ABSTRACT
Reflectors, despite clever new designs, are completely low-tech, which in photography means one less thing to worry about in case it goes wrong. So, a good thing. is is passive equipment that comes into play only because of the natural light that is already there. eir most basic use is to fill in the shadows on the side opposite the sunlight, but there are subtle differences even in this, from
it as it is-and those who want to show it as they want it to look. This could be a cue for getting altogether too philosophical and navelgazing, and I’ll resist that, but ultimately it boils down to purpose. If you have to deliver an attractive picture of a subject that’s already been decideda definition of a commercial assignment, surelythen there are certain things you are honor-bound to do. Lighting being so important to the outcome of most photographs, helping it out where necessary is fundamental, and filled light is a basic tool for this. In fact, this has a lot to do with the way I organized this book, dividing it into sections on waiting (with some expectation that things will work out as you hoped), chasing (basically, coping pro-actively), and helping (doing whatever you’re comfortable with to make it all look good). I make a reluctant nod to on-camera flash in a few pages’ time, and using flash sparks an even more divided opinion.
