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Lesson Number Two

Lighting

 

Photo 2.1 - This photograph was made midday. The shadows are short and the contrast is low. This gives good detail throughout the photograph.

     Light is the very substance of photography. Light reflected from the subject is formed by the camera lens into an image and the light of the image excites the chemical changes in the film that themselves become visible in light once the film is processed.

     It is through the contrasts in lighting that we perceive the forms of things so readily; the play of light across an uneven surface, such as a human face or a landscape, determines our ability to see the shapes and textures of what lies before us. Contrast also affects exposure and processing. Thus, controlling contrast is of great importance in photography.

     When we look at an object or a scene, the direction of light falling on it has a strong effect on our impression of contrast and thereby on our impressions of form and texture. Direct frontal light - light falling on the subject or scene from the approximate direction of the viewer's line of sight - grossly lowers the apparent contrast because shadows are being thrown only in places the viewer cannot see. It is as if there were no shadows, no matter how harsh the overall lighting contrast would be if the subject were seen from other angles.

Photo 2.2 - Later in the day, shadows begin to elongate and contrast begins to increase.

     Lighting from a broader angle - from more to one side of the viewer - increases the apparent contrast; the harshness of contrast increases as the angle broadens. Light coming from an angle at 90 degrees to the viewer's position may have a chalk and charcoal effect; one side is brilliantly lit, and the other is a black shadow. Backlighting, light directed toward the viewer from somewhere behind the subject, is characteristically extremely contrasty; the light is deflected toward the viewer, or camera, either by reflection from the edges of the subject, or by the refraction from peripheral matter such as hair or other translucent materials. It is desired that significant frontal lighting fall on a backlit subject, some of the main lighting must be reflected back toward the subject, or a secondary light source must be used to partially or completely fill in the shadowed areas.

     In this lesson, we will discuss the various types of light and how they affect the subject or scene we are photographing.

 

 

Photo 2.3 - This photograph was taken with an overcast sky. This flat lighting eliminates harsh shadows. The same type of lighting is achieved with "open shadows", by having the subject in a complete shadow with open skylight above.

 

Photo 2.4 - High contrast as in this scene can be controlled by manipulating the processing of black and white films. Different types of color films handle contrast differently as do color photographic papers.

 

 Kinds of Lighting Photographers Deal With on a Regular Basis:

     A. Natural Lighting which is affected by:

 

(1.) Time of day

 

Lighting has more contrast early in the day and later in the evening. The light is also much warmer which makes for excellent landscapes. Midday lighting tends to be more flat without the harsher shadows as in early day and late day.

Photo 2.5 - This photograph was taken at sunset. The warm glow of the sun adds to a breathtaking scene.

 

(2.) Weather

Scattered storms can create some beautiful lighting by increasing contrast in a scene. Some of the most spectacular landscape photos I have seen were taken when there were scattered rain showers with the sun shining through the clouds. Totally overcast skies can cause the lighting to be very flat by eliminating harsh shadows.

Photo 2.6 - Photographs taken after a rain, as the clouds begin to thin, make beautiful contrasty shots with rich colors.

 

(3.) The Seasons

 

Light tends to be more contrasty in the winter months. This is important to note. Photographers using black and white film can vary film processing time to accommodate for the increase in contrast. Changes in film processing will not affect color film however. At the present time, Fuji color print film seems to have more contrast than Kodak color print films. The increase in contrast can be an asset to the photographer in the summer months but can cause some problems in the winter months. I prefer to use Kodak color print film in the winter and Fuji color print film in the summer months.

Photo 2.7 - This photograph was actually shot in the winter months. The sunlight has more contrast which is enhanced by the water in the background and by backlighting. These conditions form to make for a photograph with a "high key" background. Proper exposure for such a photograph will be discussed in Lesson 4.

 

B. Continuous Artificial Light which can include:

 

(1.) Candlelight

Portraits by candlelight can be very pleasing to the eye. In wedding photography, I almost always photographed the bride by candlelight. When using a manual camera there is a rule of thumb on exposure that almost always works. Set the camera's shutter speed to 1/30 second and open the lens wide open, usually f:2.8 on most 35mm lenses. Hold the camera very steady or use a tripod and make the exposure.

(2.) Incandescent light

This is the normal lighting in most of our homes

(3.) Florescent light

Many businesses use florescent lighting.

(4.) Any continuously burning light source other than the sun.

C. Existing Light

 

(1.) Light that is not directly under the photographer's control

(2.) Requires a strong knowledge of the photographic medium

(3.) Tends to be dim and extremely contrasty

(4.) May include various light sources at the same time

(5.) Light may be in pools or very flat

D. Controlled Artificial Light

 

(1.) Spotlights

(2.) Floodlights

(3.) Lightbanks

 

Professional portrait photographers use a combination of each of these types of lights. Their expertise, as a portrait photographer, lies in how they use controlled artificial lighting effectively.

Photo 2.8 - Controlled artificial lighting allows the photographer to control and place the light sources where they need to be to properly light the subject.

 

E. Flash or Strobe Lighting

 

(1.) Allows faster shutter speeds to be used

(2.) Approximately the same color as the sun

(3.) Available for most cameras

Color of Light

A. Light is measured in Kelvin temperature

Light can range from very warm to very cool. Warm light gives a brownish/orange tone and cool light has more blue color involved. Light in early morning and evening is warm and the light is much cooler during midday.

B. Film is Color Balanced

 

Most film is balanced for daylight which is approximately 5400 degrees Kelvin. This is also balanced for electronic flashes because they are almost the same color as sunlight.

Professional photographers often use tungsten balanced film for indoor photographs using existing light conditions. This film is color balanced for warmer light and eliminates the orange glows of that type of lighting. Using tungsten balanced film in daylight or with electronic flash will give a blue tint to the photograph unless the proper filter is used.

C. Filters can be used to Correct for Color Balance Differences

If you will look closely at you photographs you will see that photos you have taken in your house, without a flash and using regular incandescent light bulbs as your lighting source, will have a very warm tone to them.

 

Photographs taken under florescent lights will have a tendency to have a unpleasant green cast to them.

Both situations can be alleviated by using the proper filters over the lens of your camera or by using an electronic flash.

Contrast is Directly Affected by the Direction of the Lighting

Photo 2.9 - Backlighting makes beautiful silhouettes as in this shot.

Lighting Directions

A. Side Lighting - ContrastyB. Frontal Lighting - Flat

C. Back Lighting - Contrasty

Table 2.1

Table 2.2

Assignment

Outdoors	Photograph your chosen subject or scene at sunrise, midday and at sunset. Make sure the subject or scene is illuminated by the sun and not in shadows.
	At sunrise and sunset, photograph the subject or scene facing away from the sun, with you between the subject or scene and the sun.
	At each time of day, photograph the subject or scene with the sun at a 45 degree angle and a 90 degree angle to the subject. At midday, photograph the subject or scene at 45 and 90 degree angles with the sun as much overhead as possible.
	At sunrise and sunset, photograph your subject or scene directly into the sunlight, with the subject or scene between you and the sun.
Indoors	Photograph your chosen subject with existing light inside.
	Photograph the subject with the light source at 0, 45 and 90 degree angles to the subject. Keep the light source the same distance from the subject in each photograph. Use a tripod if necessary to steady the camera and avoid the photographs being blurred.
	Photograph the subject from the same angles using electronic flash in addition to the existing light.
	If possible, remove the electronic flash from your camera and position for photographs at angles of 0, 45 and 90 degrees to your subject in addition to the existing light. Keep the flash at the same distance from the subject in each photograph.
	If possible, remove the electronic flash from your camera and photograph your subject with the flash facing the camera from behind the subject. Make sure the subject completely hides the main beam of the flash when you take the photograph.

Keep these photographs with the photographs from Lesson Number One. Mark each photograph showing which lesson they are from. Pay close attention to how the lighting at different times and at different angles affects the contrast and feel of each photograph. The photographs made at sunrise and sunset will have warmer tones and more contrast than those taken at midday. The photographs taken indoors under existing light conditions will have warmer tones and less contrast than those made with electronic flash.

 

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