E.L.. Shapiro Loc: Ottawa, Ontario Canada

Multiple Lighting Techniques fro Wedding Photographers- Part 7.

Choosing Light Modifiers. Nowadays, selecting the light modifiers that are best suited for your individualized requirements can be a formidable task. The selection out there in the photo equipment marketplace is probably in the hundreds of models, types and sizes. Understanding how each of theses devices work, what they do and what they don't do will make you a much more savvy buyer and user.

Since we are mainly discussing the usage of electronic flash equipment, the only completely unmodified light source is the bare flash tube. Even the simple built in or interchangeable rectangular or parabolic reflector that is supplied with your flash unit or Speedlight is a modifier in that they reflect, redirect, shape and spread the light over a specific angel of coverage. Theses reflectors also effect the quality of the light. If you use other types of photographic lighting such as tungsten, quartz halogen, LED or any other source of continuous lighting, the same theories apply

METALLIC PARABOLIC REFLECTORS come in a wide variety of sizes, configurations, depths and reflective surfaces. The relative size, relationship to the position of the flash tube, and the width and depth of the reflector determines its angle of coverage. The finish of the reflective surface influences reflective properties as to efficiency and quality. Reflective surfaces can be matte white (titanium paint), matte finish spun aluminum, a more lustrous smooth, crinkled or textured finish and a highly polished surface. Wide and moderately shallow reflectors are design for even coverage which are especially useful with wide angle lenses. Highly polished very shallow (long throw) reflectors are designed for use with telephone lenses.

Parabolic reflectors, oftentimes are the time honored choice of traditional portrait photographer because the are especially suite for a technique known as FEATHERING. The bean of light usually emitted for theses reflector configurations have two major components. The CENTER of the beam is oftentimes called the HOT SPOT. The EDGE of the beam is of less intensity. FEATHERING is lighting the subject with the edge of the beam rather than the center or hot spot. This results in more even lightning across the facial features and body of portrait subjects, better rendition of texture in skin tones and fabrics, enhanced separation of diffuse and specular highlights and feathering also facilitates a number of other aesthetic controls. Depending on the desired effect, the light can be rotated laterally or vertically, The degree of softness/hardness is primarily governed by the relative size reflector to the size of this subject and the proximity of the light to the subject. Generally speaking, the use of parabolic reflectors require more precise lighting technique, as to placement, than is required when larger modifiers are employed. For even more precise lighting control, parabolic reflector are fitted with “barn doors”, hinged flaps that block or narrow part of the beam. Grids can be attached to simulate a spot-light effect Simple diffusers can be used to somewhat soften the beam. Parabolic reflectors are often used in conjunction with a wide variety of modifiers as part pf the primary light source.

PARABOLIC UMBRELLAS are probably the most widely used and oldest type of light modifier. The are available in an enumerable variety of styles, sizes, reflective surfaces, specialized fabric types and configurations. They have some of the basic properties of their metallic counterparts but they are most often used as a reflector in conjunction with a smaller parabolic reflector equipped lamp head or a Speedlight which provides the primary light source. The most common types look exactly like ordinary round rain umbrellas made of white translucent fabric stretched on a collapsible parasol frame. Other popular fabrics are assorted varieties of “silver” Lamé-like (metallic cloth) materials of in a wide rang of surfaces and textures with varying degrees of reflective properties, Theses degrees are sometimes called matte, medium and super silver. There are gold fabrics for warmer color rendition and blue materials which are used to help match tungsten light sources with daylight white balances. Some umbrellas are made of plastics and other synthetics with a reflective surface on the inside and a black opaque backing or a separate black layer to prevent light from striking the lens we the camera is position behind an umbrella light.

Some photographer like to allow light to “shoot through” a translucent umbrella, thereby using it as a simple diffuser. Using the umbreall as a reflector, however, has many more technical and aesthetic advantages. Because of it parabolic shape, although there is no “hot-spot” in most cases,
a certain degree of feathering can be employed, especially with the metallic fabrics. Diverse degrees of softness and hardness can be obtained by moving the primary light sources to different distances from the reflective surface. Many lamp heads and light stands are equipped with adapter clamps that enable sturdy mounting and quick movement the umbrella shaft back and forth to the desired distance. My basic starting point, when using a lamp head with a modeling light, is to place the lamp head at a point where the beam of light fills the entire diameter of the umbrella fabric- no more and no less. As the lamp head is moved in closer to the surface, the resulting reflected beam becomes slightly more concentrated. When using Speedlights or other flash units without modeling lamps, you can improvise a modeling lame by mounting a conscious light source, as close a possible to the Speedlght or by conducting a series of test to determine an proximate configuration.

Many classical and contemporary portrait lighting forms can be accomplished with umbrella lighting. It is always best to place the lights precisely by observing their effect on the subject's faces, however, with softer indirect lighting, in general, slight “mistakes” in lighting forms will not be as conspicuous as the would be with direct parabolic lighting equipment. This is especially helpful at weddings where time can be limited, one must work very quickly on the fly and sill be able to provide soft, even flattering dimensional lighting. Umbrellas are great for lighting small and large groups as well as individual portraits. The tend to be more portable and transportable that soft boxes and “beauty dishes”. Utilized and configured in certain ways, they can kinda “double” as a soft-boxes. I will go into that later. For portraiture, I don't recommend anything larger that a 36” umbrella. If find that giant umbrellas “flood” the subject with too much soft light- I prefer a little more contrast and a bit of fall off at the edges to enable feathering and proved a natural vignette for low key portraits.

The same rules apply to umbrellas as far as distances are concerned. The softest effect still require relatively close distances. An umbrella light at 15 or 20 feet away from the subjects begins to approach the effect of a regular parabolic reflect at closer distances.

Besides more or less “standard” photographic umbrellas, there are many other lighting modifiers and reflectors that are built around umbrella-like frames, mainly in that the are collapsible and made of similar materials. Some are flat or semi flat, square, or oblong and many are soft box-like configurations. Each of theses designs have their own distinctive effects, however, they don't necessarily have the same characteristics as unadulterated PARABOLIC umbrellas.

SOFT BOXES: Theses modifiers likewise come in dozens of different sizes, styles and permutations. There are very large square and rectangular models and those with very slim linear forms that are more suitable for various commercial applications, however, the small to medium (24-36 inches) size square and oblong models work best for portraiture and wedding photography. Anything larger may be too cumbersome and perhaps a bit “too soft” like those giant umbrellas I previously mentioned.

Many experienced wedding photographers like to use WINDOW LIGHT, that is soft NORTH LIGHT (not direct sunlight) light from a window for their formal and casual portraiture. When available, this kind of lighting has many advantages. Unlike skylight, out of doors, the window's structure and sometimes draperies or shades, act as large “barn doors” or gobos (light blockers or shapers) which is a more defined and somewhat more controllable form of lighting. The method is to place the subject into the desired lighting pattern because, obviously, the light source can not be moved. A simple “silver” reflector provides fill light. The subdued nature of the light enables wider apertures for good “bokeh” and selective focus techniques. Natural or portable backgrounds can be employed. In most cases, the wide itself is not shown in the image- it is strictly the light source. If the widow has decorative of compositional value, it can be included. Of course, this kind of lighting is not always available in terms of the location's exposure to this kind of skylight and it is also time and weather dependent.
The SOFT BOX gain popularity, especially among wedding photographer. As PORTABLE WINDOW LIGHTING 24/7 regardless of the weather.

Like their umbrella counterparts, all soft boxes and NOT created equally. The basic concept, like with umbrellas, the primary light source is bounced of the inner surface of the soft box, however, the light is more confined to the inside of the structure. Further softening is effected by one or two SCRIMS of cloth diffuses within or at the front of the box. Seems simple enough, however again, there are many variations all of which determine the net effect at any given size relationship and distance. There are differences in the reflective material inside the box usually white, matte silver. or “super” silver. The may be one or two scrims and their distance form the back and the sides of the box also influence the effect. The biggest difference is the way the primary light source is configured within the box. Oftentimes, the lamp head, equipped with a small or medium sized parabolic or “pan” reflector is directed toward the back of the box, much like an umbrella is used. In some models a bare bulb is used where the light strikes the back and all the in-sides of the box and in other systems the flash tube is frontally situated on a lamp head or mono light, backed up with a shallow reflector- some of the light is bounced off the back and the in-sides of the box and some of the light passes directly through the scrim(s). Some systems use flash tubes with clear OR alternatively with frosted envelopes. Where helical coiled flash tubes are used, most of the light radiates from the sides of the tube than from the front or top of the tube, therefore, the orientation AND the position of the tube factors in as well. Most primary light sources such as mono-lights and lamp heads powered by external power packs, are equipped with concentrically position modeling lamps which enable accurate assessment of the light quality and aesthetic positioning. Some models can be fitted with barn doors or grids for additional beam control and light shaping.

Soft boxes are available in various materials and structural designs; collapsible umbrella-like frames with cloth housings, systems using a face plate and rods, and collapsible, folding and per-assembled one piece units. In selecting the best soft box for your working methods should then be based on physical properties as to portability and fast set up and take down and of course, the aesthetics of the light output.

By analyzing the various soft-box components, you can determine which model will best serve your requirements. The first consideration should be the type of flash equipment you own or contemplate purchasing and how to facilitate the adaption of the soft box. In any given size, the degree of softness or diffusion will depend on the how much indirectness and/or diffusion takes place as opposed to how much raw light strikes the subject. As an example; A vertically oriented BARE flash tube is placed in the center of a soft-box housing- some of the light will strike the back and sides of the interior and some of the light will move directly out toward the subject. If the flash tube was backed up by a pan or small parabolic reflector, and aimed directly toward the back of the box, less raw light would move forward, therefore the latter configuration would yield softer light than the former. If the front scrim or diffusion panel were removed the light would be harder than if it were left in place. The addition of a second interior scrim would soften the beam somewhat more. The reflective properties of the material inside the box also influences the quality of the resulting beam.

Next edition we'ill talk about beauty dishes and other HYBRID types of modifiers.

Regards, Ed

(Download)