Plate 78 was made without changing my main light position or exposure. The change we see was created by adding a strip light approximately 70-degrees to camera left. Used for fill light, this was set to record an exposure half as bright as the main light. Two additional lights were also added: a background light and a hair light. The background light was aimed toward the white background paper and adjusted to record an exposure of f/16—one stop brighter than the main light. This rendered the background its actual color, white. The hair light was fitted with a grid to ensure hard separation. This light was positioned behind the subject to camera right and set to f/16. To add sparkle to M’shell’s eyes, a California Sunbounce zebra reflector was also positioned just under the model’s face, and a gobo was placed close to the model’s left side to block any additional light and sculpt a pleasing shadow on her cheek. Finally, a household fan was used to create a sense of motion.
PLATE 78—Several lights were added to create this final portrait. For fill, a strip light was added to camera left. A hair light was added behind the subject to camera right.To light up the eyes, a reflector was placed below the model’s face. Finally, a gobo was placed close to the model’s left side to sculpt her cheek. (Manual mode, ISO 200, 1/125 second, f/11)
PLATE 79—Here you can see the exact setup that was used to produce the final image of M’Shell.The gobo consisted of a black presentation board purchased at a local craft store. Remember, the choice of equipment doesn’t have to be expensive, just effective. (Manual mode, ISO 200, 1/125 second, f/11)
* Excerpted from the book "Sculpting with Light" by Allison Earnest