By Don Marr
Emphasizing easy methods to paintings with usual gentle instead of utilizing supplementary lighting fixtures to create a man-made setting, photographers can use those easy options to mould present gentle into the specified caliber and form. All occasions are mentioned, together with overcast and sunny days, backlighting and flare, window mild, sunlight studios, traditional reflectors, and studio lights at domestic, providing a plethora of rules for locating, diffusing, and growing gentle. As photographers study some great benefits of capturing with to be had light—no manage, extra spontaneity, extra time to pay attention to the topic, and the facility to trap preexisting relationships—they not just develop into larger photographers yet achieve self assurance and an elevated expertise in their inventive medium.
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Additional info for Available Light: Photographic Techniques for Using Existing Light Sources
Same Reflector, Different Looks These two photos (4-2, 4-3) were taken at the same location. In image 4-2, window light from an overcast day poured through a sliding glass door to the right of the camera. The room was a fairly dark living room that did not bounce too much light back onto the shadow side of the subject’s face. I decided to create a more even light—something less dramatic than the punk girl on page 52 4-2 (above). ). To do this, a right of the camera was filled in with silver 4x4-foot reflector was placed on the opposite side of the subject to a silver reflector on the left side.
Any dusty or foggy location will have backlighting potential, as well. Backlighting and Flare 51 Chapter 4 Window Light P robably the first thing you think of when you think of doing a portrait in natural light is to use window light. I think you would be right. The great painters—Caravaggio, Vermeer, and Rembrandt—knew the beauty of window light. I suggest getting a book on art history to see how these masters used window light. Once again, it’s all about control of the light, giving it direction and shape.
Have your subject sit in three differ- 4-10 (top) and diagram 8 (above). A black card placed ent positions: facing the window, facing the cam- above the strawberries reduced the highlights. era, and then facing the reflector. You will have to Window Light 63 make a lighter exposure for the last position. Move the reflector closer or further away to affect the lighting ratio from side to side on your subject. 3. Use opaque material to block some window light from areas of your subject. For example, use a black card to block light from hitting the lower half of their body, creating a soft spotlight effect on their head and shoulders.
Available Light: Photographic Techniques for Using Existing Light Sources by Don Marr