Light Modifiers

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To create a glamour portrait (photograph 3-11), I quickly set up a black velvet background and added a few props—as well as an additional accent light to Pam’s left. This single monolight, used to direct the light onto Pam’s hair, was fitted with barndoors (to stop spill on the background), a 40degree grid, and a white diffusion sock. The addition of this light, powered to record brighter than the main light, added to the fashion/glamour mood desired for this image. Keep in mind that my main light and fill light remained the same as in the previous set scene. PHOTOGRAPH 3-11. A simple change of background and clothing was coupled with great posing and the addition of one light to create this striking photograph. Notice that my exposure did not change from the last image. SUBJECT: Pam Solman. CAMERA: Nikon D300, Lexar media. SET- TINGS: AWB, manual mode, 1 /200 second, f/8, ISO 200. STUDIO MODIFIERS IN ACTION 49
PHOTOGRAPH 3-12. Notice the design on the background. SUBJECT: Aléna Watters. CAMERA: Nikon D300, Lexar media. SETTINGS: AWB, manual mode, 1 /200 second, f/13, ISO 200. Scene set for PHOTOGRAPH 3-12, looking from back to front. 50 THE DIGITAL PHOTOGRAPHER’S GUIDE TO LIGHT MODIFIERS PHOTOGRAPH 3-13. Classic Hollywood-style lighting cannot be achieved without barndoors and snoot modifiers. SUBJECT: Aléna Watters. CAMERA: Nikon D300, Lexar media. SETTINGS: AWB, manual mode, 1 /200 second, f/9, ISO 200. Scene set for PHOTOGRAPH 3-13,
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 and 48: DRAMATIC LIGHTING Staying updated w
Page 49: FROM PORTRAIT TO GLAMOUR This serie
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
Page 123 and 124:
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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