FACING PAGE—Elizabeth Homan’s studio features diffused daylight
from a large picture window. Elizabeth created a portrait of the
tiny dancer within the portrait by having the girl hold the frame,
thus creating a unique composition within the composition. No
fill-in was used in order to produce a dramatic fall off of light on
the shadow side.
RIGHT—In this image, most of the lighting refinements and intense
coloration were done in Photoshop by the photographer, Kersti
Malvre. The result appears natural, as if this were a found scene
with lovely lighting, which was not the case.
BELOW—Fran Reisner’s studio is built around harnessing available
light. Large windows and glass double doors admit lots of light
and, because it all comes from one direction, she uses large white
unlit softboxes as reflectors. Sometimes she will power the soft-
boxes down and use them for a barely noticeable fill, but most
often she uses them with the lights extinguished as mobile fill cards.