check the lighting with test frame and view the results on
the LCD.
Overhead Light.
Out in the open, mid-day sunlight has an overhead na-
ture that can cause “raccoon eyes”—deep shadows in the
eye sockets and under the nose and lower lip. The effects
are also visible on cloudy days, although they can be
tricky to see.
Blocking Overhead Light.The best light for portrai-
ture is found in or near a clearing in the woods, where tall
trees provide an overhang above the subjects, thus block-
ing the overhead light. In a clearing, diffused light filters
in from the sides, producing better modeling on the face.
Man-made overhangs, like porches, can produce the
same effect. You can also make your own overhang by
having an assistant hold a gobo (an opaque or black re-
flector) over the child’s head. This will block the over-
head light, allowing light to come in from the sides.
Filling Overhead Light.If shooting under these cir-
cumstances, you must fill in the daylight with a reflector
or flash. The fill will determine the three-dimensionality
of the rendering of the face(s) and effectively control “the
personality” of the lighting.
Reflectors.Whenever shooting outdoors, it is a good
idea to carry along a large portable reflector—the larger
it is, the more effective it will be. Portable light discs, re-
flectors made of fabric mounted on a flexible and collapsi-
ble frame, come in a variety of diameters and are very
effective. They are available from a number of manufac-
turers and come in silver (for maximum fill output),
white, gold foil (for a warming fill light), and black (for
subtractive effects). With foil-type reflectors used close
to the subjects, you can sometimes even overpower the
ambient light, creating a pleasing and flattering lighting
pattern.
The fill reflector should be used close to the subject,
just out of view of the camera lens. You will have to ad-
just it to create the right amount of fill-in, observing the
lighting effects from the camera position. Be careful not
to bounce light in from beneath the eye/nose axis; this is
generally unflattering. Also, try to “focus” your reflec-
tors (this really requires an assistant), so that you are only
filling the shadows that need filling in. It helps to have an
assistant or several light stands with clamps so that you
can precisely set the reflectors.
Fill Flash.More reliable than reflectors for fill-in is
electronic flash. For this purpose, many portrait photog-
raphers prefer barebulb flash, a portable flash unit with a
vertically positioned flash tube. This flash fires a full 360
degrees, so you can use wide-angle lenses without worry-
ing about light falloff. Barebulb flash produces a sharp,
sparkly light, which is too harsh for almost every type of
photographyexceptoutdoor work. The trick is not to
overpower the daylight. You can also enhance the flash
by placing a warming gel over the clear shield used to
protect the flash tube and absorb UV. This will warm the
facial lighting but not the rest of the scene. It’s a beauti-
ful effect.
Other photographers like softened fill-flash. Robert
Love, for example, uses a Lumedyne strobe inside a 24-
inch softbox. The strobe is triggered cordlessly with a
radio remote. He uses his flash at a 45-degree angle to his
subject for a modeled fill-in, not unlike the effect you’d
get in the studio.OUTDOOR AND NATURAL LIGHTING 41Flash-fill requires you to balance the daylight exposure (here,^1 / 15
second at f/11 at ISO 400) with the flash output. The result is an
evenly balanced background and a well lit subject. Here, the light
source was backlight from direct sunlight and the flash was a dif-
fused, off-camera flash set to fire at an output of around f/8—
slightly less than the ambient light reading. Photograph by David
Bentley.