One Light Portraits - Montizambert

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Frame Two

The addition of a 6-foot diffusion panel (a frame with white nylon stretched over it), placed between the light and Sylvianne greatly increased the effective size of this main-light source. The entire panel is now considered the main-source of illumination to Sylvianne and the actual light-head is now considered the origin of that source. The panel was placed close to Sylvianne (just barely out of camera). Increasing the size of the main-light source from a 7-inch lamp to a 6-foot panel and then moving it in close to her created a much softer wrap-around light quality. Even with the addition of the panel, the background is still correctly exposed – the panel does not block any of the raw light from the backdrop, however the panel does reduce the light intensity on Sylvianne, thus under-exposing her.

Montizambert Light Setup

Frame Three

After re-metering, the lens aperture is opened up to f5.6 to make up for the light loss on Sylvianne. At f5.6, she is once again properly exposed. However, at f5.6 the background is over-exposed by one and a half stops. It now records as pure white – white without detail.

Montizambert

Frame Four

The addition of another panel with silver lamé stretched over it creates subtle separation lighting on her dark hat. For a stronger effect (obviously not necessary on a white background) use a full-length mirror – mirrored Plexiglas is the most durable. This lamé-covered 6-foot panel reflected some of the raw light spilling past Sylvianne onto the rear edge of her body and hat. The light striking Sylvianne from this source reads one stop below the camera setting. An incident meter dome placed against the back of Sylvianne then pointed towards the silver panel reads f4. Remember that the camera setting always represents middle grey and that any subsequent meter readings you take are relative to this camera setting.

Montizambert Light setup

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Photo Quote: It is not the language of painters but the language of nature which one should listen to. . . . The feeling for the things themselves, for reality, is more important than the feeling for pictures. - Vincent Van Gogh