I read the article last week & my impression was that he was talking about using hardlights, and skimming the light across the sbject from the edge of the light--where it's more even & contrasty on a non-fresnel type/open face reflector. We light like this with speedotrons in our studio when we shoot objects, the way the speedo blackline reflectors are made, the light is much more crisp on the edge of the beam--not from the center where the tube is. It's pretty much like that for every hardlight that doesn't use a fresnel. The shadows are always more defined from the edge. I shoot alot of furniture this way--skimming the lights across the set with the head almost pointed at the camera using the edge to hit the piece, and then fill from the front, or use more hardlights either gridded down or flagged out to keep the light just hitting the subject....

just read the article, maybe I got it wrong, but it made sense to me...I didn't get the impression he was talking about any classical portrait style.


BTW--the photo of Anne Heche, he talks about using two hardlights if I remember correctly, one hitting her about ten feet off to the right, and the other as sort of a kicker from low on the ground in the front, but not hitting the pavement.

A good book though, is Ross Lowell's "Matters of Light & Depth".

KT