shield the lens—although this is difficult, since I normally need both hands
to work the camera. I have directed assistants to hold a reflector as a shield,
or you can use a commercial lens hood. I prefer, in most instances, to use a
gobo to make sure no extraneous light hits the lens.
Some types of flare, however, can actually enhance the photo, adding a
creative, innovative touch. It can add a little something extra to your images
when used judiciously. When working with a fashion client that you think
might appreciate this, shoot with correct exposures first, then remove the
gobo and experiment with lens flare to create a bit of drama. Sometimes the
client will really enjoy this unexpected option.
Lens flare can also be produced in the studio for creative effect—or even
added in postproduction. The model in image7-29(next page) wanted a
high-impact photo for his portfolio. His session was originally scheduled as a
CREATIVE TECHNIQUES 1137-27(left).The lighting was improved simply by adding a
gobo to block stray light from hitting the lens, thus prevent-
ing flare.
7-28(right).This is the final image after Photoshop enhance-
ment. With backlight on the model, a gobo and reflector were
used to finesse the lighting. Notice the rim lighting that sep-
arates her from the background.