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An important property of a lamp in a metal reflector, compared to the same combination with a diffuser, is its greater carrying power. This means if your lamps can't be near your subject, don't use diffusers. Also don't use diffusers if your subject is going to move away or toward the camera. With such actions the light intensity on the subject will change too greatly.
In this connection, a rarely appreciated advantage of placing lights high is the greater uniformity in lighting this practice produces. With the light source near the camera and at the same level, the intensity on the subject diminishes rapidly as it moves away. With a light far above, this change in illumination is not so marked and more even exposures can be maintained.
To sum up, then, we can draw some general conclusions from these demonstrations of light placement. They will apply equally well whether you are using one light or two or ten: (1) keep your lights high so that their illumination will look natural and will cover the area more evenly; (2) for the pleasantest lighting, plan to have some of your units composed of tegular flood bulbs in metal reflectors; (3) be sure to use a reflecting surface on the shadow side of the subject or, better still, a fill-in light with diffuser; (4) do not diffuse your main light source, since this takes the sparkle out of it; (5) keep your subject close to the background if you have few lighting units; the better way is to light the background.
Using only one lamp, a veteran
movie maker presents the basic principles of interior lighting
Photographs by Charles H. Coles
FIG. 4: Front lighting with lamp high above subject, however, gives natural effect. A reflector was used to lighten shadows.
FIG. 5: Three quarter lighting, with lamp high and to side of subject, creates modeling. But dark shadows need lighting.
FIG. 6: With subject nearer a light colored background, some light is returned to shadow areas. More reflection is needed.
FIG. 7: A reflecting surface (or, better still, another light source) on shadow side of subject now balances contrast range.
FIG. 8: Ligh* source as well as position affects results. Here a bare bulb creates harsh, glaring highlights and deep shadows.