SEMINAR: LIGHT, INTENTION AND THE EVOCATIVE
DATE/TIME: SATURDAY, OCTOBER 28, 2:00;4:00 PM
THE IMPORTANCE OF
Gregory Heisler uses lighting to tell the story.
BY BRIENNE WALSH
THE GREAT STROBE IN THE SKY
How to shape natural light. • ;; ;;;; ;;;;;;;;
The 360 features a
one-stop di;usion panel
with interchangeable white,
silver, sunlight and black covers. It also has
a removable 13-inch center disk so you can
shoot through the center of the reflector.
$130 / ; westcott.com
BOOTHS: WESTCOT T ;#124;; SUNBOUNCE ;#475;
Many photographers love to work in natural light. But just
because you’re foreswearing strobes and speedlights
doesn’t mean you’re completely at the mercy of Mother
Nature. All you need is a reflector and a few basic guidelines.
With the Tight-Fit-Screen, owners of Sunbounce’s Sun Mover reflector
can now add a third color option to the Mover, which itself has two
colors, one on each side. While the Tight-Fit-Screen is fixed tight to
the reflector, it won’t compromise the Sun Mover’s tension. Tight-Fit-Screens are available in Zig-Zag Silver, Zig-Zag Gold and Black-Hole.;
Photographer and educator Gregory Heisler
believes that lighting sets the tone for an
entire image. Lighting should therefore be set
up to tell a story about a subject—rather than,
for example, to create a cool e;ect. “Your
lighting decisions should be subject driven,”
Heisler advises. “First I think about what I want
my lighting to say, and then it’s a cascading
series of decisions, from what camera to use,
to what lens, to how far away I want to be.”
He used this
shooting his iconic
portrait of Muhammad
Ali, which ran in the
April 25, 1988 cover of Sports Illustrated.
The boxer had just been diagnosed with
“In a competitive environment, the only thing
Parkinson’s disease, and was living on a farm
in Michigan. “He was isolated; he was trapped
inside his head,” Heisler says. “The picture
doesn’t say any of those things specifically,
but everything about it gives you the sense of
Heisler believes that focusing on capturing
the essence of a subject rather than on a
personal style sets a photographer apart from
the pack. “That process, that mindfulness,
makes a photographer more unique,” he says.
you have is your uniqueness.” •
Photo © Gregory Heisler
• Size Matters
Larger reflectors will produce a softer, more di;use
light. Smaller reflectors will deliver a more focused
beam for sharper shadows and contrast.
• Placement Also Matters
When placed beneath a subject’s face, a small
reflector can act as a catch light and add a spark to
their eyes. On camera left or right, a reflector can
serve as fill light to banish shadows.
• Know Your Colors
Reflectors come with a variety of surface finishes
(many are double-sided and often come with slip-on screens to increase color options). Each color
produces a di;erent look: gold delivers a warmer
tone, silver reflectors produce higher contrast, white
is a very even and neutral reflector and black will
block out the light entirely.
Not every scenario calls for reflected light. A scrim,
or large piece of translucent material, can be used
to create di;use light over your subject. Place it
between the sun and your subject for a softer glow.