"Kiedyś, po jakimś czasie, spotkamy się w kawiarni albo w metrze. Będziemy próbowali się nie rozpoznać albo nie zauważyć, szybko odwrócimy się od siebie. Będziemy wstydzili się tego, co stało się z naszym “my”, co z niego zostało. Nic. Dwoje obcych sobie ludzi ze wspólną pozorną przeszłością, której tak długo i tak bezwstydnie pozwalali się okłamywać.
Make your own indirect light
The goal of most studio photography is to turn direct light into indirect light. To this end, photographers spend money on reflectors, L.E.D. lamps, beauty dishes, and a number of studio gizmos. You don’t need to buy all of the equipment in order to create your own indirect light, but it certainly will make your job easier. Instead of spending a bunch of time searching for something to reflect the light, they can simply bring all the gear with them.
A single white paper towel is enough to turn your flash into a source of indirect light. Just place it in front of your flash, and it will disperse the light in all directions around your subject. I also find it helpful to use a small reflector to bounce my flash toward a white wall. Direct flash is the worst kind of direct light. It’s too intense and focused, often making your scene appear uneven. By using a reflector, you are forcing the light to the side, making it indirect.
If you don’t have any reflectors on hand, you can always use a mirror. They work perfectly fine. The only issue is their heaviness. Reflectors are nice because they fold up, don’t shatter, and they give you a nice diffused white light (mirrors simply reflect all light). This is the poor man’s toolkit until you finally buckle and buy a few accessories.
As you can see, both direct and indirect light have their place in the world of photography. One is not better than the other. They simply have different purposes. If you are trying to emphasize texture and shadows, go with direct light. For everything else, use indirect light.