source. Scrims are often seen on large, portable frames
on movie sets. The frame is hoisted into position between
the light source and the set and tied off with ropes so that
the light is diffused and softened, giving a soft skylight
effect.
The same technique can be used with with still pho-
tography using large translucent panels, such as the West-
cott 6x8-foot panel. If the child is seated on the grass in
bright sun, the scrim can be held just overhead by two
assistants. The panel would be positioned so that the
child and the area just in front of and behind him/her is
affected. If shooting at child-height, the background
is unaffected by the use of the panel, but the lighting
on the child is soft and directional. Usually, the diffusion
panel softens the light so much that no fill source is
required.
Flash-Fill.In direct sunlight situations, set your flash
at the same exposure as the daylight. The daylight will
act as a background light and the flash, set to the same ex-
posure, will act as a main light. If your exposure is^1 / 500
second at f/8, for example, your flash output would be
set to produce an f/8 on the subject. Use the flash in a
reflector or diffuser of some type to focus the light. Po-
sition the flash to either side of the subject and elevate it
to produce good facial modeling. An assistant or light
stand will be called for in this lighting setup. If your
strobe has a modeling light, its effect will be negated by
the sunlight. Without a modeling light it’s a good idea to40 CHILDREN’S PORTRAIT PHOTOGRAPHY HANDBOOK
Fuzzy Duenkel uses a homemade reflector he calls the Fuzzyflector. It is basically two two-sided 4x4-foot rigid reflectors hinged in the
middle so that the unit will stand up by itself. Because there are four separate sides, they can produce four different levels of reflectivity.
A Mylar surface provides a very powerful reflector that can be aimed precisely to act as a main light in bright sun or an edge light from
behind the subject. A spray-painted silver surface provides an efficient, color-balanced fill-in at close range. A white surface provides a
softer fill, and a black surface can be used for subtractive effects. Here, the reflector was positioned close to Fuzzy’s senior subject and
bounces the warm backlight, softening it as if the light were coming from a softbox. A gobo is positioned above to keep direct sunlight
off the subject.