the hand positions), it was the model’s favorite image from this series. To fin-
ish it, the image was cleaned up in Photoshop and the edges were darkened
slightly to direct the viewer’s eyes to the model’s face.
Practical Example: Natural Reflectors.Image5-9was taken with the
late afternoon sun reflecting off a building and onto the model at an indus-
trial park. The gray background was another building in the complex. Be-
cause I used a long lens, a 300mm Nikkor, and shot with the aperture wide
open, the building in the background went out of focus just enough to look
like the horizon line on a beach. Keep your eyes open for great natural re-
flectors in your environment—and when you see them, note the time of day
to shoot there. These can be simple, beautiful light sources.Gobos.
Sometimes, instead of adding light, you’ll need to remove light from a cer-
tain part of the photograph. A good solution is to use a device called a gobo
(or flag), which is a light-blocking device that can be attached to a light stand
or held by an assistant. While gobos come in a variety of colors, I prefer solid
black because this absorbs the most light. In outdoor photography, a gobo is
oftenusedtoblockoverheadlightfromcreatingdarkshadowsonthemodel’s
eyes. Gobos can also be used to block light from a background, to create
shadows on the model’s face or body, or to prevent light sources from creat-
ing lens flare.
For another effect, you can also direct your background light through a
gobowitha patternedcutouttocastshadows onthe background.(Note:The
originoftheterm“gobo” isunknown,butmostconsideritshortfor“go-be-
tween.” IfyouareworkingwithaJapanese client,however,note that“gobo”
is also a popular Japanese vegetable—often served steamed!)
Practical Example: Gobos to Control Accent Lighting.Image5-10
(next page) was created as a promotional piece for a vintage clothing store
called The Attic. It needed to be eyecatching and it had to showcase the se-
lectedaccessories—along withthe model. The client,anafficionadoof 1930s
pinup images, wanted a photo in which the model looked like a free-spirited
person—an image with old-fashioned charm and a modern twist. To achieve
this we paired the unique setting (the store itself) and vintage props with a
model who had a current look—hence the tattoos and piercings.
As you can see in the diagram, the main light was a softbox placed to cam-
era right. Strobe heads, each fitted with a 7-inch parabolic reflector (see page
76), were placed to either side of the model to create accent lighting on the
sides of her body, separating her from the dark background. To prevent these
parabolics from spilling unwanted light back toward the camera and the fore-
ground, gobos were attached to light stands flanking the model. These black
cards ensured that light was placed only where it was wanted.
LIGHT MODIFIERS 735-9(facingpage).Natural reflectors, like
the late-day light reflected off a build-
ing, can be very flattering light sources.
It needed to be
eyecatching and
showcase the selected
accessories...