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.
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
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'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.
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.
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...
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.
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.
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 ?
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?
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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.
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
I appreciate these simple explanations -
Another great and simple to understand video, thank you!
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.
Great series! Thank you, Daniel!
You are truly the best of the best…
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'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.
Very helpful! Thanks.
Thanks you two.... i got a lot out of this.!
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.
I will check Adorama during the fall.
yup large octa gets me texture
I often use the back wall in my small studio, but I don't like the addition to the catchlights it gives
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...
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.
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.
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 ?
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?
You are the best.
Thank You!
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'd probably go for a large reflective ubrella behind me for fill
I hate ringlights.
But they work great for a little fill ... 🦘