Because, to be honest, I didn't know how to use my flash, and more importantly, I didn't know how to read light. Yes, there is no mistake here. As a photographer, you not only see light, but you must also master the art of reading light - the type of light, the quality of the light, and how the light will affect your image.
The more I photographed people and places, the more I realized that finding light in the shadows is not so scary and intimidating.
Master the shadows
Imagine for a moment the confidence you would feel if you could walk into any room and think to yourself, “Yes, I can handle it.” And I don't mean using an on-camera flash or a studio light to light up the whole scene. I mean using only available light to create magical photographs.
Now don't get me wrong, I really love images made in natural light because, in my opinion, they are light, airy and attractive. But shooting in a low key style and using shadows to create dramatic portraits, just as exciting.
Over the past few years, I have felt a little limited in my photography in terms of photographing in bright, open, natural lighting conditions. Living in Chicago, our summers are quite short, and autumn is usually a mixture of rain, thunderstorms and more rain. I realized very quickly that I needed to get out of my comfort zone and figure out how to shoot indoors and do it confidently and creatively.
The first thing I realized was that shadows play a very important role in shaping light, creating mood, depth and drama. If you don't have a lot of floor-to-ceiling windows that fill the room with light, then taming shadows can be the perfect solution to boost your creativity.
No. 1 Equipment selection
If you have a choice between prime and zoom lenses, choose the former. Primes are generally considered fast lenses with f/1.8 apertures or more, allowing more light to enter the camera's sensor. I use my Canon 50mm f/1.2 80% of the time I shoot indoors.
Also make sure you measure correctly. Most of the time I use spot metering and my center point is set to the brightest area of my subject's face and skin. This in itself will help produce a well-lit image. This way the highlights will be properly exposed and the shadows in the rest of the scene will have a range of hues.
Make sure the image is properly exposed. If an image is underexposed, trying to correct it in post will only add noise. In general, I prefer to overexpose my photos by at least 1/3 of a stop no matter where I photograph. I have found that this allows me to minimize noise and retain as much shadow detail as possible.
My white balance is set to "Auto". You can select White Balance using Custom Function K to reduce processing time later. I find that the Auto mode works very well in most cases, and there is no problem if small adjustments are required in post-processing. A little bit of noise as you increase the ISO will be appropriate, especially if the room is really dark.
#2 One light source
A single source of light, such as a small window or an open door, can do wonders. When you're working with dark spaces and limited lighting, you'll be surprised how little light you really need.
If you have north-facing windows, they tend to produce softer and more directional light than east- or west-facing windows. They tend to bring out strong light depending on where the sun is in the sky at the time you are photographing.
The magic of backlighting.
The bride looks out the window, and her profile is evenly lit. But the dark drapery behind her makes the background almost black - I really love the drama of light and dark going on in this photo, this is achieved by placing the subject in a certain place.
#3 Direction and quality of light
Both the direction and quality of light play a significant role in the mood of an image. Therefore, understanding its variety, nature, and use of each will help you make informed decisions about how to achieve your ultimate goal.
Hard, focused light tends to enhance the overall drama of an image, bringing out texture and detail and creating contrasting shadows with sharp, defined edges. Soft, diffused light produces shadows that are soft, with fuzzy edges that recede gently (fade out), making them beautiful and versatile for people shots while minimizing texture and detail (i.e. imperfections).
The angle and direction of the light depends on the shooting style and your intent for the image or the entire photo shoot. As a general rule, I don't place the object facing the light source, because that makes it flat and one-dimensional. I prefer to light my subjects from the side so that the depth and size of the shadows emphasize the features of the subject and the rest of the frame.
Backlighting an object has its uses, especially if you want to give it some abstraction and an airy, dreamlike feel.
On the left, the bride is looking straight out the window, so the light on her face is even and soft. On the right, the bride looks out the window, but at an angle of 45 degrees. As such, her portrait is a mixture of more dramatic light with darker shadows.
#4 Mathematics in photography
The mathematical inverse square law describes how illumination from a light source changes with distance.
Imagine a beam of light that expands and grows with distance. Now mark the object in a place close to the source itself and the light will be hard. But if you move an object in a straight line about 6 feet from the light source, how much less light will hit the object? When the distance is doubled, the light hitting the object is reduced by three-quarters.
In a real world context, let's say you have a background to work with and maybe a surface to bounce light into the scene. Plus all kinds of diffusers and filters to change the light source, as well as choosing the placement of the object in relation to the background and light source, and positioning yourself and the camera.
In general, you can add drama to an image by placing your subject close to the light source and away from the background. The light will illuminate the object, and everything behind it will be hidden in the shadows. This is a quick and easy way to create a dark background. Conversely, placing the subject further from the light source and closer to the background will create a more evenly lit scene with a smooth transition between light and shadow (the background will also be lighter).
On the left, the bride is farther away from the light source and therefore more in shadow compared to the image on the right, where she is facing the window light and closer to the light source. Therefore, most of her face is illuminated by the light coming from the window.
#5 Modify your light source
If you find an excess amount of natural/available light, using modifiers is an easy way to control the amount and intensity of light in your subject.
Curtains and blinds can be used to reduce or diffuse light, making it softer and weaker. You can reduce the size of the light source to increase shadows and drama with curtains or partially closed doors. Remember, the more light you let in, the less intense the shadows.
I hope these examples motivate you to look at shadows differently. There are no monsters hiding in them! In fact, they are very useful in creating a dramatic effect in your photos.
Light and shadow in a landscape. How to photograph a landscape beautifully?
Most often articles about light in photography devoted to studio photography. Based on this, some amateur photographers get the impression that if they do not shoot in the studio, they can not bother with the issues of light and shadow at all. This is fundamentally not true.
The word photography is translated from Greek as "light painting", everyone probably knows about this. The success of a photographer largely depends on how effectively he can work with light and shadow. In this case we are talking not only about studio lighting, and light in general - from the sun, from a window, from a light bulb, from a flash, in a word, everything that can be used in artistic and everyday photography. If an amateur photographer is not familiar with the basics of building a light picture, a photograph is obtained, he regularly receives frames like this ...
I think detailed comments on the photo are unnecessary. The main problem with this shot is that the type of lighting does not match the capabilities of the camera. As a result, only a dark silhouette of foreground objects against a whitened sky is obtained in the photograph. This is just one of the situations when you need not to trust the "machine", but to turn on your own brains - choose a shooting point and set up the device in such a way that there is something to look at the photo.
This chapter will deal exclusively with shooting landscapes, in which the main light source is the sun. Despite the fact that there is only one light source, many options for illuminating the scene are possible - some are better, some are worse.
First of all, two categories of lighting can be distinguished - diffused and directional.
diffuse lighting
Most a prime example ambient lighting can be seen outside on a cloudy day. All objects are illuminated evenly, the cut-off pattern is practically absent. For landscape photography, this is one of the most inappropriate types of lighting. The picture is dull, the colors are faded and boring.
It is very difficult to convey volume in such photographs, especially if the nature of the foreground and background does not differ (trees against the background of trees) - they seem to stick together with each other. In cloudy weather, you should try to avoid taking too much sky into the frame, since the relatively dimly lit ground often turns out to be unnecessarily dark:
You can, of course, "stretch" the shadows in Photoshop, but still, the photo will almost certainly be rather boring and inexpressive. After all, the mood of the picture in most cases is determined by chiaroscuro, but in this case there is almost none, and, in general, there is no mood either.
Directional lighting
In the case of street photography, the source of directional lighting during the day is the sun, at night - sometimes the moon, but more often - artificial light sources, such as street lamps. Depending on the location of the light source, directional lighting can be divided into three types:
- Frontal
- Lateral
- back
front lighting it turns out if the light source is located behind us and illuminates the object or the entire scene "head on". A characteristic feature of this lighting is a very weak play of light and shadow, as a result of which the volume suffers - the photograph seems flat. Here is an example of such a photo:
Let's leave the flock of birds alone, pay attention to the landscape itself. By itself, the volume in this photo is conveyed very mediocrely. For example, it is not clear how far the birch is from us and we have to guess about it by indirect signs - it is clear that the leaves turned out to be very small, so the brain tells us that the tree does not grow on the edge of the cliff, but much further. The cliff line itself merges with the river bank. In general, the transfer of volume in this photo leaves much to be desired.
But even if we have to deal with frontal lighting (especially true when shooting landscapes on long trips), it is often possible to solve the problem of conveying volume by choosing a shooting point. Here is another photo from the same series, similar in composition, in which a slightly different point and shot is chosen:
Quite another matter! Thanks to the presence of shadows, a clear separation of plans appeared, thanks to which the photograph is "read" much better. We can immediately determine where is the foreground, where is the middle, where is the background. I found a very good trick to improve the transfer of volume in lighting close to the front - the border of the illuminated foreground should pass against the background of a shadowed fragment of the background. Pay attention to the edge of the cliff - the dry grass lit by the bright sun in the foreground contrasts perfectly with the shaded area located below the slope. However, this technique is applicable only on hilly terrain. If the terrain is smooth, then getting a good volume in the photo with frontal lighting, alas, will not work.
Side lighting gives a much more interesting cut-off pattern than the frontal one. With frontal lighting, even if we get a play of light and shadow on the terrain, single objects are still illuminated "head on" and look pretty flat (see the tree trunks in the previous two photos). In side lighting, objects look more voluminous. Here is an example of a photo taken with side lighting.
Although the sun is not strictly to our side, but to the side-behind, the light-and-shadow pattern here appears not only on the landscape itself, but also on the objects themselves, in particular, on the tree trunk on the right. It is noticeable that it is thanks to chiaroscuro that the round shape of the object and its texture are emphasized. It is also important to mention here that the best lighting occurs in the morning and evening, when the sun is not high above the horizon. In this case, the shadow from the crowns of the trees does not fall on their trunks, due to which the texture of the tree bark is transmitted in the best possible way. Plus, from objects on the ground there are long shadows that can become elements of the composition. However, when the sun gets too low, the lowlands of the landscape are immersed in shadow, which often negatively affects the expressiveness of the picture. Here is an example of a photo when the best moment for shooting has already been missed - the foreground has gone into the shadows.
However, the most interesting, in my opinion, photographs are obtained in backlight, that is, when shooting against the sun. I must say right away that shooting a landscape in backlight is not an easy task, but if successful, the result may exceed all expectations.
I must immediately warn you that in backlight it is far from always useful. When photographing a sunset over high-rise buildings, it’s not worth it to beat yourself in the chest, they say, I have mastered the art of landscape photography and know how to use backlight! :) The main thing is not that the light source got into the frame, the main thing is how the light spreads in the frame and how much it was possible to convey in the photograph.
With proper use, backlight can create a unique black and white pattern in a landscape (and not only in it). To implement this type of lighting, you need, at least in the frame, to have a favorable environment in which this light will "play". Let's start simple...
The photo was taken with a telephoto lens, the setting sun was left out of the frame. This simple study shows how backlighting can be used to create light fringing around objects. The only condition is that the object must have a rough or even furry surface. The hairs on the stems and flowers scatter the sunlight, creating some pretty interesting edging in the photo.
Another example is more difficult...
First on the positives. The volume is wonderfully conveyed in the photo due to the active alternation of lights and shadows. Foliage is able to transmit light and create the illusion of glow, especially if it is located against a dark background. In the presence of haze appears additional view the perspective is aerial, that is, the objects in the foreground are clear and contrasting, in the background - as if in a haze. All this has a positive effect on the perception of photography.
However, there are also pitfalls. The most important of them is the limited dynamic range of the matrix. Even a serious DSLR is often unable to work out shadows and highlights at the same time. The above photo shows that the texture of the oak bark is almost lost, it has gone into a deep shadow. If you try to increase the shutter speed in order to work out the shadows better, another trouble awaits us - the previously small and neat sun (in this case, its reflection in the water) will begin to spread rapidly in width as a result of blooming (this is a phenomenon when the charge from overexposed matrix cells begins to flow to neighboring cells, which also overexpose and overflow - and so on, and so on). Because of the blooming, the sun "knocks out" a significant part of the photo in an absolutely white color, devoid of shades:
In some cases, the ND filter helps to cope with the sun, but it allows you to achieve an acceptable result only if the horizon is straight on the frame and nothing crosses it. This is what the ND filter looks like:
And here is the result of its application. The darkened area of the filter fell on the top of the frame. This allowed us to darken the overly bright sky and reduce blooming, while at the same time allowing us to better work out the dark lower part of the frame.
When dynamic range is lacking, many photographers often resort to HDR imaging techniques. The essence of this technique is that instead of one frame, three are taken - one with a normal exposure, the other underexposed (the sky is good on it, the earth is in black), the third is overexposed (the earth is good, the sky is white). Then one of the three shots is taken using Adobe Photoshop or some specialized program for creating HDR. Here is an example HDR image:
The second problem with shooting in backlight is the glare resistance of the lens. Not all lenses can boast of the ability to give a "clean" picture when shooting against the sun and, as photographers say, "catch hares". Here is an example of what these "hares" look like:
Sometimes sunbeams they give the photo a separate zest, but most often they only spoil it, appearing in the most unnecessary places. effective way the fight against "hares", except for the purchase of expensive optics, has not yet been invented, alas.
I can't help but give another example of a backlit photo taken from a helicopter:
Photo - Drilling. Western Siberia.
In addition to the very expressive chiaroscuro, this photograph is also notable for the fact that the sun here behaves like a source of point light. The shadows do not run parallel to each other, as we are used to seeing while on the ground, but with a perspective effect, which gives the photo a powerful internal dynamics. The photo was taken on a full-frame DSLR with a 16mm ultra wide-angle lens.
Speaking about light in photography, one cannot fail to mention such a light source as a flash - built-in or external. Read about the features of using this device.
The word “photography” literally translates as “drawing with light”. That is why beautiful light is a guarantee good shot. It takes constant practice to learn to "see" the light, "catch" the light, and use it to advantage. But for starters, it would be nice to summarize in your head a little theoretical knowledge about light in photography. This is what we will do!
light in photography can be classified according to the following parameters:
- the nature of the lighting (soft or hard light);
- method of obtaining lighting (directional, diffused, reflected);
- direction of light relative to the subject (front, side, back, top, bottom);
- the role of this or that source in the general light-shadow pattern (drawing, filling, backlighting, modeling and background);
- depending on the nature of the source (natural and artificial light);
- by color temperature (warm or cold light).
You can endlessly select more and more types of light, but we will focus on the presented division.
Soft light and hard light.
hard light has a characteristic picture, which is easy to recognize by the sharp contrast between light and shadow, a minimum of halftones. In hard lighting, shadows from objects become deep, and highlights become pronounced. The texture of the subjects is also emphasized. The simplest example of hard light is the sun on a bright afternoon. Also, hard light can be created by using flashes directed at the subject without using any attachments. hard light give studio devices with a reflector or with a honeycomb-type nozzle, tube, etc.
Soft light characterized by a calmer pattern - a maximum of halftones and gradients. Therefore, in classic portrait photography, the main source is a soft light source - a studio device with a photo umbrella or softbox, or soft light from a window. Also an example soft light may be natural light on a cloudy day, or light in the shade of a building on a sunny day.
How to get the desired black and white pattern.
You can control the light (when shooting in a studio or with flash) or use what is around (when shooting outdoors or indoors without a flash). Be that as it may, the photographer can use three different methods of obtaining kind of light.
directional light obtained by using a fairly powerful source, aimed at the subject from a short distance, without the use of additional attachments. Therefore, directional light is usually hard with a characteristic black and white pattern.
reflected light obtained by reflecting the main source from any surface. It can be a mirror, a white homogeneous material, a silvery surface or a plain wall painted in a single color. White and silver surfaces do not change color temperature (i.e. retain their natural colors). Colored surfaces give off colored reflections when light is reflected from them, so they must be used with care. Reflected light is in the middle position between directional and diffused light.
scattered light- this is the light from the main source, which passes through translucent substances before reaching the subject. As a diffuser, cumulus clouds in the sky, a piece of translucent fabric, a sheet of paper, curtains or professional devices (translucent umbrellas, softboxes, etc.) can serve. Also scattered light is the light in the shade on a sunny day. Diffused light is the softest, giving smooth transitions between light and shadow on the subject.
You probably visualize that the light can be directed at different angles relative to the subject: directly at the model (“head on”), from the side, at 45 degrees, from behind, from above or below. The way of transferring volumes on the subject depends on the angle of illumination. Surely you have heard expressions like “flat light” and “volumetric, artistic light”. So, in order to convey the volume that we see in the real, 3D world with the help of a photograph, a two-dimensional image, it is necessary to use light that emphasizes the volume of objects.
Best for this task side light, and in combination with accent backlighting, it creates the maximum artistic effect. Only side light is a rather broad concept, it can be placed at different angles. How to set the side light correctly depends on the model and the features of its appearance. It also creates a beautiful light-shadow pattern top light, which is often used for model shooting in the studio. But low light is mainly used to fill in shadows or to create a specific shooting effect for horror films.
The role of light sources in the lighting scheme
Now let's consider the role of different sources depending on their participation in the overall picture of the illumination of the subject. You've probably come across terms like fill light, key light, back light and so on. Let's see what all these terrible concepts mean. In fact, there is nothing complicated:
key light- This is the main source of illumination in the lighting scheme. It is he who draws the main volumes of the object, hence the name. In the English-speaking world, this light is called "key light", i.e. key light. Source key light there is usually one, and it is the most powerful compared to the others. Side or top light is classically used as key light.
fill light- light that is used to evenly illuminate the entire scene. It is usually used either to highlight shadows, or to generally equalize the illumination in the frame in order to be able to properly expose the picture at the desired shutter speed and aperture.
modeling light used to create accents (underlining highlights) or soften individual shadows on the subject. Typically, modeling light is highly focused, and its power is set so as not to interrupt the main cut-off pattern.
Backlight(it is also called contour) is created using a source located behind the model. It is usually used to separate the model from the background, to create accents and artistically highlight the contours of the figure. In classic portrait photography backlight directed either from behind or from behind at an angle (behind the shoulder). Schemes using backlight are the most beautiful. Backlighting looks spectacular in male portraits, and also looks interesting for highlighting the lush hairstyles of girls. By the way, it is thanks to the backlight that the pictures taken at sunset seem so magical!
background light- as you might guess from the name, it is used to highlight the background. The fact is that due to the distance between the background and the model, when using, for example, one light source, the background turns out to be darkened. This does not mean that it must be highlighted, sometimes background light is not used precisely to create such an effect of the depth of space. The light is directed to the background either pointwise (they create a light spot behind the model), or evenly (they illuminate the entire surface of the background equally), or create a soft gradient transition. I do not recommend using the latter option in inexpensive studios with cheap paper backgrounds, because they tend to be imperfect. As a result, such a homeless effect is obtained in the pictures, forgive me for such an expression.
When shooting landscapes, lighting should not be given much importance. You can get a beautiful picture in almost any occasion. The most spectacular shots are achieved during the rising or setting sun. But in clear weather, you can take pictures in the other part of the day.
When shooting portraits in nature, the situation changes. At dawn and dusk, photographing the model becomes more difficult. In such conditions, it is possible to obtain a spectacular silhouette of a person. If you need to display the model in all its details, then you will have to use a flash or more powerful light sources. The result can be amazing.
What is backlight in photography?
During the daytime, outdoor portraiture becomes easier. You just need to keep an eye on the position of the sun. In ideal cases, it should shine on the model's face. Backlight in photography can be used, but more carefully. In this case, you may need to flash or turn on HDR mode. The results of such a survey are extremely unusual. 
Do not shoot outdoors if the sky is densely overcast. Light in photography is very important, and with an overcast sky, problems begin with this. The flash in this case makes the picture artificial. The exception is shooting with a diffuser, which allows you to smooth out the light from the flash.
Most often, a diffuser is required when shooting indoors. The light from the flash in a tight space is felt much stronger. Therefore, some photographers necessarily acquire one or two diffusers. Sometimes they are handmade. 
The diffuser makes the light more uniform. This allows you to equally illuminate all surfaces of the object. Light and shadow in photography cease to fight each other, the former wins an unconditional victory. In addition to the shadow, all kinds of glare from the varnished surface of the object also disappear. Diffused light is great for macro photography. The flash may frighten off the photographed insect. But with a diffuser, the light becomes more subdued, the insect may not react to it in any way.
For photographing portraits of people, a diffuser is completely optional. It is much easier to use external lamps, with which you can also achieve very uniform lighting. But some photographers have a different opinion. Suffice it to recall beginners who cannot afford high-quality studio lamps. Such amateur photographers regularly use a diffuser with an external flash.
Light sources in photography and shadows
Studios often use several spotlights at once. But some photographers make the big mistake of thinking they are all essential. In fact, only one light source should be the main one. This is not necessarily a spotlight, in some cases the flash light may be the main one. All other lamps only correct the illumination of the photographed model. 
With the help of several light sources, you can do experiments. The result will depend on the imagination of the photographer. Regularly, photographs are obtained in this way with light evenly distributed over the subject. Deep shadows disappear, replaced by only slightly darker areas. It is not recommended to completely do without them, since in this case the volume of the model is lost, the features of her face are hidden. 
The second light source can cause strong shadows to appear. In this case, it is recommended to place it as close to the camera as possible. You can also solve the problem by installing a reflector against the main light source. It can be an ordinary sheet of white cardboard. Both spotlights must have different power, otherwise the picture will be a real mess. You can use more light sources, but the main one should remain the most powerful.
Location of light sources
When using a single light source, its location is very important. Light and lighting in photography begin to play a very important role. Its location determines how the audience will perceive the picture. Many beginners use banal direct light. But in this case, they forget that it is not very pleasant to look at the model in the direction of a brightly glowing lamp or spotlight. Facial expression after that will not be the most natural. Yes, and the shape of the face in direct light is greatly concealed. The only advantage of such lighting is the detailed elaboration of details in the final image. 
Try moving the light source to the right. After that, facial features begin to acquire volume. The left side of the image goes into darkness, but not yet into impenetrable. Professional photographers use this arrangement of the light source most often.
The lamp can also be positioned on the side. In this case, only half of the head will be illuminated, while the rest will smoothly fade into the shadows. The result is very impressive.
During experiments, you can move the light source even further. As a result, most of the face will be in shadow. In some cases, such a frame seems quite attractive.
If you put a lamp behind a person, then only his silhouette will be displayed in the picture. In some genres, this method of shooting is used. But in the studio it doesn't make much sense. Usually the silhouettes of people look beautiful only on the street. 
In American glossy magazines, the model is most often photographed in a standard way. The light source is placed at an angle of 45 degrees, at a height of about 1 m from the head of the model. To brighten the shadows, a weak diffused type light source is placed down near the camera (for example, a spotlight can shine into the inside of an umbrella).
Types of light in photography
There are several types of light in photography. Above, we talked about diffused and directional lighting. Photographers also use combined lighting, made up of diffused and directional light. But all these types have one huge drawback. The photo will clearly show that the shooting was carried out in the studio. Replacement background in a graphic editor will not help, the light from the spotlights will definitely give out the shooting location. An exception can only arise for a photographer with many years of experience. Such a person is able to competently use any light sources in photography, diluting them with several reflectors.
Still, daylight is better for shooting. If there is no way to get out into nature, it is recommended to shoot in rooms with large windows. Sunlight or ordinary daylight work much better than any lamps and spotlights. This uniform fill light may require a slower shutter speed in some cases, but it's worth it. The back green or blue background can then be replaced with a meadow with a river running nearby, the viewer will not notice any catch. And the daylight is perceived much better.
In conclusion about photography with light
The topic of lighting sources is extremely interesting. But you should learn this business only on your own examples. Experiment, create, try: you can gain experience only on mistakes and on successful shots. Each time, photos with light will turn out more spectacular.
The main tool of a photographer is not a camera, but light. It is he who draws landscapes, portraits, still lifes on film or a matrix. With the help of light, three photographic problems are solved: technical, pictorial and compositional. The technical problem - obtaining an image - is solved thanks to the invention of the camera: a strictly measured amount of light determined by the spectral composition is directed through the lens to the right place in the frame, where dark or light areas appear - light and shadows.
To solve a visual problem, it is not enough just to flood the space that has fallen into the viewfinder field with light. With the help of light on the plane of the picture, you can depict, that is, draw, the three-dimensional world around us. The light allows you to convey the roundness of an apple and the tenderness of a child's skin, the graphic quality of a forged lattice and the sponginess of a granite pavement, the beauty of a crystal glass and the brilliance of the nickel-plated surface of a table knife, the gentle colors of a foggy morning and the flashy contrasts of a city at night. The compositional problem can be solved with the help of shadows generated by light. Sometimes the shadow is simple and definite. She in itself is the subject of shooting and the essence of the picture (photo 2). Sometimes the shadow forms unusually ornate lines, which, when combined with the background, can evoke complex associations in the viewer, greatly enhancing the emotional impact of the photograph (photo 3). You can also use the shadow as a compositional element of the picture, for example, to unite its disparate parts into a single whole and give it a compositional completeness (photo 4).
Light can be directed at the subject from everywhere: top and bottom, right and left, front and back. At the same time, a shadow pattern inherent only to this direction of light is created each time, affecting the perception of the photograph by the viewer.
Light directions
The light differs depending on its direction to the subject:
- rear (or straight)- directed at the subject from behind the back of the photographer.
- top- directed at the subject from above. lower - directed at the subject from below. upper side - aimed at the subject at an angle to the right or left of the camera.
- side- directed at the subject strictly from the side. posterolateral - aimed at the subject at an angle behind and to the right or left of the camera.
- back- directed towards the camera lens.
Kinds of light
Very often, to create a picture, both outdoors and indoors, several light sources are used at once. In this case, each of them has its own purpose and name.
- drawing- the main type of light (all others play a supporting role). It is he who forms the shadows that determine the black and white solution of the picture. The key light is usually created by a single light source and can be directed at the subject from anywhere.
- filling- with its help highlight the shadows, giving them lightness and transparency. Without fill light, shadows can become completely black. Sometimes this is appropriate, but more often at least some details should be read in the shadows.
- back- is directed at the object from behind and supports the key light, creating additional glare in the areas illuminated by it.
In cases where the brightness of the object and the brightness of the background are the same, backlight helps to tear the object from the background.
- contour (or backlight)- a kind of backlight. It is formed by a source installed exactly behind the head of the model and directed at the camera lens. Such light draws a bright overexposed outline around the subject, devoid of details (photo 3).
- background- used to illuminate the background, to create a black and white pattern on it that supports the key light.
qualities of light
- soft (or scattered)- does not form sharp shadows (photo 7, 12). This is the light of a cloudy day or the sun covered by an oncoming cloud (photo 1), the light reflected from a white wall or a photo umbrella (translucent, working for light, or with a reflective inner surface, working for reflection), the light of softboxes (special lighting fixtures giving soft light).
- hard (or directional)- forms sharply defined, deep shadows (see photo 2 - 4). This is the light of the sun or lighting devices with a small size of a luminous body: incandescent lamps, street lamps, spots (special sources of directional hard light that give a very narrow beam of rays).
artificial light
On the street there is only one light source - the sun, and the photographer cannot control it, unlike the studio, where you can do whatever you want with the light. When I work in the studio, I try to light the frame in such a way as to replicate the imaginary natural light. For example, I imitate the light of the sun, the stripes of shadows from the blinds or the light from the window. With this approach to working with light, it is possible to shoot "truthful" photographs, viewing which the viewer experiences the joy of recognition (photo 6).
All types of lighting devices can be used to obtain key light, however, it is more convenient to shoot people with pulsed sources, because shooting moving objects requires fast shutter speeds. Flashes give out a powerful impulse in hundredths of a second, this makes it possible to avoid shaking. Still lifes, on the other hand, are best illuminated with halogen bulbs. Constantly burning light makes it possible to carefully, slowly, build a composition, and the exposure time in this case cannot affect the result of the shooting.
Soft light does not form sharply defined, deep shadows. Such light can be obtained when the luminous body of the light source has a radiating area so large that it, as it were, covers the object both on the right and on the left. The same softbox or umbrella can work very softly when moved close to the subject, and very hard when moved a long distance from it.
To get soft light, it is not at all necessary to use expensive softboxes. Sometimes you can get very soft light by pointing your flash at a ceiling or a white wall. I often use styrofoam sheets for this, which scatter light well without changing its color temperature. Folding lightdisks (light reflectors stretched on a steel spring) are very convenient. They also serve as an excellent source of soft, diffused light both in the studio and outdoors. The light of any window of a city apartment also works softly, if you do not move further than one meter from it (photo 7).
street lighting
Not always the cut-off decision of the frame, dictated by the prevailing conditions, successfully solves the pictorial problem. Suppose I saw the object I liked on a gray cloudy day, when even, almost shadowless lighting does not allow me to convey in the photograph either the terrain, or the texture of the material that decorates the walls of houses, or the roundness of the columns, or the colors of mosaic decorations. We will have to come back here again, but when, at what time of the day? The sun, describing an arc in the sky, constantly changes the lighting conditions. In the early morning, light spreads along the surface of the earth, overcoming the thickness of the dusty atmosphere. At the same time, it dissipates and colors the air in warm red and yellow tones. At ten o'clock in the morning, when the sun rises about thirty degrees above the horizon, shadows appear, directed diagonally downwards. From noon to two o'clock in the afternoon the sun is at its zenith, at this time the light and shade pattern is perhaps the most unfortunate: vertical objects do not form long shadows. There is really an exception to this rule - the walls of houses expose their sides to the sun so that any cornice, any crumb of cement protruding above a flat surface forms deep, black shadows. If you use it wisely, you can get very impressive photos(photo 8). Then the sun goes down, repeating the whole process of changing the light and shade pattern, only the direction of the shadows on the object is reversed.
We are not given control over the light of the sun. We have to put up with this, but this does not mean at all that shooting on location is a simple fixation of the moment. You need to start by choosing the time of shooting. It depends on it: at what height the sun will be, at what angle the shadows will fall, whether the morning haze will soften and blur background objects. Even within one day it is impossible to take two identical pictures. I'm not talking about the influence of weather on lighting conditions. The light of an open, direct sun is harsh and uncompromising, but the light of the same sun will be noticeably scattered by the mere presence of clouds in the sky - they serve as good reflectors. A cloud covering the sun can make this light soft, and a large thundercloud can make it almost shadowless (photo 1).
The light of a cloudy day and the light of the sun because of the horizon line are amorphous and do not form chiaroscuro (photo 12). Light depends not only on the time of day, but also on the season, on whether it rains or snows. Truly, there is no bad weather - there are bad photographers. The main tool for influencing street lighting is the legs. Do not be surprised, they allow you to choose the right direction for shooting. The light, as in the studio, can be rear, posterolateral, side, backlight, but if I move the lamps in the studio, then such liberties do not work with the luminary. You have to move in space yourself, changing the direction of light in the frame.
If the sun is behind the photographer, expect a flat picture. In most cases, this is bad - the volumes of objects are not detected. But sometimes you can very effectively use your own shadow (photo 10) or the shadows of nearby people.
The backlight of the sun is different from the studio. The highlights in this case also occupy a smaller part of the image area, creating an overall dark tone. However, on the street, light scattering and reflection of the sun's rays are very noticeable. Air haze or fog stand out effectively against darker backgrounds, tonally emphasizing the depth of space, and light scattering allows you to get the necessary study of shaded details. The shadows formed by the counter are very beautiful. Contours and silhouettes help create concise and catchy shots. Shiny surfaces of water, polished metal, glass, various polymer films, stone decoration of architectural structures, sea pebbles, clouds at sunset, etc. are good in backlight (photo 9).
If you turn sideways to the sun, the nature of the lighting will change. The shadows will work properly for the photographer, but the picture will become much brighter, because there will be much more planes illuminated by the sun than with backlighting. The colors will become saturated. Finding a harmonious combination of lights and shadows in such lighting is quite difficult. Light and shadow enter into an age-old dispute - who is more important for art (photo 11).
Light in composition
Composite "scales" help me to balance light and shadows. They are always with me and, looking at the photos, I mentally weigh their contents. It is clear that dark spots heavier than light ones, and the red object will outweigh the green one. I like it when objects in a photograph obey the laws of gravity, when harmony and balance reign within each picture. When building a shot, I try not to place all the objects in one half of the frame, otherwise the picture will fall apart - if the top of the photo is very dark and the bottom is light, the viewer will instinctively want to turn it upside down. One has only to turn on the internal “scales” and analyze the lights and shadows scattered over the picture, as it turns out that many require the amputation of spaces free from semantic load. The pictures don't get worse though. However, cropping, as a rule, leads to a decrease in the used area of the negative or matrix, and thereby reduces its quality. When the image is enlarged, the sharpness decreases, the graininess grows. Therefore, it is better to balance the frame in the process of shooting.
When I learned to shoot, I mentally imagined that the plane of the picture was balanced at the tip of the needle. It is enough to put a weight on any point of this imaginary structure, as a counterweight will have to be used to maintain balance. Such a counterweight can be not only an object, but also a shadow from it (photo 15).
At the stage of apprenticeship, it makes sense to shoot still lifes - dead nature allows you to slowly think through all the elements of the composition. When shooting a still life, you should first of all find a place for the main subject, only after that you can fill the free space of the picture with something else. The simplest solution may seem to be the central location of the main object or a symmetrical composition. However, symmetry kills movement in the frame, nature does not like symmetry. A deliberate violation of the symmetrical compositional balance can give an image additional meaning, exciting emotionality or mystery. Such a picture should cause unconscious anxiety in the viewer, thereby detaining his attention on himself (photo 13).
It is impossible to cut a single millimeter from a good picture without harming it. Everything in it should be interconnected, as in a good watch mechanism - you take out any detail, and the watch becomes a trinket. However, the analysis of the black and white pattern of photographs is not always simple. Many pictures live perfectly without pronounced main shadows or main light accents. Beautiful Foto it may well turn out to be woven from a multitude of lights and shadows of equal area and brightness (photo 14). In this case, the photographer has no choice but to arrange this mosaic, put it in order, using all the richness of the compositional techniques available to him: upper or lower angles, linear or tonal perspective, golden section points, depth of field, highlighting something important with using color or vice versa discoloration. But the main thing is the ability to see the lights and shadows around you and learn how to manage them.
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