| ows | | | | The strength of a flash can be reduced by sticking |
| Daylight from a window provides a soft light, and | | | | layers of tissue over it. |
| high degree of contrast/modelling. Windows that face | | | | Normally, the position of the fill-in light will be on or |
| the sun are generally not very satisfactory because | | | | near to the axis of the camera. This makes an |
| the light can vary in strength from moment to | | | | on-camera flash ideal when used as a fill-in. The |
| moment. Direct sunlight will also cast strong shadows | | | | position of a card reflector should similarly be such |
| from window frames, leaded panes, etc. | | | | that it bounces light on to the subject along the axis |
| The size of the window affects the quality of the | | | | of the camera. |
| light. A small widow can act like a soft spotlight, while | | | | Don't expect to get the lighting right first time. Some |
| a large window provides a more diffused light like a | | | | experimentation will be necessary, but the results |
| floodlight. Similarly, the proximity of the subject to | | | | that can be obtained should make the effort |
| the widow will affect how they are illuminated. The | | | | worthwhile. |
| closer they are, the softer and more even the | | | | Two windows |
| lighting will be. | | | | If there are two windows, lighting becomes much |
| Your aim should be to place the subject so that the | | | | easier, because there will be a greater amount of |
| light falls on their front, and not behind them. The | | | | ambient light, but you may still need to use a fill-in, |
| subject should be facing roughly parallel to the | | | | and mask-off the main window. |
| window. They can turn to look through the window, | | | | If the two windows are on adjacent walls, lighting |
| but should not be looking directly out of the window, | | | | can be even easier, since one window can function |
| nor into the room and away from the light. | | | | as the main light source, and the other as the fill-in. |
| The bottom of a large (e.g. floor length) window can | | | | The aim is to place the subject nearer to one |
| easily be masked-off (newspaper and tape will do) so | | | | window than the other, and adjust their position as |
| that the light falls from above at an angle of | | | | necessary to achieve the required balance between |
| between 30° and 45° (see the basic principles of | | | | the two light sources. |
| lighting). | | | | Backgrounds |
| The light from a single widow will often produce too | | | | Backgrounds will always come out much darker when |
| much contrast, and a "fill-in" light is usually required. | | | | using the available light from a window. Due to the |
| Fill-in illumination | | | | significant fall-off in the level of illumination, the |
| Fill-in illumination should not be brigher than the main | | | | further away the background is, the darker it will |
| light source. | | | | appear. The background will also reveal whether the |
| A white reflector is often the simplest way to | | | | light from an on-camera fill-in flash is too strong. You |
| provide fill-in illumination. A large piece of white card | | | | should not be able to see a shadows cast by the |
| works well, and is easy enough to obtain if you keep | | | | flash. If you can, the flash is probably too bright. |
| your eyes open for such things (or you can buy a | | | | Shooting outdoors |
| sheet of white mount board). The aim is to use this | | | | When taking portrait shots outdoors, we have far |
| to reflect or bounce light from the window back on | | | | less direct control over the available light. However |
| to the subject. You should be able to clearly see the | | | | the principle of fill-in illumination still applies. When |
| effect of the reflected light as the reflector is | | | | daylight cast heavy shadows, these can be reduced |
| repositioned. | | | | by use of a reflective surface to bounce light, or an |
| The closer the reflector is to the subject, the | | | | on-camera flash. |
| stronger the reflected light will be, but the intensity | | | | Outdoors, the use of flash is a better option, as the |
| of the bounced light will always be less than that of | | | | main light source will usually be far brighter than the |
| the main light source. | | | | flash light, and it can be extremely impractical to |
| Another option is to use an on-camera flash. This is a | | | | carry a large sheet of mount board with you. |
| little more tricky to get right as the level of fill-in | | | | Footnote: There are circumstances when these |
| achieved can only be observed once the picture has | | | | "rules" may be broken, but the intention of this article |
| been taken. If the level of illumination provided by the | | | | is to convey simple guidelines applicable to most |
| flash is greater than that from the window, it then | | | | situations. |
| becomes the main light source, and modelling is lost. | | | | |