Lisa Holloway - technique

Started 9 months ago | Discussions thread
DenWil
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It's not about not using reflectors.
In reply to dimap76, 9 months ago

dimap76 wrote:

Now let me understand "pockets of light" and "garage light". In some of the linked full-body shots you indeed see the models stand in the wood in the line of the sun light coming between the trees.

So why do you need woods, pockets? To block some light? From where? From the side (as Lisa says to give some shadow to one side of the face) or from the top (to stop shadows under the nose for instance?). She also mentions she likes to put her subject in the shadow... Does the choice of a long FL give something on top of the bokeh/DOF?

A longer focal length can add separation between the subject and the background. It will amplify what was already OOF.

Any ideas so I learn something more than just not using reflectors?

Dmitry

You use the woods because it is what you have. If you were on a New York rooftop you could use 10 foot sheets of foam core to create light and dark areas to direct attention to what is being sold in the image. In a studio baffles to control the lights.

I have forrest so trees are convenient- unfortunately repetition sets in so they are just trees for the most part, not a shooting opportunity.

It is not about not using reflectors but lighting the space as appropriate for the subject. The choice is to not use a space at a time that won't work without aids or adapt. I will choose the space to best suit the subject from the options I am provided and then light the space according to the choices at my disposal.

When reflector(s) are called for to achieve the look I envision I use them. I've also used large mirrors, water, white walls and metal siding reflecting afternoon sun. Once you have the knowledge of what you can do to modify the light at your disposal, and how to make your environment work to your benefit, all your energy can be focused on your subject. Lighting becomes second nature.

There are images as simple as a person walking in the sand and then there are interiors with dozens of details in the background which all must be attended to. Simple is often the hardest to get right because there are no distractions. When there is only one element in an image it has to be perfect.

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denniswilliams

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