriel Gr
Page 24 and 25: PHOTOGRAPH 1-12 (RIGHT). A selectio
Page 28 and 29: We’ll look at hot-shoe flash modi
Page 30 and 31: There as many light-shaping modifie
Page 32 and 33: PHOTOGRAPH 2-10. Here, I used Hense
Page 34 and 35: PHOTOGRAPH 2-14. A 22-inch Hensel b
Page 36 and 37: PHOTOGRAPH 2-18. A small Hensel sof
Page 38 and 39: When using a light panel or translu
Page 40 and 41: PHOTOGRAPH 2-26. The shape and size
Page 42 and 43: Most people are not comfortable in
Page 45 and 46: A VARIETY OF LOOKS The next series
Page 47 and 48: DRAMATIC LIGHTING Staying updated w
Page 49 and 50: FROM PORTRAIT TO GLAMOUR This serie
Page 51 and 52: PHOTOGRAPH 3-12. Notice the design
Page 54 and 55: As our shoot progressed (see previo
Page 56 and 57: 4. EXPERIMENTAL LIGHTING TECHNIQUES
Page 58 and 59: Set scene. Notice the gobo placed n
Page 61: STUDIO LIGHTS OUTDOORS Using your s
Page 64 and 65: PHOTOGRAPH 4-9. SUBJECT: Kameron. C
Page 66 and 67: AN IMAGINARY JOURNEY Suppose you we
Page 68: PHOTOGRAPH 5-5. SUBJECT: Scott Worm
Page 71 and 72: PHOTOGRAPH 5-8. These LumiQuest mod
Page 73 and 74: SAMPLE LIGHT-MODIFIER EFFECTS It wo
Page 75 and 76: PHOTOGRAPH 5-15. The Ray Flash is a
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PHOTOGRAPH 5-19. SUBJECT: Irena Mur
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PHOTOGRAPH 5-22. SUBJECT: Irena Mur
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CALIFORNIA SUNBOUNCE When photograp
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JUST ONE LIGHT Bob Ray, a dear frie
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his shutter speed to 1/ 30 second,
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trait, however, was created using t
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7. REFLECTORS Now, let’s take a q
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PHOTOGRAPH 7-4. In this example, a
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8. DRAMATIC PORTRAITS WITH SPECIALT
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THE RAY FLASH A Ray Flash was used
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Set scene for PHOTOGRAPH 8-6. 100 T
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9. USING MULTIPLE FLASHES When phot
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THEMES Commissioned to create image
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CHANGING MODIFIERS The next series
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TELLING A STORY Photographer Bob Ra
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WHEN MOTHER NATURE DOESN’T COOPER
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PHOTOGRAPH 9-18 (ABOVE). SUBJECT: R
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PHOTOGRAPH 9-20. CAMERA: Nikon D3,
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RESOURCES Adobe Photoshop www.adobe
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Flags, 27, 28, 31 Flare, 58 Flash,
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Also by Allison Earnest SCULPTING W
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CHILDREN’S PORTRAIT PHOTOGRAPHY H
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Whether it’s available light or a
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Light Modifiers

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