- •Table of Contents
- •Dedication
- •About the Author
- •Acknowledgments
- •INTRODUCTION
- •The Role of the Photographer
- •1. THE PHYSICS OF LIGHT
- •Perception of Light as Color
- •Primary and Complementary Colors
- •How We See Color vs. How the Camera Sees Color
- •Professional vs. Amateur
- •Qualities of Light
- •The Inverse Square Law
- •2. STUDIO LIGHT MODIFIERS
- •Light Modifier Effects
- •3. STUDIO MODIFIERS IN ACTION
- •Traditional Portraits
- •A Variety of Looks
- •Dramatic Lighting
- •From Portrait to Glamour
- •Hollywood Lighting
- •Old Hollywood Meets Contemporary
- •4. EXPERIMENTAL LIGHTING TECHNIQUES
- •White Balance Techniques
- •Lastolite Maxi
- •Studio Lights Outdoors
- •Another Style
- •5. HOT-SHOE FLASH MODIFIERS
- •An Imaginary Journey
- •Types of Modifiers
- •Sample Light-Modifier Effects
- •Exposure with Off-Camera Flash
- •6. LIGHTING OUTDOORS
- •Don’t Be Afraid to Improvise
- •Just One Light
- •Strive for Variety
- •Use Two Flashes
- •7. REFLECTORS
- •8. DRAMATIC PORTRAITS WITH SPECIALTY MODIFIERS
- •Snoots
- •The Ray Flash
- •Strive for Variety
- •9. USING MULTIPLE FLASHES
- •A Simple Bridal Portrait
- •Themes
- •Changing Modifiers
- •Telling a Story
- •When Mother Nature Doesn’t Cooperate
- •CONCLUSION
- •Resources
- •Index
STRIVE FOR VARIETY
The next series of photographs illustrates three different looks that can be created using minimal equipment. Working, again, with model Scott Wormser, we had a afternoon to create several different looks for his modeling portfolio— and as illustrations for this book. You already saw a series from this day (photographs 5-2 through 5-5), but my favorites from the entire day are shown here (and, incidentally, were the first of the day).
With much pressure, Jeff Cable (who was shooting with me) finally agreed to be my VOL (voice-activated light stand) and help with this series. Photograph 8-8 was a favorite; it was shot with available light. I really like the relaxed and confident expression on Scott’s face. The dark wall to Scott’s left acted as a natural gobo, creating a pleasant shadow on his left cheek.
In photograph 8-9, the available light from overhead created a strong edge light on Scott’s right cheek, adding dimension. To make this photo different, Scott was positioned close to a doorway that was completely black inside. I used the doorway and the dark interior as a makeshift gobo, ensuring that little or no reflected light would fall on Scott’s left side, creating shape in the image.
For the last image (photograph 8-10), an SB800 flash was fitted with a Sticky Filter warming gel and powered at one stop over the ambient light. This was bounced into a ProFusion light modifier. Jeff positioned this flash to camera right. Shooting in shutter priority mode, I underexposed the background by one stop. Because the natural light was bluish (relative to the warmed flash), the background recorded with cooler tones. I really like this image—it is powerful, yet pretty believable. The warm light seems to be coming either from the sun or from inside a room to the model’s left. Scott was amazed when he saw this photo and it became his favorite.
PHOTOGRAPH 8-8. SUBJECT: Scott Wormser. CAMERA: Nikon D300. SETTINGS: Shutter priority mode, 1/200 second, f/2.8, ISO 200.
PHOTOGRAPH 8-9. SUBJECT: Scott Wormser. CAMERA: Nikon D300. SETTINGS: Shutter priority mode, 1/200 second, f/2.8, ISO 200.
PHOTOGRAPH 8-10 (FACING PAGE). SUBJECT: Scott Wormser. CAMERA:
Nikon D300. SETTINGS: shutter priority mode, 1/250 second, f/2.8, ISO 200. LIGHTING: Gelled SB800.
102 THE DIGITAL PHOTOGRAPHER’S GUIDE TO LIGHT MODIFIERS
