The light spills only as the light leaves the hood. As it is rather small, it restricts the spread of light a little and focuses it more on the area you are lighting. You can also shoot with one light, of course, see here for a beginner’s tutorial on how to create dramatic portraits with one light.įor the above-left image, I shot using just the electronic flash and the hood that comes with it. studio light modifiers: flash hood, translucent umbrella, umbrella softbox, 90 x 60 softbox, diffuser fabric, grid.a flash on camera right onto which I attached various modifiers.Doing this cut light out and limited it to the subject rather than hitting the wall I also wanted a rather dark, moody lighting, so I covered the flash with a few layers of diffuser fabric. a flash high up on the camera left to give a bit of hair light – I wasn’t after a vast separation from the background as I was using a light colored sofa that separates the background and the subject already.a large silver panel reflector on camera left.My set-up consisted of 2 lights and the following: Let’s start with the lighting diagram as shown below. The studio light modifiers used in this article It also limits or restricts the spill of light onto other areas. A grid restricts the focus of light, making it more directional, allowing the photographer more control. Grid – usually made from fabric strips of material that are sewn together to form a 3D grid that is attached to the light modifier. A softbox confines the light from the flash and releases it through a diffusion material, thereby allowing more control as to the size and spread of light that reaches your subject. Softbox – a closed chamber usually lined in white or silver fabric, available in various shapes (such as a square, rectangle, umbrella, octagon). Whenever I’ve bought a softbox that didn’t come with one, I’ve found it to be virtually impossible to find one that fits perfectly after the fact.Diffusion – a material that scatters light evenly as it passes through, thereby making the light softer and with less glare and harshness. I find them invaluable, and always recommend getting them with your softbox if you can. They block the light from spilling out the sides and illuminating things you want to remain dark, or plan to light some other way. A grid allows you to direct the light toward the subject without it hitting the lens, and eliminating the chance of flare or hitting the background. You’ll probably also get a little spill on the far right side of the background, too. Without a grid you’ll get that nice rimlight on your subject, but with a large bright light source pointing toward the camera, even if not in shot, there’s a chance of flaring if light is hitting the front lens element. Something similar to the first comparison images in this post. Imagine another softbox behind the subject on the left creating a rim light up the shadow side.
One thing not mentioned in the video, but a reason I often use grids is for rim lights. The grid helps to stop light hitting the background while keeping your subject well lit. It’s how you can use softboxes with subjects fairly close to a background. They’re not normally in the shot, but it demonstrates the principle of how grids work, by blocking light from spilling off at odd angles. Now, this isn’t a typical use for softboxes. On the right, with the grid attached, we can’t (mostly) see the front surface of the softbox, which means that light isn’t spilling onto the camera. This means that the front surface of the softbox is also shining light out toward the camera. This image illustrates that with a bare softbox, the camera can see the front surface of the softbox.
Rather than the front surface blasting out light in all directions, the grid basically flags off the side angles, allowing it to project more toward the front. You still get that nice soft look one expects from a softbox, but it’s more confined. Essentially, as David illustrates, grids help to control the spill of light coming out of your softbox.
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