I don’t do nearly as many portraits with added light as I used to, which means I’m not as fluent as I’d like and it takes me longer to set things up when the mood strikes. Part of that is aesthetic, too; I like to change the color of my lights, and finding the right look may take a bit of thought. Here are two relatively recent portraits with added light.
I was flabbergasted when my son not only let his face be painted at a carnival, but enjoyed it. A picture had to be taken. By the time we got home, my back yard was in full twilight shade, and I seized upon a warm/cool color contrast for the image. The key light was diffused with a shoot-through umbrella and had its color shifted with a CTO (Color Temperature Orange) gel. Temperature and mood are inverses of each other, of course: blue is high temperature but “cool” in mood, while orange is low temperature but “warm” in mood. By using the CTO and setting a manual white balance, I could warm the light on my son while shifting the ambient to a pleasing blue, suggestive of the time of day.
For Christmas, my sister-in-law had given my wife a hairstyling device to ease the production of hair buns, and when she tried it out one morning her silhouette screamed “this needs a mantilla.”
Here we see a slight modification of my favorite color portrait look: low-saturation green fill with a hard warm key. As previously discussed, greening up the fill light (1/2 Plusgreen, in this case) prevents the shadowed skin from going magenta, while a warm key (1/4 Color Temperature Straw, a less-red version of CTO) establishes a reference skin tone that is subconsciously applied to the shadow areas as well. In this image, the color combination is also evocative of older color negative film, an appropriate choice for the subject as attired.
I have not yet moved beyond the “bag of tricks” method for controlling color in my portraits. It’s OK for now, but I want to develop more mastery over the medium, so as to let the nature of the subject determine what colors should be used.