The digital photographer's guide to light modifiers : techniques for sculpting with light

2010·21.7 MB·English

by  Earnest, Allison

THE DIGITAL
PHOTOGRAPHER’S GUIDE TO
L M
ight odifiers
TECHNIQUES FOR SCULPTING WITH LIGHT®
ALLISON EARNEST
Amherst Media
®
PUBLISHERSOFPHOTOGRAPHYBOOKS
ABOUTTHECOVERPHOTO:Yourresponsibilityasaphotographeristobecreativeand
keepyourportraitsfreshandexciting.Isetouttocreatehigh-schoolseniorportraits
ofmyniecewhilevisitingheronCatalinaIsland,California.SinceIamquitefamiliar
withthearchitectureoftheisland,Ichosetocreateherportraitinfrontofabuilding
thatwouldaccentthecolorofheroutfit.Becauseitlookedlikerain,myson(andact-
ingassistant)Tylerbroughtalonganumbrella.Tyler,whowaseightyearsoldatthe
time,insistedthathiscousinholdtheumbrellaforoneshot—andthisistheresult.
The umbrella served as an interesting prop and a useful gobo, blocking the un-
wantedlighttothemodel’sright.Thiscreatedabeautifulsculpting/shadoweffect
onherfacialmask.IamsothankfulthatIlistenedtomyson,orthisimagewould
nothavebeencreated.AsingleSB800(poweredat–1/2stop)wasplacedtocreatea
Paramount (or butterfly) lighting pattern. A small Sunbounce mini zebra was then
addedatabout45degreestocameraleftandhighinrelationtothesubject,creating
aniceRembrandtlightpatternfill.Theconcretebelowbouncedabitofnaturallight
backupontoAubree’sface,fillingintheshadowsunderhereyes.SUBJECT:Aubree
Hunt.CAMERA:NikonD300,80–200mmf/2.8EDNikkorlens,Lexarmedia.SETTINGS:
AWB,manualmode,1/250second,f/6.3,ISO400.
Copyright©2011byAllisonEarnest.
Allrightsreserved.
Allphotographsbytheauthorunlessotherwisenoted.
SculptingwithLightisaregisteredtrademarkofAllisonEarnest.
Publishedby:
AmherstMedia,Inc.
P.O.Box586
Buffalo,N.Y.14226
Fax:[phone]
www.AmherstMedia.com
Publisher:CraigAlesse
SeniorEditor/ProductionManager:MichellePerkins
AssistantEditor:BarbaraA.Lynch-Johnt
EditorialAssistancefrom:SallyJarzab,JohnS.Loder,CharlesSchweizer
ISBN-13:978-1-60895-222-9
LibraryofCongressControlNumber:2010904510
PrintedinKorea.
10 9 8 7 6 5 4 3 2 1
Nopartofthispublicationmaybereproduced,stored,ortransmittedinanyformorbyanymeans,electronic,mechanical,pho-
tocopied,recordedorotherwise,withoutpriorwrittenconsentfromthepublisher.
NoticeofDisclaimer:Theinformationcontainedinthisbookisbasedontheauthor’sexperienceandopinions.Theauthorand
publisherwillnotbeheldliablefortheuseormisuseoftheinformationinthisbook.
CheckoutAmherstMedia’sblogsat:http://portrait-photographer.blogspot.com/
http://weddingphotographer-amherstmedia.blogspot.com/

TABLE OF CONTENTS
Dedication ...................................................6
AbouttheAuthor ..............................................7
Acknowledgments ..............................................8
INTRODUCTION ..............................................9
TheRoleofthePhotographer ....................................9
1.THEPHYSICSOFLIGHT ......................................12
PerceptionofLightasColor ....................................12
PrimaryandComplementaryColors ..............................13
HowWeSeeColorvs.HowtheCameraSeesColor ..13 2.STUDIOLIGHTMODIFIERS ...................27
TheHumanEye ...........................13 LightModifierEffects .........................29
TheCamera ...............................15 SIDEBAR:FieldsofLightforCommonModifiers ........35
Professionalvs.Amateur........................15 SIDEBAR:TranslucentScrims ......................37
QualitiesofLight ............................16
Color ....................................16 3.STUDIOMODIFIERSINACTION................40
SIDEBAR:HighKeyvs.LowKey ....................19 TraditionalPortraits ..........................41
Brightness ................................20 SIDEBAR:BeforetheSession ......................41
Contrast ..................................22 AVarietyofLooks ............................44
Specularityvs.Diffusion ......................22 DramaticLighting ............................46
SpecularLight ...........................24 FromPortraittoGlamour ......................48
Diffusedlight ............................24 HollywoodLighting ..........................51
SIDEBAR:MaintaintheExposure....................24 OldHollywoodMeetsContemporary .............53
Direction .................................26
TheInverseSquareLaw .......................26 4.EXPERIMENTALLIGHTINGTECHNIQUES .........55
WhiteBalanceTechniques ......................56
LastoliteMaxi ...............................58
StudioLightsOutdoors ........................60
AnotherStyle ...............................62
5.HOT-SHOEFLASHMODIFIERS .................64
AnImaginaryJourney .........................65
TypesofModifiers ............................71
SampleLight-ModifierEffects ...................72
ExposurewithOff-CameraFlash .................76
6.LIGHTINGOUTDOORS ......................79
CaliforniaSunbounce .........................80
Don’tBeAfraidtoImprovise ...................82
JustOneLight ..............................84
StriveforVariety .............................86
UseTwoFlashes .............................88
7.REFLECTORS ..............................92
8.DRAMATICPORTRAITS
WITHSPECIALTYMODIFIERS ...................96
Snoots .....................................97
TheRayFlash ...............................98
KeepingItSimple ............................99
StriveforVariety ............................102
9.USINGMULTIPLEFLASHES ..................................104
ASimpleBridalPortrait .......................................105
Themes ...................................................106
ChangingModifiers ..........................................108
TellingaStory ..............................................110
WhenMotherNatureDoesn’tCooperate .........................112
FourSquareModifier .........................................114
SIDEBAR:Line-of-SightFlashes ....................................116
CONCLUSION ..............................................118
Resources ..................................................120
Index .....................................................121
TABLEOFCONTENTS5
DEDICATION
This book is dedicated to my sister Deborah Lundsford, who passed this year.
From the first day I picked up a camera, some thirty years ago, Deb was always
my biggest fan. I miss you! And to my children, Stephanie and Tyler; without
their patience, this book would not have been written. Find your passion in life,
then follow through with compassion, integrity, and balance. You two are my
world.
ABOUT THE AUTHOR
Allison started her photography career over twenty-six years ago. Working as a
photographerforNASA,shedocumentedspaceshuttlelandingsandexperimental
aircraftatEdwardsAirForceBaseinCalifornia.Shealsoworkedasamedical/ad-
vertising photographer at Centinela Hospital, the hospital of the Lakers, Kings,
andDodgers.
ManyofAllison’sphotographshaveappearedinmagazinesandjournals.Two
ofherfashion/peopleimageswerenominated,twoyearsinarow,attheBlack&
WhiteSpiderawards.Currently,sheisaProContributorforLexarMedia.
AllisonholdsaBSinBusinessManagementfromtheUniversityofMaryland.
She is essentially a self-taught photographer and credits her success to countless
mentorswhohave,throughouttheyears,graciouslysharedtheirknowledgeand
talent.Shebelievesincontinuingeducationandiscurrentlyteachingphotography,
lighting,andpostproductionworkflowclassestoaspiringphotographers.
Inthelastfouryears,AllisonhaswrittennumerouseducationalarticlesforStu-
dioPhotographymagazine.Onesucharticle,“SculptingPeoplewithLight,”was
particularlywellreceived;basedonit,AmherstMediaaskedhertowriteherfirst
book,SculptingwithLight :TechniquesforPortraitPhotographers.
®
TolearnmoreaboutAllison,visitwww.allisonearnestphotography.com.
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ABOUTTHEAUTHOR7
ACKNOWLEDGMENTS
So many people come into and go out of our lives for many different reasons.
Dan and Dianne Hagmaier are two such people who came into my life a couple
yearsago—atjusttherighttime!Haditnotbeenfortheirunconditionalencour-
agement, countless hours of help, and generous support, this book would not
have been a reality. My heart-filled thanks to both of you. Thank you, Dan, for
thegraphicsonthesetscenesandtheset-scenephotosofShirley.
There are so many wonderful friends in my life that have always been there
through the good and bad. For their inspiration, support, and encouragement,
thanksgooutto:myfamily,ConnieandCarlNink,EileenandMarkDetka,Clay
Earnest,MarionCrocker,NickandPattyVedros,AliceMiller,HeatherterSteege,
Jeanne Brei, Jerry Ward, David Mecey, Jeff Johnson, Kevin and Clare Kubota,
PeterGellerofSunbounce,MarcandSharonGottula,AlénaWatters,IrenaMur-
phy, Michelle Lopez, Leslie Abeyta, Gabe G, Michael Johnson, Eric Seymour,
Esben,CarlSnider,ErikBeardandMarkKemper,ThePortraitLab,HenselGer-
many,PhilBradon,JoeAdams,ChrisandBrianCaplan,DougandKathyKopacz,
YvonneBecker-Merkle,PaulPerigrime,IlaReinstein,BradWalters,ShaunNink,
andCarmenFiumedreddo.ToKenCookandTonyCorbell,thankyouforyour
inspiring videos. A special thanks to my models and clients, who graciously al-
lowedmetocreatephotographsasillustrationsforthisbook.
Thank you to Bob Ray, Jeff Cable, Dave Black, Lynn Boutte, Tammy Awtry,
andDonJonesforcontributingamazingphotographs.Yourgenerosityandgiving
natureinthenameofeducatingphotographersisgreatlyappreciated.
Thanks to all the manufacturers and distributors who graciously contributed
theiramazingproductsforusethroughoutthebook.
A special thanks to Don Jones for creating an amazing author portrait. Don,
you inspire me to challenge myself photographically on a daily basis. (You are
amazing!)
Lastly, thanks to Amherst Media for believing in me enough to offer me con-
tinuedopportunitiestohelpinspireothersandfortheirdedicationtoeducating
presentandfuturephotographerseverywhere.
IfI’veneglectedtothankyoupersonally,knowthatyouareinmyheart.
8THEDIGITALPHOTOGRAPHER’SGUIDETOLIGHTMODIFIERS
INTRODUCTION
P
hotographyislightandcaneasilybedescribedas“writ- light.Myintentisnottoconfuseyoubyshowingthecount-
ingwithlight.”Justasanartistusesapaintbrushtocre- less modifiers on the market. My intent is to shed light on
ateapainting,aphotographeruseslighttocreateorrecord themostcommonlightmodifyingequipmentused,myper-
an image on his digital sensor or film. Incorporating light sonal favorites, and how they can affect your results by
modifiers into the lighting mix enables a photographer to changing the quality of the light within your photographs.
control their chosen light, thus creating a photograph that Then you, as the photographer, can decipher what “look”
showsdepthanddimensionwithauniquestyle. youlikeforyourparticularphotographyneeds.
Inmyfirstbook,SculptingwithLight :TechniquesforPor- Sometimes photographers, myself included, are inclined
®
traitPhotographers(alsofromAmherstMedia),youlearned togobacktowhatisfamiliar;whenweallowourselvestodo
howtoplaceyoursubjectsrelativetoyourlightsourceand this,however,ourartdoesn’tgrow,change,orbecomebet-
how and where to place your light to create pleasing por- ter.Formypart,writingthisbookhasforcedmetolookdif-
traits.Nowit’stimeforyoutolearnhowtocontrolthelight ferently at my photographs and my style of lighting. My
you have—whether it’s available light or artificial light. To hopeisthatitwillinspireyoutodothesame—thatyouwill
controlyourlight,itisessentialtobecomefamiliarwithlight gainamorecomprehensiveunderstandingoflightmodifiers
modifiers and the different qualities of light they produce. anddiscoverwaystorefineyourownstyleusingthem.
Onlywithlightmodifierswillyoubeabletotakecontrolof
your light and start creating a style—or, better yet, your THEROLEOFTHEPHOTOGRAPHER
style—ofphotography. With so many new photographers entering the market, it
Alightmodifier canbe describedas any apparatus thatis is imperative that you step up your photographic skills. No
placed on a light source, over a light source, or between a longer is it enough to just get a good exposure, to use one
light source and the subject to change the original look or lightinthestudio,ortoilluminateyoursubjectsusingdirect
quality of that light source. As an example, let’s imagine a on-camera flash. If you shoot in this manner, your photo-
scenario in which the sun is our primary light source. On a graphs will look just like those produced by amateurs who
sunny day, the light illuminating our subject is quite harsh. merely “take” (or “snap”) pictures. Back in the film days,
Whenthecloudscomein,theyactasalightmodifier,chang- the primary differentiation between professionals and ama-
ingthelightqualityfromharshtosoftanddiffused.Canyou teurswastheequipmentusedanduseoflightingtechniques.
seewhyusingmodifiersisessential? Today, it is very common to find yourself shooting a wed-
There are many different light modifiers on the market. dingusingexactlythesameequipmentastheguestsattend-
Some are better than others, but all perform essentially the ing the wedding. Whether you are a seasoned professional
same task:they change the light’s quality. Light modifiers whohasbecomecomplacentoranamateurwithaspirations
areaphotographer’spaintbrush.Theyassistyouincontrol- of making a living as a professional photographer, you owe
lingnotonlytheamountoflight,butthequalityofthelight it to yourself—and to your clients—to make photographs,
illuminatingyoursubjects. nottakephotographs.
Each of the different light modifiers for studios and on- A professional photographer makes photographs that
cameraflashunitshasitsowndistinctpurposewithregardto show depth and dimension—images that are three-dimen-
INTRODUCTION9