Light Modifiers

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PHOTOGRAPH 2-18. A small Hensel softbox was attached, for even softer edge transfers on the facial mask. (Note: to accommodate the depth of the softbox, the light was backed up to 6 1 /2 feet and raised 2 1 /2 feet. SETTINGS: AWB, manual mode, 1 /60 second, f/9, ISO 200. FIELDS OF LIGHT FOR COMMON MODIFIERS barebulb 7-inch parabolic barndoors beauty dish black umbrella The softbox set scene. STUDIO LIGHT MODIFIERS 35 softbox grid snoot shoot-through (white) umbrella
PHOTOGRAPH 2-19. A 40-degree grid placed inside a 7-inch Hensel reflector. As you study the effects of the grids, note that the field and direction of light changes—but not the exposure. SET- TINGS: AWB, manual mode, 1 /60 second, f/9, ISO 200. PHOTOGRAPH 2-20. A 30-degree grid placed inside a 7-inch Hensel reflector. The size of the light source reduces with the size of the grid. Notice the background gets darker. SETTINGS: AWB, manual mode, 1 /60 second, f/9, ISO 200. PHOTOGRAPH 2-21. A 20-degree grid placed inside a 7-inch Hensel reflector. Again, the smaller the grid degree number is, the more directional the light will be. SETTINGS: AWB, manual mode, 1 /60 second, f/9, ISO 200.
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 26 and 27: PHOTOGRAPH 1-14. This portrait illu
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 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
Page 77 and 78: PHOTOGRAPH 5-19. SUBJECT: Irena Mur
Page 79 and 80: PHOTOGRAPH 5-22. SUBJECT: Irena Mur
Page 81: CALIFORNIA SUNBOUNCE When photograp
Page 85: 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
Page 111 and 112:
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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