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• Light on the background, as well as the foreground, creates the shadowless, high-key lighting desirable for your party pictures.
over children's picture books, as he decides what Halloween costume he would like to wear. Fig. 1 shows the lighting arrangements employed in this scene, with Roy seated at a small table. It was soon evident that a high angle would be necessary, in order to look down on the pages Roy would be turning; yet the camera had to be low enough to show his face in fairly full view. The table was set slightly obliquely, and the camera was aimed toward one of its corners, so that the edges of the table would be at angles to the frame of the picture, and thus add interest and action to the composition.
One pair of reflectors was set up with its axis to the subject being about forty five degrees from the axis between the camera and the subject. They were set as high as they would go, six feet from the floor, about one foot above the camera level. These lights functioned somewhat as a single modeling light would, but obviously the diffused soft shadows from two flood lights are far from those with sharp edges that are obtainable from a single spotlight. However, the effect got in this manner is often considerably more pleasing in color than that resulting from perfectly flat lighting which many amateurs still believe to be essential for Kodachrome.
The other pair of reflectors then was placed beside the camera at a lower level, to illuminate the shadows cast
S3
Photographs by Elizabet
by the modeling lights. In this scene both pairs of reflectors were about the same distance from the subject (eight feet) ; but in other scenes the modeling lights were placed to advantage slightly closer than the fill-in lights. Where lower camera positions were used, effects with the shadows were a little better. If the lights could have been set higher than their six foot limit, the shadows under nose and chin might profitably have been lengthened. However, the short shadows were noticeable, yet soft enough in most scenes to retain the high key desired.
Before Roy was placed in his chair, the lights were further adjusted to assure uni [Continued on page 441]
A background Liqhts
B Front Lights *Z's
C Top Light (without Reflector)
D Front L ight #1
ELight in Pumpkin #/
* Fig. 2. The medium shot scene above could have been lighted easily by the author's arrangements as here diagrammed. Key units are the eight No. 2 flood lamps in reflectors (A and B); units C, D, and E dress up the table setting, but contribute little to a basic color exposure of f/3.5.