By Bill Hurter
Filled with useful strategies that either tell and encourage, this specialist guidebook to photographing infants, young children, and youths provides new concepts to maximise patron cooperation and make sure delicate classes. the whole child-based photographic procedure is addressed, together with right gear choice, actual and behavioral controls for younger matters, operating with black-and-white exposures, assessing uncooked as opposed to JPEG modes, and comparing electronic exposures by way of settling on over- and underexposure metering. Chapters dedicated to getting to know studio lighting—from direct and subtle lighting fixtures strategies to utilizing using umbrellas and softboxes—as good as operating in sun and twilight environments can be featured.
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Additional resources for Children's Portrait Photography Handbook
Since this diffused light is so scattered, you may not need a fill source—unless working with a group of children. In that case, use reflectors to kick light back into the faces of those farthest from the window. Fill Light. You can set up a white or silver card opposite the window and, depending on the distance to the window, the reflector may provide enough illumination on its own for adequate fill. If not, consider using bounce flash. While bounce flash may not be great as a primary light source for making children’s portraits, it is an ideal light source to supplement primary light sources, such as window light.
Scrim” is a Hollywood lighting term used to define a large sheet of mesh or translucent nylon material that diffuses a direct light OUTDOOR AND NATURAL LIGHTING 39 Fuzzy Duenkel uses a homemade reflector he calls the Fuzzyflector. It is basically two two-sided 4x4-foot rigid reflectors hinged in the middle so that the unit will stand up by itself. Because there are four separate sides, they can produce four different levels of reflectivity. A Mylar surface provides a very powerful reflector that can be aimed precisely to act as a main light in bright sun or an edge light from behind the subject.
A ratio of 3:1, for example, means that the highlight side of the face has three units of light falling on it, while the shadow side has only one unit of light falling on it. Ratios are useful because they determine how much local contrast there will be on the subject of the portrait. Since they reflect the difference in intensity between the main light and the fill light, the ratio is also an indication of how much shadow detail you will have in the portrait. Calculating. There is considerable debate and confusion over the calculation of light ratios.