Light Modifiers

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PHOTOGRAPH 4-9. SUBJECT: Kameron. CAMERA: Canon EOS 1 DS-Mark II. SETTINGS: Manual mode, 1 /100 second, f/10, ISO 100. Photograph by Don Jones Photography. Don created a dramatic studio portrait of Kameron (photograph 4-9) as a demonstration on using light modifiers for his photography class. This type of portrait cannot be done using softboxes; the light is very directional. This is a fourlight setup using modifiers that are hard and directional— grids, snoots, and a focusable spotlight for the background, as seen in the accompanying diagram. focusable spot on background light with grid Diagram for PHOTOGRAPH 4-9. background light with grid on boom over subject light with snoot on chest tattoo EXPERIMENTAL LIGHTING TECHNIQUES 63
5. HOT-SHOE FLASH MODIFIERS When I’m not working in my studio, I frequently work outside and on location, shooting with Nikon SB800 Speedlights. These are portable, powerful and reliable—and with Nikon’s SU800 external commander or my Nikon D300’s internal commander, it is easy to control multiple flashes. Just because you use a hot-shoe flash doesn’t mean PHOTOGRAPH 5-1. An assortment of hot-shoe flash units. 64 THE DIGITAL PHOTOGRAPHER’S GUIDE TO LIGHT MODIFIERS your images need to look like they were shot with on-camera flash, which typically yields images with little dimension. <strong>Modifiers</strong> for hot-shoe flashes work in exactly the same manner as modifiers for studio strobes. When used properly, the field of light and the quality of light produced by each modifier can rival that of expensive studio lights and modifiers.
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 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 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
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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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