I don’t like fooling around with small reflectors, so I have a 4x6-foot sil-
ver/white reflector on the side of each camera area. I adjust it for the amount
of fill I want with each client, because skin tone makes a huge difference in the
amount of fill needed. The choice of white or silver will also depend on the
amount of fill you want and the distance the reflector will be placed from the
subject. The beauty of using reflectors for fill is that what you see is what you
get—so go ahead and experiment to see what works best for you and your
clients.
Whether I use flash or reflected fill, I typically shoot portraits at about a 2:1
or 3:1 lighting ratio (this means the main light is 1.25 to 1.5 stops greater than
the fill). For images where corrective lighting is needed, to slim a heavy subject
for example, or where diffusion will be applied, I may shoot at 4:1 (with the
main light set two stops greater than the fill).
Main Light.
Distance to the Subject.To understand the main light, you have to understand
a few basics. First, the larger the light is in relation to the subject, the softer
(less contrasty) the light will appear; the smaller the light source is in relation
to the subject, the harder (more contrasty) the light will appear. What this
means is that, placed at equal distances from the subject, a large light source
(like a softbox) will produce softer light, while a small light source (like a spot
light) will produce harder light.
Note, however, the phrase “relative to the subject.” This means that eventhe
same sourcecan be made harder or softer depending on how it is placed in re-
lation to the subject. If a light source is placed close to the subject, it will be rel-
atively large in relation to the subject and produce softer light. If that same light
source is placed far from the subject, though, it will be relatively small in rela-
tion to the subject and produce harder light.
Height and Angle.You have two other important controls over any main-
light source you select: the height of the source and the angle of the source.
Both the height of the main light and the angle of the light in relation to the
subject (from the camera position) will determine the sculpting qualities on the
contours of the face.
The higher the light is placed, the more it contours the face from top to bot-
tom. However, the higher the light is placed, the less it will illuminate the eyes.
Once it reaches a certain height, there will no longer be appropriate catchlights
in each eye and dark circles will appear under the eyes.
The greater the angle of the light from the camera/fill-light position, the
more it contours the face from side to side. This also increases the shadowing
of the side of the face and the size and quality of the transition area from the
brightest part of the highlight to the darkest part of the shadow. Additionally,
as the angle of the light to the subject increases, the shadow on the side of
42 JEFF SMITH’S GUIDE TO HEAD AND SHOULDERS PORTRAIT PHOTOGRAPHYThe beauty of using
reflectors for fill is that
what you see is
what you get.