People generally look better with a little low fill light. Not always, because there’s no such thing as “always” in photography. Most of the time, however, the fill light is soft, barely noticeable from below the eye line, even to the point of almost always appearing, highlighting your subject. Unless you turn it up, of course, and tame it to the point of DEFCON 1. Then it can resemble one of those dramatic final moments in a crime drama where the guilty, eventually, cornered, took his own life. than return joints. Dramatic, feverish dialogue ensues. The villain explains the inner motives for all their nefarious tricks. The camera pans, hears gunfire, splashes on the wall. With the low light being so strong, it ended up simply being a shadow on the wall, so I’m just using the graphic ridiculously as a note about being careful and managing well when using low light. Just take it easy.
But carefully measured and handled, the low fill works well. It can be as simple as a table fill, white, gold or silver. An additional, passive light source for fill purposes. Or, it could be a charging board with a flashing light inside, thus turning it into an active feed, which can be controlled through the amount of power you put in.
A few questions from us Instagram posted on the Great Wall of China. An impromptu, informal low fill via a small flash is projected onto a silver reflector that basically sits on the floor. Lights push slightly, run negative 1 to 2 stops below main. For now, but just barely. A whisper of light, almost emotionless. There’s no f-stop difference, just a difference in feel. Subtle.
I had a job assigned to me in China, a few years ago, for which I was not prepared. Client has changed direction – complete 180 points on topic. I had to rotate the shaft immediately, as we all have to do in the field. You just have to put in the effort because you have to succeed, no matter the hurdles. I had to collect some knockoffs to use as lights at the last moment, while I was in Beijing. What you see in the photo of BTS is a random beauty item, some sort of silver reflector on the ground, and various other miscellaneous things.
The low beam of silver worked its way onto the gorgeous red dress and developed lovely, rich colors for the camera. I’d rather do this on set than in post. For me, field work has always been the challenge of all of this.
It’s basically the same combination, with a little variation, for the banner image and example below.
Honestly, it’s a consistent, tested, and authentic approach to beautifying portraits, or really any form of encounter with a human face. It could be the floor, if it is neutral in color and has some reflective ability, or a white foam core board. (Welcome V-flat is always helpful!) Or a silver surface, as you can see in the photo of BTS. It opens the eyes and makes the subject glow, just a little bit. Or yellow, for a feeling of warmth. Underneath, I create a fill bounce and push it maybe even a little too hard, based on the drama of the dress and the moment.
It’s your preference, the nature of the face and the place. But a low light stone.
More tk….
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