for the face and not the background of illuminated cur-
tains. In some cases, the difference in exposure can be up
to three stops.
Diffusing Window Light.If you find a nice location
for a portrait but the light coming through the windows
is direct sunlight, you can diffuse the window light by
taping some acetate diffusing material to the window
frame. Some photographers carry translucent plastic
shower curtains with them just for this purpose. If the
light is still too harsh, try doubling the thickness of the
diffusion material.
A tool made specifically for diffusing window light is
a translucent lighting panel, such as the 6x8-foot one
made by Westcott. It is collapsible for portability but be-
comes rigid when extended and can be leaned into a win-
dow sill to create beautifully diffused light.
Light diffused in this manner has the warm feeling of
sunlight but without the harsh shadows. Since this dif-
fused light is so scattered, you may not need a fill
source—unless working with a group of children. In that
case, use reflectors to kick light back into the faces of
those farthest from the window.
Fill Light.You can set up a white or silver card oppo-
site the window and, depending on the distance to the
window, the reflector may provide enough illumination
on its own for adequate fill. If not, consider using bounce
flash. While bounce flash may not be great as a primary
light source for making children’s portraits, it is an ideal
light source to supplement primary light sources, such as
window light.
TTL flash metering systems read bounce flash very ac-
curately, but factors such as ceiling distance, color and
absorption qualities can affect exposure. Although no ex-
posure compensation is needed with these systems, oper-
ating distances will be reduced in bounce mode. Most
camera-mounted flash units will also swivel so that you
can bounce the flash off a side wall or even a reflector.
These are ideal, since they will balance with your ambient
light to provide the desired amount of fill-in.
In practice, meter the window light first and then set
the bounce flash to produce^1 / 3 to 1 full f-stop less than
the ambient-light reading. A test shot, verified on your
camera’s LCD screen, is the way to check that the bounce
flash is effectively filling in the shadows.46 CHILDREN’S PORTRAIT PHOTOGRAPHY HANDBOOK
LEFT—Fernando Basurto captured this priceless window-lit por-
trait of young Rufus at one of his weddings. You can see the square
catchlights of the window in the subject’s eyes. Even though Fer-
nando moved the child back from the window, which makes the
light less diffuse, the lighting effect is still pleasing. In the printing
of this image, the left side of Rufus’s face was slightly darkened, as
was his ear on that side, which was getting too much direct light
from the window. This provided good evenness, allowing you to
focus on his eyes, which are the centerpiece of this portrait.
FACING PAGE—Sometimes Fran Reisner will use only the forward-
most bank of windows in her available light studio. Here she used
the closest window and no fill to create a little stronger lighting
ratio than she normally uses. Note the other portrait from this set
in this chapter—she simply moves in new furniture and props and
has an entirely new set to work with her child subjects.