Exercise 3: Experimenting with Light

1. This shot was taken outside, mid-morning, on a cloudy day, so the light is diffuse and the shadows soft.  It's so bright that the model's eyes are part-closed and hidden in the shadow of her brows.  Fill-in flash or a reflector beneath the face would have improved this.  Her glasses have darkened, but reflections have been avoided.  There's a degree of modelling: brows, cheeks and chin stand out, as do the lovely dimples!

2. In a conservatory, mid-afternoon, on a clear day.  The light is diffused through the plastic roof, but the shadows are stronger. Light coming from the side illuminates the eyes and gives a more natural look.  The warmer white balance is attractive.

3. Fluorescent lighting overhead and in the display cases.  The soft shadows provide modelling, but the overhead lighting over-accentuates the nose.  The distorted view through the spectacle lens adds interest.  Could have done with fill-in flash or a reflector to lighten the shadows.

4. Very diffuse fluorescent lighting casts shadow under the chin, but modelling on the face is reduced.

5. Natural light diffused by a net curtain, plus fill-in flash from the camera.  Balancing the two sources is tricky; the flash falls off with the square of distance, yet the sunlight is constant.  The flash has illuminated the face and provided attractive catch-lights on the eyes (and spectacles, which is less welcome.)

6. Studio flash on both sides, providing some modelling without dark shadows, except under the chin.  The shine off the skin is unwanted.  Wish I'd straightened that necklace!

Image 6 should have been the best, because there I had total control over the lighting, yet it seems flat and dull to me.  The catch-lights show she's staring into the light.  More thought and care should have gone into it.
My favourite is number 5, the head is three-dimensional; the catch-lights are subtle.  The enthusiasm of the model helps a good deal; she seems to be looking with interest at something, rather than directing her eyes where the photographer requires.
To pursue this set-up further, I'd like to get a reflector - and an assistant to hold it.