nose and chin were not too dark, a reflector was placed in front of the model
on the table at which she was seated.Colored Gels.
Another light modifier to keep in mind when photographing models is col-
ored gels that can be affixed to your light sources. These can totally change
thefeelofanimage.Inimage5-19,forexample,I usedacoloredgeloverthe
7-inch parabolic that lit the background, making the old warehouse look
more interesting. In this case, the model’s outfit dictated the color of the gel
Iselected.Ilitthemodelevenlywitha24x32-inchsoftboxandplacedagobo
so very little of the pink light reached her. You’ll note hints of pink on the
edges of her body, but the rest of her skin tones are natural and realistic.
(Hint:Keep the model as far from the background as possible. It is critical to
separate the light on the background from the light on the model. You need
to maintain independent control of each. Most photographers put the model
too close to the background, losing control of the separation of light.)camera on tripod24x32-inch softboxes flanking
set at an elevation of 4 feetumbrellasflanking set
to light backdrop
table withsilver reflector
on top12-x16-inchsoft box at
elevation of6 feet; angled
down overmodel's head5-18(facingpage).Crosslighting from
two softboxes helped create this fresh
and wildly colorful look.
5-19(right).Adding a pink gel on the
background light made the warehouse
setting look much more interesting.
camera on tripodwarehouse space
bare strobe headwith colored gel
at elevation of3 feetblack posterboard as gobo
softboxmain light