Distribution.Light originates from a source,
whether it be the sun or a studio flash head, and its
distribution is altered by modifiers placed in its path.
This distribution can cause the quality of light to
change from hard to soft, or soft to hard. As an ex-
ample, on a bright, sunny day, direct overhead light
is specular, contrasty, and hard, but the minute a
bank of clouds rolls in, the light becomes a lower-
contrast, softer light. The softness is caused by the
clouds redistributing the sun’s rays in various an-
gles, making them less specular and directional.
Similarly, when a studio flash head is fired with
no light modifier, its light is harsh and specular. We
change the distribution by adding light modifiers
like softboxes, beauty dishes, grids, etc. If we were
to attach a strip light or strip softbox in front of the
studio flash head, the light would soften from the
larger softbox size, but because it’s a strip, or about
half of the width of a regular sized softbox, we can
control the light’s distribution into a more narrow
path, which helps when we want to keep the light
away from the background. Distribution of light is
also impacted by flags, scrims, gobos, cutters, and
anything that can block or shape light.
When I choose a light to illuminate my subject,
I take into account the source of light, or primary
source, and the modified light as the secondary source. Ultimately, it’s usually
the secondary source of light, or the modified source, that truly illuminates my
subject in the image.
Contrast.Light has contrast, and depending on its source, placement, and
distribution, the contrast can vary. Before I start shooting, I will first study my
subject and determine how much contrast I want to add to the image. If my
subject is young with smooth skin, I will allow the light to introduce more
contrast into the image than if my subject is more mature.
Normally you can remove or add contrast based on the size of the light
modifier and the distance of that modifier to the subject. A large light modi-
fier, such as a Chimera Octa57 or a large 4x6-foot softbox will provide soft,
gentle light. If you want to add contrast to the image, simply move the light
back from your subject or change to a medium softbox.
26 LIGHTING FOR GLAMOUR PHOTOGRAPHY
FACING PAGE—Playboy Model Jesse is captured at a mansion in
Atlanta near the front door entrance. Staircases provide lead-
ing lines toward the model in addition to a comfortable resting
place for her hand. I’ve illuminated Jesse with a studio flash
unit outfitted with a Chimera Super Pro Plus strip box. The
front of the box has a Lighttools 40-degree grid to direct the
light in a more narrow path away from the glass behind Jesse.
I wanted to create the impression that the model was actually
lit using the natural light in the space, which you see patches
of on the floor and staircase. (CAMERA:Leica M8 Digital Range-
finder fitted with a Leica ELMARIT-M 21mm f/2.8 ASPH lens.
SETTINGS:28mm effective focal length,^1 / 250 second shutter
speed, f/5.6, white balance at 6000K, ISO 160)