Photographic Lighting - The Lighting Angle (4.5b)

Requirement

11 images

Purpose

• To experiment with using diffused light at different angles

Technical learning

Direction and elevation

• 2 dimensions to the position of light source: (a) direction and (b) elevation
• Both have a major impact on how viewer reads image
• Photographers describe direction variously - by angles, points of compass, clock positions or relationship to the subject (as in chart below)
• Photographers sometimes describe elevation as between 'high' and 'low', but more useful to consider the angle at which light strikes the subject, since this takes account of the height of the light and its distance from the subject

Impact of lightening angles
David Praekel, 'Lighting'

Backlighting and rim-lighting

• Both are effective in revealing shape
• Back light is behind the subject directed towards the camera. This creates a silhouette sitting in a bright background. 
• Rim light comes round the edge of the subject from a source behind or to the side so that it reveals the edges of the subject

Top and base lighting

• Top lighting with a softbox, with reflectors to throw light towards the front of the subject, is common in product advertising
• Base lighting requires the subject to be placed on a transparent surface and lit from below

Exercise instructions

• Pick a small subject (e.g. sculpture) so that you have several planes to show differences in shadow and light
• Use a tripod (and keep in the same location during shoot)
• Set the subject against a plain background
• Move the flash and diffuser around the subject as you shoot
• With the light level with the subject, (1) front, (2/3/4) side, (5) behind
• With the light 45 degrees above the subject, (6) front, (7) side, (8) behind
• With the light 90 degrees above the subject, (9) directly overhead, (10) slightly in front, (11) slightly behind
• Compare the results 

Images and review

Still life# 1 Bowl

• The 2nd attempt: the 1st attempt was OK for learning, I just didn't like the images much. So having another go, in addition to reinforcing the learning, made me happier with the result
• Improvements were mainly from the use of a black card background and conversion to monochrome

Still life# 2 Tennis Ball

• Use of yellow tennis ball on a red rush table mat, provides contrasts: one of adjacent warm colours, the other of textures. 
• The shape of the ball provides a useful way to show the modelling effect of the flash. 

Key points of flash impact

• Location, surface area, diffusion of shadow
• Subject and background
• Intensity on illuminated surfaces

1. Bowl

1. Front - level with subject

No back shadow but some light
reflection from inner glass onto black surface,
with shadow pattern as well.
Detail bleached out by flash, but for the difference
in the reflection from the black card 
the image has no depth

2. Three quarter - level with subject

Shadow thrown onto background in the opposite
direction to the flash, right hand edge of bowl
is also in shadow. More texture revealed.

3. Direct left  - level with subject

Shadow cast to the side, but light seeping through
glass lights up inside right of bowl.
Not particularly appealing - mildly chaotic
Strange shadow at 8 o'clock (unsure what
caused it - might be light reflected from the background?)

4. One quarter - level with subject

Unexplained shadow (however, can this really
be reflected light at work? Doubt it)

5. Back - level with subject

Replaced the black back board with my DIY
polythene A3 diffuser.
Reveals the shape in silhouette.

6. Front - at 45° elevation

Bleaches detail but 45 degree elevation 
casts a small shadow behind to add some depth, 
compared to image #1 above

7. Direct left - at 45° elevation

The diagonal shadow across the face of the bowl
is interrupted by light passing through the
lattice. Neat shadow on the base of the set.

8. Back - at 45° elevation

Interesting illumination of the structure, almost
a film negative or infrared effect.
Shadow on the base is nearly as
appealing as the rendering of the image.

9. Overhead

Top half illuminated, bottom half of bowl not.
Slight loss of symmetry of shadow on base suggests
that flash wasn't directly overhead.

10. Overhead - slightly backward

Again the effect of light passing through the structure
is evident here

11. Overhead - slightly forward

Top 2/3 rds lit by flash, soft shadow
across remaining 1/3rd of bowl

2. Tennis Ball

1. Front - level with subject

Eliminates nearly all shadow on ball and mat

2. Three quarter - level with subject

Creates a shadow on the ball (25% of its
surface) and makes illuminated side look brighter. 
Also, diffuser creates a graduated shadow,
light to dark in the direction of the light source.
Long hard shadow on mat.

3. Direct left  - level with subject

Shadow now covers c. 50% of subject,
left hand edge has a luminous glow
(Is this an illusion caused by contrast, or is
this is a real increase in brightness?)

4. One quarter - level with subject

The ball is in silhouette, but for a
crescent shaped area of brightness on
the same side as the flash. 
Rear side of mat lit, front side not.
Faint lens flare.

5. Back - level with subject

A silhouette (created by shooting through the 
framed greaseproof paper).
Lens flare corrected in Photoshop.

6. Front - at 45° elevation

Mostly even lighting, modest
shadow at base of ball, diffused on ball but
hard on mat.

7. Direct left - at 45° elevation

Diagonal shadow on subject, oblong shadow 
on the mat

8. Back - at 45° elevation

Near silhouette. 
Edge round top half of ball
is rim lit

9. Overhead

Shadow covers 25% of lower part of ball
and is highly diffused on the subject. Hard shadow
thrown underneath, mimics shape

10. Overhead - slightly forward

Shadow covers lower half of ball.

Hard shadow

underneath, distorted shape

11. Overhead - slightly backward

Shadow covers bottom 2/3rds
of subject and appears harder
on the face of the ball. Hard shadow

underneath, even more misshapen

Photographic Lighting - Softening the Light (4.5a)

Requirement

2 images

Purpose

• To compare diffused with naked flash light
• To develop still life photography skills

Technical learning

Still life - key pointers

• Use a simple backdrop (to avoid distraction from subject)
• Make light contrasty: vary the strength of light from different sources (e.g. main light = strongest, 2nd light = fill in shadows)
• Pay attention to light angles: (a) light(s) to subject, (b) subject to camera. Varying light angle and viewpoint is key to discovering best presentation of perspective
• Light for texture and depth: side light works best
• Light for shape: side light also works best, also add highlights across the edge of subject

Role of photo lighting

• Treat photographic lighting as a supplement with unique possibilities
• Some advantages of photographic lighting (vs. natural light) are:  (a) useful for shooting small subjects that the photographer can control and (b) more effective for photographing indoors

Lighting options

• Options include: camera in-built flash, separate flash unit (battery or mains) and tungsten (mains powered) unit
• Some advantages of tungsten (vs. mains flash) are: (a) it is cheaper, (b) you can preview the lighting effect, (c) it does not need synchronisation with the shutter and (d) it does not require a separate light meter
• Some advantages of mains flash (vs. tungsten) are: it (a) can drown ambient light and
•  (b) produces less heat so enabling the use of important light modelling attachments (e.g. soft box diffusers, umbrellas etc)

Managing light intensity

• The intensity of light falling on the subject varies by distance by the Inverse Square Law, doubling the distance, reduces the light intensity four fold

Using diffusers

• Naked lights produce bright highlights and hard shadows as well as distribute light indiscriminately around the scene. This effect can be softened by diffusers 
• Diffusion models more softly, reduces shadow and reveals more detail

Exercise instructions

Create a DIY diffuser

• Create a frame of cardboard or wood
• Tape white greaseproof paper over window (other options: specialist 'scrim' or 'spun', milky plexiglas)
• Attach frame to stand and place between flash and subject 

Set up a still life

• Experiment with the placement of the flash unit before deciding where to position it
• Take 1 shot with naked flash, another with diffused light
• Compare the results in the treatment of highlights and shadows

Images and review
I made 2 identical diffusers from greaseproof paper taped to a cardboard frame, so that I could assess the impact of doubling up on diffusing the flash light.

Tennis Ball

Naked Flash
Hard shadow on the grey card and
high contrast between lit side and shadow
side of the ball

1 x diffuser
Softer transition to shadow across the face of
the ball and weaker shadow on the grey card 

2 x diffuser
Even softer effect than in the previous image

Available Light - Outdoors at Night (4.4b)

Requirement
12 to 20 images

Purpose
To explore the range of lighting and colour effects in low light

Technical learning

• Dusk rather than night enhances the skyline of any night time cityscape

Camera craft issues to consider:

• Camera Shake - Low light lowers shutter. Use a tripod and a cable release 
• Noise - Raising ISO to increase shutter speed to offset motion blur will increase the risk of noise, the extent depends on the quality of the camera's sensor. So, minimise the increase in ISO consistent with motion effect required
• Improper Auto Focus - Auto focus tends to malfunction, so use manual focus
• White Balance - Colour temperature of light sources are often difficult to anticipate, so shoot RAW and adjust colour in post processing
• Exposure - Some conditions are likely to exceed the camera's ability to operate at an acceptable exposure, so you may have to set shutter speed manually (bulb). This requires experimentation to get the correct exposure
• Shadows - Flash or other artificial light creates strong shadow, so consider background lighting as well as lighting the subject

Exercise

• Go to a well lit city centre
• Use a tripod and cable release
• Shoot as many images of (a) floodlit buildings, (b) brightly lit store fronts, (c) large interiors with many people and (d) a raised view over a busy road

Images and Review

City see from Hays Galleria in twilight
Dark enough to reduce shadow, light enough
to retain some detail

HMS Belfast in Twilight
Eyes adjust, camera doesn't
Lower light enhances colours

London Bus crossing Tower Bridge
Lower light enables moving lit objects
to create dramatic motion blur

Burlington Arcade at night
Pattern of colour and light adds
to sense of perspective

Office block, More London
Glass buildings become well lit
and rich in detail

Waterloo Station, 7.30pm
High ISO (6400) to freeze movement

Available Light - Tungsten and Fluorescent (4.4a)

Requirement

• 3 images - Tungsten Light (1 scene x 3 WB settings) 
• 4/6 images - Fluorescent Light (2/3 scenes x 3 WB settings)

Purpose

• To learn how to minimise, if not avoid, colour casts from artificial light sources

Technical learning

• 2 distinct types of artificial light: (a) available light and (b) photographic light (e.g. flash)
• 'Available' light is artificial light used to illuminate interiors, buildings, etc, which is not specifically designed for photography
• It is of 3 types: (a) tungsten, (b) fluorescent and (c) vapour discharge 
• Tungsten - used as domestic lighting, it looks orange or yellow to the eye and reddish to the camera. Most cameras have a setting to correct this type of colour cast
• Fluorescent - commonly used to light public areas. It appears white to the eye and an uneven mixture of colours to the camera.  Most cameras also have a setting to correct this type of cast 
• Vapour Discharge- used mostly for street lighting, building or stadium floodlights. These are of several types: (a) Sodium Vapour lamps look yellow to the eye and photograph yellow or yellow-green. Since this light source has no blue, it cannot be corrected by adjusting White Balance. (b) Mercury Vapour lights look bluish white and photograph blue-green, requiring a red filter to correct. (c) Multi-Vapour lights also look bluish white but actually photograph as white light.

Exercise instructions

Part 1 - Interiors lit by Tungsten Light

• Wait until immediately after sunset (i.e. when the light outside is less intense than inside the room lit by tungsten bulbs)
• Stand close to the window and look outside for a minute until your eyes become adjusted to the external light. Then turn back towards the room. (a) What colour does the interior light seem to be (i.e. before your eyes adjust)? Then, when your eyes are adjusted to the light in the room, look outside again. (b) What colour does the exterior light seem to be?
• Next, measure exposures around the room using your camera's meter, particulalrly close to a reading lamp as well as in the darkest part of the room. At ISo 100, what are the shutter speeds between the brightest and darkest areas of the room?
• Now compose an image which includes the brightest and darkest parts of the room and the external view, and shoot 3 times with the following White Balance settings: Auto, Daylight, Tungsten
• Compare results

Part 2 - Interiors lit by Fluorescent Light

• Find 2 different scenes lit by fluorescent light
• Take 2/3 image at each location with the White Balance set to (a) Auto, (b) Fluorescent and, if possible, (c) and alternative Flurorescent
• Compare results (note: colour quality in all should look in some way unsatisfactory)

Images and review

Part 1 -  Tungsten Light

Didn't do this exercise

Part 2 - Fluorescent Light

Shop Window

Auto WB = 4,950k
Over yellow

Fluorescent 1 = 3,100k
Over blue

Fluorescent 2 = 3,800k
Close to human perception of
the colour of the light as it was
when image was taken

Time of Day - Cloudy Weather and Rain (4.3c)

Requirement

• 4/6 images - Sunlight vs. Cloud
• 2 images - Overcast
• 2 images - Rain

Purpose

• To practice the technique of making the most of prevailing weather conditions

Technical learning

• Clouds act both as a filter (they diffuse sunlight) and a reflector (if they are white and in the right part of the sky)
• Clouds are of numerous types, from fair weather to a featureless grey blanket
• Clouds covering the sun soften shadows, making the scene evenly lit, so that shapes appear less modelled

Exercise instructions

Part 1 - Sunlight vs. Cloud

• Shoot the same scene in sunlit and under cloud
• Choose 2 or 3 different subjects (e.g. building, person, street scene)
• Set White Balance to 'Daylight'
• What is the difference in exposure between the sunlit and cloudy conditions?
• Does the scene shot in cloudy conditions have a blue cast compared to the sunlit ones?

Part 2 - Overcast

• On an overcast day, take 2 images: (a) one containing detail with pronounced relief and (b) an object with a strong colour

Part 3 - Rain

• On a rainy day, pick scenes that flourish as photographs in such conditions, such as (a) reflections in puddles, surfaces, (b) raindrops on glass, (c) ripples as rain strikes pools of water, (d) misty appearance of landscapes, and (e) rainbows
• Tips: (i) stay under cover except whilst shooting, (ii) wipe lens and camera after each shot and (iii) use either a high ISO or tripod

Images and review

Part 1 - Sunlight vs. Cloud
Sunlit subjects have harder shadows and warmer light (more yellow), than overcast ones

Woodcarving in sunlight (WB = daylight)

Woodcarving in overcast conditions (WB = daylight)

Part 2 - Overcast

Makes colours less vibrant but increases visible detail due to even light

Autumn fields on an overcast day

Poppy field in overcast conditions

Part 3 - Rain

View through taxi window on a wet afternoon
Again shot hand held with a compact camera

London Eye reflected in puddle after rain
as seen from outside Royal Festival Hall

Time of Day - Variety with a Low Sun (4.3b)

Requirement

At least 4 images, 4 different directions of sunlight

Purpose

• To show the advantages of shooting when the sun is low and how to use camera angle to good effect

Technical learning

• In summer the sun is 'low' for 2 hours after and before sunrise and sunset respectively, in mid winter the sun is low throughout the day

Twilight

• Twilight, just before sunrise or after sunset, can provide interesting opportunities
• The best views are ones towards the brightest part of the horizon, which produces 2 particualr types of image: silhouette and colour
• For silhouettes: look for interesting shaoes towards the horizon (e.g. trees, mountains, buildings)
• For colour: look for broken cloud, which can create spectacular colours, although the effect is always unpredictable. Reflections in water can add drama. Sometimes at sunset the sky can flash briefly into life after the sun has lost its colour.

Lenses and colour

• Wide angle lenses capture vibrant colours, whilst telephoto ones mute them 

Direction of light

• Front: shows intense impact of sunlight, but take care not to include own shadow unintentionally
• Side: presents the subject partially lit, partially in shadow, so consider carefully the choice of exposure as the averaging effect of the meter is likely to over-expose the highlights
• Back: creates silhouettes, so consider using brackets to be able to select which image achieve the best result in terms of detail in the shadows
• Edge: shows the impact of light falling on the edge of the subject (without the sun being in the frame), so needs a draker background to isolate this effect

Exercise instructions

• Select any sunlit subject
• Take several images with different directions of light (side, side, back, edge)
• Produce 4 as a final result

Images and review

Verdi - project revisited

I didn't like the images of the soap stone Buddha so repeated the exercise just before submitting my assignment. This time I used a bust of Verdi, the composer (bought in an Oxfam shop for £1.99 for the purpose and cleaned up by gentle bleaching). I shot these images in a makeshift outdoor studio used black card as a negative space.

Facing Sun

Backlit by sun

Side lit at 90 degrees

Facing 3 quaters away from the sun

Soap stone Buddha - first attempt at exercise

Shot at 18.00, early April, sun at elevation of c 15°, using roof of silver car as stand both to catch the sun and to enhance light source. 

Front
Reveals nearly all the detail,
lightens and adds yellow
to reddish brown soap stone

Back
Creates a near silhouette

Side
Reveals texture of figurine,
most faithful rendition of colour

Edge
Used reflection of sun from metal to
create star effect over statue's shoulder