that is usually considered more flattering for portraits—
especially of children.
Distance to Subject.When used close to a subject,
however, even a small light source can produce a softer
effect with more open shadows than when the same light
is used at a distance. Conversely, a large light that is
placed at a distance can begin to produce a more specu-
lar quality of light, despite its inherent size.
Diffusedvs.Undiffused Light.Undiffused light, like
that produced by a parabolic reflector, is sharp and spec-
ular in nature. It produces crisp highlights with a definite
line of demarcation at the shadow edge. These light
sources take a great deal of practice to use well, which is
probably why they are not used too much anymore—and
especially why they are not used for kids’ portraits.
Diffused light sources—softboxes, umbrellas, and strip
lights—are much simpler to use because they scatter the
outgoing beams of light as they pass through the diffu-
sion material. This bathes the subject in light that is softer
and significantly less intense. This makes it a good choice
for lighting children’s portraits. These bigger light
sources also tend to spread the light over a wider area,
which is ideal for small, squirmy subjects who can change
positions frequently and quickly.
An additional advantage of using diffused light is that,
often, you don’t need a separate fill light; the highlights
tend to “wrap around” the contours of the face. If any fill
source is needed, a reflector will usually do the job.
A single softbox will produce beautiful soft-edged
light, ideal for illuminating little faces. Softboxes are
highly diffused and may even be double-diffused with the
addition of a second scrim over the lighting surface. In
addition, some softbox units accept multiple strobe heads
for additional lighting power and intensity.
Umbrellas, including the shoot-through type, can be
used similarly and are a lot easier to take on location than
softboxes, which have to be assembled and placed on
sturdy light stands with boom arms. Photographic um-
brellas are either white or silver. A silver-lined umbrella
produces a more specular, direct light than does a matte
white umbrella. It will also produce wonderful specular28 CHILDREN’S PORTRAIT PHOTOGRAPHY HANDBOOK
TOP—The proximity and size of the light controls its softness. Here
Kevin Jairaj used a very large softbox close to the baby and silver
reflectors on the floor beneath the set. The light still has dimension
and creates a pleasant cross lighting pattern because it is positioned
to the side and almost behind the child. The child is delighted by
whatever sound Kevin is making.
BOTTOM—Here is a delightful two-light portrait by David Bentley.
The main light, a large softbox, is to camera right, and a less pow-
erful softbox is used just on the other side of the camera and close
to the camera/subject axis. The lighting ratio is a very pleasing
3:1. A similar effect can be achieved with a single soft light and a
large reflector.