Large scrims can be placed between the subject and direct sunlight to soften
the look of the lighting. Scrims can also be used in window frames to soften
the sunlight. In the studio, portable scrims can also be placed between the
subject and a studio light. Commercially made scrims are available in a vari-
ety of sizes, but something as simple as a white shower curtain can also be
used as a scrim.
Barebulb Lighting.
Moving along to devices designed to work on studio light sources, the sim-
plest light modifier you can use is none at all—the bare flash head. From this
undirected source, light scatters in every direction. Some photographers use
a barebulb flash as a background light directly behind the subject. Because of
its crisp quality, it also works for fill light in combination with sunlight. Ad-
ditionally, barebulb heads are used inside softboxes so that the maximum
spray of light fills the diffusing device.
Parabolics.
Parabolics are simple metal dishes, in a variety of sizes, that are used to direct
the light from a bare flash bulb. Often called “pans” because of their shape,
these mount to the perimeter of the light housing. Parabolics create hard
lighting that is bright in the center but loses intensity toward the edges. Ad-
justing the light to use the softer edge (a practice called feathering the light)
helps create a more gentle effect when using these light sources.
In classic Hollywood photography, everything was lit with parabolics that
hadpolishedsilverinteriors;theseprovidedthelightintensity neededtowork
with very slow film. Today, some parabolics have a brushed silver surface or
a faceted texture on the interior to help diffuse the light. Parabolics, espe-
cially wide-angle ones, are often used to focus light into an umbrella, as well
as to shoot into flats or scrims. The farther the light is placed from the re-
flector/scrim, the softer the resulting light will be.
Practical Example: Backlighting with Parabolics.This reflected image
(5-14), created for the dancer, was shot in the studio. The main light was a
24x32-inch softbox placed to camera left.
I wanted to shoot the model with hard edge light on one side. To do this,
I placed a 7-inch parabolic (with a diffuser; see page 78) behind her to cam-
era left. This was pointed at an angle back toward the camera. The strobe
from this backlight was set one stop hotter (brighter) than the main light; if
thesettingwere any lower youwouldnotnotice the light.This higher setting
also separated her from the background and highlighted the translucent fab-
ric around her. Additionally, it created a shadow in front of the subject that
helped to enhance the reflection effect that was later applied in Photoshop.
(Note:Often I use colored gels with this style of lighting, but we knew this
76 LIGHTING TECHNIQUES FOR PHOTOGRAPHING MODEL PORTFOLIOS
5-13.Light panels feature translucent
scrims and reflective panels that can be
used in combination.In classic Hollywood
photography,
everything was lit with
parabolics...