![]() We try our best to reflect the accurate stock level on our website but you may email us at or call us at 03-9417 1182 to check whether the item is in stock and request the fastest shipping option available. We aim to ship within 24Hrs in our working days for all in-stock items. Now we will talk about the other lights in that arrangement.All on-line orders will be sent to you by Australia Post nation wide (* Due to Parcel length and weight limitation, odd shaped items will be delivered by Pack & Send Courier Service ). More complex portrait lighting arrangement. 8.19 In making this picture, we used a background light to separate the subject's head and shoulders from the background. Although some photographers use fewer lights and others use more, this arrangement is common. Figure 8.18 shows where we placed the reflector in aĨ.18 A main light, reflector fill, plus other common portrait lights. The effect is subtle and few viewers will notice it consciously still, they are more likely to believe it is an outdoor portrait.īecause we personally prefer the reflector to the earlier strobe fill, we will keep it in place for all of the subsequent photographs. A pale-blue reflector cools the shadow color enough to look more like that in an outdoor photograph. ![]() Using exactly the opposite approach can make a studio portrait resemble daylight. Using a gold reflector warms the shadow, thus eliminating the blue and producing a more neutral color. ![]() In a daylight portrait, for example, the sun is usually the main light and, without reflectors, the open sky is the fill. At times they are useful for either adding or subtracting shadow color. When shooting in color, you may also want to experiment with colored reflector cards. A large silver reflector fill can be a soft source only if the main light is also soft. Remember, however, that the choice of reflector surface also depends on the size of the main light. If we had wanted more light on the subject, we could have used a silver reflector. In our example, we used a white reflector card. Different reflector surfaces reflect different amounts of light. Turning it more to the main light reflects more light in a direction away from the subject. Turning it more to the subject reduces the intensity of the light falling on it. A reflector card illuminates the subject most when it faces an angle between the subject and the main light. The closer the reflector is to the subject, the brighter the fill light becomes. The reflector distance from the subject.The amount of fill light a reflector provides is determined by numerous factors, including the following: 8.17 In this photograph, light from the main light bounced off a reflector to the face of the subject to fill some of the shadows. The reflector also has to be moved back to get it out of camera range. This is especially likely when we move the camera back to include more than the head and shoulders. The only common problem with a reflector fill is that it may not be bright enough to suit some photographers' preferences. We could, of course, have used a fill light as large as the reflector card to produce the same result. This is because the reflector card is much larger than the fill light used earlier. The shadow is still present, but it is softer. Notice that the dark shadow we saw under the chin in Figure 8.15 has been greatly reduced by the reflector card. The reflector fill is dimmer, but the two pictures are more alike than different. However, it is useful to compare its effect with that of the additional lamp in Figure 8.15. Because the reflector is illuminated by the main light, it has no effect by itself. We would like to show you the effect of the reflector fill card alone, but this is impossible. Uses a main light position similar to that in previous photographs, but now a white reflector card has been added to provide fill light. The small light, near the camera, produces hard shadows, but they fall mostly behind the subject, where the camera cannot see them. Bouncing one light into an umbrella produces softer lighting. Figure 8.17Ĩ.16 Two fill light alternatives. ![]() One of the simplest and least expensive ways of brightening dark shadows is to use reflector cards to bounce light coming from the main light onto the face of the subject.
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