7-19, 7-20, 7-21, 7-22, 7-23 (facing page). Notice how the flash falls off and how the subject’s distance to the camera affects the exposure of her skin tones.
the longer body shots. Additionally, look at the shot of the finger (facing
7-24 (above). A single light was used directly over the model’s head to produce a dramatic conclusion for this series of storyboard images.
the flash source; if she does, your exposures will be inconsistent. The impor-
page, bottom right) and notice how much brighter the model’s hand is than her face—even though it is only about 18 inches closer to the flash. When working with models and flash, the model must not vary her distance from tant factor is the distance from the flash to subject, not the camera location. For the last photo in this sequence (7-24), I used a single flash source over the model’s head and as tight to the wall as possible. This light was fitted with a 7-inch parabolic, which had a diffusion gel on it. Small barn doors on the parabolic kept the light from spreading out too far. It’s a dramatic lighting look that fits the emotion the model is portraying. Add Lens Flare
Lens flare generally appears as bright circles, shimmering lines, or smears of light across a photograph. It can also appear as a film covering the entire photo. Unfortunately, most commercial clients dislike lens flare passionately; they consider it the mark of an amateur. However, some editorial fashion CREATIVE TECHNIQUES 111