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BOUNCE LIGHT FOR BABY: 2
Photographs for MOVIE MAKERS by
BETTE and FRED KLOSTERMAN, ACL
L~T'S see, now . . . Last month, using words and pictures, we showed you how this series got started; how bright-cloudy lighting outdoors parallels the shadowlees effects of bounce lighting indoors; how outdoor and indoor lighting may be combined; and then, wholly indoors, how photoflood illumination may be bounced off the walls and ceiling. The front-and-side lighting setup to our right is an example of this^ arrangement, with all three of the lamps supported on heavy-duty light stands.
But, I can hear you butting, what about the filming father who is not equipped with three ceiling-high lighting units? Well, this is a problem which Bette and I face in making our own baby pictures with bounce light. (We borrowed, for the sake of the production pictures, a lot of the cameras and lights you see here.) So-o-o, we have scrounged around and found several substitutes for the full-scale setup. You will see them suggested on this page.
For example, take a look at that divided front-light setup, with a two-lamp lighting bar on the camera tripod and a single clamp unit attached to the picture. Creates exactly the same bounce-light effect as in the fancy setup above ! Or again, get a load of what Pop's doing with his clamp light and the up-ended projection screen! And finally, if your screen won't stand up, a door always will — and don't tell me you haven't got a door in the house!
Okay . . . Now let's take a look at the page opposite. On many occasions in family filming you'll find it natural (and pleasant) to have a light source appear directly in the scene itself. In our living room setup, for example, therf is a No. 2 flood lamp in the white-shaded table lamp which acts as the key light. But the fill lighting, to maintain softness, is provided by two RFLs bounced off the ceiling. Much the same sort of setup is used in the refrigerator series: one RFL-2 bounced off the door's white inside for key lighting, two on a stand bounced off the ceiling for the fill. And in closing, a caution: don't let the cold metal touch the hot lights! They will explode.
FRONT AND SIDE LIGHT: A 2 to 1 ratio is created with 1 RFL-2 in front, two at side, both 20" from the white ceiling, 42" from baby, who is 61" from ceiling. Exposure by incident meter: f/2. For the lovely, glowing results, see MOVIE MAKERS January cover.
HERE'S THE SAME SETUP, but using only the simple lighting units found in every filmer's kit. Baby is 36" from ceiling at f/2. 5.
THE EDGE OF A DOOR, and there's always one around, brings the light and the subject close to the wall for maximum reflection.
A PROJECTION SCREEN, upended on its stand, makes a handy mount for a clamp-on unit as Dad readies another light setup.