This is absolutely the demonstration I needed. I’ve been using a 2 by 2 foot soft box as a key at 45 degrees, and an on axis fill light to dial in the shadow level - usually a 3 feet reflective white interior umbrella. It’s worked really well so far
Really helpful demonstration. I was shown an interesting technique at a workshop a while back where the fill light did not go past the first quarter mark on the histogram. Got some good results.
I like using a wall as fill - fire the bare head straight back behind me. Or a 120cm octabox if I don't have a suitable wall. I'll be honest, I like gelling the fill to give interesting coloured shadows.
Great information. I use a 36 inch octobox for main and a 24 inch octobox for fill most of the time. I try to put just enough fill to bring out some details in the shadows.
How about on the same side of the key? -Say you have a big diffusion as the fill, since the key and fill are on the same side will i run the risk of creating double shadows? Thanks
I don't really bother with modifiers though since I prefer the portability of on-camera flash as on-axis fill for shooting at events. Also, my fill flash is barely there at -2 ~ -3 just so that the shadows aren't pure black and I can crush them later or push them up a bit in post.
That is neat, Thank You. I have a small shoot thru umbrella, and a two ft, Soft Box light which I hope will work wih this setup You so expertly demostrated. I am leaerning a lot from Your most excellent Videos. Thank You Sir.
I've been a fan of on-axis fill for a long time; so long, in fact, that it messed me up when using heavy color gels, where opposing fill lights work much more effectively. (It took a long time to figure out why the colors weren't working like I thought they should.) For a modifier, any large soft source is fine--whatever softbox or umbrella is available; as long as it doesn't cast crisp shadows, I'm generally happy. I do sometimes use deliberately directional fills for special situations, but use on-axis active fill as my go-to default.
Hi Daniel, After watching your past videos regarding fill light, I liked the flexibility that the Chimera panels gave you for fill lighting. I currently use the 3ft Octa or a large umbrella for fill, but decided to purchase the Manfrotto Skylight panel 1.1 x 1.1mt with .75 and 1.25 stop diffusion fabrics. I am looking forward to using this panel on my next session! cheers Peter...
Again, a very interesting technique from the Master. Thanks! But I cannot help thinking that it works in a deep space-room-studio-... Or with a black background. I'm not sure how it would work if you can't place your subject far from the background. The fill light would have an impact on the background. Can it be flagged with such a setup ?
Another wonderful video! Thank you, Daniel and Kaydence. That said ... Getting into the horrible topic of catchlight shape, regarding modifiers for fill lighting in this style, wouldn't octa or other round-ish modifiers possibly be mildly preferable in terms of the way people who care about such things perceive the resulting image? And, for those that don't care, it wouldn't matter ... so wouldn't round-esque modifiers be a safe default for this kind of fill? (Unless, of course, the subject was meant to be seeming to look at a square-ish source... i.e. windows, etc...)
I was thinking about that too Micah, depending on what the goal is for the image of course. If we're portraying a scene where the subject is plausibly in a window-lit room the square could sell that. But more broadly, one really nice thing about on-axis fill instead of off-axis fill is that we're getting a catchlight at all.
Interesting, I would not even though of a cross shadow. Is there already sort of a small fill, without even turning on light B. Cause of the bounce via the surface of the softbox B from light A ?
Hey Daniel! So when people are using a light meter and are looking to set contrast ratios of say 2:1 or 3:1, is that only possible to set precisely in the case of a fill that is directed only at the shadows? In the case of on-axis fill the fill light will also hit the areas in which the key light is hitting, would it not throw metering out the window and require you to set your lights based on your eyes?
Great break-down and example! Quick question; isn't the risk of cross-shadows only when you use a flat 1:1 ratio (I've seen horrible examples). I would have thought that if fill is used on the opposite side at, say two stops below key it won't generate any shadows since the key would eliminate those with its higher power? Or will it still be a subtle hint of shadows that - while not easy to put your finger on - would make something "off" about the light and sculpting? Thanks.
I often use the back wall in my small studio, but I don't like the addition to the catchlights it gives
I appreciate these simple explanations -
This is absolutely the demonstration I needed. I’ve been using a 2 by 2 foot soft box as a key at 45 degrees, and an on axis fill light to dial in the shadow level - usually a 3 feet reflective white interior umbrella. It’s worked really well so far
Really helpful demonstration. I was shown an interesting technique at a workshop a while back where the fill light did not go past the first quarter mark on the histogram. Got some good results.
Another great and simple to understand video, thank you!
You are truly the best of the best…
Great series! Thank you, Daniel!
I like using a wall as fill - fire the bare head straight back behind me. Or a 120cm octabox if I don't have a suitable wall.
I'll be honest, I like gelling the fill to give interesting coloured shadows.
Thanks you two.... i got a lot out of this.!
Great information. I use a 36 inch octobox for main and a 24 inch octobox for fill most of the time. I try to put just enough fill to bring out some details in the shadows.
yup large octa gets me texture
Very helpful! Thanks.
I will check Adorama during the fall.
How about on the same side of the key? -Say you have a big diffusion as the fill, since the key and fill are on the same side will i run the risk of creating double shadows? Thanks
I don't really bother with modifiers though since I prefer the portability of on-camera flash as on-axis fill for shooting at events.
Also, my fill flash is barely there at -2 ~ -3 just so that the shadows aren't pure black and I can crush them later or push them up a bit in post.
That is neat, Thank You. I have a small shoot thru umbrella, and a two ft, Soft Box light which I hope will work wih this setup You so expertly demostrated. I am leaerning a lot from Your most excellent Videos. Thank You Sir.
I've been a fan of on-axis fill for a long time; so long, in fact, that it messed me up when using heavy color gels, where opposing fill lights work much more effectively. (It took a long time to figure out why the colors weren't working like I thought they should.) For a modifier, any large soft source is fine--whatever softbox or umbrella is available; as long as it doesn't cast crisp shadows, I'm generally happy. I do sometimes use deliberately directional fills for special situations, but use on-axis active fill as my go-to default.
Hi Daniel, After watching your past videos regarding fill light, I liked the flexibility that the Chimera panels gave you for fill lighting. I currently use the 3ft Octa or a large umbrella for fill, but decided to purchase the Manfrotto Skylight panel 1.1 x 1.1mt with .75 and 1.25 stop diffusion fabrics. I am looking forward to using this panel on my next session! cheers Peter...
Again, a very interesting technique from the Master. Thanks!
But I cannot help thinking that it works in a deep space-room-studio-... Or with a black background.
I'm not sure how it would work if you can't place your subject far from the background.
The fill light would have an impact on the background. Can it be flagged with such a setup ?
Another wonderful video! Thank you, Daniel and Kaydence. That said ...
Getting into the horrible topic of catchlight shape, regarding modifiers for fill lighting in this style, wouldn't octa or other round-ish modifiers possibly be mildly preferable in terms of the way people who care about such things perceive the resulting image? And, for those that don't care, it wouldn't matter ... so wouldn't round-esque modifiers be a safe default for this kind of fill? (Unless, of course, the subject was meant to be seeming to look at a square-ish source... i.e. windows, etc...)
I was thinking about that too Micah, depending on what the goal is for the image of course. If we're portraying a scene where the subject is plausibly in a window-lit room the square could sell that. But more broadly, one really nice thing about on-axis fill instead of off-axis fill is that we're getting a catchlight at all.
Interesting, I would not even though of a cross shadow. Is there already sort of a small fill, without even turning on light B. Cause of the bounce via the surface of the softbox B from light A ?
You are the best.
Thank You!
Hey Daniel! So when people are using a light meter and are looking to set contrast ratios of say 2:1 or 3:1, is that only possible to set precisely in the case of a fill that is directed only at the shadows? In the case of on-axis fill the fill light will also hit the areas in which the key light is hitting, would it not throw metering out the window and require you to set your lights based on your eyes?
I'd probably go for a large reflective ubrella behind me for fill
Great break-down and example! Quick question; isn't the risk of cross-shadows only when you use a flat 1:1 ratio (I've seen horrible examples). I would have thought that if fill is used on the opposite side at, say two stops below key it won't generate any shadows since the key would eliminate those with its higher power? Or will it still be a subtle hint of shadows that - while not easy to put your finger on - would make something "off" about the light and sculpting? Thanks.
You might still pick up a very subtle shadow and have it look “off”
I use on axis fill with a large modifier but I tend to remove the centered catchlight on the pupil. I find the effect a little amateurish.
Cool, retouch away if that makes you happy.
I hate ringlights.
But they work great for a little fill ... 🦘