not useful for glamour work. Personally, I like to use white small or medium
softboxes. When I need to use a large softbox, I go with one that has a silver
interior, as the metallic lining helps to amplify the light. Smaller silver softboxes
tend to give off a more contrasty light, while larger sizes help offset the
contrast.
I prefer the more controlled light that comes from a softbox to the light
from an umbrella, which scatters everywhere. I like to have my lighting under
control at all times so I know what it will do for me.
The key to getting great light from a softbox lies in understanding what
each box will do for you. The larger the box, the sweeter or more forgiving
the light will be to your subject, provided you do not place the softbox too far
away from your subject. As a general rule, bring your softbox in to a close but
comfortable distance from your subject, ensuring it is outside of the frame of
the camera’s view.
Metal Grids, Louvers, and Honeycombs.If you are looking for a soft
light and soft shadows and want to render your subject’s skin as smooth as
possible but require more control than a softbox offers, consider modifying
your light.
Metal Grids. If you take the softbox out of the equation and add a grid—
a metal modifier with intersecting vertical and horizontal strips—on your light
source, you will produce more directional light. Most grids come in 7-inch di-
ameters. They are rated in degrees (10, 20, 30, and 40). (Note:You can specialLIGHT MODIFIERS 91Sometimes, I will photograph a
model in a more relaxed pose—as
here, with Candice in her flannel pa-
jama bottoms and lacy top. She was
illuminated using two Hensel Integra
500 Pro Plus moonlights. The main
light was a medium Chimera Super
Pro Plus softbox. The second light,
to her right, was fitted with a 7-inch
metal reflector with a 10-degree grid
to provide a kiss of light on her
black hair. (CAMERA:Canon EOS 5D
Mark II fitted with a Canon 85mm
f/1.2L USM lens. SETTINGS: 85mm ef-
fective focal length,^1 / 200 second shut-
ter speed, f/5.6, white balance at
6000K, ISO 100)