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Replacing the reflector with a second light, positioned as indicated in Figure 3.17, creates even lighting across the face. Losing the shadowing on the side
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CHAPTER 3: Taking Memorable Portraits
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FIGURE 3.16 A reflector positioned next to the subject reduces shadowing on the side of the face that s farthest from the main light.
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of the face makes the face appear slightly flatter, however. And although the side shadows are gone, the shadows around the nose and mouth are more pronounced. In addition to being unflattering, those shadows add so much contrast to that area that they pull attention away from the eyes and wonderful smile. Ditto for the heavier shadow that results under the jacket lapel.
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FIGURE 3.17 Replacing the reflector with a second soft light creates even lighting but results in harsh shadows around the nose and mouth and under the jacket lapel.
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If you want to sound like a photography expert, refer to your main light source as the key light and light used to fill in shadows as fill light.
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To soften the facial shadowing without abandoning the second light, I asked the subject to hold a small white reflector on her lap. We positioned the reflector to bounce light up onto her face, which softened the problematic shadows, as shown in Figure 3.18 and in the middle image on Page 11 of the color insert. But that reflected light source also lightened the neck area, which here has the effect of making the chin and neck appear to blend together. In fact, the whole face starts to take on a two-dimensional appearance.
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FIGURE 3.18 A reflector placed on the subject s lap throws additional light on her face but also makes the boundary between chin and neck less defined.
For the final image, shown in Figure 3.19 and at the bottom of Page 11 of the insert, we used the same lighting setup but changed the angle of the face and tilted the chin slightly downward. This new orientation solved a couple of problems. First, less of the neck shows, so the illusion of chin blending into neck is gone. Second, with the change in head angle, some soft shadowing appears on the side of the face, bringing some dimension back to the features. Finally, only one earring is now visible, and in a much less distracting way than in the earlier images.
CHAPTER 3: Taking Memorable Portraits
I also took care to pull the neck of the jacket and shirt tight to eliminate the gapping that occurs in the other images. (No sense in fussing with these details until you work out the lighting and all the other issues.)
FIGURE 3.19 Changing the angle of the head produced a more flattering image and made the earrings less of a distraction.
FIGURE 3.20 Connecting your camera to a television offers a better way to evaluate each shot than using the small monitor on the camera.
If your camera offers a video-out port, you may want to connect the camera to a television or VCR, as shown in Figure 3.20, when shooting formal portraits. You then can preview and play back shots on the TV instead of in the camera s monitor, which is too small to reveal subtle problems with an image. If you position the monitor so that both you and the subject can see it, you can assess each shot together. (If you oriented the camera in a vertical position, however, the image appears lying on its side on the monitor screen, as shown in the figure, unless your camera offers an automatic rotation option.) To hook the camera to the TV, connect a video cable (usually supplied with the camera) between the camera s video-out port and the TV or VCR video-in jack, as shown in the close-up in Figure 3.20. If your camera records audio, the second plug goes in the audio-in jack.
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