Apologies for the one-month-plus delay since last post; July was incredibly hectic. Rather than an omnibus retrospective with too many images to consider at once, let’s talk about lighting for portraits and the control of color.
- He has visualized his image, and puts the light where it needs to be to create something from…well, nothing.
- He observes a scene and calculates where the light must be added to render a good photograph.
Heisler doesn’t just know where to put his lights; he also knows how to control color. Among other things, he rarely shoots a bare flash, an insight which struck Hobby with particular force:
In the example of green fill, Heisler noted that fill light just tended to look too magenta to him, owing to the way skin reacts to fill light that has been pushed into the shadows.
From a color theory, this makes perfect sense. But I would not have been able to visually articulate the magenta cast in the fill, and thus, neither the green solution.
Can’t see the difference? I have two recent pictures of my boys which illustrate the phenomenon exactly. Let’s start with my son Joseph, caught here between moments of inspiration:
Key light is morning sun coming through a picture window frame right; fill is an on-camera flash bounced from the white (non-color-modifying) ceiling. Look closely at the right side of Joey’s face, which is lit primarily by the bounce fill; there’s a bit of a purplish/magenta tinge there that is not quite natural.
Now compare with this portrait of my son John:
Key light is an SB-600 with a Rosco #08 Pale Gold gel frame right; fill is an SB-800 with a Rosco Plusgreen (30CC green) gel high on-axis, through an umbrella. Note the lack of a magenta cast on the skin shadows. The full Tough Plusgreen gel was actually too much modification for the rest of the image; the shadowed areas of his shirt and pants are just a hair too green, even after I skewed the white balance a little more towards magenta in post. It would have been better to use a 1/2 Plusgreen (15CC green), but I don’t have those yet.
I like the color palette this combination gives me, and I’ll be using it more frequently in future portraits. More importantly, I’m making choices to control the way color is rendered in my photographs rather than leaving it to chance, or to the vagaries of my equipment.