Portrait in Color III

[Stagecoach]

I am a little confused. The reflector is parallel to the floor. It is not placed at a 45 degree angle facing the subject nor is it at a 45 degree angle above the subject. The reflector is directly behind the photographer at the camera position.

Bruce

Let me see if I can address any confusion, which it appears may have started with my initial response to Bruce's post No 8

I read post No 8 as a method Bruce had seen where a flash was placed on the camera pointing backwards (180 deg to sensor/lens/subject axis) at a reflector behind the camera to illuminate the subject. This confirmed as the setup in post 19. My initial thoughts were that it appears against all I have read and will produce flat lighting on the face.

I could not think of a reason to do this other than it's simple IF you have no way of triggering (by cable/optical/radio) a single 'off camera' flash placed anywhere else. My reference to the 45/45 position of the reflector with the flash still on the camera aimed at it was a possible other scenario for improved lighting of the subject although as mentioned, less difficult if camera/reflector/subject remain in the same positions.

I would be interested to see the video as it may explain/show 'advantages' or 'reasons' for the method used.

[Digital]

Let me see if I can address any confusion, which it appears may have started with my initial response to Bruce's post No 8

I read post No 8 as a method Bruce had seen where a flash was placed on the camera pointing backwards (180 deg to sensor/lens/subject axis) at a reflector behind the camera to illuminate the subject. This confirmed as the setup in post 19. My initial thoughts were that it appears against all I have read and will produce flat lighting on the face.

I could not think of a reason to do this other than it's simple IF you have no way of triggering (by cable/optical/radio) a single 'off camera' flash placed anywhere else. My reference to the 45/45 position of the reflector with the flash still on the camera aimed at it was a possible other scenario for improved lighting of the subject although as mentioned, less difficult if camera/reflector/subject remain in the same positions.

I would be interested to see the video as it may explain/show 'advantages' or 'reasons' for the method used.

Grahame, it was an Adorama production with Mark Wallace. If I can find it again, I will post the title.
The title of the video is "Three tips for better Speedlight Portraits".

Bruce

[Stagecoach]

Grahame, it was an Adorama production with Mark Wallace. If I can find it again, I will post the title.
The title of the video is "Three tips for better Speedlight Portraits".

Bruce

Thanks Bruce, found it and watched it. I now see exactly what he was demonstrating, some 'basics' with on camera flash. I've not used a reflector positioned like that but have used walls behind me with on camera flash in small rooms to bounce light around with good results eliminating shadows.

[rhodes]

great picture.
things i like:
in focus

things to work on:
could use better composition
try Rembrandt lighting
use a hair light

[Digital]

Thanks Bruce, found it and watched it. I now see exactly what he was demonstrating, some 'basics' with on camera flash. I've not used a reflector positioned like that but have used walls behind me with on camera flash in small rooms to bounce light around with good results eliminating shadows.

Grahame, I am glad you watched the video.
My only problem now is picking the size of the reflector I am going to use.

Bruce

[rpcrowe]

Straight On Lighting - A very flattering and simple lighting (especially for female subjects) is Butterfly or Paramount lighting with the light source directly over the camera pointing down at a slight angle, combined with a reflector or fill light from below the subject. The light source can be a beauty dish, a softbox, an umbrella with bounced flash or just about any large light source. The reflector can be set up on the light stand ( https://www.youtube.com/watch?v=lwLuAYfYJKE ) or even held by the subject.

The term "butterfly lighting" comes from the butterfly shaped shadow beneath the subject's nose and the term "Paramount Lighting" comes from the use of this lighting style for portraits by Paramount, a motion picture studio.

I NEVER use direct camera mounted flash because of the flat unflattering lighting that is produced by that type of lighting setup.

However, a very simple run and gun setup for portraits is the use of a Joe Demb Flash Diffuser Professional to modify a hot shoe mounted flash.


This can either be used indoors as the main light or outdoors as your fill light...

[Paul Rutter]

Neil also provides some great tutorials and other material on his website:
https://neilvn.com/tangents/flash-ph...hy-techniques/

[rpcrowe]

Neil has always been the advocate of the use of fill flash in photography. He got a kick a few years ago out of a story I told him about when I was in Navy Photo School.

The instructor stated "I always shoot with available light!" This shocked us, it was 1959 and the standard Navy still camera was the 4x5 inch Speed Graphic with an f/4.5 lens, certainly not the camera I would have picked for available light work. Then the instructor grinned and held up a flash gun saying, "And this light is always available"

[Manfred M]

Then the instructor grinned and held up a flash gun saying, "And this light is always available"

I had an instructor with a somewhat similar philosophy. Anytime a student complained that there wasn't enough light, he would say "then just add some light".