Light Modifiers

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PHOTOGRAPH 3-8. Kickers to either side of the model added separation and depth. Notice that the lights were modified with barndoors to control the light illuminating the subject SUBJECT: Michelle Lopez. CAMERA: Nikon D300, Lexar media. SETTINGS: AWB, manual mode, 1 /125 second, f/6.3, ISO 200. model to add further separation and depth. These were set to record at one stop more than the main light. As you can see in the set scene, the camera-right kicker was further diffused with a white scarf. The barn doors on the other kicker were closed to create a more directional light source. Photograph 3-9 was created by turning off the main light (the beauty dish) and the focusable spot. I also changed the model’s position and moved the monolight with the barndoors (to camera left) higher and closer to the model. This became my new main light. An incident-light reading was taken and the exposure adjusted accordingly. Just by moving PHOTOGRAPH 3-9. This is the same lighting setup as in the previous photo—except the light with the barndoors (to camera left) was positioned closer to the subject to become the main light. The Speedotron spotlight was turned off and the right kicker repositioned to the pose. SUBJECT: Michelle Lopez. CAMERA: Nikon D300, Lexar media. SETTINGS: AWB, manual mode, 1 /125 second, f/8, ISO 200. a couple lights and changing the model’s pose, I produced a very different photograph in one session. Try to think outside of the box and you’ll be amazed how your style will change. STUDIO MODIFIERS IN ACTION 47
FROM PORTRAIT TO GLAMOUR This series, featuring Pam Solman, illustrates how quick thinking can create images that will wow your clients. Ms. Solman desired several different photos from our session: a headshot, a full-length portrait, and a sassy glamour photo. My studio is small and proves challenging when trying to produce certain lighting in my images; therefore using a translucent light panel/scrim is quite effective—especially for shooting full-length images. For photograph 3-10, the main light was an Integra monolight with a 7-inch parabolic reflector positioned behind a large scrim. For soft, directional accent light, a large Hensel 48 THE DIGITAL PHOTOGRAPHER’S GUIDE TO LIGHT MODIFIERS PHOTOGRAPH 3-10 (LEFT). This is a traditional headshot—though lit differently than my normal style. It is great to mix up your lighting techniques. SUBJECT: Pam Solman. CAMERA: Nikon D300, Lexar media. SETTINGS: AWB, manual mode, 1 /200 second, f/8, ISO 200. ABOVE: Set scene for PHOTOGRAPH 3-10. softbox, fitted with a strip gobo, was placed to camera left and worked beautifully as an accent light. Your client’s hair color is the key to which modifier to use; Pam had very light hair, so using a hard modifier as an accent light would have overexposed her hair, creating a “harder”-looking portrait. The entire scene was filled with a medium softbox placed behind the camera.
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 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: DRAMATIC LIGHTING Staying updated w
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
Page 88 and 89: his shutter speed to 1/ 30 second,
Page 91 and 92: trait, however, was created using t
Page 93 and 94: 7. REFLECTORS Now, let’s take a q
Page 95 and 96: PHOTOGRAPH 7-4. In this example, a
Page 97 and 98: 8. DRAMATIC PORTRAITS WITH SPECIALT
Page 99 and 100:
THE RAY FLASH A Ray Flash was used
Page 101:
Set scene for PHOTOGRAPH 8-6. 100 T
Page 105 and 106:
9. USING MULTIPLE FLASHES When phot
Page 107 and 108:
THEMES Commissioned to create image
Page 109 and 110:
CHANGING MODIFIERS The next series
Page 111 and 112:
TELLING A STORY Photographer Bob Ra
Page 113:
WHEN MOTHER NATURE DOESN’T COOPER
Page 116 and 117:
PHOTOGRAPH 9-18 (ABOVE). SUBJECT: R
Page 118 and 119:
PHOTOGRAPH 9-20. CAMERA: Nikon D3,
Page 121 and 122:
RESOURCES Adobe Photoshop www.adobe
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Flags, 27, 28, 31 Flare, 58 Flash,
Page 125 and 126:
Also by Allison Earnest SCULPTING W
Page 127 and 128:
CHILDREN’S PORTRAIT PHOTOGRAPHY H
Page 129:
Whether it’s available light or a
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Light Modifiers

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