then I would utilize a medium Chimera Super Pro
Plus softbox, a compromise between a small and
large light modifier or final light source.
Having an understanding of light fundamentals
will help any photographer choose the appropriate
light modifier on the fly. It will help them know
what to pack in their equipment cases when travel-
ing to locations or assignments away from the stu-
dio. It will also help them to decide what to bring
as a backup modifier in case their prime choice
modifier will not work as planned.
As an example, if I have to travel to a forty-eight
year old’s private glamour subject’s residence for the
shoot, I’ll instinctively bring a large, Chimera Super
Pro Plus softbox. If I am not familiar with the loca-
tion, I will also bring a medium Chimera Super Plus
Pro softbox as a backup, just in case the location has
8-foot ceilings. As another example, if I arrive at the
location and the client wants me to photograph her
by the pool (outdoors), I’ll bring a portable battery
system. I will also consider bringing a beauty dish or
small light modifier that provides a smaller foot-
print, especially on a windy day.
I’ll consider how much power output I will lose
using a larger softbox over a medium softbox too. Since most softboxes have
inner baffles that reduce the power output (the baffles help evenly distribute
the light rays and prevent hot spots from the box front itself), I must realize
that a large softbox will not help me overpower the sun with flash, so I’ll attach
a 22-inch beauty dish. Not to mention, I can place a full gel sheet over a 22-
inch beauty dish to create dramatic skies using the white balance and gel com-
binations described in the previous chapter.
Choosing the right light modifiers is not only about finding the tool that
will help us create the right look in the overall image, but how the light will
impact our subject’s skin, such as reproducing smooth skin in an image versus
a rough or porous look. Save the smaller light modifiers for photographing
male subjects, as the light is harsher when it’s more specular. Sometimes we
must consider how the working conditions—combined with our subject—will
impact our decisions. With a little bit of knowledge and experience, it should
be easy to arrive at the right solution for the right lighting.
84 LIGHTING FOR GLAMOUR PHOTOGRAPHY
FACING PAGE—Playboy model Laura F. was photographed at one
of my workshops in Atlanta. She was illuminated with several
studio strobes, including one for the hair, from camera right,
that was fitted with a 7-inch metal reflector and a 10-degree
grid. The main light was a Chimera Super Pro Plus medium
strip box. Postproduction of this image was done with Nik Soft-
ware’s Dynamic Skin Softener filter first, followed by the Bleach
Bypass filter. (CAMERA:Olympus E-1. SETTINGS:140mm effective
focal length,^1 / 100 second shutter at f/5.6, white balance at
6000K, ISO 100)