Light

All posts tagged Light

Copyright Scott Bourne 2010 - All Rights Reserved

If you’re into landscape photography, don’t forget to look at the direction of the light. Side-lighting is your friend. It brings out texture and richness in an image that you just won’t find anywhere else. I made this image last night while teaching a workshop in the Palouse region of Washington state. Notice how much texture there is in the pea fields. If I’d made this image with the light at my back, or if I’d made the image backlit, you wouldn’t see any of this beautiful texture.

You can see the shadow cast by the tree. Pay attention to the direction of the shadow. That’s how you can tell where the sun is.

In landscape work, texture is extremely important. Give it a try. Look at your shadow next time you’re shooting. Make sure it’s at a 90-degree angle to your subject. You’ll capture more of the richness and the “feel” of the image.

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Photos by James Fidelibus

Editor’s NOTE: This is a guest post by the one and only Bambi Cantrell. Bambi is an icon in the wedding and portrait industry. Her awards and accolades would literally be too long to list here. We’re very fortunate to welcome Bambi as a guest poster to the Photofocus blog.

Guest Post by Bambi Cantrell – Follow Bambi on Twitter

I needed a new headshot done for some time.  Well yesterday that day finally came and I had my friend and fellow photographer James Fidelibus of James Brian Studios shot it.  First of all,  many of you will ask why didn’t I ask my partner, and amazing photographer, Michael Van Auken (who works for me) to do it.. simply,  I know his “shtick”  in other words, I know all of his lines to make someone laugh.. so they don’t work on me.

Can I just say for the record, I absolutely HATE to have my portrait done, and usually complain for about a week when I have to have one done.  Are any of you like me?  At least you know if I take your portrait or your families, I have walked a mile in your shoes.

Now onto the how it was done part:  Jim used a very large light source, a four foot softbox VERY close to my face with an equally large reflector on the side to make the light a bit flat.  Why flat light?  Simply to fill in all of my “cracks.”  :)  Flat light is very flattering on a mature face.  Once the lighting was set up,  then he got out his very tall ladder.. yes, giggle giggle,  higher camera angles are AWSOME on mature faces.  Why?  because that camera angle hides any double chin activity.  (not that I have one)  Now onto the hard part, making me relax in front of the lens.  That is no easy task.  All of those lights, camera’s, really long lenses, etc.. just make me crazy!  Jim’s answer?  Simply talk “shop” with me and redirect my mind elsewhere.  I actually found myself relaxing and almost enjoying the experience, and when it was all said and done, I actually found a few images I like!  Thanks so much Jim!

All of this highlights another aspect of photography and that is the importance of understanding an “f-stop from a bus stop.”  What I mean is that many younger photographers, or should I say less experienced ones, just seem to think the only thing necessary to become a “professional photographer,” is take lots and lots of pictures and maybe you will get lucky, and then once the job is done, to retouch the heck out of them or “fix them in Photoshop.”   A great portrait starts with a very experienced photographer who understands the anatomy of the face, the direction and use of light on that face.  I’ve included the before and after shots on my portraits to show the foundation of great photography.

I did retouch my images, but only slightly.  I used the burn and dodge tool a bit to give my left cheek a bit of shade, in one of the images you will see that my hair got a bit messy, so I took a small segment of hair from another spot and blended it to the existing hair to basicly fill in the bald spot.  In one of the images I used some of my custom Photoshop actions to add a bit more eyeshadow to my face and then I converted a couple of the photos to monochrome using those same actions.  You will see I took out my spots and blemishes, and smoothed the tone on the skin of my neck.  Lastly,  I used just a touch of Gaussian blur to just soften my skin a bit.  Most of the retouching was done in the camera, using great light, a great camera angle and a photographer with a personality!

So, the next time you think to ask a photographer you are interviewing, “What kind of camera are you using,”  maybe you should reconsider the question.  Camera’s don’t take pictures, People do.  Hopefully, very skilled, professional photographers that know an “f-stop from a bus stop.”

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(Photo is Copyright Nicole S. Young – All Rights Reserved)

Post by Nicole Young – Follow Nicole on Twitter

I can vividly remember when I first started “seeing” light. I was driving down a highway and saw a building on the side of the road that instantly caught my eye – I noticed the angle, color, and intensity of the light as if I were opening my eyes for the first time. Without light there is no photography, so why did it take me so many years to find it?

Even now it’s still a distraction. When I watch television I look at the lighting on the actors faces, I try to find the light in photographs (and even paintings). I see shadows, highlights, hair-lights, spotlights … you name it, I look for it.

If you don’t see light yet, make an effort and the conscious decision to see the light. If you are photographing a flower, don’t look at the petals, leaves, and stem … find the light, where it’s coming from, and how it reacts with your subject. If you are photographing a person see where the light is on their face, and also where it is not. If the light is not what you want to see then do your best to sculpt the light using anything from the side of a building, reflector, scrim, or alternative light sources such as speed-lights and strobes.

Do your best to find light everywhere, not just when you are with your camera. Look at the light when you are driving to work, sitting at your computer, and even at night when the sun is completely down. But be careful … once you open your eyes you’ll be enamored and infatuated with the light around you, and you might just fall in love with photography all over again.

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#14

Photographs © Rick Sammon

These three pictures, all taken at the same location, illustrate why the quality of light is so important. In the top image, the quality of light is simply fantastic, created by the morning fog and the rising sun. Talk about the luck of being in the right place at the right time! The middle picture, taken at after sunrise, has a nice quality… but not as nice as the top image – because the fog is missing. The bottom picture is boring due to the poor quality of light. It was taken just before sunrise on a clear day.

Want great light quality in your pictures? Shoot in the early morning and late afternoon, and pray for fog, mist or clouds.

P.S. Here are two more short and sweet tips: One, when shooting landscapes, think about how the photograph might be improved by cropping out boring foreground and sky. Two, when you find a great location, as I did, go back again and again to see – and photograph – the changing of the light.

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lightImage and Post by Rick Sammon – Follow Rick Sammon on Twitter

When teaching a workshop, one of the things we focus on is light: seeing the light, controlling the light (on site), and working and playing in the digital darkroom with light.

One of my favorite photo adages is: Light Illuminates, Shadows Define.

That adage is illustrated by this set of pictures, which I took during the Mt. Rainier Aperture Nature Photography Workshop. The image on the left, taken before sunrise, shows the subject illuminated by light… but there is little definition in the scene. The picture on the right, taken shortly after sunrise in the same general location, has much more definition – due to the shadows in the scene.

The message of this short and sweet shooting session: work and play with shadows.

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A reflector is any object used to reflect or bounce light. While we tend to think of round shiny circular objects we buy at the camera store as reflectors, a reflector can be anything that bounces light. It can be a plain piece of white cardboard or one covered in tin foil. A reflector could be something as simple as a wall, a white tshirt, or anything that is large enough and bright enough to move light.

Reflectors have a several positive traits. They are generally less expensive than flash units, they aren’t bothered by things like flash sync, they’re easy to learn how to use, they don’t require electricity and they give you visual confirmation of where the light is going.

I use a variety of reflectors from companies such as Westcott, California Sun Bounce and Lastolite. While you can certainly make your own inexpensive reflectors, these are convenient commercial grade reflectors that offer a dependable and consistent quality of light with little time investment.

I use both rigid and flexible reflectors. The rigid kind assemble in the field and can be packed into smaller spaces. The downside is that it takes longer to set them up and tear them down. Flexible reflectors fold down into a round shape that is several sizes smaller than the reflector surface and easy to open and close but bulkier to transport.

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Reflectors come in all size and shapes. I am partial to circular shaped reflectors since these produce a round catchlight in the eye. That said, I own all different types of reflectors including triangle and square shapes.

Reflector material can be made of a pure white surface or silver or gold or a combination thereof. The metallic surfaces provide more light intensity and contrast in the bounced light than the matte white surface.

If you use gold reflectors you’ll get a warmer tone. If you use white reflectors you’ll get the same color light that is bouncing onto the white surface. Likewise, if you use silver reflectors, you’ll get the same color of light bouncing back to the subject.

I primarily use reflectors for fill. I’ll set up a flash as main and then use the reflector to fill the shadow side. I really like to use reflectors to fill ugly raccoon eyes caused by harsh light.

If you use a large reflector and position it close to the subject you can create the illusion of wrap around light. It’s a neat effect that everyone should try if they haven’t already.

I’ll also use a reflector as a scrim – to block the light if I want to practice a little subtractive lighting.

If you’ve never used a reflector, start by getting a large piece of white cardboard or matte board and play around with it the next time you make photos. I think you’ll start to see how valuable a reflector can be.

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