Reflections Part 4 (Real-World Examples)

Finally, we're ready to take a look at some real-world portraits and examine reflection at work. Before jumping to today's portrait, I'd like reiterate a few things. First, skin will reflect light in both a diffuse and specular manner. The amount of diffuse skin reflection depends largely on skin tone, with darker skin reflecting less. The amount of direct reflection depends on the skin's surface sheen, and will be strongly influenced by the position and size of the source.



Above we have a rather typical business portrait in which areas of specular (direct) reflection have been circled. These shiny patches are actually reflections of the light source (direct reflections) superimposed on areas of diffuse reflection. If you look carefully, you can often make out the shape of the light source in such reflections. No place are they more distinct than in the direct reflections in the eyes (aka catchlights). Clearly, these specular patches vary in size. Notice that surfaces that curve gradually, the forehead for instance, will have larger, and generally less intense, highlights. Smaller areas with a very distinct curvature, such as the bulb of the nose, will have smaller and more intense areas of reflection. The position and size of reflections will vary depending of the size and position of your light sources. The circled areas in today's portrait are all reflections of the main light, but any light, including a fill light, can create specular highlights.

In the next post, we'll look at an unconventional portrait that digs deeper into the properties of reflection. In the meantime, if today's material was new for you, take a look at your pictures and those of other photographers and examine the highlights. You can learn a lot about how an image was created by doing so.

Cool Rule for Facial Analysis

First, let me apologize to anyone following this blog. I've been terribly busy and unable to update it for months. I'm committed to making regular updates from this point forward, and will attempt to incorporate readers' suggested topics whenever practical.

Today I'll mention a simple lighting rule that can make a big difference when lighting an asymmetric face. When I say asymmetric, I' m referring to symmetry in a lateral sense, where one side of the face is smaller than the other. It is quite common to see this in a face, and it is often most pronounced during smiling. For such faces, you'll generally get the best results when your main lighting source shines into the shorter (squished) side of the face. This seems particularly true with short lighting, but is also true in most cases with broad lighting. As with many general rules, there will be exceptions. Faces are complex structures and symmetry is just one element to consider when analyzing the face. I'll talk more about other aspects of facial analysis in future posts. Until then, give this rule a try. I think you'll find it works a surprising percentage of the time.

Are Handheld Meters Relevant?

I still use a handheld meter in the studio and outdoors, and I fear I am now a member of a shrinking minority. Certainly, in the age of digital capture, many well-regarded photographers have forsaken their meters, relegating them to the same drawer as their Polaroid backs, color-balancing filters, and film loops. I've seen forum threads where everyone advocated the chimp-and-check approach, with nary a whisper in favor of a meter.

No doubt, my reluctance to move on is partly historic. In the days of film, I usually had to shoot without Polaroid test prints or transparency clip tests, so sound meter readings were the only way to ensure that the previsualized image would be realized in the resulting transparency. However, for me, there is more to it. It's about speed, control, and professionalism. With a meter I can take a single reading of each light and make the appropriate adjustments to power and/or distance to get the lighting where I need it. Why would I want to use the less precise camera display in a multi-pass process to achieve the same end? And, if I'm chimping and tweaking with the customer present, how does that impact their perception of my competence and professionalism?

Look, if you don't already have a meter and you are just doing stuff for fun, or you work in a studio where the lighting is mostly locked down, then chimping may be all you'll need. However, if you work in challenging mixed lighting, take your studio gear on location, or work with rental gear in a rental space, you may find a meter a blessing.

This is my perspective. It may change. You are welcome to add yours in the comments.