In this image (#3) the positioning and illumination of the Zylight and 1x1 Bi-Color did not change, but the Litepanels Micro, acting as fill, was added to the hot shoe of my camera. With a 3⁄4 CTO gel on the Micro, the warm tungsten balance does not change, but she has a more pronounced twinkle in her eyes.
When photographing Cat (#4) I needed to change my lighting slightly. Her jet-black hair absorbed most of the output of the Zylight positioned on my left, creating a subtle shine. The 1x1 Bi-Color was again the key light source, also on the left, with a mid-tungsten/daylight setting. The Micro, mounted on the hot shoe and tilted to the right, provided an even fill light, again adding a sparkle and a little more illumination to her brown eyes.
Desiring a cooler look, I used the 1x1 Bi-Color in Daylight mode (leaving the Zylight on tungsten to add warmth to Sara’s hair) and kept the camera balance on tungsten. Sara is much too blue because the color temperature is off (#5). Switching to daylight, the same image looks more pleasing with only the slightest blue cast (#6).
I achieved the same look with Michele (#7). Again, both the 1x1 Bi-Color, Micro, and the camera’s white balance were set to daylight. Her image does not have the warmth that a tungsten balance creates, but the pure daylight look indoors is still pleasing, although cooler.
LEDs can be used outdoors when mounted on your camera for extra fill and sparkle. I used the Micro instead of a flash with Jen’s image (#8) to even out her exposure and create that eye sparkle.
Chuck Gloman is the program director of the TV/Film department as well as a member of the faculty at DeSales University. He may be reached via e-mail at: firstname.lastname@example.org.