for lightening shadows in portraits, still lifes, and other subjects. The foil side reflects
a more brilliant, harder light.
A floodlight or flash can also be used for fill lighting. A light source used as a fill is
generally placed close to the lens so that any secondary shadows will not be visible.
The fill is usually not intended to eliminate the shadow altogether, so it is normally
of less intensity than the main light. It can have lower output than the main light, it
can be placed farther away from the subject, or have a translucent diffusing screen
placed in front of it.
A black “reflector” is useful at times. It is a sort of anti-fill that absorbs light and
prevents it from reaching the subject. If you want to darken a shadow, a black cloth
or card placed on the opposite side of the subject from the main light will remove fill
light by absorbing light from the main light.The Absolute Minimum
■ Proper lighting is an acquired skill that can only be learned by trial and
error. Rent strobes and experiment, or just go to the hardware store and buy
two halogen lamps. Whatever you do, keep these tips in mind:
■ When two strobes are used to illuminate a subject, they need to be different
strengths or different distances from the subject. Different intensities create
shadows and depth, avoiding the washed-out, flat look common with on-
camera flash.
■ Side lighting is preferable for photographing men or masculine-looking shots.
Butterfly lighting is preferable for women’s portraits.
■ Experiment with unusual forms of lighting. Combine colored gels, a balance
of strobes with ambient light, and under-lighting or side-lighting to differenti-
ate your images.
■ Always bring a large reflector with you on photo shoots. It can be something
as simple as a car windshield blind or a large piece of crumpled aluminum
foil. Reflectors often are the best form of fill light, and fortunately are inex-
pensive.CHAPTER 21 LIGHTING 321