I had three shoots over the last three days while San Diego delivered the worst July weather I've ever seen. When the forecast for 5pm says 80% overcast, I have to change up my approach a little. Check out the models:

July 7th: Paige Montgomery @ Mirian Bear Regional Park


July 8th: Leona Snell @ Mission Trails Regional Park


July 9th: Greta Proctor @ Torrey Pines State Reserve

These overcast conditions taught me a few things. There is a general agreement that a light cloud cover gives a softer ( more flattering ) light by cutting and diffusing the suns direct rays. My problem was that this was not a 'light overcast', this was a 'doom and gloom with chances of showers' kind of overcast.

Even though the sky appears evenly gray in all directions there is still a 'key light' direction where the sun is at the moment. When your model faces into this light the result is a flat, yet flattering soft and even look. When facing away from this 'key/sun' the light will appear to wrap around the sides of the model's face slightly, which is also a nice look. ( In the examples above, #1 is facing directly west into the key, #2 is turned 3/4 away from key, and #3 is with the key behind the model - notice the wrap in this one especially)

The biggest problem is filling in the dark eye sockets that result from there being so much overhead light. This can easily be solved with a little reflecting from below. Be careful not to fill more than the key or you'll get a weird, horror-type look. I found that having the model hold the bounce card herself allowed me to shoot with longer lenses and manually focus at apertures below f2, ( which I usually don't get to do because I'm holding my own bounce. )

An added bonus is the way this low bounce lights up the eye:


So don't be discouraged by overcast. In many ways it was easier to not have to fight the sun, but I do miss those backlit highlights.

Vanessa and the Magic Board

I had a great shoot yesterday up in Oceanside with Vanessa. It was a classic Anthony Robertson shoot: no stylists, not lights, no bs.... only The Magic Board! I really wish I had a picture to show of me using my magic bounce board, because it looks ridiculous, but I'll do my best to describe its practical applications. The simple description is how beautiful this light looks:

The 'magic board' was basically a product of my poorness. To the untrained eye it might look like a 20"x30" foam presentation board from CVS with some tin foil gaff taped to it. And, well, that's basically what it is. I've actually got some shiny paper product rather than foil, but its probably comparable to the 'soft' side of tin foil. ( Tip: crumple your foil prior to application for more diffusion )

Now here is the big secret. I'm serious. Pay attention. Not only is this a bounce board, it's also a lenser. ( Lenser = anything that keeps a flare (sun) out of your lens ) This is why nobody but me can use the magic board. Here is a little diagram to help you understand:

Just imagine how funny this looks in real life. Here is the crucial part in closeup.

Notice that the field of view of the camera (blue/green) is not obstructed by the board or flooded by the direct sunlight.

Reap the benefits:

1) subject is beautifully and powerfully backlit

2) The magic board will produce as much fill as you want, often way more than a model can tolerate.

3) The board flags off any lens flare ( unless you want some )

The source:

By working at this relative proximity ( I shoot a 50mm generally, so a 3/4 shot size on a person leaves me about 4.5 feet away ) this board is a 'large' source, producing a soft, wrapping light. The crumpled reflective surface provides additional diffusion.

Pros:

- No assistant required

- Cheap to make

- Free to use ( no batteries or power )

- Beautiful natural light aesthetic

Cons:

- You will look like a tool and other photographers will probably laugh at you.

- Often it is not possible to fill with enough light to capture a brighter background. This can be solved by selectively choosing a dark background or some highlight recovery in post processing.

- This technique will limit your working distance from your subject. The reflected light is only useful within 10 feet of your subject/model so you're either using a 50mm or shooting close ups.

Stick a 50 on your Dslr and some tin foil on a board and make me proud.

This is the way I light 90% of my work. If you don't like it you can go suck an egg.