Because, let's face it, I didn't know how to use my flash, and more importantly, I didn't know how to read the light. Yes, there is no mistake here. As a photographer, not only do you see light, but you also have to 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 this.” And I don't mean using on-camera flash or studio lights to illuminate the entire scene. I mean using only available light to create magical photographs.
Now don't get me wrong, I really love images taken 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, is just as fascinating.
Over the last 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 pretty short and fall is usually a mix 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 photograph indoors and do it with confidence and creativity.
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 ton of floor-to-ceiling windows flooding the room with light, then taming the shadows may be the perfect solution to boost your creativity.
No. 1 Selection of equipment
If you have a choice between a prime and zoom lens, choose the former. Primes are generally considered fast lenses with an aperture of f/1.8 or larger, which allows more light to enter the camera 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 alone 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 shades.
Make sure the image is properly exposed. If a photo is underexposed, trying to correct it in post-processing will only add noise. In general, I like to overexpose my photos by at least 1/3 of a stop no matter where I'm photographing. 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 K to reduce processing time later. I find that the Auto mode works very well in most cases, and there are no problems if minor adjustments are needed in post-processing. A little noise as you increase the ISO will be fine, especially if the room is really dark.
#2 One light source
One light source, 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 actually need.
If you have north-facing windows, they tend to provide softer, more directional light as opposed to east or west-facing windows. They tend to cast strong light depending on where the sun is in the sky at the time you take the photo.
The magic of backlighting.
The bride looks out the window and her profile is evenly illuminated. But the dark draperies behind her make the background almost black - I really love the drama of light and dark happening in this photo, this is achieved by placing the subject in a specific place.
No. 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 diversity, nature and uses of each will help you make smart decisions on how to achieve your end goal.
Hard, focused light tends to enhance the overall drama of an image, highlighting texture and detail and creating contrasting shadows with sharp, defined edges. Soft, diffused light produces soft, soft-edged shadows that recede softly (fading), making them beautiful and versatile for photographing people while minimizing texture and detail (i.e. imperfections).
The angle and direction of light depends on the shooting style and your intention for the image or the entire photo shoot. As a rule, I don't place the subject facing the light source because it makes it look flat and one-dimensional. I prefer to light my subjects from the side so that the depth and size of the shadows highlight the subject's features and the rest of the frame.
Backlighting a subject has its uses, especially if you want to give it some abstraction and an ethereal, 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 is looking out the window, but at an angle of 45 degrees. Thus, 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 varies with distance.
Imagine a beam of light that expands and grows at a distance. Now place the subject 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 away from the light source, how much less light will hit the object? When the distance is doubled, the light hitting the subject is reduced by three quarters.
In a real world context, let's say you have a background to work on and perhaps a surface to bounce light into the scene. Plus all kinds of diffusers and filters to change the light source, as well as the choice of where to place the subject in relation to the background and light source, and the placement of yourself and the camera.
In general, you can add drama to an image by positioning 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 shadow. 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 further away from the light source and therefore more in shadow compared to the image on the right where she is facing the light of the window 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 there is an excess amount of natural/available light, using modifiers is an easy way to control the amount and intensity of lighting on your property.
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 dramatic effect by using 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 the landscape. How to photograph a landscape beautifully?
Most often, articles about light in photography dedicated to studio photography. Based on this, some amateur photographers get the impression that if they don’t shoot in a studio, they don’t have to bother with issues of light and shadow at all. This is fundamentally wrong.
The word photography is translated from Greek as “light painting”, everyone probably knows about this. A photographer's success largely depends on how effectively he can work with light and shadow. In this case we're talking about 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 constructing a light picture of a photograph, he regularly ends up with shots like this...
I think detailed comments on the photo are unnecessary. The main problem with this photo is that the type of lighting does not match the capabilities of the camera. As a result, the photo shows only a dark silhouette of foreground objects against a whitened sky. This is just one of the situations when you need not to trust the “automatic machine”, but to use your own brains - choose a shooting point and set up the device in such a way that there is something to look at in the photo.
This chapter will focus exclusively on shooting landscapes in which the main light source is the sun. Despite the fact that there is only one light source, many options for lighting the scene are possible - some better, some worse.
First of all, two categories of lighting can be distinguished - diffused and directional.
Ambient lighting
Most shining example diffuse lighting can be seen on the street on a cloudy day. All objects are illuminated evenly, there is practically no cut-off pattern. For landscape photography, this is one of the most inappropriate types of lighting. The picture turns out dull, the colors are dull and dull.
In such photographs it is very difficult to convey volume, especially if the nature of the foreground and background are not different (trees against the background of trees) - they seem to be glued together. 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 too dark:
You can, of course, “stretch out” the shadows in Photoshop, but still the photo will almost certainly be quite boring and inexpressive. After all, the mood of a photograph 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, for example, street lamps. Depending on the location of the light source, directional lighting can be divided into three types:
- Frontal
- Lateral
- Back-up
Front lighting This happens when 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 and pay attention to the landscape itself. The volume itself in this photograph is conveyed very mediocre. For example, it is not clear how far away a birch tree is from us and we have to guess about it based on indirect signs - it is clear that the leaves are very small, so the brain tells us that the tree does not grow on the edge of a cliff, but much further away. The cliff line itself merges with the river bank. In general, the rendering of volume in this photograph leaves much to be desired.
But even if we are forced to deal with frontal lighting (especially important when shooting landscapes during long trips), we can often solve the problem of conveying volume by choosing a shooting point. Here is another photograph from the same series, similar in composition, in which the point and shooting chosen are slightly different:
It's a completely different matter! Thanks to the presence of shadows, a clear separation of plans appeared, thanks to which the photograph is “readable” much better. We can immediately determine where the foreground is, where the middle ground is, and where the background is. 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 in the foreground illuminated by the bright sun contrasts perfectly with the shaded area located lower down the slope. However, this technique is only applicable on hilly terrain. If the terrain is smooth, then, unfortunately, it will not be possible to get good volume in a photograph with frontal lighting.
Side lighting gives a much more interesting light and shadow pattern than the frontal one. With frontal lighting, even if we get a play of light and shadow on the landscape, individual objects are still illuminated “head-on” and look quite flat (see 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 the side of us, 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 low above the horizon. In this case, the shadow from the tree crowns does not fall on their trunks, thanks to which the texture of the tree bark is conveyed in the best possible way. Plus, objects cast long shadows along the ground, which can become elements of the composition. However, when the sun drops too low, the lowlands of the landscape are plunged into shadow, which often negatively affects the expressiveness of the photo. Here is an example of a photograph when the best moment for shooting has already passed - the foreground has gone into shadow.
However, the most interesting, in my opinion, photographs are obtained in backlight, that is, when shooting against the sun. I’ll say right away that shooting a landscape in backlight is not an easy task, but if successful, the result can exceed all expectations.
I must immediately warn you that backlight is not always useful. When photographing a sunset over high-rise buildings, you shouldn’t beat yourself in the chest, saying, I’ve mastered the art of landscape photography and know how to use backlight! :) The main thing is not that the light source entered the frame, the main thing is how the light spreads in the frame and how much it was conveyed in the photograph.
When used correctly, backlight can create a unique cut-off pattern in a landscape (and not only in it). To implement this type of lighting, you must, at a minimum, have a favorable environment in the frame in which this light will “play.” Let's start with something simple...
The photo was taken with a telephoto lens, leaving the setting sun outside the frame. This simple tutorial shows how you can use backlighting to create a rim of light around objects. The only condition is that the object must have a rough or even shaggy surface. The hairs on the stems and flowers scatter sunlight, giving the photo some interesting edging.
Another example is more complicated...
First, about the positive aspects. The photograph perfectly conveys volume thanks 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. When there is haze, it appears additional view the perspective is aerial, that is, objects in the foreground are clear and contrasting, while those in the background seem to be 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. In the above photo you can see that the texture of the oak bark is almost lost, it has gone into deep shadow. If we try to increase the shutter speed in order to better work out the shadows, another problem awaits us - the previously small and neat sun (in this case, its reflection in the water) will begin to rapidly spread in width as a result of blooming (this is a phenomenon when the charge from the overexposed cells of the matrix begins to flow to neighboring cells, which are also overexposed and overflow - and so on, and so on). Due to blooming, the sun “knocks out” a significant area of the photo into a completely white color, devoid of shades:
In some cases, a neutral gradient filter helps to cope with the sun, but it allows you to achieve an acceptable result only if there is a straight horizon line in the frame and nothing intersects it. This is what a neutral gradient filter looks like:
But this is the result of its use. The darkened area of the filter was at the top of the frame. This made it possible to darken an overly bright sky and reduce blooming, while at the same time allowing for better processing of the dark lower part of the frame.
When faced with a lack of dynamic range, many photographers often resort to HDR imaging techniques. The essence of this technique is that instead of one frame, three are taken - one with normal exposure, another underexposed (it shows the sky and the ground in black well), the third is overexposed (it shows the ground and the sky in white). Then, out of three photographs, one is taken using Adobe Photoshop or some specialized program for creating HDR. Here's an example of an 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 produce a “clean” image when shooting against the sun and, as photographers say, “catching hares.” Here is an example of what these “hares” look like:
Sometimes sunbeams They give the photo a special zest, but most often they only spoil it, appearing in the most unnecessary places. Effective way Unfortunately, there is no way to fight “hares” other than buying expensive optics.
I can’t help but give another example of a backlit photograph 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 as a source of point light. The shadows do not go parallel to each other, as we are used to seeing when we are on the ground, but with a perspective effect, which gives the photograph 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 “painting with light.” That is why beautiful light is the key nice photo. It takes constant practice to learn to “see” the light, “catch” the light and use it to your advantage. But first, it would be nice to generalize in your head some 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 one or another source in the overall light-shadow pattern (drawing, filling, background, modeling and background);
- depending on the nature of the source (natural and artificial light);
- by color temperature (warm or cold light).
We can endlessly distinguish more and more types of light, but we will stop at the presented division.
Soft light and hard light.
Hard light has a characteristic picture that is easy to recognize by the sharp contrast between light and shadow, a minimum of halftones. In harsh 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 at bright midday. Hard light can also be created using flashes aimed at the subject without using any attachments. Hard light They provide studio devices with a reflector or with an attachment such as a honeycomb, 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 source of soft light - a studio device with a photo umbrella or softbox, or soft light from a window. Also an example soft light Can serve as natural light on cloudy days or light in the shadow of a building on a sunny day.
How to get the desired cut-off 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 flash). Be that as it may, the photographer can use three different methods of obtaining type of light.
Directional light is 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 light-and-shadow pattern.
Reflected light is obtained when the main source is reflected from any surface. This could be a mirror, a white homogeneous material, a silver surface, or an ordinary wall painted in a single color. White and silver surfaces do not change color temperature (i.e. retain natural colors). Colored surfaces produce colored reflections when light is reflected from them, so they must be used with caution. In terms of hardness, reflected light occupies an intermediate position between directed and diffused.
Scattered light- This is light from the main source that passes through translucent substances before hitting the subject. The diffuser can be cumulus clouds in the sky, a piece of translucent fabric, a sheet of paper, curtains or professional devices (parasols for light, softboxes, etc.). Also diffuse light- This is light in the shadows on a sunny day. Diffused light is the softest, giving smooth transitions between light and shadow on the subject.
You probably visually imagine that 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 from below. The lighting angle determines how volumes are conveyed on the subject. You've probably 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 photography, a two-dimensional image, it is necessary to use light that emphasizes the volume of objects.
Best suited for this task side light, and when combined with accent lighting from behind, it creates the ultimate artistic effect. Only side light is a rather broad concept; it can be placed at different angles. How to correctly set the side light depends on the model and the features of its appearance. It also creates a beautiful light-shadow pattern overhead light, which is often used for model photography in the studio. But downlight is used mainly to fill 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 lighting of the subject. You have most likely already come across such concepts as “fill light”, “key light”, “back light” and so on. Let's figure out what all these scary concepts mean. There's really nothing complicated:
Painting light- This is the main source of lighting 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 painting light There is usually one, and it is the most powerful compared to the others. Side or top light is classically used as a key light.
Fill light– light that is used to illuminate the entire scene evenly. 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 photo at the desired shutter speed and aperture values.
Modeling light used to create accents (emphasizing highlights) or softening individual shadows on the subject. Typically, the modeling light is narrowly focused, and its power is set so as not to interrupt the main cut-off pattern.
Backlight(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 artistic highlighting of the contours of the figure. In classic portraiture backlight directed either from behind or from behind at an angle (from behind the shoulder). Schemes using backlight are the most beautiful. Backlighting looks impressive in portraits of men, and also looks interesting for highlighting voluminous hairstyles on girls. By the way, it is thanks to the backlight that photographs taken at sunset seem so magical!
Background light– as you can 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 necessarily needs to be backlit; sometimes background light is not used specifically to create such an effect of depth of space. Light is directed onto the background either pointwise (creating a light spot behind the model), or evenly (lighting the entire surface of the background equally), or creating a soft gradient transition. I don’t recommend using the last option in inexpensive studios with cheap paper backgrounds, because they tend to be imperfect. As a result, the photographs produce such a homeless effect, forgive me for such an expression.
When photographing landscapes, you should not attach much importance to lighting. You can get a beautiful photo in almost any situation. The most spectacular shots are achieved during the rising or setting sun. But in clear weather, you can take photographs at other times of the day.
When photographing portraits outdoors, 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 details, 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 portrait photography becomes easier. You just need to monitor the position of the sun. In ideal cases, it should shine on the model's face. You can use backlight in photography, but more carefully. In this case, you may need to use a flash or turn on HDR mode. The results of such shooting can be extremely unusual. 
You should not shoot outside if the sky is densely overcast. Light in photography is very important, and when the sky is overcast, problems begin with this. The flash in this case makes the picture artificial. The exception is when 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 a flash is felt much more strongly in a tight space. Therefore, some photographers always acquire one or two diffusers. Sometimes they are created by hand. 
The diffuser makes the light more uniform. This allows all surfaces of the object to be illuminated equally. Light and shadow in photography stop fighting each other, the first wins an unconditional victory. In addition to the shadow, all sorts of highlights from the varnished surface of the object also disappear. Diffused light is great for macro photography. The flash may scare away the insect being photographed. But with a diffuser, the light becomes more subdued; the insect may not react to it at all.
For photographing portraits of people, a diffuser is completely unnecessary. It is much easier to use external lamps, with which you can also achieve very uniform illumination. 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 grave mistake of considering them all basic. In fact, only one light source should be the main one. This is not necessarily a spotlight; in some cases, the main light may be flash light. All other lamps only correct the lighting of the photographed model. 
With the help of several lighting sources you can experiment. The result will depend on the imagination of the photographer. This regularly produces photographs with light evenly distributed across the subject. Deep shadows disappear, replaced only by slightly dark areas. It is not recommended to do without them completely, since in this case the volume of the model is lost and the features of her face are hidden. 
A second light source may cause strong shadows. 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 a regular sheet of white cardboard. Both spotlights must have different wattages, otherwise the photo 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 lighting source, its location is very important. Light and lighting in photography begin to play a very important role. How viewers will perceive the photo depends on its location. Many beginners use banal direct light. But in this case, they forget that it is not very pleasant for the model to look towards a brightly glowing lamp or spotlight. The facial expression after this will not be the most natural. 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 this, facial features begin to acquire volume. The left side of the photo goes into darkness, but not yet into impenetrable darkness. Professional photographers This type of lighting source arrangement is used most often.
The lamp can also be placed on the side. In this case, only half of the head will be illuminated, while the rest will gradually fade into shadow. 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 place a lamp behind a person, only his silhouette will appear in the picture. Some genres use this shooting method. But it doesn't make much sense in the studio. Usually silhouettes of people look beautiful only on the street. 
In American glossy magazines, models are 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 model’s head. To lighten the shadows, a weak diffused 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, composed of diffuse and directional light. But all these types have one huge drawback. The photograph will clearly show that the shooting took place in a studio. Replacement background it won’t help in a graphics editor; the light from the spotlights will definitely give away 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 suited for shooting. If there is no way to get out into nature, then it is recommended to shoot in rooms with large windows. Solar or ordinary daylight work much better than any lamps and spotlights. This uniform fill light may require a longer shutter speed in some cases, but it's worth it. The background green or blue background can then be replaced with a meadow with a river running nearby, the viewer will not notice any catch. And daylight is perceived much better.
In conclusion about photography with light
The topic of lighting sources is extremely interesting. But you should learn this matter only from your own examples. Experiment, create, try: only from mistakes and successful shots can you gain experience. Each time, photographs with light will turn out more and more impressive.
The main tool of a photographer is not a camera, but light. It is he who draws landscapes, portraits, and still lifes on film or matrix. With the help of light, three photographic problems are solved: technical, visual 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 its spectral composition, is directed through the lens to the desired place in the frame, where dark or light areas - light and shadow - appear.
To solve a visual problem, it is not enough to simply flood the space within the viewfinder field with light. With the help of light on the plane of the photograph, you can depict, that is, draw, the three-dimensional world around us. Light allows you to convey the roundness of an apple and the tenderness of a child’s skin, the graphic nature of a forged lattice and the sponginess of granite pavement, the beauty of a crystal glass and the shine of the nickel-plated surface of a table knife, the delicate colors of a foggy morning and the flashy contrasts of a city at night. The compositional problem can be solved using shadows generated by light. Sometimes the shadow is simple and defined. 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 connected 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 photo, for example, to connect its disparate parts into a single whole and give it compositional completeness (photo 4).
Light can be directed at the subject from anywhere: above and below, right and left, front and back. In this case, each time a shadow pattern unique to this direction of light is created, which affects the viewer’s perception of the photograph.
Directions of light
The light varies depending on its direction towards the subject:
- rear (or straight)- directed at the subject from behind the photographer.
- upper- directed at the subject from above. lower - directed at the subject from below. upper-lateral - directed at the subject at an angle to the right or left of the camera.
- lateral- directed at the subject strictly from the side. posterolateral - directed at the subject at an angle from behind and to the right or left of the camera.
- back- directed towards the camera lens.
Types of light
Very often, several light sources are used at once to create a picture, both outdoors and indoors. 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 light and shadow solution of the photo. Key light is usually created by a single light source and can be directed at the subject from anywhere.
- filling- with its help, they highlight 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 highlighting light, creating additional glare in the areas illuminated by it.
In cases where the brightness of the subject and the brightness of the background are the same, backlight helps to separate the subject from the background.
- contour (or backlight)- a type of backlight. It is formed by a source installed exactly behind the model’s head and aimed at the camera lens. This 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 main light.
Qualities of light
- soft (or diffuse)- does not form sharp shadows (photo 7, 12). This is the light of a cloudy day or covered by a running cloud of the sun (photo 1), light reflected from a white wall or a photoumbrella (translucent, working in the light, or with a reflective inner surface, working in reflection), light from softboxes (special lighting fixtures, giving soft light).
- hard (or directional)- forms sharply defined, deep shadows (see photos 2 - 4). This is the light of the sun or lighting devices with a small luminous body: incandescent lamps, street lamps, spots (special sources of directional hard light that produce 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 in the studio, where you can do whatever you want with light. When working in the studio, I try to light the frame to replicate the natural light I imagine. For example, I imitate the light of the sun, stripes of shadows from blinds or light from a window. With this approach to working with light, it is possible to take “true” photographs, viewing which the viewer experiences the joy of recognition (photo 6).
To obtain key light, you can use all types of lighting devices, but it is more convenient to photograph people with pulsed sources, because shooting moving objects requires short shutter speeds. Flashes produce a powerful impulse in hundredths of a second, this makes it possible to guarantee avoidance of movement. Still lifes, on the contrary, are best lit with halogen bulbs. Constantly burning light makes it possible to carefully, slowly, build a composition, and the shutter speed in this case cannot affect the shooting result.
Soft light does not create sharp, deep shadows. Such light can be obtained when the luminous body of the light source has a emitting area so large that it seems to cover the object both to the right and to the left. The same softbox or umbrella can work very softly if it is moved close to the subject, and very hard if it is moved a great distance away from it.
You don't have to use expensive softboxes to get soft light. Sometimes you can get very soft light by pointing the flash at the ceiling or a white wall. I often use foam sheets for this, which diffuse the light well without changing its color temperature. Folding light disks (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
The light-and-shadow solution of the frame, dictated by the prevailing conditions, does not always successfully solve the visual problem. Suppose I saw an object I liked on a gray, cloudy day, when even, almost shadowless lighting does not allow the photograph to convey either the terrain, or the texture of the material with which the walls of the houses are decorated, or the roundness of the columns, or the colors of the mosaic decorations. We'll have to come back here again, but when, at what time of day? The sun, describing an arc in the sky, constantly changes 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 about ten o'clock in the morning, when the sun rises thirty degrees above the horizon, shadows appear, directed diagonally downward. From noon to two o'clock in the afternoon the sun is at its zenith, at this time the cut-off pattern is perhaps the most unsuccessful: vertical objects do not form long shadows. There is, however, 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 this wisely, you can get very impressive photos(photo 8). Then the sun goes down, repeating the entire process of changing the cut-off pattern, only the direction of the shadows on the object changes to the opposite.
We are not given the power to control the light of the sun. You have to put up with this, but this does not mean that shooting on location is a simple recording of the moment. You need to start with choosing the shooting time. It depends on what height the sun will be, at what angle the shadows will fall, and whether the morning haze will soften and blur background objects. Even within one day you cannot take two identical pictures. I'm not even talking about the influence of weather on lighting conditions. The light of the open, direct sun is harsh and uncompromising, but the light of that same sun will be noticeably diffused 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 from behind the horizon are amorphous and do not form chiaroscuro (photo 12). Light depends not only on the time of day, but also on the time of year, whether it is raining or snowing. Truly, there is no such thing as bad weather - only bad photographers. The main tool for influencing street lighting is the legs. Don't be surprised, they allow you to choose the right shooting direction. The light, as in the studio, can be rear, rear-side, side, back, but if in the studio I move the lamps, then such liberties do not take place 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 people standing nearby.
The backlight of the sun is different from the studio light. In this case, the highlights occupy a smaller part of the image area, creating an overall dark tone. However, on the street, light scattering and re-reflection of the sun's rays are very noticeable. Airy haze or fog stands out effectively against darker backgrounds, tonally emphasizing the depth of space, and light scattering allows you to obtain the necessary elaboration of shadowed details. The shadows formed by the counter are very beautiful. Contours and silhouettes help create laconic and eye-catching images. 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 lighter, because there will be much more sunlit planes than with backlighting. The colors will become richer. Finding a harmonious combination of lights and shadows in such lighting is quite difficult. Light and shadow enter into an eternal dispute - who is more important for art (photo 11).
Light in the composition
Compositional “scales” help me balance light and shadow. They are always with me and, looking at the photographs, 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 photograph. When structuring a photograph, I try not to place all the objects in one half of the frame, otherwise the photograph will fall apart - if the top of the photograph is very dark and the bottom is light, the viewer will instinctively want to turn it over. One has only to turn on the internal “scales” and analyze the light and shadow scattered throughout the picture, and it will be discovered that many require amputation of spaces free from semantic load. At the same time, the pictures do not get any worse. However, cropping, as a rule, leads to a decrease in the used area of the negative or matrix and thereby reduces its quality. As you enlarge the image, sharpness decreases and graininess increases. Therefore, it is better to balance the frame during the shooting process.
When I was learning to photograph, I mentally imagined that the photographic plane was balanced on the tip of the needle. It is enough to place a weight on any point of this imaginary structure, and to maintain balance you will have to use a counterweight. Such a counterweight can be not only an object, but also its shadow (photo 15).
At the apprenticeship stage, it makes sense to shoot still lifes - a dead nature allows you to take your time and think through all the elements of the composition. When photographing 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 a central location of the main object or a symmetrical composition. However, symmetry kills movement in the frame; nature does not like symmetry. A thoughtful violation of the symmetrical compositional balance can give the photo additional meaning, exciting emotionality or mystery. Such a photograph should cause unconscious anxiety in the viewer, thereby retaining his attention (photo 13).
It is impossible to cut off a single millimeter from a good photograph without causing harm to it. Everything in it should be interconnected, like in a good watch mechanism - take out any part, and the watch becomes a trinket. However, analyzing the light and shadow pattern of photographs is not always simple. Many pictures live well without pronounced main shadows or main light accents. Beautiful Foto It may well turn out to be woven from many 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 wealth of compositional techniques available to him: upper or lower angles, linear or tonal perspective, golden ratio points, depth of field, highlighting something important from using color or, conversely, bleaching. But the main thing is the ability to see the lights and shadows around you and learn to control them.
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