PICTUREPERFECTLIGHTINGAnInnovativeLightingSystemforPhotographingPeople

ROBERTOVALENZUELA

PICTUREPERFECTLIGHTINGAnInnovativeLightingSystemforPhotographingPeopleRobertoValenzuelawww.robertovalenzuela.com

Editors:ChristinaBorchersLeungandTedWaittProjectmanager:LisaBraziealMarketing:JessicaTiernanInteriordesignandlayout:WolfsonDesignCoverdesign:RebeccaCowlinCoverphotograph:RobertoValenzuelaIndexer:JamesMinkinISBN:978-1-937538-75-0

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DedicationIwouldliketodedicatethisbooktomybeautiful,intelligentwifeandbestfriend,Kim.Youdiscussedeverychapterwithmeandprovidedvaluableinputduringthetwoyearsittooktowritethisbook.Youalsopreparedpowerfoodsandhealthyshakestokeepmybrainalertandinnovative.Kim,yourloveandsupportthroughoutourmarriageareablessing.Theyarethefuelthatkeepsmegoing.IthankGodforbringingustogether.

Tomyamazingmom.Youhaveenduredmanyhardshipsand,againstallodds,youraisedfourchildrensuccessfullyinaforeigncountrywithoutspeakingthelanguage.Yourefforts,workethic,andloveforyourchildrenmotivatemeeveryday.Iloveyou,mom!

InMemoriamInmemoryofourbelovedfamilydog,Chochos.Shepassedawayduringthewritingofthisbook.Shewasalovingcompanionandbroughtjoytoourfamilyfor14years.Wewillmissherdeeply.

ACKNOWLEDGMENTSIwouldliketobegintheacknowledgmentsbythankingthemanypeoplewhomadethisbookhappen.ThankyoutoScottCowlinandTedWaittforinvitingmetowritethisbookforRockyNookandforthetripsfromSantaBarbaratoLosAngelestosealthedeal.Ihonestlyfeelhonoredtoworkwiththebestphotographybookpublishingteamintheworld.Iconsideryougreatfriends.

Aheartfeltthankyoutomyfamilyfortheirloveandsupport.Mymom,mybigbrotherAntonio,mysisterBlanca,andmylittlesisterSusana,recentlymarriedtomynewbrother-in-lawDanielYu.Iwouldalsoliketothankmybrother-in-lawKent(PastorofTheBridgeChurchinthePhoenixarea)foralwaysbeingagreatlistenerandadvisorinpersonalandbusinessmatters,andforbeingthebestpastoranywhere!IthankmyawesomenephewEthanwhoalsolovesphotography,mycutelittlenephewCaleb,andmylovelyandelegantballerinanieceEllie.Wehadsuchafunphotoshoot,andIwillalwaystreasurethatwonderfulmemory.

Tomymother-in-lawChristina:Ican’tthankyouenoughforspendingcountlesshoursmeticulouslyeditingeverychapterofthisbook.Ilovehowthisbookprojectisasimportanttoyouasitistome.Readersaroundtheworldwillenjoyabookthatiswellstructuredandenjoyabletoread,allthankstoyou.Ialsowanttothankmyfather-in-lawPeterforalwaysbeingthereforme.PeteractuallyprovidedmewithmyveryfirstcopyofPhotoshop,anditignitedmypassionforphotography.Iamluckytohaveyouasmyin-laws!Also,bigthankstomysisters-in-lawforsupportingmethroughoutmylearningprocess.Amy,Sarah,andherhusbandNealwereamongtheveryfirstsubjectsIphotographed.Theypatientlyallowedmetodomanypracticephotoshootswiththemtohelpmeimprovemyskillsasanewphotographer.ThankstomycutelittlenieceAlexandra,sincesheismysubjectofchoicetotesthowfastanewcamera’sfocustrackingsystemcankeepupwithaspeedyfour-year-old.ToWendyWong,foralwaysbeingsosupportiveofmycareerandallmy

endeavors.

Iwouldalsoliketothankthegreatpeopleatellixier,whoallowedmetousetheirset.a.light3Dsoftwareformanydiagramsandstudiorenderingsinthisbook.

Iwanttomentionaveryspecialmanwhorecentlylosthisbattletocancer.BillHurterbelievedinmefromtheverybeginning.Hewasaforceinthephotographyindustryandeducatedmanyphotographersaroundtheworldwithhiswonderfulbooks.Iamhonoredtohavemethim,andIwillalwaysbegratefulforwhathedidforme.

ToArleneEvans:Arlene,justlikeBillHurteryoubelievedinmycareerandinme.ThankyouforbeingmyJewishmother!IamgratefultoyoueverytimeIstandinfrontofapodiumtoteachaclassanywhereintheworld.

ToDanWillens:Thankyouforallthesupportandencouragementyouhaveshownmeoverthelastfouryears.

Toallmywonderfulfriendsinthephotographyindustryaroundtheworld.Youkeepmemotivatedandencouragedeveryyear.Iwouldliketoespeciallythankthefollowingpeople,listedinalphabeticalorder:RoccoAncora,RoyAschen,AdoBader,JaredBauman,MicheleCelentano,JoeCogliandro,SkipCohen,BlairDeLaubenfels,DinaDouglas,MarianDuven,DavidEdmonson,LukeEdmonson,DaveGallegher,JerryGhionis,MelissaGhionis,RobGreer,JasonGroupp,ScottKelby,ColinKing,GaryKordan,PaulNeal,MaureenNeises,CollinPierson,RyanSchembri,SaraTodd,JustineUngaro,ChristyWebber,LaurenWendle,TanyaWilson.

TomygoodfriendsatCanonUSA:DanNeri,LenMusmeci,andMikeLarson.IamhonoredthatyouadmittedmeintotheeliteCanonExplorersofLightprogram.Thisisadreamcometrue.

ABOUTTHEAUTHORRobertoValenzuelaisaphotographerbasedinBeverlyHills,CA.HehasbeenhonoredbyCanonUSAasoneofthefewchosenphotographerstobepartoftheirprestigiousCanonExplorersofLightprogram.

Robertodevelopedhisuniqueteachingstylebyfollowingthesamepracticeregimenhedevelopedasaprofessionalconcertclassicalguitaristandeducatorbeforebecomingaphotographer.Robertobelievesthatitisnottalentbutdeliberatepracticethatisatthecoreofskillandachievement.Hehastraveledtoeverycorneroftheworldmotivatingphotographerstopracticeandbreakdownthevariouselementsofphotographyinordertomasterthemthroughgoal-setting,self-training,andconstantdedication.

RobertoservesasachairandjudgeforsomeofthelargestphotographicprintcompetitionsinEurope,Mexico,SouthAmerica,andthemostcelebratedinternationalphotographycompetitionsheldintheUnitedStatesthroughWeddingandPortraitPhotographersInternational(WPPI)inLasVegas,NV.

Robertoteachesprivateworkshops,seminars,andplatformclassesforthelargestphotographyconventionsintheworld.Hehasbeenaninternationalfirst-placewinnerthreetimesandhasbeennominatedbyhispeersasoneofthetenmostinfluentialphotographersandeducatorsintheworld.Hisfirstbook,PicturePerfectPractice,quicklybecamethe#1bestsellerintheweddingphotographybookcategory.Hissecondbook,PicturePerfectPosing,hasalsojoinedtheranksofitspredecessorasaninternationalbestseller.Roberto’sbookshavebeentranslatedintoChinese,Portuguese,Spanish,Indonesian,andGerman,tonamejustafew,andtheyaresoldinbookstoresworldwide.

Asidefromtheworldofphotography,Robertoenjoyspilotinghigh-performanceremote-controlhelicopters.Heisa(notsogoodanymore)classicalguitaristandatabletennisfanatic,alwaysonthelookoutforagoodchallenge.

CONTENTS

Foreword

Introduction

PicturePerfectLightingReferenceCharts

PARTONE

THEBUILDINGBLOCKSOFLIGHT

CHAPTER1

PRIORITIZEALIGHTINGVISIONOVERALIGHTINGSTYLELightingVision

LightingStyle

ThePotentialThatLightHasonaPhotograph

CHAPTER2

HOWLIGHTWORKSHowtheEyeSeesColor

AllLightBehavestheSameWay

CHAPTER3

THEFIVEKEYBEHAVIORSOFLIGHT

AngleBehavior

InverseSquareBehaviorLightIntensityLightFalloff

SizeBehaviorVisualExplanation

ColorBehavior

ScatterBehavior

PARTTWO

CIRCUMSTANTIALLIGHT

CHAPTER4

INTRODUCTIONTOTHECIRCUMSTANTIALLIGHTELEMENTSTheTop10CircumstantialLightElements(CLE)

GainingtheMostfromtheTop10CircumstantialLightElements

TheGlowZone

CHAPTER5

EXPLORINGTHE10CIRCUMSTANTIALLIGHTELEMENTSAnalyzingLocationsforLightBehaviorsandCircumstantialLightElements

CHAPTER6

IMPLEMENTINGCIRCUMSTANTIALLIGHTUnderstandingtheHowandtheWhyofCircumstantialLight

TheShooting-Toward-the-ShadowTechnique

FillWindowLightVersusDirectWindowLight

TheImportanceoftheLightingReferencePoint

WorkinginDirectSunlightwithoutAnyLightModifiers(ShadowManagement)

TheEye-Adjustment-PeriodTechnique

ACloserLookatReflectionVersusAbsorptionwithCircumstantialLight

OpenShadeDonetheRightWayTheIdealOpenShadeScenario

PARTTHREE

THELIGHTINGBENCHMARKTESTANDHELPERLIGHT

CHAPTER7

THELIGHTINGBENCHMARKTESTAdjustingtheLighttoFittheCameraSettings,InsteadofAdjustingtheCameraSettingstoFittheLight

TheLightingBenchmarkTest:TheTurningPointinMyCareer

LightingBenchmarkChart

UnderstandingtheLightingBenchmarkChartAcceptableShutterSpeed

LightingBenchmarkScenariosFailingtheLightingBenchmarkTestPassingtheLightingBenchmarkTestRotatingtheSubject’sHeadTowardtheBrightestCircumstantialLightElementintheSceneMovingtheSubjectTowardHigherIntensityLighttoAchievetheLightingBenchmark

CHAPTER8

HELPERLIGHT:REFLECTORTECHNIQUESNotAllReflectorsAreEqual

DirectReflectionVersusDiffusedReflectionDirectReflectionDiffusedReflection

DirectReflectionTechniquesTimetheEyesIncreasetheDistancetoSoftentheEffectsofDirectReflectionConcaveVersusConvexBendingTechniques

DiffusedReflectionTechniquesUsetheWhiteSideoftheReflectoratCloseProximityModifyYourReflectortoProduceDiffusedReflection

AdvancedReflectorTechniquesforPortraitureReflectingLightTowardtheSunReflectingLightAwayfromtheSun

CHAPTER9

HELPERLIGHT:DIFFUSERTECHNIQUESNoDiffuserOutside

NoDiffuserInside

UsingaDiffuserasaCleanBackground

AdvancedDiffuserTechniquesforPortraitureNoDiffuserUsedDiffuserNotPointedTowardtheSun,FurtherAwayfromSubject’sHeadDiffuserNotTiltedTowardtheSun,ClosertoSubject’sHeadDiffuserTiltedTowardtheSun,FurtherAwayfromSubject’sHeadDiffuserTiltedTowardtheSun,ClosertotheSubject’sHead

DiffuseandLight

PARTFOUR

HELPERLIGHT:FLASHTECHNIQUES

CHAPTER10

UNDERSTANDINGTHEKEYCAPABILITIESANDFUNCTIONSOFYOURFLASHThePurposeofThisChapter

SimplifiedFlashTerminologyandKeyFeaturesTTLFECE-TTLandE-TTLIIManualFlash(M)FirstCurtainSyncSecondCurtainSyncHigh-SpeedSyncFlashZoom

Off-CameraWirelessFlashWhatIsaMasterorCommanderFlash?WhatIsaSlaveFlash?WhatIsaChannel?WhatIsaGroup?WhatAreFlashRatios?WhatIstheDifferenceBetweenRadioandOpticalTransmission?

AQuickTest

CHAPTER11

SPEEDDEVELOPMENTEXERCISESFORFLASH

HowtoGettheMostfromTheseFlashMicroExercises

On-CameraFlashSpeedDevelopmentExercises1.MakingSuretheFlashIsonTTLwithZeroFECApplied2.MakingSuretheFlashIsonTTLwith–2FECApplied3.MakingSuretheFlashIsonTTLwith+3FECApplied4.SwitchingBetweenTTLandManualModes5.SwitchingtoManualModeatFullPower(or1/1)6.ManualModeat1/4Power,Then1/32Power,Then1/128Power7.ChangingtheFlashtoSecondCurtainSync8.ChangingtheFlashBacktoFirstCurtainSync9.ActivatingHigh-SpeedSync10.ZoomingtheFlash11.CombiningDifferentFeatures#112.CombiningDifferentFeatures#213.CombiningDifferentFeatures#3

Off-CameraWirelessFlashSpeedDevelopmentExercises14.SettingOneFlashastheMasterandtheOtherasaSlave15.AssigningtheSlaveFlashtoaDifferentGroup16.ChangingtheChannelandGroup17.ChangingtheSlaveFlashtoManualModeandStoppingtheMasterFlashfromFiring18.ActivatingOff-CameraHigh-SpeedSyncFlash19.WorkingwithTwoSlaveFlashes20.SettingEachSlaveFlashwithaDifferentGroupSoTheyCanBeControlledSeparately21.MixingModes:SettingSlaveFlashGroupAtoOperateinTTLModeandSlaveFlashGroupBtoOperateinManualMode22.WorkingwithThreeSlaveFlashesAssignedtoThreeDifferentGroups(A,B,andC)

CHAPTER12

HELPERLIGHT:BOOSTINGAVAILABLELIGHT

WITHFLASHTheBenefitsofUsingFlash

AFewExamplesoftheValueFlashCanAddtoYourWorkWeddingPhotowithFlashBoudoirPhotowithFlashIndoorMoodyPortraitwithFlash

FlashasHelperLighttoBoostWeakNaturalLight

AProgressionofLight

ChangingtheShapeandRelativeSizeofaSingleDiffuserFlashCloserorFurtherAwayfromtheDiffuserShortSideandLongSideofaDiffuser

GivingWindowLightaBoost

CHAPTER13

ADVANCEDFLASHTECHNIQUESCreatingSeparationBetweentheSubjectandBackgroundThroughLighting

RetainingtheIntegrityoftheMoodwithFlash

ControlledLight(RemovingAllAmbientLight)

CreatingCleanSilhouettesUsingFlash

CreatingGraphicInterestwithShadowsCreatedbyFlash

CreatingaLow-Contrast,Dreamy,HazyEffectUsingFlash

PARTFIVE

EXECUTINGYOURLIGHTINGVISION

CHAPTER14

PUTTINGITALLTOGETHERMyThoughtProcessRegardingLight

LightingCaseStudiesCaseStudy1:HelperLight(Flash)CaseStudy2:HelperLight(Reflector)CaseStudy3:CircumstantialLightElementsCaseStudy4:CircumstantialLightElementsCaseStudy5:CircumstantialLightElementsCaseStudy6:CircumstantialLightElementsCaseStudy7:HelperLight(VideoLight)CaseStudy8:HelperLight(Flash)CaseStudy9:HelperLight(Reflector)CaseStudy10:HelperLight(Flash)CaseStudy11:HelperLight(VideoLight)CaseStudy12:HelperLight(Flash)CaseStudy13:CircumstantialLightElementsCaseStudy14:HelperLight(DiffuserandFlash)CaseStudy15:HelperLight(Flash)CaseStudy16:HelperLight(VideoLight)CaseStudy17:Pantea’sPhotoShootCaseStudy18:Peter’sPhotoShootCaseStudy19:Ian’sPhotoShootCaseStudy20:Ellie’sPhotoShoot

CONCLUSION

“Ihaveseizedthelight—Ihavearresteditsflight!”

—LouisDaguerre

FOREWORDByJerryGhionis

I’veknownRobertoforover10yearsandhavewitnessedanunassumingphotographygeekbecomeashininglightinourindustry.Mywife,Melissa,andIconsiderRobertoandhiswife,Kim,twoofourbestfriends,andwelivejustashortwalkawayfromtheirhomeinBeverlyHills,CA.Asfellowphotographersandteachers,it’sveryeasytorelatetoeachother’slife.Wefrequentlyhavespontaneousvisitstoeachother’shomesforacompetitiveping-pongmatchandabarbecueonthebalcony,followedbyendlesshourstalkingaboutlife,love,andallthingsphotography.

It’sinthesecountlessconversationsthatIhavelearnedhowpassionateandobsessedRobertoisaboutlearninganewskill.I’mnotjusttalkingaboutphotography;he’spassionateaboutlearninganything!Bynature,humanbeingsarecurious,butfewofuseverbecomecuriousenoughtolearnmoreaboutsomethingonamerewhim.Don’tevenjokinglydarehimtotryanewskillortellhimhecan’tdosomethingbecausehewillnotonlydoit,he’llmasteritlongafteryouhaveforgottenyouroriginalchallenge.

Robertoisaprofessionalphotographerandteacher,butIseehimassomuchmore.Heisaprofessionalstudent:astudentoflifewhoisnotonlyobsessedwithandrelentlessaboutlearning,heisjustaspassionateaboutthelearningprocessitself.Iwilloftenvisithishomeandhewillshowmeyetanotherskillheislearningtomaster.Hisfearoffailurehasdrivenhimtoearnmarketingandeconomicsdegrees,meetthePresidentoftheUnitedStates,performclassicalflamencoguitarinfrontoflargeaudiencesand,ofcourse,becometherespectedphotographerandteachermanyknowhimtobe.Withoutknowingthechallengeshehas

facedinhislife,hissuccessisincrediblyinspiring.KnowingwhatonlyfewpeopleonthisearthwilleverknowaboutRoberto’sadversities,hissuccessistrulyextraordinary!

Iamsoproudandhonoredtowritetheforewordtothisbook.Inthis,Roberto’sthirdbook,hetacklestheextremelychallengingsubjectoflighting.InthespiritofPicturePerfectPracticeandPicturePerfectPosing,Robertohasreinventedthewayaphotographerbreaksdownthefundamentalsoflightbehaviorandexecutionasonlyhecan.Overthelastfewyears,IhavewitnessedRoberto’sevolutionasawriter.DuringthecourseofwritingabookinthePicturePerfectseries,hewouldoftenvisitandtoilovertheseeminglyimpossiblechallengeofhowtosimplifythecommunicationandunderstandingofaphotographytopicthroughthewordsandimagesinhisbook.Frustrationwouldturnintoelationwhenyetanotherchapterwascompleted.Muchliketheendofagreatmovietrilogy,youseriouslydon’twanttobedisappointedbytheendofabookseries,andyouwillcertainlynotbedisappointedafterreadingthisbook.

ThePicturePerfectserieshascreatedanewstandardforthewayphotographyauthorsteachaparticulartopic.BorrowingaphrasethatRobertowillundoubtedlypopularizewiththisbook,hehascreateda“lightingbenchmark”withhisofferinghere.Afterreadingthisbook,inexperiencedphotographerswillhaveaformulaicfoundationoflightingtobuildtheircareerson,andexperiencedphotographerswillfurtherbroadentheirunderstandingoflightafteryearsofpracticingthecraft.

Whetherit’sbynatureorbynurture,Robertoisananomaly.Hecanbebothinappropriatelyhilariousandbeautifullyarticulateinthesamebreath.Hecanbeeccentricandrelatableatthesametime.Whateverhathewearswhenhechoosestowearit,hewearsitwithprideandownsit,evenifyouthinkit’sweird.AndthatiswhatIloveaboutRoberto.Heisaloyalandgenerousfriendwhosecontagiousenthusiasmmakeshimajoytobearound.Mostpeoplemeasurewealthbytheamountofmoneyonehas.Awisepersonmeasuresitbytheamountofuniqueexperiencesonehas.Bythisdefinition,Robertoisrichbeyondmeasure!Andmywife,Melissa,andIarericherforhavingsharedmanyoftheseexperienceswithhim.

INTRODUCTION

AsIwritethis,Iamtravelingonmyfavoriteplane,theAirbusA380,onmywaytoRomaniaandPortugaltodowhatIlovetodothemost:teach.Idecidedtowritetheintroductiontothisbookandtakeadvantageoftheuniquepeacefulnessonefeelswhilecruisingat40,000feetona10-hourflight.

PicturePerfectLightingwillbethelastbookinthePicturePerfectseries.Iamsogratefultosomanypeoplearoundtheglobewhohavemademytwopreviousbooks,PicturePerfectPracticeandPicturePerfectPosing,internationalsuccesses.Asofthiswriting,PicturePerfectPracticeisranked#1initscategoryonAmazon.Thereisnothingmorehumblingandrewardingtoanauthor/educatorthanknowingthatmyreadersarefindingvalueinmybooksandthattheircareersarebenefitingfromtheinformationinthosepages.ThebookshavebeentranslatedintoChinese,Portuguese,German,Indonesian,andSpanish,amongotherlanguages,andtheyhavebeenfoundonbookshelvesaroundtheworld.Forthat,Ithankyou!

Ibelievethisbookwillbeaperfectcomplementtomyfirsttwobooks.PicturePerfectPracticefocusesoncompositionandtheintelligentuseoflocations.PicturePerfectPosingisrootedinanewmethodtolearnposingnotbyhavingtomemorizerules,butinsteadbyunderstandinga15-pointsystemthatmakesyou(thephotographer)awareofwhataposeandbodylanguagecommunicatetotheviewer.Therefore,Ifeelitisnecessarytocompletethecirclewithabookonlighting.

Lightingistheessencefromwhichallimagesarecreated.ItistheDNAofphotography.Lightingcanturnanaveragesceneorportraitintosomethingspecialandinexplicablybeautiful.Itisalsothemostmisunderstoodanddauntingsubjectformostphotographers.Iknow,becauseIhavebeentheremyself,feelingjustasconfusedasanyother

photographer.Itisnotunusualtofeelawaveoffrustrationoverwhelmyouwhenyouseephotographsinwhichthelightingissopoeticandsobeautifulthatyoufeelinspired,butyourmindissuddenlyfilledwithquestions.“Wow,howdidthephotographerdothat?”“Doesitrequirealargeproductiontocreatelightingsuchasthis?”“Whatkindofequipmentwasused,andcanIevenaffordit?”“Howdidthephotographerdecideonthatspecificlightingconcept?”Andfinally,myfavoritequestion:“IsthereeveranywayIcouldbeabletocreatelightingasbeautifulasthat?”Thelastquestion,theoneaboutyoubeingabletocreateworld-classlightingyourself,isthereasonIwrotethisbook.Becausetheanswertothatquestionisaresounding“Yes!”

Ibelievethatlightingisperceivedasamonumentaltasktoundertakeforthreemajorreasons.First,lightingisusuallytaughtinintimidatingways,usingaplethoraofequipmentandcomplexlightingsetupsthat,tobehonest,arequiteunnecessary.Itisdifficulttounderstandthe“why”behindallofthoselights.Consequently,thereisamisleadingassociationbetweenexpensivelightsandgreatphotographs.

Second,lightinghastheconnotationofbeinghighlytechnical,mathematical,andscientific.Whatisintriguingisthefactthatthebehavioroflightisindeedruledbyscience,andscienceiswhatmakeslightingsoeasytounderstand.Lightisalwayspredictable!Now,whatyouhavetolearnishowtoplacelightandshadowswhereyouwantthem,andthatisthepartoflightingthatiscreativeandfun.Lightmayberuledbyscience,butitsstrategicplacementisaformofartandexpression.

Third,weareusedtocreatingphotographsbasedonwhatwesee,notonwhatwecannotsee.Usingnaturallightforourphotographscanbeagreatsolution,buttherearemanytimeswhennaturallightneedshelp.Thisiswhereweentertheworldofstrobesandflashes,andwenowmustpre-visualizehowthese“man-made”lightsaregoingtoaffectourphotographs.Wecan’tseetheircontributionsuntilwefiretheshutter.Forthisreason,amongothers,somephotographerssimplyprefertocallthemselves“naturallightphotographers,”whichisveryunfortunate.

Thereisnothingmorerewardingthannotbeinglimitedbyanythingwhencreatingart.Knowledgeispower.Whenflashesorstrobesaremastered,

thereisnoonewhocantellyouthatonetypeoflightisbetterthananother.Photographiclightingshouldnotbeacompetitionbetweennaturallightversusartificiallight.Lightislight!Allkindsoflightsarevalidandhaveaplaceincreatingbeautyintheimagesyouhaveimagined.Therewillbetimeswhennaturallightaloneistheperfectlighttobringyourvisiontolife.Atothertimes,strobesarethesolution.Finally,youmayneedbothkindsoflighttorealizeyourartisticexpression.Pleasedonotlimityourselftousingonlynaturallight.Iunderstanditistheeasiercourseofaction,butlimitingyourselfisnotreasonableandit’snotfun.Limitingyourselftousingonlynaturallightisliketryingtobuildahouseequippedwithjustahammer,oraddingflavortoadishwithonlyonespice.Whynothaveallthetoolsyouneedtocreatewhatyoudesire?

Mybiggestmotivationforwritingthisbookistoovercomethesethreeargumentsandprovideyouwiththeinformationyouneedtomoveforwardwithyourlightingskills.Iwanttosimplifylightingsoitbecomesanindispensabletoolthatyouarenotafraidtouse.MoreandmorephotographersthesedaysconsiderPhotoshoptobetheirtoolofchoicetobringthe“wowfactor”totheirimages,wheninfact,thathasalwaysbeenthejoboflight.Thereisnosoftwareinexistencethatcanreplaceorreplicatetheinexplicablemagicthatbeautifullightbringstoaphotograph.Lightingshouldbeasourceofcreativityandjoy,notasourceoffear.Itismyhopethat,whenyouarecreatingyourphotographs,thisbookinspiresyoutothinkfirstintermsoflight,insteadofPhotoshop.

Inordertohelpwiththecomplexitiesoflearningphotographiclighting,Idividedalllightintothreemaingroups:circumstantiallight,helperlight,andcontrolledlight.

CIRCUMSTANTIALLIGHTThisisthelightyouhavetodealwithbasedonyourcurrentcircumstances.Thereisnowayaroundit.Basically,itisambientornaturallight,butIdrawadistinctionandusetheword“circumstantial”becausenotonlydoIwantyoutothinkoftheambientlightasasingleentityonitsown,butmoreimportantly,Iwantyoutothinkabouthowthelightisbehaving,bouncing,andreflectingaroundtheobjectsinthe

environment.Withinashortperiodoftime,naturallightcanstayprettymuchthesame,butyourcircumstancescanchangeradicallybysimplymovinglocations.That’sthedifferentbetween“ambientlight”and“circumstantiallight.”

Ifyouareshootinginthemiddleofthedayinacity,lightwillbecomingdownhard,bouncingandreflectingfromeverysurfacethatsurroundsyou.Allobjectsinanyenvironmenthaveasurface.Itisthesurfaceofeachobjectthatweareinterestedin.Thefivemajorsurfaceelementstobeawareofaretexture,color,shape,material,andsize.Thesesurfacedescriptorswillhaveamajoreffectonhowthecircumstantiallightinteractswiththeenvironment.Itisyourjobtobeabletounderstandandrecognizetheinteractionsbetweenlightandthesurfacesthatthelightisstriking,payingparticularattentiontothosefivedifferentsurfacedescriptors.

Understandinglightmightsoundcomplicated,butitreallyismuchsimplerthanitseems.Touseametaphor,lightbehaviorislikelearningGermangrammar.Onceyouknowtherules,theyneverbreak,andtherearenoexceptions.Therulesoflightwillalwaysbeconsistent.Ialsocallcircumstantiallight“strategiclight.”

HELPERLIGHTHelperlightisbasicallythelightthatisaddedormanipulatedtohelpwhenthecircumstantial/naturallightisnotadequateonitsown.Forexample,let’ssayyouareshootingaportraitsessionoutdoorsbuttheskyiscloudy.Thediffusedlightfromtheovercastskywillbeevenbutflatand,therefore,boringandlackingvibrancy.Youwouldthenbringinhelperlighttogiveyoursubjectdirectionallightandtocreateshapeanddimensionalitytotheportrait.Helperlightiscreatedandmanipulatedwithreflectors,diffusers,flashes,strobes,constantlightsources,lightmodifiers,andcoloredgels.Withtheseseventools,youcanproblem-solveandmanipulatecircumstantiallightintodoingexactlywhatyouwantittodo.Ialsocallhelperlight“problem-solvinglight.”

CONTROLLEDLIGHT

Controlledlightisbasicallywhen100%ofthelightilluminatingyoursubjectiscompletelycontrolledbythephotographerusingstudiostrobes,flashes,andmodifiers.Thisistypicallydoneinastudioenvironment.However,controlledlightcanalsobeachievedoutdoorsbychoosingcamerasettingsthatdonotallowanyambientlighttoinfluencetheexposure.Controlledlightcanbeincreasedand/ordecreasedasmuchasthephotographerwishes.Ialsocallcontrolledlight“builtlight.”

Inmyphotographybusinessandintheimagesthroughoutthisbook,IuseCaptureOneProasmyprimaryRAWeditingsoftwarebecauseofitsuniquepowerandsophisticationinhandlingallRAWfiles,andIuseChimeraLightingformylightmodifiers.ToreceiveadiscountonCaptureOnePro’ssoftware,usethecode“AMBVALENZUELA”whenpurchasingthesoftware.Chimeraisofferinga30%discountoffthelistpriceofitemsfeaturedinmytutorialsandallitemsintheSuperProline;pleasegotochimeralighting.comandusethediscountcode“rvchimera”whencheckingout.

PICTUREPERFECTLIGHTINGREFERENCECHARTS

TheFiveBehaviorsofLight

TheTop10CircumstantialLightElements(CLEs)

TheLightingBenchmarkTest

PARTONE

THEBUILDINGBLOCKSOFLIGHT

CHAPTER1

PRIORITIZEALIGHTINGVISIONOVERALIGHTINGSTYLE

Inmyopinion,everyportraitphotographershouldgiveprecedencetohavingalightingvisionratherthantoanythingelse,beforeeventhinkingaboutpushingthatshutterbutton.Asphotographers,weuselighttocommunicate.Therefore,youmusthavesomethingtosaybeforeattemptingtodeliveryourmessageintheformofaphotograph.Notthinkingaboutlightingbeforetakingaportraitislikejottingdownarandomarrayofwordsonpaperthatdonotmakesenseorformacoherentsentence,thenhopingitcommunicatessomething.Let’snotdothattoourselves.Partofthejoyofphotographyisseeinghowlightaffectsoursubjects.Byusinglightindifferentways,wecanmakethesamepersonappeartobe10differentpeople.Somethingasordinaryasaleafcanlookexciting!Lightchangeseverything,sowemusthaveavisionofwhatwewantfromthatlightbeforetakingphotographs.Tobegin,let’sfirstdefinewhatthedifferencesarebetweenalightingvisionandalightingstyle.

LIGHTINGVISIONAlightingvisiondemonstrateswhatyou,thephotographer,aretryingtocommunicateandbringattentiontovialighting.Forexample,ifyouareshootingaportraitofayoungwoman,youmaydecidetofocusmoreattentiononherlipsratherthanonanyotherfeatureofherface,includinghereyes.Youthenmakelightingdecisionsthatilluminateyoursubject’slipsinawaythatbringouttheirtextureandfullness.Forhereyes,youmightdecidetocastashadowinhereyesocketsinordertocreateasenseofmysteryandensurethattheviewer’sattentionstaysonherlipsanddoesnotgotohereyes.Alightingvisionrequiresaddinglightexactlywhereyouwantitandsubtractingitwherelesslightisneeded.Itrequireshavinganideaofwhereshadowsshouldbecastonyoursubjectandhowthoseshadowsshouldappear.Willtheybesoft-edgedorhard-edgedshadows?Whatwillthecontrastbetweenthelightsideandtheshadowsidelooklike?Rememberthatinaportrait,whatyouconcealsaysasmuchaswhatyoureveal.

Oneofthegreatadvantagesofbeingaphotographertodayisthatdigitalcameratechnologyallowsustobeabletoshootinanylight,regardlessofhowpoorthelightingconditionsmaybe.Cameramanufacturerspride

themselvesontheircameras’ISOcapabilities.Forphotojournalists,thisisanessentialtoolwhencapturingashotinawarzoneoratastreetdemonstration,butforportraitandweddingphotographersthisfeaturehasmadeuscomplacent.Itallowsustonotthinkabouthowtoimprovethequalityoflightwhenilluminatingoursubjects.Theresultisthatmanyofususetheambientlighttoilluminateoursubjectsandthenadjustourcamera’sISOtocompensateforthequalityoflight,orlackthereof.Incontrast,havingalightingvisionmeansusingtheambientlightsimplyasastartingpoint.Aphotographerwithalightingvisionwillthenmakedecisionsbasedonhisorhervision,whichresultinadding,subtracting,diffusing,focusing,ormanipulatingthelightinsomewaytobringthatvisiontolife.

LIGHTINGSTYLEAlightingstyleisbasicallyafamiliarlookassociatedwithaphotographer’swork.Forexample,youmightdecidethatyourstyleiswindowornaturallightportraits.Doesthismeanthatyouarestuckshootingnexttoawindowfortherestofyourcareer?Supposeoneday,youdecideyouwanttocreateHollywood-stylelightingwithasinglelightsourcefromaboveatthesameaxisasthecamera?Orwhatifyouwishtofeatureyoursubject’seyesandkeeptherestoftheportraitinamysteriousbutflatteringshadow?Anotherpossiblescenario:youareaskedtogotoaclient’shometomakeportraits,andthereisonlyasmallwindow,shadedwithtreessothatverylittlenaturallightpeepsintotheroom.Thereisabsolutelynothingwrongwithhavingalightingstyleorpreference.However,youshouldnotlimityourselfinsuchawaythatyoucanneversendauniquemessage.It’slikehavingaballandchainaroundyourankleencumberingyourprogress.

Itisverypossibletohavelightingvisionwithinyourlightingstyle.However,yourvisionshouldworkindependentlyofyourstyle.Ifwindowlightisnotconducivetoaparticularvisionyoumighthaveforaportrait,thenyoushouldbeabletousewhateverlightsourcesyouneedtoaccomplishyourgoal.Freeyourselffromthatballandchain,andyourcreativevisionbeginstodevelop.

WhenIfirstbeganmypursuitofpeoplephotography,Iusedtoscheduleallofmyportraitshootsoneortwohoursbeforesunset.Thisway,itwouldbeeasiertodealwiththelight.Theharshsunlightwouldbegone—everywhereIturnedwasopenshade—andIcouldthenconcentrateandfocusonphotography.Furthermore,thesunwasnotstrongenoughtocastanyshadows,soIhadfreerein,aphotographer’splayground.NomatterwhereIormysubjectsturned,thelightwassoftandpredictable.Whatabeautifulthingthatwas.If,foranyreason,therewasstillenoughsuntocastshadows,IwouldimmediatelydirectmyclientstothenearestopenshadeIcouldfind.TallbuildingsweremyfavoriteobjectsbecausetheywouldcastthelargestopenshadeareaIcouldwishfor.

Whentheshootwasover,Iwouldreturntomycomputer,importthephotos,andimmediatelylaunchAdobePhotoshoptomakethemagichappenwithalloftheshinynewPhotoshopfiltersIhadrecentlypurchased.Iwasentirelysatisfied.

Duringthosefirstyears,Ihadanunsophisticatedtasteforphotography.Ifiguredthatifmychosenexposurewasgoodenoughtoseemyclientsonthecamera’sLCDscreen,myjobconcerninglightwasdone.Ihadnoconceptoftheimmensepoweroflightinphotography.Likemostpeople,Ifounditeasiertoworkwithdiffusednaturallightattheendofthedaytoavoidanycomplications.Flash,oranyotherformofartificiallight,didnotevenentermythoughts,nordidIknowhowtouseit.Iwouldtellmyclientsthatwehadtoshootanhourbeforesunsetbecausethatwasmy“style”when,infact,itwastheonlytypeoflightIknewhowtouse.

THEPOTENTIALTHATLIGHTHASONAPHOTOGRAPHAtonepointduringmyfirstyearortwoasa“professionalphotographer,”Iwasinthemiddleofphotographingawedding.Thebridewasgettingreadyinaroomthatwasrathersmall,withjustonetinywindowbringinganynaturallightintotheroom.Ipanicked!Thesoft,late-afternoonsunlightwasnotanoption,andIwasfaroutofmycomfortzone.Atthattime,Ihadnoideathataphotographercouldread,control,manipulate,andcreatelight,soIjustdidwhatmostpeoplewoulddoinmysituation:I

firedtheshutterfromeverypossibleangle,withoutanyregardforlight.Mycameracouldfirethreeorfiveframespersecond,andItookfulladvantageofthatfeature.Icrazilyshotaroundthebrideasshegotready,shoutingallkindsofposingdirectionsthatwerenomorethanwildguesses.Thebride’sheadwasspinningtryingtokeepupasshewatchedmedancecirclesaroundher.

Ishotnearly400photosduringthatshortperiodoftime.Thenextday,Iloadedupthephotosfromtheweddingwithexcitement...andabitofanxiety,aswell.Iscrolledthroughthephotostofindthesectionofthebridegettingready.Aftergoingthroughhundredsofcompletelyuselessimages,mypaniclevelslowlyincreasedwitheachstrokeofmykeyboard.Suddenly,onephotostoodouttomeliketheguidingbeamofalighthouseatmidnight.Itwasstunning!SeeFigure1.1.Onephoto,onlyone,wasbeautifuloutof400images.InthesplitsecondItookthatlovelyphoto,manyelementslinedupformebypurechance.Thelightcomingfromthewindowilluminatedthebride’sfaceattheperfectanglebecauseofhowshewasposedinrelationtothelight.Herexpressionwasbreathtakinglystrongandglamorousatthesametime.

Ihadthisurgetopatmyselfonthebackoutofpureexcitement,butthenIrealizedthatIhadjustgottenlucky.Itwasn’tmyskillsasaphotographerthatdirectedsuchabeautifulpermutationofelementsbutsimplyplaingoodluck.CouldIrecreatethatphotographagain?Never!Unless,ofcourse,Ikeptshootingthousandsofmindlessphotosatrapidfire,circlingaroundmysubjectlikeamadmanagainandagain,untilIgotanotherluckyshot.Nothanks!IdecidedthatIlovedtheresultsofbeautifullighttoomuchtoleaveittochance.Imadeaconsciousdecisiontostudyandunderstandlightsothat,inthefuture,Icouldrelyonmyskillsandnotontheframes-per-second(FPS)featureofthelatestcamera.

FIGURE1.1CameraSettings:ISO800,f/1.2,1/250

CHAPTER2

HOWLIGHTWORKS

Inordertodevelopalightingvision,onemustunderstandthatalllightbehavesfundamentallyinthesameway.Sunlightisthesameasthelightemittedfromaflash,which,inturn,isthesameasvideolight.Thewayitworksisthatlightisaformofenergycalledelectromagneticradiation.Thisenergytravelsingroupscalledphotons.Thesephotonscarryanelectromagneticfieldaroundthemthatfluctuateswithspeed.Thefastertheelectromagneticfieldfluctuates,themoreenergyeachphotonhas.Althoughwecannotseetheactualelectromagneticfieldatwork,wecanseetheeffectofthespeedofthewavefluctuationintheformofcolor.Forexample,redlighthasamuchslowerwavefluctuationthanbluelight,whichmeansthatredlightcarrieslessenergythanbluelight.Remember,thefastertheelectromagneticfield’swavefluctuatesaroundaphoton,themoreenergythatphotonwillhave.

HOWTHEEYESEESCOLORThehumaneyeinterpretsthedifferentenergiesasdifferentcolorsoflight.Sogreen,blue,red,yellow,white,etc.arebasicallynothingmorethandifferentfrequenciesoftheelectromagneticfieldbelongingtoeachphoton.Whenagroupofphotonswithvaryingfrequenciesstrikesanobject—say,forexample,astrawberry—thestrawberry’ssurfacewillabsorballfrequenciesthatarenotred,andwillreflectonlytheredfrequencytoyoureyeandbrain.Whenyourretinareceivesthisspecificfrequencyfromthesurfaceofthestrawberry,yourbraintellsyouthatthesurfaceisred.(Hereisafunfactforyou:thehumaneyecanperceiveawidervarietyofwarmercolortonesthanitcancoolertones.)

Thehumanbrainperceivesasurfacetobewhitewhenthatsurfacereflectsallofthefrequenciesandabsorbsnoneofthem.Inasimilarway,thehumanbrainperceivessomethingtobeblackwhenthatsurfaceabsorbsallofthefrequenciesfromallthephotonsstrikingitandreflectsnoneofthembacktotheeye.Thereasonwhywearingblackclothingmakesyoufeelmuchwarmerthanwearingwhiteclothingundersimilarconditionsisbecausethecolorblackabsorbsalloftheenergyofeveryphotonstrikingit,causingtheclothingtoheatup.Wearingawhiteshirtordrivingawhitecarfeelscooler,becausethecolorwhitereflectsalloftheenergyandabsorbsnoneofit,keepingthesurfacecoolertothetouch.

Simplycombiningdifferentamountsofthethreeprimarycolorsoflight—red,green,andblue—cancreateallthecolorsinthevisiblespectrum.Thisinformationabouthowweperceivecolorswillcomeinveryhandywhenanalyzingthedifferentobjectswedealwithinanyenvironmentandwhendecidingonaplacetophotographsomeone.Additionally,itdoesn’thurttoacquirealittlescientificbackgroundabouttheinvaluableradiantenergyweneedtotakeourphotographs.

ALLLIGHTBEHAVESTHESAMEWAYItisfortunatethatthelawsofphysicsgovernalllight.Thatwillneverchange.Whatdoesthismeanforus?Itmeansthatthelightemittedfromournewflashunitsbehavesinexactlythesamewayasthelightcomingfromthesunorfromaconstantlightsource,suchasavideolight.Andthelightcomingfromalampinyourbedroombehavesessentiallythesamewayasthemostexpensivestrobeontheplanet.Oneofthegreatestshiftsinmentalityaphotographercanmakeistolearnnottotreatvariouslightsourcesdifferently,buttorememberthatlight,regardlessofthesource,abidesbythesamelawsofphysics.

Toillustratethispoint,turnyourattentiontothefollowingimages.Alloftheseimageswereilluminateddifferentlyandwithdifferentlightsources,yetitisveryhardtodistinguishwhichphotoswereilluminatedwithwhatkindoflight.Whatiseasilynoticedishoweachphotoisuniquelylitandcontainsaclearanddistinctivemessagebasedonthelighting.ItdoesnotmatterwhatkindoflightsourceIused;whatmattersisthatImanipulatedthelighttodowhatIenvisionedandplacedthelightwhereIwantedittobe.Dependingonthecircumstances,thelightataphotoshootcanbeweak,strong,harsh,soft,directional,etc.Therefore,insteadofconformingtothecircumstances,thinkinsteadthatthecircumstanceshavetoconformtoyou!Youarethephotographer,andyouareincharge.

Figure2.1wasilluminatedwithpurenaturallight.However,thecircumstancesinthatroomwerefavorablebecausetherewasawindowdirectlyinfrontofthesubject,Dylan,andawhitewallbehindher.Thewindowhelpedsoftenthelightfromthesunasthelightpassedthrough

thewindowandspreaditsraysinmoredirectionsthanifthesunhadilluminatedDylandirectly.ButwhatreallycaughtmyattentionwerethecircumstancesintheroomthatledtoaverydynamiclightingonDylan’sfaceandfloralheadpiece.Herbackalsoreceivedbeautifulilluminationfromthewallbehindher,whichreflectedthewindowlightbacktowardher.Ifthewindowhadnotbeenthere,Icouldhaveusedastrobeequippedwithasoftboxtocreatethesamestunninglight.

FIGURE2.1

InFigure2.2,showingLauraandKenzie,thecircumstanceswerealsofavorabletoproduceagorgeousportrait.However,thistimethesunlightwasnotstrongenoughtogivemethepunchIenvisioned.WhenIshow

thisphotoatmyworkshops,peoplehaveahardtimebelievingthat70%ofthelightilluminatingthesetwowomencamefromaflash.Theambientlightilluminatedonly30%ofthisportrait.Mostpeoplebelievethatbringinginaflashwouldhaveruinedthesoftnessofthelight,butitdidn’tbecausethelightthatcamefrommyflashbehavedinexactlythesamewayasthelightcomingfromthesun.IsimplyaddedlightwithmyflashwherethesunfellshortsoIcouldbringmyvisiontolife.Noticehowgorgeoustheircatchlightsare.Thelightissoft,complementary,andbringslifetotheireyes.IfIhadconsideredmyselfa“naturallightonly”photographer,thebeautyofthisportraitwouldhavebeenlost.Therewasjustnotenoughambientlighttomakeitwork...unlessIincreasedmycamera’sISOtoapproximately1600toartificiallymakeupforthelowqualityoflight—andeventhen,theimagewouldnothavebeenassuccessful.Youmaylovethelookofnaturallight,butasaversatileandskilledphotographer,youshouldnotlimityourselftoit.Themoretoolsinyourbelt,thebetter.

FIGURE2.2

ThefashionphotographofmodelKiara,showninFigure2.3,wascreatedusingapowerfulstrobe.Duringtheshoot,thesunwasnearly

directlyaboveusandwascastingashadowonthewallwithnotmuchshapetoit.Thiscausedtheshadowtofallveryshort,butitwasenoughtogivemeanidea.Insteadoftheshadowbeingacauseofdistraction,itbecamethecenterpointofmynewvision.IwantedtheshadowtosayasmuchabouttheheadpieceasitdidaboutKiaraherself.Toaccomplishthis,Ihadtoplacea1200-wattstrobetotheleftofcamera,pointingatherbackandaboutsevenfeetabovetheground.IcompletelyremovedtheambientlightfrommyexposurebyadjustingtheISOtothelowestpossiblesettingandraisingtheshutterspeedtothemaximumsyncspeedofmyPhaseOnecamera:1/1600second.Iturnedthestrobe’spowerallthewayupsothattheonlylightcapturedbythecamera’ssensorcamefromthestrobe,notfromthesun.MyvisionwastosculptKiara’sshadowandherheadpiecesoitwouldbeasvisuallypowerfulasthemodelherself.Inthiscase,aregularoff-cameraspeedlightwouldnothavebeenpowerfulenoughtoproducethiskindofeffect.WhatIfindmostinterestingaboutthisphotoisthattheearlierphotoIhadtaken,usingonlytheharshsun,lookedidenticaltothisfinalimage,exceptthattheshadowwastooshortandinthewrongplace.Iuseda1200-wattstrobetodothesun’sjobandtoplacetheshadowpreciselywhereIwantedit.Thesungavemetheidea,butthestrobemadeitpossible.

FIGURE2.3

Figure2.4wascreatedduringaweddinginLosAngeles,whereIfoundmyselfdrawntothethousandsofpinkpetalsthatframedbothsidesoftheaisle.Theproblemwasthatthesunwasn’tilluminatingtheminawaythatwoulddojusticetotheirbeautyandcolor,soIthought,whynot

backlightthepetals?Iaskedmyassistanttostand10feetinfrontofthecoupleandadjusttheflashzoomtoitswidestpossiblesetting.Thiswouldallowthelighttoilluminatethepetalsonbothsidesoftheaisle.Thistime,thevisionwastotakeadvantageofthetranslucentcharacteristicsoftheflowerpetalsandletthelightshinethroughthem.Thiswouldaccentuatetheircolorandshape,andmakethephotomuchmorealive!Duringthetimeofdaythisphotowastaken,thiseffectwouldhavebeenimpossibleifIwererelyingonlyonambientlight.Icouldhavewaitedsixhoursforthesuntobeperfectlypositionedsuchthatitslightpiercedthroughthepetals,creatingthesameeffect,butIpreferredtousemylightingtoolstotakeactionrightthenandthere.

FIGURE2.4

Theengagement-stylephotographshowninFigure2.5wastakenatadarkhotelballroominGalveston,Texas.Myvisionwastocreatesomethingthathadan“oldHollywood”look,dramaticandverydifferentfromthenorm.Inthiscase,Ihadonlyafewminutestocreatethisimagebeforepeoplewalkedintotheballroom.Becausetheroomwasdark,Ididnotneedthepowerofaflashtoilluminatethemandoverpowertheambientlight.Instead,twoconstantlightsources(videolightsorhot

lights)wereused.ThesekindsoflightsallowedmetoseeexactlywhatIwasgoingtoget,andIwasabletopositionthecastshadowsperfectly.HadIusedoff-cameraflashes,therewouldhavebeenagreaterchancethatthestraylightfromtheflashwouldhavespilledintounintendedplaces.Toomanymodifierswouldhavebeenneededtonarrowthebeamoflighttocontrolitsspill.Therefore,constantlightsourcessuchasLEDlightsweredefinitelytherighttoolsforthejob.

FIGURE2.5

ThevisionforFigure2.6wasrelativelysimple.Iwantedtocreateaportraitthatlookededgyandflattering,andwouldfeaturethesubject’slips.AsimplebeautyportraitinwhichthelightisflatoneithersideofthefacewouldnothavegivenmetheedgylookIdesired.Therefore,IpositionedaProfotostrobetocameraleftwithamediumsizemodifiertosoftenthelight.Tofeatureherlips,Ihadoneofmystudentsholdaverysmallreflector,pointedrightatherlips,tobouncelightbackintothedarksideofherface.Formyvisiontocometolife,Ineededastrobeandareflector.Withouttheuseofthereflector,onesideofherlipswouldhavebeenmuchdarkerthantheother,whichwouldnotbeagoodideaasthe

goalwastofeaturethelips.

Thesephotosdemonstratehowdifferentlightsourcesandtechniqueswereusedtoexecuteavision.Theyareallbeautifullylitandhaveaclearmessage.Fromfashiontoweddingstoportraits,thelightwasalwaysundermycontrol,nottheotherwayaround.Don’tlettheambientlightcontrolyouanddictateyourwork.Ifyoudo,youwillmissoutonthemostenjoyableaspectofphotography:light.Moredetailedexplanationsofthesephotoswillbegiveninlaterchaptersofthisbook.

FIGURE2.6

CHAPTER3

THEFIVEKEYBEHAVIORSOFLIGHT

ThoughallofthechaptersinPicturePerfectLightingareimportant—andtheyconnectsolidlytogether—Ibelievethisparticularchapteristhemostimportant.Thisbookwillfrequentlyreferbacktothischaptertohelpexplainotherlightingconcepts.Irealizemanyphotographersarewaryaboutanythingscience-related,butwithoutaclearunderstandingofhowlightbehaves,therestofthebookwillnotbeverymeaningfultoyou.Whenweacquireanunderstandingofthesciencebehindlightandwhatgovernsit,thenwecanpredictitsbehaviorandcontrolthelightinginourphotographs.Ourcreativityislimitless.

Inmyearlyyears,Iseriouslyattemptedtostudylight,butinsteadIfoundmyselfmoreconfusedifthesciencebecametooheavyandnotpertinenttomyprofessionasaphotographer.OneofmymajorgoalsforthisbookistoexplainthebehavioroflightinawaythatIwishithadbeenexplainedtomeyearsago.Iwanttomakelightingsimple,thorough,anduseful,withnoneedforadegreeinphysicsormathematicstounderstandit.AllIwishistogiveyouabetterexperiencewiththissubjectmatterthanIhadandforyoutothoroughlyunderstandthischapter.Iwantyoutohaveasolidgraspofeveryconceptexplainedhere.Ifyouwouldliketodigdeeperintothemathematicsorphysicsoflight,thereareotherbooksthatarebettersuitedforthatpurpose.

Tobegin,wewilldiscussinthesimplestwaythefivemajorbehaviorsthatyoumustknowinordertobeginunderstandingandcontrollinglight.Igaveeachofthemashortnamehere.Pleasenotethatthebehaviorsarenotlistedinorderofimportance,butsimplyasawaytoreferencethemthroughoutthebook.Herearethefivekeybehaviors:

AngleBehavior:Theangleofincidence=theangleofreflection

InverseSquareBehavior:Theinversesquarelawoflight

SizeBehavior:Relativesizeofthelightsource

ColorBehavior:Thecoloroflight

ScatterBehavior:Howpredictablethelightreflectingfromanysurfacewillbe

ANGLEBEHAVIORTheangleofincidenceisthesameastheangleofreflection.Letmeexplain.

Lightbehavesinaverypredictablemanner,whichIconsidertobereallygoodnews!Theanglebehavioroflightallowsustopredicthowlightbouncesoffdifferentsurfaces.Regardlessofwhetherthelightiscomingfromthesunorfromaflash,lightwillalwaystravelfromitsorigininaperfectlystraightpathuntilithitsasurface.Itwillthenbouncefromthatsurfaceasanotherstraightpath.Thesmootherthesurfacethatthelightbouncesfrom,themorepredictablethereflectionwillbe.Asaphotographer,thisisveryimportanttoknowwhenyouaretryingtobouncelightfromaflashoffofawallorrooftoilluminateanindividual.Thisbehavioralsobecomeshandywhenusingareflectortobouncethelightfromthesunontoyoursubjects.Anytimeyouaretryingtobouncelightorpredicthowlightwillbouncefromonesurfacetoanotherinsomeway,youaredealingwithanglebehavioroflight.

Theory:Atthemostbasiclevel,theanglethatthelightstrikesasmoothsurfacewillbeequaltotheanglethatitisreflectedawayfromthatsurface.Wecalltheangleoflightstrikingthesurfacethe“angleofincidence.”Wecalltheangleofthereflectedlightleavingthesurfacethe“angleofreflection.”

Example:InFigure3.1,youcanclearlyseethelightrayscomingfromthestrobehitasmoothwallandthenreflectawayfromthewall,directlystrikingthesubject.Noticetheangleformedbytheincidentrayandthewall,labeled“i.”Itisexactlythesameastheangleformedbythereflectedrayandthewall,labeled“r.”Theequationwouldbe“Anglei=Angler.”

FIGURE3.1

Application:Nowthatyouunderstandtheprincipleof“theangleofincidence=theangleofreflection,”youmaybeaskingyourself,“WhydoIneedtoknowthis,andhowdoesthisapplytomyphotography?”LookbackatFigure3.1.Byapplyingthisprinciple,wewereabletoilluminatethesubjectwiththemostamountofreflectedlightthatwasbouncedoffthewall;thesubjectisstandingdirectlyinthepathoftheangleofreflection.Next,turnyourattentiontoFigure3.2.Let’sassumeforamomentthataphotographerdoesnotknowhowthisbehavioraffectshisorhersetup.Thisphotographerpositionsthelighttowardthewallatsuchananglethatmostofthereflectedlightcompletelymissesthesubject.Theresultingphotocouldbefrustrating,becausethephotographerassumedthatsincethelightishittingthewallinfrontofthesubjectthatthesubjectwouldbebetterilluminated,butthatisnotthecase.Althoughsomelightraysmightstrikethesubject,mostrayswillgostraightpasthim,illuminatingnothing.Theresultisthatthesubjectisdarkerthanintended.Then,thephotographermighttrytocompensateforthelackoflightilluminatingthesubjectbyincreasingthepowerofthestrobe.Theresultisthesame.Mostlightraysstillmissthesubject.Thephotographercanrunaroundincirclesscratchinghisorherheadtryingtofigureoutwhattheissueis,butunlessthelightismovedtocorrectfortheangleofincidence,thephotographerisgoingtohaveabadday.

FIGURE3.2

Byknowinganglebehavior,webecomemuchmoreefficientwiththeflashesandstrobesweusebytakingadvantageoftheoptimalangleofincidence/reflection,whichmaximizestheamountofilluminationoursubjectsreceive.

Anothervaluableapplicationofthisbehaviorisrevealedwhenweneedtogetridofthedistractingreflectionsinpeople’sglassesfromalightsourcesuchasastrobe.Whatcausesthoseannoyingreflectionsissimplytheangleatwhichthelightstrikesthesurfaceofthesubject’sglasses,asshowninFigure3.3.

FIGURE3.3

Inthisexample,thelightsourceispositionedatananglerelativetothesubjectsuchthatthelightrayswillfirststrikethesubject’sglassesattheangleofincidence.Thelightrayswillthenreflectofftheglassesonapathequaltotheangleofincidence.Ifthecamera’slenshappenstobedirectlyinthepathofthereflectedlightrays,thephotographwillshowavisibleandundesirablereflectioninthesubject’sglassesfromthestrobe.

Tosolvethisissue,allyouneedtodoischangetheangleofincidencefromthelightsourcetothesubject’sglassessothattheresultingangleofreflectionmissesthecamera’slenscompletely.TakealookatFigure3.4toseeaquickfix.Bysimplyraisingthelightwellabovethesubject’shead,thelightstrikestheglassesfromabove.Thischangestheangleofreflectionandsendsthereflectedlightraystowardtheground,thereforemissingthecamera’slenscompletely.Noticehowcleanthephotoofthemaniswhenthereflectionofthelightonhisglassesisnotvisibletothecamera.

FIGURE3.4

Rememberthatwhenyoufireastrobeoraflashtowardawindow,amirror,someone’sglasses,oranythingelsethat’sreflective,youmustconsidertheangleatwhichthelightisstrikingthatreflectivesurfacesothatyoucanavoidhavingthecamerainthepathofthereflectedlight.Youcanalwaystellwhenthecameraisinthereflectedlightpathwhenyouseethelightsource—whetherthat’sastrobeorflashorwindowlight—reflectedinthesurface.SeeFigures3.5and3.6.InFigure3.5,youcanseethatthetopofthetablereflectsthelightfromthewindow.Bychangingthecamera’sposition,thatreflectioniseliminated.

FIGURE3.5

FIGURE3.6

INVERSESQUAREBEHAVIORTheactualnameforthisisthe“inversesquarelawoflight.”Ifyouareinanywaylikeme,thenyouwillagreethatinversesquarebehaviorisdefinitelyoneofthemostmisunderstoodandintimidatingbehaviors.Ijustcouldn’tbringmyselftotackletherequiredmathintheexplanationsthatIread.Actually,Iunderstoodthemathjustfine,butapplyingitunderthestressofaphotoshootprovedtobequiteimpractical.Ihaveseenvideos,readarticles,anddissectedendlessphotographylightingresourcestotrytonaildownwhythisbehaviorissoimportantandwhyitisalwaysexplainedinsuchacomplicatedway.Althoughtheseresourcesarecompletelyaccurateintheirexplanationsoftheinversesquarelawoflight,Iamgoingtochangedirectioninthisbookandtakeamorevisualapproach,insteadofamathematicalone.Thatway,youcanvisualizetheinversesquarelawinaction.Mygoalisforyoutounderstandtheinversesquarelawinanintuitiveway,insteadofleavingyouwiththefeelingthatyouneedtocarryaroundacalculator.Tacklingtheinversesquarelawfromthisperspective,we’llseeitisnotreallythatcomplicated.

Tomakethisintimidating-soundingbehavioreasytounderstand,youbasicallyneedtoknowjusttwoaspectsoftheinversesquarelawoflightthatimpactyouasaphotographer.Ifyouknowthesetwothings,youaregolden.Heretheyare:

Theinversesquarelawoflightdescribesthechangeinintensityoflightfallingonasubjectfromanylightsource.Thelightsourcecanbeastrobe,window,houselamp,orvideolight;itdoesnotmatteronebit.Alllight,regardlessofwhereitcomesfrom,behavesinexactlythesameway.

Theinversesquarelawoflighttellsushowquicklylightfallsofffromasubject,anditisdirectlyrelatedtothedistanceasubjectisfromalightsource.Frombrighttodark,howfastthattransitionhappensisallgovernedbytheinversesquarelawoflight.

Let’sdiscusseachoftheseinmoredetail:lightintensityandlightfalloff.

LightIntensityLightintensitycanbeexplainedinvariousways:asanumericalexplanation,shownasachart,anddemonstratedvisually.

NumericalExplanation

ChartExplanation

WrittenExplanationoftheChart

Atthestartingpoint(distance1),thesubjectreceives100%ofthelightfromalightsource.Ifyoudoublethatdistancefromdistance1todistance2,thenthesubjectreceivesonly1/4ofthelight,or25%.Ifyoudoublethatdistanceyetagainfromdistance2todistance4,thesubjectreceivesonly1/16oftheoriginalintensity,or6%.Ifyoudoublethatdistanceagainfromdistance4todistance8,thesubjectonlyreceives1/64oftheoriginalintensity,or2%.Andsoon....

Itiscrucialtounderstandfromthechartthat,atfirst,whenthelightsourceandthesubjectareclosetogether,thelightintensitychangesdrastically,from100%downtoonly25%.Butasyoumoveyoursubjectfurtherawayfromthelightsource,theintensityoflightchangesatamuchslowerrate.Forexample,atdistance6thesubjectreceives3%oftheoriginallight,butifthesubjectismovedtodistance7,thesubject

receives2%.Sofromdistance6todistance7,youonlylose1%oflight,butfromdistance1todistance2youlose75%ofthelightintensity.Thiswillhavegreatimplicationsonyourworkandhowyouilluminateyoursubjects.

VisualExplanation

Tobeginourvisualunderstandingofhowtheinversesquarelawoflightaffectstheintensityoflightonoursubject,let’slookataseriesofillustrations.Everythingshowninthediagramsisheldconstanttoavoidanyconfusion.Thecamerasettingswillalsoremainthesamethroughoutthefourdiagrams.Thesediagramswerecreatedusingaflashasthelightsource,anditisatfullpoweronmanualmode.However,thelightsourcecouldbeastudiostrobe,avideolight,orawindowinaroom.Itdoesn’tmatter.Theonlychangewemakewillbetothedistancebetweenthelightandthesubject:thedistancebetweenthelightandthesubjectwillbetwiceasfarasthepreviousillustration.Ourfirstillustrationplacesthelightsourceonlyonefootawayfromoursubject.Thisdistancewillbeourbaseline.

InFigure3.7,thesubjectisreceivingthefullblastoftheflashatfullpoweronmanualmode.Lightisradiant,whichmeansthatasittravels,thelightraysspreadfurtherapart.Butinthisexample,thesubjectissoclosetothelight—justonefootaway—thatmostofthelightraysstrikeherface.Thelightraysdon’thavemuchspacetospread,somostofthemmakecontactwithoursubject’sface.Theresultatourgivensettingsisacompletelyblown-outportrait.Thelightdoesn’tevenhaveenoughspacetoreachherredshirt,whichiswhymostoftheshirtisstilldark.Clearly,youcouldadjustyourcameraandflashsettingsaccordinglytogetaproperexposure.Butfortheseexamples,weareonlylookingathowfastthelightintensitydropswhenwedoublethedistancebetweenthesubjectandthelightsource.

FIGURE3.7

InFigure3.8,wedoubledourstartingdistancefromonefoottotwofeet.Everythingelseremainsexactlythesame;wesimplymovedthelightfurtheraway.Youcanseenowthatsomedetailonthecamera-leftsideofherfaceiscomingback.Accordingtothechartabove,thefirsttimeyoudoublethedistancefromyourstartingpoint,thesubjectwillgofromreceiving100%ofthelighttoreceivingonly25%ofthelight.Thecomputerprogramusedtocreatetheseillustrationstakesintoaccounttheinversesquarelawoflight,andthusilluminatesherwithonly25%ofthelight.

FIGURE3.8

WemoveontodoublingthedistanceagaininFigure3.9.Westartedwithonefoot(100%ofthelight),thenwedoubleditforthefirsttimetotwofeet(25%ofthelight),andnowwearedoublingitagainforthesecondtime—tofourfeet—whichgivesthesubjectonly6%oftheoriginalillumination.Rememberthatwearekeepingeverythingelseconstantforalloftheseillustrations.Theonlychangeisthedistanceofthelightsourcetooursubject.

InFigure3.10,wedoublethedistanceforthethirdtime,fromfourfeetallthewaytoeightfeet.Thisdistancegivesthesubjectonly2%oftheoriginallightintensity,whichexplainswhythesubjectisunderexposed.

FIGURE3.9

FIGURE3.10

LightFalloffIntheprevioussection,wediscussedhowtheinversesquarelawoflight

affectshowtheintensityoflightchangesdependingonthedistancebetweenthelightsourceandthesubject.Nowwewillexaminehowtheinversesquarelawoflightaffectshowthelightfallsofffromthebrightestpointtothedarkestpoint.Howquicklythattransitionoccursisatthecoreofthisbehavior.

Haveyoueverpositionedsomeonenexttoawindowtoilluminatehimorherwiththatflatteringwindowlight,andfoundthatpartofyoursubject’sfacewaswelllitandtheotherwastotallydark?Ifso,youwereexperiencingthelightfalloffpropertiesoftheinversesquarelawoflight.Takealookatthefollowingtwophotosofamalesubject.Thesetwophotosarestraightoutofthecamera.Theyweretakeninthesameroomonlysecondsapart,yettheycouldn’tbemoredifferent.InFigure3.11,thelight’stransitionfromthebrightestpointonthesubject’sfacetothedarkestpointinthephotoisverygradual.Thereasonforthisisheisfurtherawayfromthewindow,whichisthemainlightsource.Whenagradualtransitionhappens,thebackgroundwillbeveryvisiblebecauseboththebackgroundandthebrightestpointonhisfacearewithinsimilarluminositylevels,whichmeansbothcanbecapturedbythesameexposure.Thefaceisbrighterofcourse,butnotbymuch.

FIGURE3.11

CompareFigure3.11withFigure3.12.Isimplymovedthemanascloseaspossibletothewindow.Nowthetransitionfromthebrightestpointtothedarkestpointonhisfacehappensnearlyinstantaneously.Here,youcan’tevenseehislefteye.That’showquicklythelightfallsofftocompletedarkness.Asexplainedearlier,whenthetransitionisquickthebackgroundwillmostlikelynotshowupeither.Whenonesideofhisfacereceivesalmostallofthelight,eithertheshutterspeedhastobeveryfastortheapertureneedstobeverysmallinordertoexposeforthebrightestpointcorrectly,leavingallotherareasindarkness.

FIGURE3.12

Thisisanidealwaytoremovedistractingobjectsfromyourphotographwithouthavingtomoveathing.Whynotlettheinversesquarelawoflightdoalltheheavylifting?Butjokingaside,whentherearedistracting

elementswithinmyframe,andIcan’tmovethemordon’twantto,Iusethistechniquetomakethosedistractionsdisappear.Inthepreviousdiagrams,Iusedaflashtoillustratethepoint;however,itisimportanttorememberthatlightbehaviorworksthesameway,regardlessofwhetheryou’reusingflashes,strobes,videolights,orwindowlight.

AsIsaidbefore,therearemultiplemathematicalandmorecomplicatedwaystoresearchtheformulasoftheinversesquarelawoflight.Myapproachistoonlyfocusonwhatphotographersneedtoknowinordertotakehigh-qualityphotosandunderstandhowthelawimpactstheirlightingdecisions.Iwouldalsoliketotakeamorevisualapproachtoexplainingthisconcept,sincephotographerstendtobemorevisualpeople.Mydesireisforthischaptertomakecompletesensetoyou.Ifyouarelookingforaheavymathematicalmethodtoexplainthisbehavior,therearecountlessresourcesonlineorpreviouslypublishedbookstoacquireadeeper,moretechnicalunderstanding.

FIGURE3.13

Tocomprehendvisuallywhythelightfallsoffsorapidlywhenthesubjectisclosetothelightsource,turnyourattentiontoFigure3.13.Again,itinvolvestheintensityoflighthittingthesubject,aspreviouslydiscussedwhenexplainingtheinversesquarelawchart.Rememberthatwhenthesubjectisalmostrightnexttoalightsource,thesubjectwillreceivealmost100%ofthelightrays,giventhatthereisonlyonelightsource,ofcourse.Furthermore,atthisclosedistance,thelightraysareattheirhighestintensityilluminatingthesubject.Whentheflashfires,thelightradiatesoutfromtheflash,asshownbytheyellowarrows.Noticethatthesubject’sfaceissoclosetotheflashunitthattheraysdon’thave

spacetospreadorscatterpasthishead.Allthelightrayshithisface.Therefore,ifyouweretosetyourcamerasettingstoexposeforthebrightestpointonhisface,thesettingsinthisexamplewouldbeISO100,1/250second,f/18.That’salotoflight!Thecamera’saperturehastobecloseddownallthewaytof/18inordertocontrolthetremendousamountoflighttryingtogetin.Thelightissointensethattheapertureisbasicallyatinylittlehole,andnotmuchlightcanpassthroughthat.Therefore,anythingthatisnotlitbythesameintensityoflightasthesubject’sfacewilljustshowupdarkinthephotograph.Theapertureopeningisjusttoosmalltorecordanyweakerlight.

TheresultisshowninFigure3.14.Notethatinthisillustration,thesubject’sfaceisturnedataslightangletowardthelight,inthedirectpathofthelight.Thisisthereasonwhysomelightreachesthedarkersideofhisface.Lighttravelsinstraightlinesonly.Itnevercurvesordeviatesfromitspathuntilithitsanothersurface.Andthebackground?Itreallydoesn’tmatterwhatcolorthebackgroundis.Itcouldbegray,red,orblue.Ifnolightreachesthebackground,thenitwillsimplybeblackinthephotograph.Thefactthatyoucanturnthebackgroundblack,regardlessofitsoriginalcolor,willbeveryuseful.

FIGURE3.14

Nowwemovethelightfurtherawayfromthesubject.Whentheflashfires,therayshavemorespacetoradiateoutward.AsyoucanseebytheyellowarrowsrepresentingthelightraysinFigure3.15,asthelightraysradiateout,somestrikethesubject’sfacewhileothersmissandbegintoilluminatethebackground.Ifyoulookclosely,thesubject’ssweaterisnowmorevisible,andthebackgroundisslightlylighter.Whenlesslighthitsthesubject,thesubjectwillnaturallybedarkerthanbefore.Inordertocompensateforthis,wemustadjustourexposure.Tokeepthingsconsistent,wewillonlyadjustouraperture.Inthisexample,thesettingsarenowISO100,1/250second,f/6.3.Theaperturewentfromf/18inourfirstexample(Figure3.14)allthewaytof/6.3tocompensateforthesignificantlyreducedintensityoflightfallingonthesubject.

FIGURE3.15

InFigure3.16,theflashunitwasmovedevenfurtheraway.Infact,theflashunitisnowmorethan10feetfromthesubject.Thisexampleclearly

illustratesthatthelightraysarespreadsofarapartthattheyarealmostevenlydistributedacrossthescene.Somelightrayshitthesubjectwhilemanyothersgorightpasthimandilluminatetheroominstead.Astheselightrayshitthewallsoftheroom,theybouncearound,illuminatingtheentireroomalmostevenly.TheresultingphotowouldlooklikeFigure3.17.

Asyoucanguessbynow,duetothelackoflightraysstrikingthesubjectdirectly,onceagainweneedtocompensateforthiswithourcamerasettingsorthesubjectwillbealmostcompletelydark.OursettingsforthissituationareISO100,1/250second,f/2.2.Theaperturehadtobeopenedupfromf/6.3tof/2.2togatherenoughlighttomaintainacorrectexposureonhisface.

FIGURE3.16

FIGURE3.17

SIZEBEHAVIORAsphotographers,mostofusenjoygoingtothecamerastoreandcheckingoutthenever-endingplethoraoflightingequipmentandmodifiers.Themodifierscomeinallsortsofshapes,sizes,andpricetags.ThelasttimeIwalkedintomylocalcamerastore,IfoundmyselffacetofacewithanenormousPara330fromBroncolorwithanicepricetagofaround$12,000.Yikes!ThatparabolicreflectorwasmuchtallerthanIam,andI’msixfeettall.So,itbegsthequestion,“WhydoIneedallofthat?”

Wetendtothinkthatbiggerisbetter.Inphotography,thesizeofyourequipmentshoulddependonwhatyouarephotographing.Whenbuyinglightingmodifiers,yourmainconcernshouldbewhoorwhatisreceivingthelight.Whatmattersistherelativesizeofthelightsourcecomparedtoyoursubject.Forexample,wealllovephotographingheadshotsorportraitswithwindowlight,becausethelightissosoftandbeautiful.Thereasonwhythislightissoftisbecausethewindowismuchlargerthan

yoursubject’shead.Theaverageheightofanadulthumanheadisaround8–10inches.So,toachievesoftlightforaheadshot,thewindowmustbesignificantlylargerthan8–10inches.Herearethemainconceptstounderstand.

Softlight:Whenthelightsourceismuchlargerrelativetothesubject,thefollowingoccurs:

Softorgradualshadowedges

Lowercontrast

Morediffusedhighlights

Hardlight:Asyouwouldexpect,whenthelightsourceissmallerrelativetothesubject,thefollowingoccurs:

Crispshadowedges

Highercontrast

Increasedbrightnessinthehighlights

Therefore,itisrelativesizethatmatters,nottheactualsizeofthelightsource.Ifyouboughtahugefive-footsoftboxbutyoursubjectisafull-grownelephant,thatfive-footsoftbox,whichlookedlargetoyouwhenyoupurchasedit,isactuallyverysmallfromtheelephant’sperspective.Thismeansthatyouwouldhaveveryhardlight,becausethelightsourceisjusttoosmallinrelationtotheelephant.

Thesamepremiseappliestoasmallsubject,suchasaladybug.Mostofusseeanunmodifiedflashunitasbeingaverysmalllightsource.Anditis...ifyoursubjectisahumanbeing.Butifyoursubjectisatinyladybug,thatflashunitwilllooklikeanenormousmonstercomparedtoit—atleastthirtytimesitssize.Ifyouweretophotographthatladybugwithsuchaflashunit,youwouldreceivethesoftestlight.Theedgesoftheshadowswouldbesosoftthatitwouldbedifficultforyoutoseethetransitionbetweenhighlightandshadow.Iftheedgesoftheshadowsareverygradual,thelightissaidtobesoft,butiftheyareclearlydefined,thenthelightissaidtobehard.Notethatitistheedgesoftheshadows,

nottheshadowsthemselves,thatdeterminewhetherthelightissoftorhard.

VisualExplanationIchosetouseaspheretodemonstratehowshadowsandhighlightsbehavebasedonthesizeofthelightrelativetothesubject.Withasphere,asopposedtodemonstratingthiswithsomeone’sface,therearenonoses,eyebrows,foreheads,oranyotherpartofthefacethatcouldinterruptthelightbehaviorandpossiblycauseconfusion.Wewilldiscussactualhumanfacesafterthisconceptisveryclearusingthesphere.Inourfirstexample,abarebulbflashunitisplacedveryclosetothesphere.Noticehowmuchbiggerthesphereisrelativetotheflashunit(Figure3.18).Thisresultsin:

Crispshadowedges

Highcontrast

Verybrighthighlight

FIGURE3.18

Whydoesthishappen?Itisallconnectedwiththeinversesquarelawoflight.Ifyourecall,theinversesquarelawstatesthatthecloserthelightsource,thefasterthelightfalloffwilloccur.Inthiscase,theflashunitisveryclosetothesphere.Thistellsusthatthepartofthespherethatisilluminatedbytheflashwillquicklyfallintodarkness.Ifyoudon’tunderstandwhy,reviewtheinversesquarelawchartearlierinthischapter.InFigure3.19,thebareflashunitissosmallinrelationtothelargespherethatitcreatesaverybrighthighlightwheretheflashraysfirststrikethesphere.Then,becausetheflashunitissoclosetothesphere,thelightfallsoffimmediately,andthespheregoesintodeepshadow.Theraysoflightcanonlytravelinastraightline,sotheyarenotabletoilluminateareasaroundthesphere.Thisiswhatcausesittogointodarknesssoquickly.

FIGURE3.19

InFigure3.20,wefitteda25x60cmstriplightmodifiertotheflashhead.Withthisstriplightontheflash,thelightsourcebecomesjustslightlylargerthanthesphere.Thisresultsin:

MoregradualshadowedgesthanFigure3.19

LesscontrastthanFigure3.19

MorediffusedhighlightthanFigure3.19

FIGURE3.20

Thelightsourcedidnotchangeposition.Theonlydifferenceisthatthe25x60striplightmodifiermakesthelightsourcelargerthanthesphere.AsyoucanseebythearrowsinFigure3.21,thelightraysfromthecenterofthestriplightilluminatetheleftsideofthesphere,justasbefore.Alsonotethatthelightsourcedidnotchangedistancefromtheearlierexample(Figure3.19),sotheinversesquarelawoflightbehaviorstillappliesthesameway.Theclosedistancebetweenthelightsourceandthespherecausesthelighttofalloffintoshadow,justasitdidearlier.However,thistime,thelightsourceistallenoughsuchthatthelightrayscomingoutofthecornerofthestriplightpartiallyilluminatetheshadows’edgesatthetopandbottomofthesphere.Thisispreciselywhytheshadows’edgestakeonamoregradualtransitionfromthehighlighttotheshadowside.

FIGURE3.21

InFigure3.22,wekepteverythingthesameasbefore,exceptwemovedtheflashunitwiththesamestriplightlightmodifierusedinFigure3.20threeyardsawayfromthesphere.Pleasenotethatthelightsourcedidnotchangeinphysicalsize.Weareusingtheexactsamestriplight.However,therelativesizeofthelighttothespheredidchange,becausenowthelightismuchfurtheraway.Fromthesphere’sperspective,thelightsourcebecamerelativelysmallerduetotheincreaseddistance.Justimagineifwehadmovedthelight100yardsawayfromthesphere;fromthesphere’sperspective,itwouldbealmostimpossibletoseethelight,becauseitwouldappeartobeatinydot.

FIGURE3.22

Sojustrememberthatdistanceaffectstherelativesizeofthelightoranyotherobject.TheresultofthisincreaseddistanceissimilartoilluminatingthespherewithasmalllightsourcesuchasinFigure3.18.Noticethe

cleardivisionbetweenthelightsideandtheshadowsideofthesphere.Thetransitionisnotgradual;thelightfallsoffveryquickly.Thisoccursbecausethelightsourceissosmallrelativetothespherethatthelightrayscomingfromthestriplightilluminatetheleftsideofthesphereverywell,buttheycannotreachtheedgesoftheshadow,asexplainedinFigure3.19.

Inordertoobtainthatgorgeoussoftlightinourportraitsthatmostofuslove,wesimplyhavetohavealightsourcelargeenoughandcloseenoughtooursubjectssuchthatthesizeofthelightsourcewillilluminatetheveryshadowsitcreates.InFigure3.23,wereplacedthe25x60cmstriplightwithahugesoftboxmeasuring100x100cm.Furthermore,weplacedthislargesoftboxveryclosetothesphere—lessthanoneyardaway.

FIGURE3.23

Bynow,youshouldbeabletopredictthecharacteristicsoftheshadowsthissetupproduces.Relativetothesphere,thesoftboxissolargethatthetop,bottom,andsidesofthesoftboxeasilyreachtheedgesofthe

shadowsideofthesphere.Noticehowsoftandgradualthetransitionisbetweenthelitsideandtheshadowsideofthesphere.

Alsonoticehowdiffusedthelightisonthebrightestpartofthesphere(theleftside).Whatyouareactuallyseeingisthehighlightsupersized.Thishelpsreducehotspotsonanysurfaceyouarephotographing.Forexample,ifyoursubjectisasilverspoon,takingaphotoofitwithrelativelysmalllightswillresultinhotspotsonthespoon’sglossysurface.Ifyoudon’twantthesedistractinghotspots,allyouhavetodoismakethelightsourcemuchlargerrelativetothespoon.Thiswillmakethehighlightsolargethatnohotspotswillbevisible.Ofcourse,onemustalsotakeintoaccounttheanglesatwhichthecameraandthelightarepositionedrelativetothespoon.Thisknowledgeisveryimportantbecauseitwillbecomealifesaverwhenshootingportraits.

COLORBEHAVIORThewayobjectsgettheircolor—asperceivedbythehumaneye—isactuallyquitefascinating.It’snottheobjectsthemselvesthatcontaincolor;rather,itisthroughtheiranatomicalorphysicalmakeupthattheyselectivelyabsorb,reflect,ortransmitdifferentfrequenciesoflightbacktooureyes.Whateverthosefrequenciesaredetermineshowweperceivethecolorofthoseobjects.Eventhoughthescienceofhowweperceivecolorisveryinteresting,itisbeyondthescopeofthisbook.Wearemoreinterestedinpracticalapplicationsthatdeterminethedecisionswemakeduringaphotoshoot.Todothis,weneedtosimplifytheconceptsoitiseasytounderstandanddoesnotinterferewithourcreativity.

Hereismyoverlysimplifiedversionofhowthecolorofobjectsandlightworks.Asanexample,ifyouplaceasubjectnexttoabrightyellowwallinmiddaylight,yoursubjectwillappeartohaveayellowcast.Themoreintensethelightisthat’silluminatingtheyellowwall,andthecloseryoursubjectistothatwall,theyelloweryoursubjectwillappear.Therefore,youshouldalwaysconsiderthecolorofanyobjectsnearyoursubject,becausethesubjectwillundoubtedlyinheritthecolorofthoseobjectsintheformofreflectedlight.Let’stakealookatsomeexamplesand

discusssomepracticalapplicationsforthisbehavior.

InFigure3.24,wehaveanexampleofreflectedlight,wherewepositionedoursubjectlessthanoneyardfromabluewall.Abrightlightwasplacedtofacedirectlytowardthebluewall.Eventhoughtheoriginalcolorofthelightisdaylightbalanced,whenthelightstrikesthebluewall,itreflectsthebluecolorontooursubject.Noticehowblueoursubjectappears.Thisdemonstratestheeffectobjectcolorshaveonoursubjects.Whetherweseeitornot,thecolorcastisthere,anditaffectsyourphotograph.

FIGURE3.24

Figure3.25showsanotherexampleoflightcolortransmission.Ared-coloredgelwasplacedinfrontofthelightsource,andthecolorofthepaperbehindoursubjectwasaneutralgray.Noticehowthelightpicksuptheintenseredcolorofthegelasthelightraystravelthroughthegelmaterialandcasttheresultingredlightonoursubject.Notonlydothelightraysmakeoursubject’sskinandclothesappearcompletelyred,butthebackgroundalsochangescolorfromaneutralgraytoadeepred,aswell.Becausethecoloredgelsdon’thavemuchtexturetothem,thelightcolorcastisamplifiedonoursubject.Inourpreviousexampleofreflectedlight(Figure3.24),thebluewallhasenoughtexturetoscatterorabsorbmoreofthelight.Theresultisstillabluecolorcast,buttheblueisnotasintenseasitwouldhavebeenifthelighthadtransmitteddirectlythroughabluegel.

FIGURE3.25

Figure3.26demonstratesanexampleoflightabsorption.Wehavediscussedhowlightcanreflectoffoforpassthroughsomething,sonowwewilldiscusshowlightcanbeabsorbed.Thecolorofnearbyobjectshasadirectcorrelationtohowmuchlightiseitherreflectedoffthatobjectorhowmuchlightisabsorbedbyit.Thecolorwhitereflectsmostlight,andincontrast,blackabsorbsmostlight.Whenlightisabsorbedittakesonanewformofenergycalledthermalenergy.Ifamaterialfeelshottoyou,it’sbecauseitisholdingalotofthermalenergy,whichiswhyyoushouldn’tbuyablackcarwithblackleatherseatsifyouliveinthedesert.Ablackcarwillfeellikeanoven,becausethermalenergyfromthelightitconstantlyabsorbsistrapped,makingthecarandtheseatsextremelyhottothetouch,whereasawhitecarwillreflectthelightandstoreverylittlethermalenergy.

FIGURE3.26

Let’sobservethisruleinaction.Turnyourattentiontothediagram.Noticehowtheroomhasawhiteorgrayishwall,butablackflagispositionedjusttothesubject’sleftside.Althoughapowerfullightisusedtoilluminatethesubjectandthewall,theabsorptionpropertiesoflightaresostrongthattheblackflagdevoursmostofthelightrays.Theresultisaheavyshadowonthesubject’sleftside.Eventheleftsideofherwhitedressbecomesalmostblack.

InFigure3.27,wekepteverythingconstant,withoneexception:wereplacedtheblackflagwithawhiteflag.Now,youcaneasilycomparetheeffectcolorhasonlightregardingitsreflectiveandabsorptiveproperties.Thewhiteflagabsorbsveryfewraysandthusreflectsmostofthembackontotheleftsideofthesubject’sfaceanddress,fillingintheshadows.Prettyincredible,isn’tit?Italmostseemsasiftherewasanotherlightsourceilluminatingherleftside.Tothinkthatthecoloroftheflaghasthismuchcontrolovertheappearanceofourphotoismind-bogglingtome.Inthefield,thatwhiteflagcouldbeaFedExtruckorawhitestuccohome.Don’tworryaboutwhattheobjectis;justpayattentiontoitslightproperties.Achievethisunderstanding,andyourskilllevelwillbeyearsaheadofmostphotographers.

FIGURE3.27

IfeelcompelledtoincludeFigure3.28becauseIalwaysseephotographersresortingtoshootingportraitsinapark.Thereisnothingwrongwiththat,butmygoalhereisforyoutoatleastbeawareofwhathappenswhenyouposepeopleovergreengrass.Parksareago-toplacewhenlookingforanescapefromthecity’sconcretejungle.However,thepropertiesandbehaviorsoflightdon’tchange.Ifyouchoosetopositionasubjectovergreengrass,guesswhat?Theywillinheritthegreencolorcastofthelightthatreflectsoffthegrass.Tothenakedeye,youmightnotseeitonthescreen,buttakealookatthecolorhistogramonyourcamera.Youwillseethatthehistogramforthegreenchannelhasmovedquiteabit.

FIGURE3.28

Intheexampleshownhere,Icreatedasimilarenvironmenttoapark.Imadethefloorgreentosimulatethecolorofgrass.Ialsopositionedalightdirectlyatthefloortoilluminateit.Theresultsare,asyouguessed,agreencolorcastonoursubject.Naturally,thetextureofthegrassanddarkcolorofthesoilitgrowsonwillabsorbmuchofthelightrays.Nevertheless,enoughlightrayswillstillbereflectedontoyoursubjectcausingthegreencast.Ifyoursubjectsweresittingdownonthegrass,theywouldbeevenclosertoit,makingtheirfacesevengreenerthanwhentheywerestanding.Thenexttimeyouhaveaphotoshootovergreengrass,placeawhiteorsilverreflectoronthegroundbeneathyoursubjectstopreventthegreencolorfrombouncinguptowardthem.

Rememberthattheonlywayyoucanseeanobjectanditscolorisbythelightthatreflectsfromthatobjecttoyoureye.Ifpracticallynolightsraysreflectbacktoyoureyefromanobject,thenthatobjectisblack.

SCATTERBEHAVIORPhotographersoftenoverlookthewaylightscatterswhenitstrikesasurface,yetscatterbehaviorisoneofthemainbehaviorsthatgiveuseitheranamazingqualityoflightorverypoorlight.Togainaclearunderstandingofhowlightscatterworks,ithelpstothinkoflightastinysubatomicmarbles.Thesetinymarblesareactuallycalledphotons,andtheytravelinclusters.Whenthesephotons(lightrays)hitasmoothsurface,theywillreflectoffthatsurfaceatthesameangleastheystruckit,scatteringinaverypredictablepatternandintensity.Remember,the

angleofincidenceequalstheangleofreflection.But,ifthephotons(lightrays)strikeaheavilytexturedsurface,thephotonswillscatterallovertheplace,makingthereflectionintensitylesspredictable.

Figure3.29showsanexampleofwhenthelightstrikesasmoothsurface.Thelightraysbehaveinapredictablemanner,whichallowsyoutoexpectthatmorephotonswillbounceoffthewallandilluminatethesubjectwithahigherintensityoflight.

FIGURE3.29

InFigure3.30,wehavethelightontherightsideofthisdiagrampointedtowardoursubjectseatedonacouch.Thecouchitselfisobviouslynotsmooth.Lightraysstrikethecushions,thefabric,thearmrests,etc.,andscatterinalldirections.Theirbehaviorisnotpredictable,becausetexturereallymatters.Ifyouarebouncingyourlighttowardaheavilytexturedwall,thebounce-backorreflectionwillbehardtopredict.Somephotons(lightrays)willstrikeyoursubjectandsomewillnot.Italldependsontheanglesoftheobjectandthetextureyouarebouncinglightfrom.

Thisruleholdsforanylightsource,includingthesun.Ifyouwanttohaveabeautiful,strongindirectqualityoflightilluminatingyoursubject,yourbestchoiceistofindasmoothwall,sothatthesun’sraysstrikethe

smoothsurfaceandbouncemorephotonsinthedirectionofyoursubject.

Knowledgeispower.Usingyourunderstandingofthesefivebehaviorsoflightenablesyoutopredictwherethephotons(lightrays)aregoingandhowtheyarebehavinginyourenvironment.Ifyoucanpredictthat,youwillbeabletopinpointwherethehighestqualityoflightisinanysituation.Thatiswhatbeingaperceptivephotographerisabout!

Therestofthechaptersinthisbookwillalwaysreferbacktothesefivebehaviors.Understandthesebehaviorswell,andyourphotographywillsoar.Irecommendrereadingthischapterjusttomakesuretherearenogapsinyourknowledgeandyoufeelconfidentthatyouunderstandeachofthefivebehaviorsoflight.

FIGURE3.30

PARTTWO

CIRCUMSTANTIALLIGHT

CHAPTER4

INTRODUCTIONTOTHECIRCUMSTANTIALLIGHTELEMENTS

ELEMENTS

Havingaclearunderstandingofhowsunlightornaturallightbehavesduringthedaytimeallowsyoutohavebettercontroloverlightratherthanbeingaslavetoit.Atnight,themainlightsourcecouldcomefromavarietyofmanmadelightsources,suchasfluorescentlights,streetlights,tungstenlights,etc.Regardlessofwherethemainsourceoflightcomesfrom,lightwillalwaysinteractwithsurroundingobjects.Aswediscussedinthepreviouschapter,lightcanreflectoffanobject,beabsorbedbyanobject,orpassthroughanobject.Inordertomanagealloftheseinteractionsandtoquicklyassesswheretopositionmysubjectforoptimumlightcoverage,Ithoughtuptheterm“circumstantiallight.”Theterm“naturallight”focusesattentiononlyonthepropertiesoflightitself,suchasitscolor,intensity,andcontrast.However,circumstantiallightconsidersnotonlyallthepropertiesandbehaviorsofnaturallight,butalsohowthatlightinteractswiththeobjectsaroundus,sothatwecantransformthoseobjectsintolight-shapingtools.

Circumstantiallightisawayofthinking.Dependingonthecircumstances,howwelocateandshapelightwillalwayschangefromoneplacetoanother.Howthelightinteractswiththeobjectsnearyoursubjectandhowitaffectsyourphotographarethecoreconcernsofcircumstantiallight.Inthischapter,wewillbeginalongbutfascinatingjourneytowardquicklyreadinghowlightbehavesintheenvironment.Isay“long”becauseIbelievethat,asaphotographer,youshouldneverstopreadinglightthewayyouwouldreadabook.Thinkoflightasabookthatneverends.Thestoryisongoing,andyouloveeverypage.

Mostpeopletakelightforgranted.It’sjustthere,untilit’sgone.IhaveactuallywatchedunobservantpeoplewalkrightbyaplacewithlightsobeautifulthatIcouldn’tcontainmyexcitement.Thesefolksjustwalkedrightbyit,talkingontheircellphones,notnoticingtheamazingbeautyaroundthem.

Lightcannotbeseenuntilitsradiantenergyilluminatesoraltersan

object.Whenitdoes,youcanseeeverythingaboutthatobject—itscolor,itsshape,itstexture,etc.Butphotographersmustbetrainedtoobservethelighttravelingfromoneplacetoanotherevenbeforeitexertsitsforceonanobject.Youmaynotbeabletoseelightduringitsjourney,butyoucanpredictitseffects,direction,andintensitybaseduponthecircumstancesandthebehavioroflight.

Therearetwotypesoflightyoumustknow:

Incidentlight:Incidentlightisthelightthatdirectlystrikesanobject.Forexample,ifyouweretostandoutsideinfrontofawallandmeasurethesunlightthatstrikesthewallwithalightmeter,youwouldbemeasuringtheintensityoftheincidentlight:thesunlightthatisilluminatingthewallfromwhereyouarestanding.It’sasifyouareinterceptingandmeasuringthelightbeforeitstrikesthesubject.

Reflectedlight:Reflectedlightisthelightthatreflectsfromanobjectbacktoyouortothecamera.Forexample,ifthesunstrikesawalldirectly,that’sincidentlight.Then,ifthewallitselfreflectssomeofthatincidentlightbacktoeitheryouortothecamera,thatlightisnowreflectedlight.

Itisveryimportantthatyouunderstandthedifferencebetweenincidentandreflectivelightbecauseitaffectseverythingthatfollows.Supposeyouarestandingrightinfrontofablack,texturedwall,andyouareholdingalightmeter.Youcouldpointthemetertowardthesunandmeasuretheintensityoftheincomingsunlightthatwillstrikethewallbehindyou—that’stheincidentlight.But,oncethatlightactuallymakescontactwiththatwall,theblackcolorandthetexturewillabsorblargequantitiesofthatlightandwillreflectverylittlebackout—that’sthereflectedlight.Thismeansthattheincidentlightcouldhavebeenstrongdirectsunlight,butthereflectedlightisactuallyquiteweakbecausemostofthephotonswereabsorbedandscatteredbythewall,notleavingmuchtoreflectbackouttothesurroundings,oronyoursubject,ortothecamera.

Pleaserealizethatinordertoachievethemostfromcircumstantiallight,youmustpairitwithyourknowledgeofthebehavioroflight(describedin

Chapter3).Thetwogotogether,always!

THETOP10CIRCUMSTANTIALLIGHTELEMENTS(CLE)Becauselightisconstantlybeingemittedandabsorbed,andlocationsarecontinuouslychanging,Ineededtodeviseaprocesstosimplifymatters.Lightisconstant.ItwillbehaveinthesamewaywhetheryouarephotographingatBuckinghamPalaceorinabackalleyinwestLosAngeles.Aslighttravels,bouncesoffsurfaces,andinteractswithcloseobjects,therewillbeareasthathavetrulymagicallight—thekindoflightthatmakespeopleglow!Onlocation,Ipayparticularlycloseattentiontothesetop10elementsofcircumstantiallight,andaskmyselfthefollowingquestionsaboutthem.(Pleasenotethatforfuturereference,IwillrefertotheseelementsasCLE-1,CLE-2,CLE-3,etc.“CLE”standsforCircumstantialLightElement.Thenumberfollowingtheabbreviationsimplycorrespondstotheordernumberoftheelement.)

CLE-1:SOURCEANDDIRECTIONOFLIGHT

Whatisthesourceanddirectionofthemainlight?Duringtheday,itwillmostlikelybethesun,andatnightitcouldbeanyformofartificiallight.Althoughthesourcemaybeobvious,knowingthedirectionofthemainlightisnot.Onacloudyday,thedirectionoflightcouldbehardtodetermine,butevenoncloudydaysthesunissomewhereandyoumusttakenoteofitsposition.Insidearoom,themainlightcouldcomefromoneofthewindows,whichcouldbelitbydirectsunlightoronlyfilllight.Itdependsonthepositionofthesunrelativetothewindow.Knowingthesourceofthemainlightandthedirectionitcomesfromwillhelpyoudeterminevariouscharacteristicsofthefilllightinthearea.Itwillalsohelpyoudeterminetherootofthelightsource(forexample,thesun)versustheactualmainlightsourceyou’lluse(forexample,alargewhitewall).

CLE-2:FLATSURFACES

Istherearelativelyflatobjectbeingilluminateddirectlybythemainlightsource,asdeterminedbyCLE-1,incloseproximitytothesubject?Itcouldbebuildingwalls,adeliverytruck,arowofbushes,oranyotherflatsurface.Thisisimportantbecauselarge,flat,light-coloredobjectsmakefantasticreflectorsthatproduceflatteringlight.These“wall”-typeobjectsalsochangethedirectionofthesunlightfromverticaltohorizontal.Dependingonthesurfacepropertiesoftheflatobject,youcoulddeterminethequality,quantity,andcolorofthereflectedlight.

CLE-3:BACKGROUNDS

Doyouseebackgroundsthatarecleanandfreeofdistractingobjects,havesimilarcolorelements(suchasbrownsorgreens),orthatcontainapattern?Notethatit’sabonusifthebackgroundcontainsevenluminositylevelswithinthephotographicframe,sinceitwillkeepmostoftheattentiononyoursubject.Thishelps,butitisnotnecessary.

CLE-4:CIRCUMSTANTIALLIGHTMODIFIERS

Whatarethetexture,color,shape,material,andsizepropertiesoftheobjectsthatareincloseproximitytoyoursubject?Theseareobjectssuchaswalls,curtains,sheers,bedsheets,doors,plants,trees,paintings,automobiles,etc.

CLE-5:GROUNDCHARACTERISTICS

Whatisthecolor,material,andtextureofthegroundyoursubjectisstandingon?

CLE-6:SHADOWSONTHEGROUNDANDWALLS

Describetheshadowsonthegroundandonthewalls.Canyoufindtheshadowlineontheground?Theshadowlineiswhereapieceofopenshademeetsthegroundlitbydirectsunlight.Whatisthedirectionoftheshadows?Howdarkaretheshadows,andaretheshadowedgeshardorsoft?Ifshadowsaresoftwithasoftedge,canyoufigureoutwherethefilllightiscomingfrom?

CLE-7:POCKETSOFCLEANLIGHTAMONGSHADOWS

Iftherewerescatteredshadowsoraclearpatternofshadowsonthewallorfloor,canyoufindanypocketsofcleanlight?Thesepocketsofcleanlightamongscatteredshadows,shadowpatterns,orshadowshapescanbeusedasagraphicorframingelementtoincreasevisualinterest.

CLE-8:OPENSTRUCTURESOUTDOORS

Arethereareaswherethereisanytypeofceilingthatcastsopenshade,oraceilingwiththreewallsleavingonesideopentotheoutside,suchasanoutdoorgarage?Knowingthiswillhelpyouseeopportunitieswhenthelightchangesdirectionfromaverticalpath(upanddown)toahorizontalpath(sidetoside).

CLE-9:INTENSITYOFLIGHTDIFFERENCES

Arethereareaswheretheintensityoflightcouldcreateaseparationbetweenthebackgroundandthesubject?Doesthisseparationcomplementthesubjectordoesitdistracttheviewerfromthesubject?

CLE-10:LIGHTINGREFERENCEPOINT

Whereorwhatisthelightingreferencepointfromwhichyouarebasingyoursubject’slighting?Doesthelightingonyoursubjectcomplementthereferencepointlightorcontradictit?

Whatisthereasonforcreatingthislist?Forstarters,thepointofdoingthesevisualandmentalexercisesinyoursurroundingsistoincreaseyoursensitivitytowhatthelightistellingyouinanyenvironmentandunderanycircumstancesyoumayfindyourselfin.Afterall,photographyisanartform,andlightisitscore.Ifyouwanttobeabetterphotographer,thenyouhavetobemuchmoreproficientatreadinglightthantheaverageperson.

Don’ttrytotackleeverythingatonce.Goforawalkandtrytonoticeoneortwooftheseelements.Lookattheshadowsonthegroundoronthewallandaskyourself,“Whatkindofshadowsarethese,andaretheycompletelydarkwithcrispedges,oraretheshadowssoftwithsoftedges?”Iftheshadowsarenotcompletelyblack,thentheremustbe

someobjectcastingfilllightontheshadow.Findthatobject.Asyouwalkalong,seeifyoucanfinddifferentintensitiesofindirectlightbouncingfromonewalltoanother.Withtimeandpractice,youwillsubconsciouslynoticemoreandmoreeachday.It’sactuallyalotoffun!

Thisstateofmindregardingpushingoneselftobecomeanexpertatrecognizinglightbehaviorsintheenvironmenthascompletelytransformedmefrombeingaphotographerwhojustguessestoonewhocontrolsandreapsthemostoutofeverysituation.Thefollowingtwoimagesshouldputmyrationaleinperspective.Pleasenotethatthesetwophotosweretakenatsimilarlocations,whereIwasequippedwithonlymySLRcameraandmyknowledgeofcircumstantiallightatthattime.Ididnotuseareflectororadiffuserineitherphoto.Bothareexamplesofcircumstantiallightinitsmostbasicform.Thismeansthatyourelyonlyontheobjectsaroundyoutodoallthelightshapingforyou.

Figure4.1showsoneofthefirstportraitsessionsIshotduringmyfirstyearasaphotographer.Likemostphotographersintheearlystagesoftheircareer,Ididnotgivecircumstantiallightasecondthought.IposedmysubjectsbasedonwhatIthoughtwasvisuallyattractiveinsteadofpositioningthemwhereIcouldfindthebestlight.Idon’tthinkIevenknewhowtofindthe“bestlight.”Sothisiswhathappened.IplacedabeautifulyoungwomannexttoadarktexturedbrickthatabsorbedagoodpercentageofthelightilluminatingitThephotographshowsthattherightsideofherfaceisquitedarkandunflattering,andthereislittletonolightilluminatinghereyes.Inthebackground,thewhitegazebostairsaremuchbrighterthanmysubject,creatingastrongvisualdistraction.Thebushesandthebenchalsodistractfromthesubject.Tobehonest,Idon’tknowwhatIwasthinking.Thatphotographic“style”wastherawrealityofmyearlyyearsandwaswhatfueledmydeterminationtomasterlighting.

FIGURE4.1

FIGURE4.2

Figure4.2wastakenyesterday—thedaybeforewritingthischapter.AsImentionedearlier,thisphotowastakenwithjustmycamera...andwithamuchbetterknowledgeofcircumstantiallight.Whatyouseeinthisphotographiswhatcameoutofthecamera.Theonlyeditsthatweremadetothisphotoinvolvedremovingsomeskinblemishesandaverysubtleskinedit;thetotaleditingtimewasapproximatelyoneminute.Isaythistoletyouknowthatphotosthatlooklikethisareverypossiblestraightfromthecamera.Youjusthavetobecomeknowledgeableaboutlight.

LookatFigure4.3forabehind-the-scenesphotoandexplanationofbasiccircumstantiallightinaction.WhenIshowedviewersthisphotoforthefirsttime,theirreactionwas,“Wow!Howdidyoulightthat?Whatequipmentdidyouuse?”WhenItoldthemthatitwastakeninanalleyinwestLosAngelesandIusednothingbutmycamera,theyallseemedtobeindisbelief.

FIGURE4.3

Toomanyphotographersassociateamazingresultswithexpensiveequipment.Butinreality,equipmentornoequipment,ifthelightisthereandyouknowhowtoreadit,youcancreatebeautifulimagesthatarecertaintoimpress.UsingFigure4.3,wewillbeginaquestion-and-answerdialogueusingthe10circumstantiallightelementstounderstandthebreakdownofthisbeautifulphotoofmodelSydneyBakich.

1.SourceandDirectionofLight

Whatarethesourceanddirectionofboththedirectlightandthebrightestindirectlight?Thiswillhelpyoudeterminewhereyourmainlightandyourfilllightarecomingfrom.

Thesourceofthemainlightisthesuntravelingfromthetopleft,asindicatedbycallout1.Thebrightestindirectlightiscomingfromthewhitewall(callout4).Thereflectedlightisthendirectedtowardthewallwiththebushpattern,indicatedbycallout2.

2.FlatSurfaces

Whatrelativelyflatobjectisbeingilluminatedbythebrightestnon-directlightintensity?Thiscouldbesomesortofwall,atruck,arowofbushes,etc.

Thebushywall(callout2)isreceivingthemostlightfromthewhitewallanditisrelativelyflat.However,thewallisnotmuchofasourceforfilllight,becauseaccordingtothecolorbehavioroflight,thedarkgreenplantsandthedarkbrownwallabsorbmuchofthelightilluminatingit.Furthermore,thescatterbehavioroflightindicatesthattheheavilytexturedplant-coveredwallwillscatterthelightraysinalldifferentdirections,makingthereflectedfilllightweakandunpredictable.

3.Backgrounds

Doyouseebackgroundsthatarecleanandfreeofdistractingobjects,havesimilarcolorelementssuchasbrownsorgreens,orcontainapattern?

ThewallbehindSydney(callout2)maynotbeagoodsourceoffilllight,butitdoesmakeanexcellentbackgroundbecauseitcontainssimilarcolorelementsofgreensandbrowns,andthebushesarespreadoutevenly,creatinganicepatternforabackground.Furthermore,thereistheaddedbonusofthewallbeinglitbyanevenluminositylevelthroughoutthephotographicframe.

4.CircumstantialLightModifiers

Whatarethetexture,color,shape,material,andsizepropertiesoftheobjectsincloseproximitytoyoursubject,suchaswalls,curtains,sheers,bedsheets,doors,plants,trees,paintings,automobiles,etc.?

Thebrightlylitwall(callout4)iswhite.Accordingtothecolorbehavioroflight,whitereflectsthemostamountoflightandabsorbsverylittle,makingitanextraordinaryreflector.Thewhitewallisalsoextremelylargerelativetothemodel—atleast50timeshersize.Armedwithourknowledgeabouttherelativesizebehavioroflight,weknowthatifthemodelisdirectlyfacingthelargewall,therewillbelittletonoshadowsonherface.Thefewshadowsthatexistduetothenaturalcurvesofthe

humanfaceareextremelysoft,andtheedgesoftheshadowsarealmostindecipherable.Thisoccursbecauselightisilluminatingherfacefromeverypossibleangleand,thus,notallowingdeepshadowstoform.Thewhitewallisslightlytextured,butnotenoughtocauseanyproblemswithpredictingthepathofthebouncedlight.Thesubjectispositionedascloselyaspossibletothewhitewallinordertoreceivethehighestintensityoflight.Accordingtotheinversesquarelawoflight,thecloserthesubjectistothelightsource,thehighertheintensityoflightthesubjectwillreceive.ThecloseproximityfromthesubjecttothewallispreciselywhatgivesSydneythatstrikingglow.

5.GroundCharacteristics

Whatisthecolorandtextureofthegroundyoursubjectisstandingon?

Sydneyisstandingonblackasphalt.Becauseitisblack,theroadabsorbsmuchofthelightandreflectslittletononebackup.However,inthiscase,I’mphotographingonlyherheadandshoulders.Additionally,thewhitewall(callout4)islitevenlyfromtoptobottombythesun.Thismeansthatwhateverlighttheroadabsorbed,thebottomofthewhitewallfillsitrightin.Thewhitewallilluminatesherperfectlyfromheadtotoe.

6.ShadowsontheGroundandWalls

Describetheshadowsonthegroundandshadowsonwalls.Howdarkaretheshadows?Aretheshadowedgeshardorsoft?Ifshadowsaresoftwithasoftedge,canyoufigureoutwherethefilllightiscomingfrom?

Theopenshadecreatedbythepositionofthesunandthebrownwall(callout2)isquitedark,andshadowedgesarehard.Inmostcases,thegroundplayssomeroleinreflectingverticallightbackuptowardthesubject,butinthiscase,thewhitewallissolargeandevenlylitbythesunfromtoptobottomthatitcompensatesforanylackofverticallightcomingfromtheground.

7.PocketsofCleanLightAmongShadows

Iftherewerescatteredshadowsonthewallorfloor,canyoufindany

pocketsofcleanlight?

Inthisexample,Iamnotutilizingshadowsonthewallsoronthegroundasagraphicorframingelementinmyphotograph’scomposition.

8.OpenStructuresOutdoors

Arethereareaswherethereisaceilingthatcastsopenshade,oraroom-likeareawithaceilingandthreewallsleavingonesideopentotheoutsidesuchasanoutdoorgarage?

Therearenoareaswithanyroofsorroom-likeelementsinthisparticularexample.

9.IntensityofLightDifferences

Arethereareaswheretheintensityoflightcouldcreateseparationbetweenthebackgroundandthesubject?

Inthisexample,boththesubjectandthebackgroundarelitbysimilarintensitiesoflight.TheluminositylevelsofthebackgroundareonlyabitdarkerthanonSydney.Therefore,Sydneymoreorlessblendswiththebackground.

10.LightingReferencePoint

Whereorwhatisthelightingreferencepointonwhichyouarebasingyoursubject’slighting?Doesthelightingonyoursubjectcomplementthereferencepointlightorcontradictit?

Thephotographwasclearlytakenoutsideinthedaytime.Therefore,thelightingreferencepointisthesun.ThelookandfeelofthelightilluminatingSydneyiswhatonewouldexpectfromanoutdoorphotographtakenduringtheday.

GAININGTHEMOSTFROMTHETOP10CIRCUMSTANTIALLIGHTELEMENTSTrainingyourbraintoseelightinwaysthatmostpeoplecannotrequires

dedicationandcommitment.Thepeoplewhotakeonthechallengewillbehandsomelycompensatedwiththeabilitytotaketheirphotographytoalevelfewreach.

Let’sberealistic.Youareprobablythinking,“HowamIsupposedtogothroughthisdialogueinmyheadeverytimeIamabouttotakeaphoto?”Knowthatnooneexpectsyoutostandthereandthinkaboutallofthiswhileyouareinthemiddleofashoot.However,ifyouboughtthisbook,itisprobablybecauseyouwanttoexpandyourknowledgeofphotographiclight.Ifmyassumptioniscorrect,thenIexpectyoutotakethisprocessstepbystep.

Thebestwaytobecomeskilledatreadingcircumstantiallightistopracticewhenyouarenotunderpressure.AsImentionedbefore,justgotakeawalkatdifferenttimesoftheday,andkeepthese10elementshandy.Refertothemasyouwalkaround.Atthebeginning,dothistwoorthreetimesaweektofireupyourbrainandtrainittothinkofitssurroundingsintermsoflightbehavior.Then,whenyouareatanactualphotoshoot,youwillbegintosubconsciouslyrecognizeoneortwoofthese10elementsratherquickly.

IfyouarejuststartingtolearnalltheCLEs,Irecommendyoubeginwiththefollowing:CLE-1,CLE-4,andCLE-6.ThereasontostartwithCLE-1isbecauseitistheenginethatdrivestherestoftheCLEs.AllCLEsdependonthesourceanddirectionofthelightilluminatingyoursubject.Next,CLE-4willmakeyouawareofalllightmodifiersthatareincloseproximitytoyoursubject.Sinceallobjectstransmit,reflect,orabsorblight,itisimperativethatyouareawareofhowtheobjectsaroundyoursubjectareinfluencingthequalityandquantityoflight.Finally,CLE-6isprobablythebestCLEtoconsiderinordertogainspeedatmaximizingthelightinginanysituationquickly.Iusethedirectionoftheshadowsonthegroundandtheshadowlineasacompass,guidingmetochoosetheshootinganglethatwillyieldthemostflatteringlightanddecidehowtorotatethesubjectstoshapethelightilluminatingthem.

Withpractice,youwillbegintonoticefourorfiveelementsatonce.Soon,youwillbeabletomentallyincorporateall10elementsandapplythemingeniouslytoyourphotography.Butitwilltakepractice,dedication,andahungertolearn.

THEGLOWZONEThe“glowzone”isatermthatdescribesalocationwheretherightcombinationofcircumstantiallightelementscomestogetherandthesubjectwithinthatspacebeginstoglow.Withexperimentation,itwillbecomecleartoyouwhenapersonenterstheglowzone.Thistypeoflightingusuallyoccurswhenstrongsunlightisbeingreflectedbetweenlarge(usuallywhite)reflectivesurfacessuchaswalls.Ifyoursubjectstandsbetweenthesetwowalls,theywillbereceivingrelativelyhigh-intensity,softlightthatcreatestheglowzone.Thelightmustberelativelystrongbutalsosoft.

However,therearemanyotherwaystoachievethisglow.ThisispartofthefunofcombiningandexperimentingwithCLEs!Forinstance,youcouldalsofindtheglowzoneinalocationwherethesunreflectslightoffbothaFedExtruckandalightgraysidewalk.Whenyoursubjectiswithintheglowzone,yourcamerasettingswillbewithinmylightingbenchmark,whichwe’llcoverinChapter7.

CHAPTER5

EXPLORINGTHE10CIRCUMSTANTIALLIGHTELEMENTS

ELEMENTS

Chapter4acquaintedyouwiththeremarkablephotographicpotentialandrewardsofmasteringcircumstantiallight.Thatchapteralsodiscussedhowaphotographercanmanipulatecircumstantiallighttocreatelightmodifiersusingobjectsintheenvironmentincombinationwiththesunoranothermainlightsource.Thischapterwilldemonstratehowtheabilitytoreadcircumstantiallightallowsthephotographertotakestrikingphotographswithorwithoutexpensivelightingequipmentorassistants.Itdoesn’tmatterwhatsoeveriflightbouncesoffeitheranexpensivelightmodifierorabrickwall.Dependingonthetextureandshapeofthewall,forthemostpartlightwillstillbehaveinasimilarandpredictablemanner,withthewallbeingaveryeffectivemodifier.

Ifwecomparemostofthelightmodifiersyoucanbuyatthecamerastoretotheeverydayobjectsaroundyou,itiseasytoseetheirsimilaritiesregardingtheirlight-shapingcapabilities.Forexample,youmayhavenoticedthatwhenyoubuyacheapreflector,thesurfaceisnotalwayscompletelyflat,butwhenyoubuyawell-madereflector,itssurfaceisperfectlyflat.Whenlightreflectsfromasurface,thelightrayswillbounceinamorepredictablewaywhenthesurfaceisflat,whereassomelightrayswillbelostastheygoinseveraldirectionsifthesurfaceiswarpedoruneven.Thesameruleappliestoyourneighbor’swall.Ifit’sflatandsmooth,itwillreflectlightraysinapredictableway.Ifthewallisheavilytextured,thetextureitselfwillsendreflectedlightraysinalldirections,makingthereflectedlightpathmoredifficulttomanage.Ifyoubuyaredgelfromthecamerastoretoputoveryourlightsource,itwillgiveyoursubjectaredcolorcast;likewise,ifthesunilluminatesabrightredwall,itwillalsogiveyoursubjectaredcolorcast.Whensunlightpassesthroughawindoworasheer,theeffectissimilartoastrobeshootingthroughasoftbox.Alargewindowresemblesalargersoftbox.Naturally,therearedifferencesbetweenphotographicequipmentthatmanipulateslightandeverydayobjects,butlightwillbehavesimilarlyifthematerial,shape,size,andtextureofbothenvironmentalobjectsandphotographic

equipmentarealike.Thecrucialdifferencebetweenthetwoisthatwhenworkingwithcircumstantiallight,thephotographerusuallycannotmovethebuildings,cars,walls,orwhateverheorshemaybeusingasamodifier.Therefore,thephotographermustmovethesubjecttoanoptimumlocationwithintheenvironment.Incontrast,whenworkingwithphotographicequipment,youcanmovetheequipmenttoyoursubject’sposition.

THEPERFECTAPPROACH

ThekeytosuccessfullyincreasingyourcircumstantiallightskillsistoalwaysassociatetheobjectsaroundyouwiththefivebehaviorsoflightdescribedinChapter3andthe10elementstobreakdowncircumstantiallightasdescribedinChapter4.Icannotemphasizeenoughhowimportantthisis.

Again,thefivelightbehaviorsare:

Angle

InverseSquare

Size

Color

Scatter

Andthe10circumstantiallightelementsare:

CLE-1:SourceandDirectionofLight

CLE-2:FlatSurfaces

CLE-3:Backgrounds

CLE-4:CircumstantialLightModifiers

CLE-5:GroundCharacteristics

CLE-6:ShadowsontheGroundandWalls

CLE-7:PocketsofCleanLightAmongShadows

CLE-8:OpenStructuresOutdoors

CLE-9:IntensityofLightDifferences

CLE-10:LightingReferencePoint

ANALYZINGLOCATIONSFORLIGHTBEHAVIORSANDCIRCUMSTANTIALLIGHTELEMENTSInFigure5.1,thesunisdirectlyilluminatingthewhitebrickwallincallout1.Sincethesunissofarawayfromearth,thesunisasmalllightsource,anditwillalwayscasthardshadows.Thisisfortunatebecauseitmeansthatstrongsunlightjustneedstobesoftened.Theonlywaytosoftendirectsunlightwithoutequipmentistoutilizethewalls,ground,objects,etc.Thewallincallout1iswhiteandflat.Thismakesitaveryeffectivereflector,throwinghigh-intensitywhitelighttowardthelightbrownwallincallout2.Thatwall(callout2)isalsoevenlyilluminatedbyindirectsunlightbouncingupfromthesmooth,graysidewalk,indicatedbycallout6.Thefactthatthesidewalk(callout6)islightgrayandsmoothmeansthatitwillreflectclean,vertical,balanceddaylightupfromtheground.Theleftwall(callout2)wouldmakeaperfectbackdropformysubject.It’sflat,freeofdistractions,asinglecolor,andevenlyilluminated.IfIhadmysubjectsitdown,itwouldbringhis/herfaceclosertothesunlitsidewalk(callout6),andaccordingtotheinversesquarelawoflight,thecloseryoursubjectistothelightsource,thehighertheintensityoflight.Thenarrowoverhang(callout5)actsasaceiling,providingenoughopenshade(callout4)toprotectthesubjectfromdirectsunlight.Thebrownbrickwallindicatedbycallout3alsoworksasareflectortowardtheoppositewall(callout2).However,thiswall(callout3)isnotaseffectiveasareflectorasthewhitewall(callout1)forthreereasons:itisnotbeingilluminatedbydirectsunlight,itisbrowninsteadofwhite,andthebrickismoretextured.

FIGURE5.1

Forallofthesereasons,anideallocationtoplaceasubjectwouldbeatcallout4,asclosetothesunlitsidewalkaspossible.Thislocationisexcellent,assumingofcourse,youhavenoassistantsandnoequipmentotherthanyourcamera.

Judgingfromtheshadows,Figure5.2wastakenaroundnoonwiththesundirectlyabove.Thetelltalesign:thetreeshadows(callout3)arerightunderneaththetree,andtheshadow’scircumferenceonthegrassisthesameasthecircumferenceofthewidestpartofthetree.Accordingtothecolorbehavioroflight,thesunlightcomingfromabovewillpickupsomeofthegreencolorcastasitpassesthroughthetreeleaves(callout4).Therefore,positioningasubjectunderneaththetree(callout3)wouldresultinagreencolorcastcomingfromaboveandagreencolorcastbouncingbackupfromthegreengrass.That’salotofgreen!

FIGURE5.2

Ifyoupositionyoursubjectsomewherenearcallout1,thelightwillbecomedaylight-balancedfromthesunabove.However,becausethesunisdirectlyilluminatingthegrassinthatarea,thegreencolorcastfromthegroundupwillbestronger.Ifyoursubjectissittingnearcallout1,he/shewillhaveamuchstrongercolorcastthanifstanding.Iwouldpositionmysubjectonthesidewalk(callout2).Thesidewalkmakesagreat,predictablereflector,duetothefactthatitisflatandsmooth,andthegraycolorbouncesdaylight-coloredlightbackup.Thegrass(callout1)wouldnotonlycastagreencolorcastlight,buttheverytextureofthegrassabsorbsmuchofthesunlightstrikingit.

ThecircumstancesinFigure5.3mightleadyoutobelievethatthiswouldbeagoodplacetophotographyoursubject,butinmyopinion,it’snot.First,thisphotowastakenduringthedaytime,yettherearenoshadowsonthewallfromtheplants.Thisshouldtellyouthatthelightthereisabsolutelyflat.Second,noticethatthegroundisabrownish-redcolor.Accordingtothecolorbehavioroflight,darkcolorsabsorblight—theydonotreflectit—whichisanotherreasonwhytherearenoshadowsfromtheplants.Thereisnotenoughverticallightbeingreflectedfromthe

brownishgroundtoevencastashadow.Circumstanceslikethiswillyieldunflatteringresultsforbothmenandwomen.Ifyouwereabletoanalyzelocationsthisway,youwouldknowthatthisplaceisadud.

FIGURE5.3

Let’stakealookatFigure5.4.InChapter4,CLE-7ofthetop10elementsIusetobreakdowncircumstantiallightasksiftherearescattershadowsonthewall,andifso,arethereanypocketsofcleanlight?Inthiscase,theanswerwouldbeyes.Thecrispnessandlengthoftheshadowsontheground(callout1)andonthewall(callout2)indicatethatthetreeisbeinglitdirectlybythesunsometimeinmid-afternoon.Youcanalwaysestimatethetimeaphotowastakenbasedonthelengthoftheshadows.Mostimportantly,thewallindicatedbycallout2ispaintedasinglecolor,cream.Creamisalmostwhite,soitisverybrightandreflective.Theextrabrightnessofthewallcouldworkwelltocreateaseparationbetweenthesubjectandthebackground,andthereflectedlightfromthewallcouldalsoserveasabeautifulhairlight,ifthephotowastakenfromthestreettowardthewall.Thereisindeedacleanpocketoflightamongtheshadowsonthewall.Thatpocket(callout2)islargeenoughforaninterestingportraitfromthewaistupwhenplacingthe

subject’sheadinthecenterofthecleanpocketoflight.However,thesunlightiscomingfromthetopright,sothephotographerwouldhavetoadjustthesubject’sheadpositiontoaccommodateforthedirectionoflightandavoidunwantedshadowsontheface.

FIGURE5.4

Theredboxindicateshowtightthecropwouldneedtobeinordertoachieveahighlevelofinterest.Thesmoothgraysidewalk(callout3)isdirectlyilluminatedbythesun,andthereforewillprovideplentyoffilllightbouncingbackuptowardthesubject.Inthiscircumstance,theportraitwillbelitbydirectsun,soyou’dneedtobeextradiligentaboutwherethehardshadowsfallonyoursubject.Thereisnoopposingwalloranythingelsearoundheretosoftenthelight.Portraitstakenwithdirectsunlightcanbeveryeffectiveifexecutedproperly.

ThefirstcircumstantiallightelementinChapter4(CLE-1)asks,“Whatisthesourceanddirectionofboththedirectlightandthebrightestindirectlight?Thiswillhelpyoudeterminewhereyourmainlightandyourfilllightarecomingfrom.”InthecaseofFigure5.5,that’sasomewhattrickyquestion.Toacertaindegreewehavetwosourcesofmainlightandnotmuchfilllight.Thesky(callout1)isclearlyprovidingthelighttravelingverticallyfromtheskytotheground.However,thegroundisblack(callout4),whichmeansnotmuchlightreflectsbackup.Ifyoulookcarefully,myfaceistiltedtowardtheground,anditlooksdarkbecausethegroundisabsorbingallthelight.ThisvividalleyinMelbourne,Australia,ispaintedeverywherewithgraffiti,andthewallsarepaintedinmostlydarkcolors.Thisindicatesthatalthoughthewallsareflat,theirdarkcolorsabsorbthelight(callouts2and3).Therefore,theonlylighttravelinghorizontallyisfromtheentranceandtheexitofthealley.YoucanseethatmywifeandIarewalkingtowardtheexitbecauseherfaceisilluminatedbythestronghorizontallight.Therefore,theentranceandtheexit(callout5)representthesecondmainlightsource.Aportraitherewillmostlikelyresultinverydramaticlighting,sincethereislittleornosourceoffilllight.

FIGURE5.5

FIGURE5.6

Figure5.6isaveryimportantimagetoreviewbecause,tome,it’scrucialtonotonlybeabletofindthebrightestindirectlightinyourenvironment,butalsotounderstandwhyit’sthebrightestindirectlight.Youshouldaskyourself,“Whyisthatportionofthewallsobright?”Inthisexample,wearegoingtofocusmoreonthe“why.”It’sclearthattheleftwall(callout1)isthedarkestofthewalls.Themiddleportion(callout2)ismediuminlightintensity.Therightwall(callout4)isclearlythewinner.Itisbeingilluminatedbythehighestintensityofindirectlight.Iemphasizethatthelightisindirect,becauseitmeansthat,inmostcases,thelightissoft.Nowlet’sfocusonthewhy.Ifyouturnyourattentiontocallout5,younoticethattheshadecoverstheentirewidthofthesidewalk.Sincethesidewalkisourmainsourceoffilllight,wewantasmuchlightaspossiblestrikingthesidewalk.Callout6isbetterbecausetheshadedareaisnarrower.Theareaindicatedbycallout7hasthemostsundirectlystrikingthesidewalk,whichreflectsverticallightuptowardthewall(callout4).Furthermore,thelightalsoreachesthesideofthewall(callout3),whichinturnreflectsadditionallighttowardtherightintocallout4.

Duringphotoshoots,wemustalwaysmakequickdecisionsaboutwheretopositionoursubjectstocreateanattractivephotograph.Alllocations

havetheirstrengths,weaknesses,opportunities,andthreats.However,sometimesalocation’schallengesoutweighthebenefits,whichisexactlythecaseinFigure5.7.Thetreecanopyabovecausestoomuchsplotchylightingontheground.Lightinglikethisisextremelydistracting,becausethewholesceneiscompletelycoveredwithsmallareasofsunandshadows.Italmostmakesapersondizzy.Youcanseebyallthecalloutsthatthechallengetocleanuplightlikethiswithoutanyphotographicequipmentisalmostimpossible.Youwouldneedtoplacealargediffuseraboveyoursubjecttocreatealargerlightsource,thussofterlighting.However,considerthebuilding’swalls.Ifthesesplotchylightwallsareinthebackground,itwouldsodistractingthatyoursubjectwouldbelostinthephoto.Thislocationistoomuchtroubleforwhatit’sworth.Iwouldmoveon.

FIGURE5.7

InChapter4,theeighthelementtoanalyzecircumstantiallight(CLE-8)asks,“Arethereareaswherethereissomesortofceilingcastingopenshade,oraceilingandwallsleavingonesideopentotheoutside,such

asanoutdoorgarage?Knowingthiswillhelpyouseeopportunitieswhenthelightchangesdirectionfromvertical(upanddown)tohorizontal(sidetoside).”ThisisexactlythesituationinFigure5.8,wherewehaveaceilingtoshieldoursubjectfromdirectsunlightandthereisanopeningtotheoutsidewithlightcomingintotheroom.Circumstancessuchastheseprovideaskilledphotographerwithaplethoraoflightingopportunities.Solet’sbeginbreakingdownthislocationwithregardtolight.

Callout1indicateswhereIwouldplacemysubject,becausetoreceivethehighestamountofbouncedlightfromtheground,youmustplaceyoursubjectasclosetotheshadowlineaspossible.Theshadowlineisthelinewheretheshademeetsthesunlitground.Thefurtheryoursubjectisfromthisline,thelesslighthe/shewillreceive.Callout3representsabitofathreat.Thesunlightisindeeddirectlyilluminatingtheground,butthegroundisblackasphalt.Accordingtothecolorbehavioroflight,thecolorblackabsorbsthemostlightandreflectstheleast.Werelyonthisbouncedlighttoilluminateoursubject,sowehaveaproblem.Lookingonthebrightside,althoughthegroundisblack,itisalsoflatenoughtobounceenoughlighttowardcallout1todothejob.Naturally,ifthegroundwerelightgray,itwouldreflectmuchmorelightintothegarage.Callout2representsthedistraction-freecleanbackground,thethirdelementconsideredinChapter4.Positioningyourcamerasothattheportionofthewall(callout2)isthebackgroundofyourimagewouldplacealloftheattentiononyoursubject.

FIGURE5.8

Callout4representsthecleardirectionoflight,asshownbythesupportbeam’sshadow.Youshouldalwaysbeawareofthedirectionofshadows,becausetheyidentifytheoriginofthemainlightsource.Thisisofspecialinterestinthisphoto,becauseaccordingtotheanglebehavioroflight(“theangleofincidenceequalstheangleofreflection”),thesuniscomingfromthetopright,bouncingofftheground,andtravelingstraightintothegarage.Therefore,ifyouweretostandwiththesundirectlybehindyouandfacethedirectionoftheshadowcreatedbythesupportbeam,youwouldmaximizetheamountoflightbouncingfromthegroundontoyoursubject.Thiswillsignificantlyhelpyousolvetheissueoftheblackasphaltabsorbingthesun’srays.Itisthiskindofstrategicthinkingthatwillyieldbetterimages,andit’sthefundamentalreasonforstudyingcircumstantiallight.

IcapturedFigure5.9duringan18-hourvisittoTokyo.AsIwalkeddownthestreets,Inoticedbacklitadvertisementsthatwereactuallymuchbrighterthantheyappeared(callout1).Aspeoplewalkeddownthecorridor,theirfaceswereilluminatedbeautifullyfromtheadincallout1.Thisphotographwasclearlytakenatnight,sothesuncannotpossiblybethemainlightsource.Inthiscase,theartificiallightfromthefluorescent

tubesbacklightingtheadincallout1isthemainlightsource.Duetothelargesizeofthisad,itwouldworkbetterforanupperbodyphotograph,sothatthetorsoandheadwouldbeevenlyilluminatedbythelightsource.Therowsoflightsalongtheceilingandwallontherightcreatesapattern(callouts2and3),asaskedbythethirdcircumstantiallightelementinChapter4.IfyoupaycloseattentiontothefirsttwocircumstantiallightelementsinChapter4(CLE-1andCLE-2),youwillbeabletowalkbyanunusuallocationsuchasthisTokyostreetandrecognizethattheadontherightisagreatmainlightsource.Anuntrainedphotographermightseeitonlyforwhatitis—anad—andthusmissoutonapotentiallygreatportrait.

FIGURE5.9

Figure5.10isagreatexampleofalocationthatdoesn’tlooklikemuchatfirstglance,butifyougothroughthe10elementsdescribedinChapter4,youwillbegintonoticethatthislocationisactuallyagem.NotethatIpurposelywaitedforacloudydaytotakeaphotoofthislocation.ThereasonforthisisthatIwantyoutoseethepotentialoftheplacewithandwithoutthehelpfromsunlight.Let’sbeginwithcallout1.Thesidewalkisaverysmoothsurface,anditscolorislightgray.Thesmooth

characteristicofthesidewalkmakesitaveryeffectivereflector,andthelightgraycolorwillreflectapproximatelydaylight-balancedlightbackontoyoursubject.Callout2:Inthissituation,thereisaroof.Thistellsyouthatifitwereasunnyday,thesubjectundertheroofwouldbeinopenshadeandprotectedfromdirectsunlight.Callout3:Theroofstructureleavesanopenarea,exposingacleanpatternofgreenfoliage.Thisareawouldmakeaperfectbackgroundforyoursubjectbecause,beinganarrayofdifferentshadesofgreen,itwouldnotbedistracting.Ifthephotowastakenwithashallowaperture,thoseplantswouldbecompletelyoutoffocus,leavingacleanbackgroundforposing.Aslongasyoursubjectisnotfacingtheplants,he/shewillnotpickupanyofthegreencolorcastfromthem.Callout4:Onlythelightbrowncolorofthetreetrunkbreaksthepeacefularrayofgreens.Ifthattreetrunkwereincludedinthecomposition,itwouldbeadistractioninthephoto.Therefore,Iaddedaboxtoportraywhatmyfinalcompositionwouldbelike.Callout5:Thiswallisrelativelysmoothbutit’salsogreen.Onasunnyday,ifanyofthesunlightdirectlyilluminatedthiswall,itwouldreflectastronggreencolorcastonyoursubjectifhe/shewerestandingnearit.Callout6:ThisiswhereIwouldpositionmysubjectaftereverythingmentionedabovehasbeenconsidered.Theredtileshouldencourageyoutopositionthesubjectasclosetothegraysidewalkaspossiblebutstillundertheprotectionoftheopenshadeprovidedbytheroof.Thiswouldminimizeanyoftheground’sredreflectedlightfromreachingyoursubject.Asmentionedbefore,thislocationisagem.Onaregularsunnyday,thislocationhasallthemagicrequiredtocreateagorgeouslylitportrait.

Figure5.11showsanotherexamplewhenIwaitedforanovercastdaytotakethephotobecauseIwantedtofocusonthecircumstancesinthatparticularenvironment,separatefromthelight.AsImentionedearlier,oneofthemostimportantaspectsofbecominganexpertatcircumstantiallightistounderstandthewhybehindlight’squality,quantity,color,intensity,etc.It’sonethingtoseelightandreacttoit,whichisgreat.Thereisnothingwrongwiththat.Butthephotographerwhounderstandsthewhybehindthelightwillbeabletoseemorelightingopportunitiesintheverysamelocation.

FIGURE5.10

FIGURE5.11

Inthisexample,wehaveacleanpatternofverticalwoodpanelsthatmakeupafence(callout1).Althoughwedon’thavedirectsunlightnow,

wecanpredictthatevenifwedid,theblackbrickbuildingontheright(callout2)wouldswallowupalotofthelight.Tomakemattersworse,thebuildinghastwolargewindows(callout3),whichdon’treflectanylight;instead,thelightgoesrightthroughthem,resultinginevenlesslightreflectingbacktothewoodfence.Lastbutnotleast,theground(callout4)isalsoblack.Therefore,theverticallightbouncingfromthegroundandthehorizontallightbouncingofftheblackwallarebothtooweak.Theonlywaytotakeaskillfulphotoherewithgreatqualityoflightwouldbetouseartificiallights,suchasstrobesorflashes.Butfornow,wearestudyingwhatcombinationofelementsgivesyouamazinglightforportraiturewithoutanyequipmentorassistants.

Afterreadingthischapterandjustfocusingonthelightingpropertiesoflocations,youcanprobablyfigureoutwhyIchosetotakeaportraitofmyfriendandmodelKenzieDaltonduringoneofmyclassesatWPPIinLasVegas(Figures5.12and5.13).ItookthisphotowithaniPhonetoshowmystudentshowlightcanalwayslookunbelievablybeautiful,nomatterwhatcamerayouhaveinyourhands.Takeacloserlook,andseeifyoucanfigureoutallthereasonswhythelightlooksasbeautifulasitdoes.

First,noticethepositionofthesun.Theshadowsonthewalltellyoutheexactdirectionofthelightsource.BypositioningKenziewithherbackagainstthesun,itprotectsherfacefromdirectsunlight,anditusesthesunasahairlightorabacklight.Next,thesunisstrikingthesmooth,cream-coloredwall.Thistellsyouthatthewallwillreflectlargeamountsoflight,anditwillbeaflatteringnaturalcolor.Whyisshesoclosetothewall?TheinversesquarelawoflightinChapter3statesthatthecloserasubjectistothelightsource,themoreintensethelightwillbeandalsothefasterthefalloffoflightwillbe.Thisexplainstwomainpoints.ItexplainswhythelightingonKenzieissomuchricherthanthelightingoneveryoneelsearoundher,justafewfeetawayfromthewall.Italsoexplainswhytherightsideofherfaceisslightlydarkerthantheleft.IfyoulookattheanglefromwhichsheisbeingphotographedinFigure5.12,youcanseethattheleftsideofherfaceisclosertothewallthantherightside.Becausesheissoclosetothelightsource,thelightfallsoffveryquickly.Thereasonwhytherightsideofherfaceisstillnicelyilluminatedisbecausesomuchfilllightisbouncingaroundandilluminatingtheshadowsonherface.

Nowlet’sdecipherwhythelightonherfaceissosoftandflatteringcomparedtothequalityoflightintherestoftheimage.AccordingtotherelativesizebehavioroflightdescribedinChapter3,itstatesthatthelargertherelativesizeofthelightsource,thesofterthelightwillbe.Ifshehadbeenfacingthesun,Kenziewouldhavebeenlitbydirectsunlight.Thesunisatinylightsourcebecauseitissodistantandwouldhavecausedhighcontrastandstrongshadowedges.However,inthisexamplethesunisonlyservingasabacklight,andthewallinfrontofherfaceisnowthemainlightsource.Becausethewallissolarge,itfillsintheshadowsthattheinversesquarelawoflightcreates.Thewallisthrowingreflectedcream-coloredlighteverywhere,givingherthatgorgeousglow.Eventhoughthiswasaquickexample,fullofdistractingobjectsandtakenwithaniPhone,thereisnodoubtthatthelightingonKenzieisincrediblybeautifulcomparedtothelightingintherestofthephotograph.

FIGURE5.12

FIGURE5.13

CHAPTER6

IMPLEMENTINGCIRCUMSTANTIALLIGHT

InChapter4,webeganourdiscussionofcircumstantiallight,definingitasauniquewayofthinkingaboutlight.Beinghighlyskilledatcircumstantiallightallowsthephotographertobeproficientatproducingbeautifulworkinanyenvironmentandatanytimeofthedaywithoutmuchneedforlightmodifiersorassistants.However,tobeskilledatcircumstantiallight,thephotographermustclearlyunderstandhowlightbehavesandcombinethatknowledgewiththe10elementstobreakdowncircumstantiallight.Now,wewillexaminerealon-the-jobimplementationofcircumstantiallightbybringingalltheseelementstogether.IrecommendmakingtheextraefforttoreviewthematerialinChapters3,4,and5beforereadingtheexamplesinthischapter.Perhapstakeaphotoofthelistofthe10circumstantiallightelementsandkeepthatpagehandy.

Thepreviousmaterialneedstobeverymuchengrainedinyourbraintoreallybenefitfromtherewardsofbeingskilledatcircumstantiallight.Withthisknowledge,youwillbeabletoadvancefromimagessuchasFigure6.1toaphotographsuchasFigure6.2.Bothofthesephotosweretakenoutdoorswithjustmycamera.Noflash,photoreflectors,diffusers,orassistantswereusedforeitherofthesephotos.Theonlydifferencebetweenthetwoisaknowledgeofcircumstantiallight.IbelievephotossuchasFigure6.2don’thavetobealuckybreak;theycanbeyourconstant.

Fortherestofthischapter,wewillgothroughtheprocessofthinkingintermsofcircumstantiallight.The10elementsdiscussedinChapter4willbeusedtobreakdownbothhowandwhythephotographiclightingwasasuccessorafailure.Bygoingthroughthese10elementsseveraltimeswithdifferentscenariosandatdifferentcapacities,youwillbegintocommitthisknowledgetoyourlong-termmemory,andtheprocesswillbecomesecondnaturetoyou.Iwillnotrewritethequestionseachtime,justtheanswers.Asyoureadthecritiquesand/orsolutionstoaparticularimage,recognizewhichelementsofcircumstantiallightareapplicable,trytoimaginethephysicalcircumstances,andrememberthefivebehaviorsoflight.Tobemoreefficientwiththisprocess,Iwillsimplyrefertothetop10elementstobreakdowncircumstantiallightbytheiracronymlistedinChapter4asCLE-3,CLE-7,etc.Keepthe10elementshandysoyouknowwhichonesIamreferringtoaswegothroughthe

processtogether,andrealizethatallthephotosthatfollowweretakenwithjustmycamera.Lastly,IpurposelyusedmanyphotosfromtheshootofSydneytoillustratehow,inonesingleshoot,youcancreateadiversearrayofcolor,contrast,andintensitieswithyourlighting.

UNDERSTANDINGTHEHOWANDTHEWHYOFCIRCUMSTANTIALLIGHTFigure6.1:Wewouldmostlikelybeinagreementthatthelightingonthesubjectisveryharshandnotflattering.Regardlessofsomeone’sphysicalappearance,badlightwillalwaysbeunflatteringtoanyone.Thefirstthingyoumayhavenoticedrightawayistheunwantedanddisorganizedshadowsandhighlightsontherightsideofherface(cameraleft).Whydoesthishappen?Thisharshlightwithclearlydefinedshadowedgesoccurswhenasubjectisbeingilluminatedbyasmalllightsourcerelativetothesubject.Inthiscase,thedirectsunistherelativelysmalllightsource,becauseitissofaraway(CLE-1).Therefore,thelightraysarestreaminginataspecificangle.Asthesunilluminatesher,thelightraysstrikeherhair,causingadistinctanddistractingsetofshadowsonherface.Ifthelightsourceweremuchlargerrelativetothesubject,someofthelightrayswouldreachtheshadowscausedbyherhairandeitherlessenthemoreliminatethemaltogether.Thishappensbecausethelightsourceismuchlarger,andlightrayswillcomefromnumerousangles,strikingseveralmoreareasofherface.CLE-4asksiftherearecircumstantiallightmodifiersnearbythatcouldhelpsoftenthelight.Theanswerherewouldbeno.Sheseemstobestandinginaparkinglotwithnowallsclosebytoreflectlightfromthesunbacktowardher.Evenalargewhitedeliverytruckwouldprovideamuchlargerlightsource.Theredoesn’tseemtobemuchlighttravelingverticallyfromthedarkgrounduptowardthesubject,either(CLE-5).Thelackofqualitylightmodifierscauseshereyestodarken,andtheleftsideofherfaceisweaklylitbecausethereislittlefilllightbouncingaround.Thesubject’sheadpositionisatthewrongangleconsideringthesecircumstances.Thislightingappearsdisorganizedandunprofessional.

FIGURE6.1CameraSettings:ISO400,f/2.8,1/3000

Figures6.2and6.3:Takingintoaccountthe10elementstobreakdowncircumstantiallightandthefivebehaviorsoflight,youcanturnatoughlightingsituationintoalovelyportrait,suchasthisoneofAllison.What

createssuchbeautifullightingresults?Althoughthesunisthemainlightsource,theceilingisblockingthedirectsunlightrays(CLE-8).Thesunisbeingblockedfromeveryangleexceptfromtherightside(CLE-1).Thewallsarecleanandpaintedapinkishcolor,whichwouldmakethemagoodnon-distractingbackdropformyportrait.However,theelevatordoorsaresmootherandhaveamuchmoreinterestingmetalliccolor(CLE-3).Theelevatordoorswillnotonlyserveasacleanbackground,theywillalsoreflectlightbackontomysubject.

Whenyouarethinkingintermsofcircumstantiallight,itisimportantthatyoutrainyourselftonotseeobjectsforwhattheyare,butinsteadtoseethemforwhatlightingpropertiestheyhold.Thewallswouldhaveabsorbedmuchmorelightthanthesmoothmetallicelevatordoors(CLE-4).Toreallytakefulladvantageofthelightingpossibilitieshere,IhadtoplaceAllisonintheopenshadeareabutascloseaspossibletotheshadowline.Youcanseetheshadowlineisatanangleonthegroundinfrontoftheexitsign.Sheisplacedascloseaspossibletothepartofthefloorwheretheshademeetsthesunlitground.Thistakesadvantageofthemostexistingverticallight,givingAllisongreatfilllightfromtheground(CLE-6).Theleftsideofherface(cameraright)isclearlybrighterthantheright.Thisiswhatgivesherfacedimensionanddepth.However,thetransitionfromthebrightsidetothedarkersideiscompletelysmooth.Thefilllightthatispresentwheresheisstandingissorichandfullthatthereisnotasinglehardshadowtobefound.Therearecatchlightsinbotheyes,makingthemlookvibrant.

FIGURE6.2CameraSettings:ISO200,f/2.8,1/180

FIGURE6.3

Figure6.4:Thisportraitofmysister-in-lawSarahwastakenatthebeginningofmycareer.Atthetime,Ithoughtitwasprettygood,exceptwhenIcomparedittotheportraitsofexperiencedphotographers.TheonethingInoticedwasthattherewassomething“off”aboutthelighting,butIdidnotknowwhatitwasorhowtofixit.

FIGURE6.4CameraSettings:ISO800,f/6.3,1/160

Istillremembermythoughtprocesswhenchoosingthislocation.Ifiguredthatthebenchcouldbeusedasacleverwaytoposemysister.Thedarkbrownfenceandfoliagewereanicetouchforthebackground.HadI

knownmoreaboutthebehavioroflight,Iwouldhaverealizedthatthedarkbrowncolorsofthegroundandbackgroundwereabsorbingmuchoftheincominglight.Furthermore,theground,bench,andwoodenfenceareheavilytextured,absorbingevenmorelight.ThisisthereasonwhyCLE-2asksifthereisarelativelyflatobjectthatisbeingilluminatedbythesunlight.Ifalarge,light-colored,smoothwallhadbeenthereinsteadofthedarkwoodenfence,itwouldhavebouncedthelightbacktowardmysubject.Thegreenplantbehindherheadandbackisactuallyquitedistracting.Judgingbytheshadowsonherleftforearmandthebench,andthedistractinghighlightonherface,themainlightissunlightcomingfromtheright.Thelengthoftheshadowonthebenchtellsusthatthesunisprettylowonthehorizon,somostlikelythisphotowastakeninthelateafternoon.Allthesetelltalesignsrevealthatwearedealingwitharelativelylowintensityoflightasthemainlightsource.Insituationswherethemainlightisweak,wemustrelyongreatfilllighttolifttheoverallqualityoftheportrait.

Asmentionedbefore,inthissituation,theobjectsthatwouldhaveprovidedthefilllight,suchasthedarkwoodfenceandtheground,maketerriblefilllightdevices.Theseobjectsarevacuumingupthelight,notreflectingit.Additionally,thepositionofherheadshouldhavebeenadjustedrelativetothemainlighttoavoidhavingthatdistractinghighlightbyherlefteye.

FIGURE6.5CameraSettings:ISO200,f/2.8,1/640

FIGURE6.6

Figures6.5and6.6:Recently,IphotographedmyfriendLaurainaverysimilarwayasSarahinFigure6.4.LauraneededheadshotsforheractingagencyinLosAngeles.Idecidednottouseanylightmodifiersorflashesofanykind.Mygoalwastocarryonlymycameraandwalkaroundpayingfixedattentiontoandrelyingonlyoncircumstantiallightfortheheadshot.Althoughtheposeissimilar,andLauraisalsoposedlyingonabench,thetwophotoscouldn’tbemoredifferent.ThelightinginLaura’sphotofarsurpassesmyearlierwork.Let’sexplorewhy.

First,theoriginalmainlightisthesun(CLE-1).IchosethisplacebecausetherewasashortceilingprotectingLaurafromthedirectraysofthesun,whichwouldhaveotherwisebeenasmalllightsource,causinghardshadows(CLE-8).Theceilingprovidesasmallareaofopenshade,meaningthatallthefilllightbouncingaroundtheobjectsinthatareaarenowilluminatingLaura.OurobjectiveistofindthehighestintensityfilllighttogiveLaurathebeautifulglowthatgreatlightingprovides.Thedecisiontousethebenchasaposingpropwasactuallyastrategicchoicetobringherclosertothereflectedlightontheground.Ineededtotakeadvantageofthehighestintensityoflightpossibleatthislocation.Accordingtotheinversesquarelawoflight,thecloseryoursubjectisto

thelightsource,thehighertheintensitywillbe.BecauseLauraispositionedinopenshade,thismakesthereflectedlightbouncingupfromthelightgray,smoothsidewalkthenewmainlightsource(CLE-5).ThisisthereasonwhyIhadherliedownonthebench:tobringherclosertothewonderfulreflectedlightcomingfromtheground.Butfirst,Ihadtomovethebenchascloseaspossibletotheshadowline(CLE-6)asindicatedbythecalloutinFigure6.6.

Thisbroughtthebenchveryclosetothereflectedlightfromthesidewalk.Theabilitytoseethatthiswasnecessaryisthekindofthinkingthatskilledphotographersmustdevelop.IfIhadnotmovedthebench,thelightwouldhavebeengreatlyweakenedbythetimeitreachedthebenchatitsoriginalposition.Also,noticethesubtletiltofLaura’sheadtowardthereflectedlightfromtheground.ThistilttowardthelightgaveLaurathatbeautifullightingontherightsideofherfaceandalsohelpedreduceorremoveanypossibleshadowsonherfacecausedbyherhair.

Finally,theflatbrickwallbetweenthedocksislightincolorandfairlysmooth(CLE-2).Thisisanindicationthatitwouldbeaneffectivesourceoffilllightandalsoacleanbackground(CLE-3).Theonlyissuewiththebrickwallwasthepresenceofanothershadowlinecausedbytheceiling.Thischangestheluminositylevelsthroughoutthewall.Thischangeoflightlevelscouldbeapossibledistraction(CLE-9),sotoavoidit,Isimplypositionedmycameraandcroppedtightenoughtoonlyincludethesectionofthebrickwallthatwasinshade(CLE-6).

EXPANDYOURUNDERSTANDINGIfyouwouldliketodigdeeperforabetterunderstandingofthematerialpresentedhere,trycreatingalistofsimilaritieswithregardtocircumstantiallightbetweenFigures6.2and6.5.Yourlistshouldbealogicalexplanationofwhythesetwophotoslookasgoodastheydo.Makingtheseconnectionsandfindingthecircumstantiallightpatternsthatproducegreatlightareofparamountimportanceinindicatinghowwellyouwillbeabletoimplementcircumstantiallightatarealphotoshoot.

Hint:Usethebehind-the-scenesphotos(Figures6.3and6.6)tohelpyoufindthepatterns.

Figures6.7and6.8:DuringoneofmyprivateworkshopsinSeattle,theclassdividedintogroupstodotheassignedphotoexercises.Soonafter,Iexcitedlystoppedeveryone,saying“Checkoutthisamazinglocation!”Mystudentslookedaroundconfusedandsaid,“Where?Here?”When

myexcitementlevelslessenedabit,Irealizedthatatfirstsight,thisisnotexactlyanideallocationforagreatphotoopportunity.Afterall,Laurelissittingatthebackofaparkingstructurefacinganalleyway.But,takeacloserlookatallthehintsthissiteisthrowingout.

ThisphotowastakeninSeattle,wherethereareusuallycloudsinthesky.Butevenoncloudydays,thesunmustbesomewhere.Theeasiestwaytodeterminewherethesunlightiscomingfromwithouthavingtolookupattheskyistolookattheobjects’shadowsontheground.InFigure6.7,theshadowsarefaintduetothecloudcoveragediffusingthesunlight,buttheyarestillthere(CLE-6).Thepositionofourshadowstellsusthatthesunlightiscomingfromtheright(CLE-1).TheplacewhereLaurelissittingdownfunctionsabitlikearoomwithanopeningtotheoutside(CLE-8).Theimportantthingtonoticeinthephotoisthattheopeningintotheroomisfacingthedirectionoflight.That’sperfect,becausewearedealingwithweakdiffusedlightonacloudySeattleafternoon.Sowemustmaximizeourcircumstances.

ThelogicalposewouldbetopositionLaurelfacingthedirectionoflight.Thiswouldplaceasmuchofthelightonherfaceaspossible.ThewallshowninFigure6.8islightgray,asinglecolor,anditstextureisquitesmooth(CLE-3).Thewall’scharacteristicsareperfectforaclean,non-distractingbackground.Thewall’ssubtletexturewilladdabitofvisualinteresttotheportrait.BecauseLaurel’sposeplacesherinthedirectpathoftheincominglight,thiswillnaturallymakeherbrighterthanthewallbehindher.Thewallisnotfacingthelight,butsheis.ThisaddressesCLE-9,andtellsusthatthedarkerbackgroundwouldbecomplementarytoLaurel,makingherstandoutinthephotograph.

FIGURE6.7

FIGURE6.8

Figure6.9:Thisphotorepresentsthefinalresultofourlocationanalysisbasedoncircumstantiallight.Mostpeoplewouldprobablywalkrightbyalocationlikethisandthinknothingofit.Butamazingopportunitiesarepresentnearlyeverywhere.Youjusthavetoknowwhattolookfor.For

thepose,IraisedLaurel’schinuptowardthelighttofillinhereyesocketswithlight.Otherwise,heruppereyesocketboneswouldhavecausedanunflatteringshadowonhereyes.It’salsoexcitingtonoticetheinversesquarelawoflightatworkbyseeinghowthelighthitsherupperarmsandthenjustimmediatelydropsoffintodarknessatthebottomofherarms.Keepthisinmind,becausethisknowledgewillhelpyouslimdownsomeoneinaphotograph.

FIGURE6.9CameraSettings:ISO100,f/2.8,1/350

Figures6.10and6.11:Whenyoursubjectisindoors,the10circumstantiallightelementsdon’tchangemuch.Infact,theonlyelementthatisnotapplicableisCLE-8.Duringoneofmyworkshops,Iwasdemonstratingwhattothinkaboutwhenposingmen.WhenIwalkedintotheroom,Iquicklynoticedhowcircumstantiallighthadcreatedsomethingspecialinthisroom.Theoriginallightsourceisthesun,butsincethesunlightiscomingthroughawindow,ournewmainlightsourcebecomesthelargewindow(CLE-1).Thedirectionoflightiscomingatasharpanglefromaboveasindicatedbythearrowcallout(CLE-1).

FIGURE6.10

Next,thewindowlightisilluminatingthebrightwhitewallwithdifferentintensities.Theinversesquarelawoflighttellsusthatifanobjectisveryclosetothelightsource—oneunittobeexact—thatobjectwillreceivethehighestamountoflightintensity.Therefore,itiseasytounderstandwhytheclosestwalltothewindow(callout1)wouldbethebrightest,andtheotherwall(callout3)isnotquiteasbrightbecauseitisfurtherawayfromthewindow.Butnoticehowmuchbrighterthewallclosesttothewindow(callout1)isfromtherestofthewall.Iwouldsayit’salmostthreetimesbrighter.Withthisinformation,weknowthatifweexposeforthebrightestpointilluminatingthebrightestwall,wecanturnthewhitewallcompletelyblackinaphotograph.TurningtheroomblackisthesametechniqueusedforFigure3.12inChapter3.Toachievethis,wemustmoveHansawayfromthewallindicatedbycallout3andhavehimleanagainstthecornerofthebrightestwall,indicatedbycallout1inFigure6.11.

FIGURE6.11

ANOTEABOUTMETERINGMostcamerashaveavarietyofmeteringmodesyoucanusethatdirectthecamera’slightmeterindeterminingwhattobaseitsreadingson.Whenthelightlevelsinthesceneare

similar—forexample,onanovercastday—thecamera’slightmeterworksverywellatdeterminingtheproperexposure.However,ifyouarestandinginsidearoomandthecameraispointedatabrightareasuchasawindow,thelightmeter,atitsdefaultsettings,willprioritizethebrightareaandexposeforit,leavinganythingoranyonestandinginfrontofthewindowcompletelyunderexposed.Thesameprincipleapplieswhenpointingthecameratowardadarkarea.Thecamerawillalwaystrytomaketheexposure18%grayoverall.Therefore,ifthecameraseessomethingverybright,itwilltrytomakeitdarkertoapproachmiddlegray.Ifthecameraseessomethingverydark,itwilltrytoletmorelightintotheexposuretobringituptoamiddlegray.Toavoidthesepotentialsituations,cameramanufacturerscreatedavarietyofmeteringmodes.Thesemodesdirectthelightmetertotakeintoaccountdifferentpercentagesoftheframeareaandignoretherest.Themostcommonmeteringmodesare:

Evaluative(Canon)orMatrix(Nikon)metering:Evaluative/Matrixmeteringtakesintoaccountmostoftheframeareabysplittingtheviewfinderintoindividualzonesandanalyzingeachzonefordifferenttones,prioritizingthezonethatcontainsthechosenfocuspoint.

Spotmetering:Spotmeteringevaluatesonlyaverysmallpercentageoftheframe,around3–5%.Basically,spotmeteringonlyevaluatesthelighttonesaroundyourchosenfocuspointandignoreseverythingelse.(Onsomecameras,Spotmeteringonlymeasuresthelightfromthecenterpoint,regardlessofyourchosenfocuspoint.)Thisisagreatmeteringchoicewhenyoursubjecttakesupverylittlespaceintheframeorwhenyoursubjectisheavilybacklit.

Partialmetering:ThisissimilartoSpotmetering.TheonlydifferenceisthatPartialmeteringtakesintoaccountalargerareathanspotmetering,measuringaround8–12%oftheframebasedonyourchosenfocuspoint.(AswithSpotmetering,onsomecamerasPartialmeteringmeasureslightonlyfromtheareainthecenteroftheframe,regardlessofyourchosenfocuspoint.)

Center-WeightedAveragemetering:Thismeteringmodemeasurestheentireframe,butitweighsitsmeterreadingmoreheavilyonthemiddleregionoftheframe,hencetheterm“center-weighted.”Thismeteringmodedoesnotprioritizetheareawhereyoufocus.Itevaluatesthescenethesameway,regardlessofwherethefocuspointis.

Myworkfocusesonphotographingpeople.Therefore,formeitmakesmoresensetouseEvaluative(Canon)orMatrix(Nikon)meteringbecausepeopleusuallytakeupmostoftheframe.IfIphotographedinsectsorbirds,thenSpotmeteringwouldmakemoresensesinceinsectsorbirdswouldtakeupaverysmallpercentageofthephotographicframe.Ifinditmoreefficienttobecomeveryfamiliarwithonemeteringmode.Youshouldknowhowitwillbehaveunderawidevarietyofcommonshootingsituations.Thisway,youcanpredicthowthecamera’slightmeterwillreadthescene,thusallowingyoutomakeanyexposureadjustmentspriortotakingthephotograph.

Figure6.12:Thisisthefinalresultofthetechniquesdiscussedabove.Asyoucanseebythecamerasettingsforthisphoto,movingHanstothewallindicatedbycallout1puthiminthepathofagreatdealoflightfromthesunstreamingthroughthewindow.Thisphotocomesdirectlyoutofthecamera.Itookthephotoinblackandwhite.Absolutelynothingwasdonetothisphototobrightenordarkenanypartoftheimage.Thisdemonstrateshowunderstandingthebehaviorsoflightwillallowyoutoknowwhenandhowtocreateportraitslikethis.Itneverceasestoamazemehowquicklythelightcanfalloff,turningawhiteroomintoacompletelydarkroom.Howthrillingisittotakeaphotoinwhichthefinalresultoutofcameralooksabsolutelynothinglikeyouwouldexpect,consideringtheroomitwastakenin?That’sthemagicoflight!Experimentingandfindingopportunitiesthataremadeavailabletoyouwiththeinversesquarelawoflightwillopenupawholearrayofcreativepossibilitiesforyou.

FIGURE6.12CameraSettings:ISO200,f/2.8,1/2000

Figure6.13:ThisphotoisagreatexampleoffindingandtakingadvantageofcleanpocketsoflightasmentionedinCLE-7.Pocketsofclean,high-intensitylightcouldbefoundonawall,atruck,oreventhe

ground.Inthiscase,Isawapocketofcleanandstronglightonthemarblestairsleadinguptothealtar(callout1).Theoriginalsourceoflightisthesun,butsincesunlighthaspassedthroughawindow,thenewmainlightsourcebecomesthewindow(CLE-1).Theraysofsunlightpassingthroughthewindowhaveslightlyalteredtheirpathbutnotenoughtoscatterlightraysallovertheplace.Itisstilleasytodrawastraightlinefromthesunlitstairstothesunitself.Thesepocketsofcleanandstronglightappeareverywhere,butyoumustbetrainedenoughtospotthem.Inthiscase,asthesunlightpassedthroughthewindowontheright,itleftaportionofthestairsstronglyilluminatedbyalmostdirectsunlight.

FIGURE6.13

Totakeadvantageofsuchbeautifullight,IaskedmodelDylantoliedowninthemiddleofthepocketoflight(callout1)onthemarblestairswithherheadfacingupward.Onceshewaslyingdown,Imadeadjustmentstoherpositiontomakesurethatherfacewasilluminatedbythehighestintensityoflightwithinthatpocket.Pleasenotethatinthisexample,Dylanisbeingilluminatedbydirectincidentlight,notreflectedlight.Also,theposewasadjustedsothatshewouldpivotherchintoward

thesununtilhereyesocketswereclearlyilluminated.Withoutthisposeadjustment,theboneunderneathhereyebrowwouldhavecastastrongshadowonhereyes.Finally,IaskedhertoclosehereyestogivethephotothemoodIdesiredandtoalsomaketheposeeasierforher.Herveilwasusedtoframeher,hidethemarblestairs,andfurtherincreasethedramabetweenthelightandshadowsonherdress.Winwin!

Figure6.14showsthefinalresultoffindingandproperlytakingadvantageofpocketsofcleanandhigh-intensitylight.

FIGURE6.14CameraSettings:ISO100,f/6.8,1/800

THESHOOTING-TOWARD-THE-SHADOWTECHNIQUEOneofthemostefficientwaystoachievecleanlightonsomeone’sfaceduringaclear,sunnydayistofindthedirectionofyoursubject’sshadowandletthatbeyourguidetodeterminewheretopositionyourselfand

yourcamera.Youcanusethistechniqueallday,anywhere,untilthesunistooweaktocastashadow.Dependingonthecircumstantiallightelementsinyourenvironment,youcanalsoachieveanicefilllightbackontoyoursubject’sface.Let’stakealook.

Figure6.15:IshotthisphotoattheGreystoneMansioninBeverlyHills.Althoughthisparticularlocationwiththerowsoftreesoneithersideofthepathisapopularlocationchoiceformanyphotographers,honestlyIcouldn’tcarelessabouttheprettylocation.AllIcaredaboutwashowexcellentthelightingwasatthatexactmoment.Don’tbeseducedbythelocation,beseducedbythelight!Thesunisthedirectlightsource(CLE-1).Thegroundthecoupleisstandingonisflat,lightgray,relativelysmooth,anddirectlyilluminatedbythesun.Thismakesthegroundaveryeffectivereflector(CLE-2andCLE-5).Thelightbouncingoffthegroundservesasmyfilllightinordertogivethecouple’sfacesaflatteringglow.Thebackgroundismadeupofapatternoftalltreesframingthecouple(CLE-3).Therowoftreesoneithersideisdarkgreenandheavilytextured,whichmeansthattheywillabsorbmuchofthelightstrikingthem.ThatiswhyIhadthecouplefaceawayfromthetreesandtowardeachother,maximizinghowmuchfilllightcomingfromthegroundwouldstrikeoursubjects(CLE-4).AlloftheseCLEitemscaughtmyattentionbecauseIknewtheywouldproduceagreatqualityoflight.

ButtheimportantonehereisCLE-6.Oneofthequestionsforthiscircumstantiallightelementis,“Whatisthedirectionoftheshadows?”ThecalloutarrowsinFigure6.15clearlymarkthedirectionoftheshadowsmyclientsarecasting.Allyouhavetodonowistostandinthesamedirectionastheshadowandshoottowardit.Notethatyoudonothavetostandonorintheshadowitself,justinthesamedirection.Thiswillplacethesunexactlybehindyoursubject.Theonlytypeoflightilluminatingthefrontofyoursubjectsisfilllight.Thequality,color,andintensityofthatfilllightdependuponthevariouscircumstantiallightelements.Inthiscase,theCLEsareperfect!Forthesereasons,thislocationcaughtmyattention—notbecauseitwaspretty,butbecausetheCLEslineupperfectlytocreateagorgeousportraitwithstunninglighting.

Figure6.16:Whenphotographingthiscouple’sengagementsession,wehadtoworkfastbecausetheheatwasalmostunbearable.Usingtheshadow-directiontechniqueallowsyoutoworkquicklyandcreate

beautifullylitimages.Thisisanothervariation—posingmyclientsinprofileinsteadoftowardme.Again,I’mstandinginthedirectionoftheirshadows,shootingbacktowardthem.Thestrongsundirectlybehindthemdoesnotcauseanyhotspotsvisiblefromcameraview.Furthermore,thegroundcreateshighquality,evenfilllight.Nothingatallisneededtocreatephotossuchasthisexceptacameraandyoursubjects.Evenasmartphonephotowouldlookgreatusingthistechnique.

FIGURE6.15CameraSettings:ISO200,f/4,1/640

FIGURE6.16CameraSettings:ISO200,f/2.8,1/640

Figure6.17:Iwantedtoshowthislastvariationtoemphasizehowimportantitistopayattentiontothesourceoffilllightinordertotakeanextraordinaryphotograph.First,Iplacedmyselfinthedirectionoftheshadowtotakethisphoto.Thiswillensurecleanlightfromthecameraangle.ThegroundcontainsmanyCLEpropertiesthatarefavorabletocreatesuperbfilllight.Thefilllightissostrongthatitreachesallthewaytoherface.Thisallowsmetoturnherheadtoeithersidetoshowherbeautyandelegance.Ifthefilllightwereweak,Iwouldhavehadtorelyonwallstobouncefilllighttowardherface.Butinthiscase,therearenowalls.AllIhaveistheground,soIhadbettermakeitcount.Posingandlightinggohandinhand.Ialwaysadjusttheposebasedonthelight.Lookattheimageandnoticehowflatteringthelightisfromheadtotoe.

FIGURE6.17CameraSettings:ISO200,f/2.8,1/800

FILLWINDOWLIGHTVERSUSDIRECTWINDOW

LIGHTFigure6.18:Thereisnodoubtinmymindthatbeingskilledatcircumstantiallightwillbeveryrewardingtoanyphotographer.EverypersonwholooksatthisphotoofDylanalwayscomplimentsthelightingandaskswhatlightingequipmentIused.Thephotowasdonewithoutanyequipment,andthisisprettymuchoutofcamera,withtheexceptionofsomeskinblemishremoval.ThereweremanyCLEsthatcaughtmyattention,butoneparticularelementwasthemostinfluential.

FIGURE6.18CameraSettings:ISO320,f/2.8,1/3000

IfyouguessedCLE-7,youwouldberight.Lookattheleftwall.Thatisagreatpocketofcleanlight.Betteryet,thelightiscomingstraightthroughamedium-sizedwindowontheright.Thispocketofcleanlightisprobablythreetofourtimesbrighterthantherestofthewallbecausethesun’spositionislinedupdirectlywiththewindow(CLE-1).Mostofthetime,windowsonlyletinfilllight,whichisrarelypowerfulenoughtocreateanycontrast.Butthiscasewasunique,becausethelightcomingthroughthewindowwasdirectlyfromthesun.Inotherwords,ifyouweretostandbythewindowandlookout,youwouldbeabletoseethesunrightinfrontofyou.Aninteriorwindowlinedupperfectlywiththesunisarareoccurrence.

It’salsowhatgivesthisphotoitslightingpunch.Thewallisalsosmoothandalightcreamcolor;therefore,italsomakesagreatfilllightreflector(CLE-2andCLE-4).Notethatforthisexample,mostofthelightistravelinghorizontally.Itcomesfromthewindowontheright,anditbouncesbackfromthewallontheleft.Positionyoursubjectinthemiddleofthisback-and-forthlightpathandyouobtainresultslikethis.Remembertheinversesquarelawoflight.IfIhadpositionedherclosertothewindowontheright,shewouldhavebeenilluminatedbyamuchhigherintensityoflight.Thiswouldhavecausedmetochangemyexposuretocompensatefortheextralight.InChapter3,doyourememberwediscussedhowthecloserthesubjectistothelightsource,thefasterthelightonthesubjectwillfalloff?Now,takeacloserlookatDylan’supperrightarm.Thelightisniceandbrighttowardherbicep,butalittlebelowthehalfwaypointofherarmthelightfallsoffveryquickly,almostintodarkness.Theonlyreasonyoucanseeherbackisbecause

thewallbehindherisreflectingfilllighttowardher.Ilikethisbalanceverymuch.Inmyopinion,thelightisbrightonherfacebutverysoftonherback.Ifindthistobeveryelegant.Icouldhavechosentopositionhermuchclosertothewindow,buttheresultwouldhavebeenamuchfasterlightfalloffandthefilllightwouldhavehadtotravelfurthertoreachherback.Thiswouldhavebeenmoredramaticandlesselegant.

Figure6.19:Ithoughtitwouldbefuntoputinperspectivemythoughtprocessregardinglightandlocationsatthebeginningofmycareerasaphotographer.BothFigures6.18and6.19areofabeautifulbrideposingonastaircase.ForFigure6.19,mythoughtsweresomethinglikethis:“Hey,lookattheprettystairway!Ihaveseenmanyphotographerstakeaphotoofabrideonastairway.Let’sshootthere.Itwillbegreat!”Therewasabsolutelynoregardforcircumstantiallight.Iwas100%seducedbythelocation,andIdidnotgiveaniotaofthoughttotheterriblelight.EvenwhenIhadtoincreasemycamera’sISOto3200,Ididnotthinktwiceaboutit.Now,inFigure6.18,itwasmyknowledgeofcircumstantiallightthatallowedmetorecognizetheamazingphotoopportunityatthatexactmomentonthestaircase.Itwasnottheprettystairwellthatcaughtmyattention;itwasthelight!Theresultsspeakforthemselves.

FIGURE6.19CameraSettings:ISO3200,f/4.5,1/125

THEIMPORTANCEOFTHELIGHTING

REFERENCEPOINTFigures6.20and6.21:InChapter4,thelastCLEasks,“Whatisthelightingreferencepointonwhichyouarebasingyoursubject’slighting?”ThisCLEisveryimportanttoconsiderinordertoachievearealisticlookandfeel.Whenmanyphotographersfirstlearnhowtouseflashes,theyblastlightfromtheflasheverywhere.Iseethishappeneveninroomsthatarefilledwithcharacterandmood.Anotherpopularthingtodoistogotothebeachatsunset,whenthemoodisnaturallywarmandromantic,andblastthecouplewiththecompletelyartificialwhitelightthatcomesfromaflash,obliteratingthemood.Thisbegsthequestion,wheredoesthatilluminatinglightcomefrom?

CLE-10addressesthisissue.Justbecauseyouhaveaflashdoesn’tmeanyouhavetouseit.Ifyoudouseaflash,atleasttrytoputaCTO(ColorTemperatureOrange)gelonittochangethewhitelighttoawarmerlight.Thelightonyoursubjectshouldatleastsomewhatmatchthelightingpresentinthearea.Ifitdoesn’t,thelightwilllookfake.Inthisexample,Ididnothaveaflashwithme,justmycamera.Mywife,Kim,mygoodfriendsMikeandJulieColon,andIweretakingastrollinRome.ThepuddleofwaterpresentedaperfectwaytoshowcasethefamousColosseum.Butthelightinghadtomakesensetocompletetheshot.

Thisisastreetsceneatnight.Theonlylightsilluminatingtheareawerethebuildinglights,thestreetlights,andthevehiclelights.Alltheselightsourceshadayellowishtinttothem.IfIhadaflash,Iwouldnothaveuseditbecausethewhiteartificial-lookinglightfromaflashwouldhavedestroyedalltheotherlightatthescene.Itsimplydidn’tmakesense.So,IhadMikeandJulieposetheirfeetbythepuddleandwaitedforvehiclestodrivebysothattheirlightswouldilluminatemysubjects’feetforme.Nowthesceneiscompleteand,again,nolightingequipmentwasused.Ithinkaboutthatlightingreference(CLE-10)everytimeIplanaphoto.CLE-10requiresspecialattentionwhentakingphotosindoorsoratsunrise/sunset.

FIGURE6.20

FIGURE6.21CameraSettings:ISO1600,f/4,1/80

WORKINGINDIRECTSUNLIGHTWITHOUTANYLIGHTMODIFIERS(SHADOWMANAGEMENT)Workingwithdirectsunlightonaclearsunnydaywithoutanyreflectors,diffusers,orflashesseemslikeitwouldbearecipefordisaster.Themajorissueisthatdirectlightcastsunflatteringshadowsonoursubjects.Asthesunisarelativelysmalllightsourceduetoitsdistancefromearth,thekindsofshadowsasmalllightsourceproducearealwaysverydarkwithclearlydefinededges.Thekeytosuccessfullyhavingagreatphotoshootwhenshootingunderdirectsunlightisshadowmanagement.Thehighcontrastthatresultsfromdirectsunilluminatingyoursubjectcanlookquitesexyinphotosforbothmenandwomen,butonlyiftheshadowsfallintherightplaces.

Whenphotographingpeopleindirectsunlight,therewillbetimeswhenunflatteringshadowswillbeinevitable.Aperson’sfacehasmanycurvesandprotrusions.Theboneovertheeye,thenose,thechin,andthecheekbonesallcauseshadowsonthefacewhenilluminatedbyasmalllightsource.Ifyouhaveadiffuser,youcouldsimplyputitabovethesubjectanddiffusethelighttosoftenit.Butifyoudonothaveanythingtohelpyou,thenyoumustyieldtothesun.Paycloseattentiontothedirectionofthesun,andonceyoufindit,youcanturnyoursubject’sfacetowardit.Sincethesunisalwaysaboveyoursubject,youmustkeepraisingyoursubject’schinuntilyoustarttoseethedistractingshadowsdisappear.

Figure6.22:Inthisimage,IdidnotraiseSydney’schinorturnherfaceenoughtowardthesun.Theresultisthattheeyesocketscausedaheavyshadowonhereyestothepointthatyoucan’tevenseethem.Hernoseformedthatlarge,awfulshadowthatalmostreachesherupperlip.Unlessyouwantthismessylook,thephotoisprobablynotawinner.So,howdoyoufixit?

FIGURE6.22CameraSettings:ISO100,f/6.3,1/800

Figure6.23:Here,IraisedSydney’sfacehighenoughtowardthesun.Thisisaslowprocess.Whenposingthisway,askyoursubjecttoturnhis/herfacetowardthesunandbaskinthesunlight.Asthesubjectmoves,tellhim/hertodothisslowly,sothatyoucanobservethefacialshadowsmovingandchanging.Mypersonalpreferenceistoraisetheheadhighenoughtowardthesunsothatitcompletelyilluminatestheeyesockets.Inthiscase,IaskedSydneytoclosehereyes.Thisnotonlylookssexy,butitalsokeepsherfromstaringdirectlyatthesun.Thesunlightistravelingfromabovetotheright.SoIchosetoremovealloftheshadowsfromthesideofherfaceclosesttothesun.Herrightsideinevitablyhadshadowsonit,soIaskedhertouseherrighthandtoliftupherhairtowardtherightsideofherfacetohidethedistractingshadows.Whenworkingintheseconditions,mostlikelyyouwillhavetochooseasidetobealmostshadow-free.Whenshootingcouples,youcanusetheotherperson’sfacetoblockthesideofhis/herpartnerthatcontainsthedistractingshadows.Thensimplyexposeforthesideofthefaceilluminateddirectlybythesun,andvoila!Inthisexample,the

shadowonherneckcausedbyherchinandjawbonearenotdistracting,inmyopinion,becauseitfallsbelowherface.

FIGURE6.23CameraSettings:ISO100,f/6.3,1/640

Figure6.24:Hereisanexampleofworkingwithacoupleunderdirectsunbymyselfwithnoequipmentorassistants.Forthisengagementphototosucceed,Ihadtocreateaposesuchthatthesunwouldnotcauseanydistractingshadowsonmyclients’faces.Tobesureofthis,Isimplyhadthemhugwiththewoman’sfaceuptowardthesun.ThenIaskedhimtokisstheleftsideofherfaceandsqueezehertightlywhiledoingso.Thiscausedbothofthemtolaugh,andwhenpeoplelaugh,theybegintoclosetheireyes.Thehardertheylaugh,themoretheireyeswillcloseandthebettershecandealwiththedirectsunlightonherface.Trycrackingupashardasyoucanwithoutclosingyoureyes.Itwilllookfreaky!

Thetiltoftheman’sheadisjustenoughtoseehisfaceandtohavethelightevenlyilluminateit.Hisheadpositionisalsooutofthewayofhers.HadIaskedhimtotilthisheadmoretowardthecamera,hewouldhave

inadvertentlycausedunwantedshadowsonherface.Thisisagreatexampleofhowposingcanandshouldbestrategizedtoworkwithcircumstantiallight.Theemotionsreflectedontheirfaces,thelighting,andtheposeallcometogethertocreateaphotothatlookscandidandbeautiful.Ifyouusethesethreeelementsright,thephotowilllooktrulygreat!

FIGURE6.24CameraSettings:ISO200,f/3.5,1/4000

TheEye-Adjustment-PeriodTechniqueFigures6.25and6.26:IusedaquicktechniquetokeepSydney’seyesopeneventhoughtheyarelookingdirectlytowardthesun.Thehumaneyetakeslessthanhalfasecondtoadjusttothelight.Ifyouaskyoursubjectstoclosetheireyesandthenquicklyopenthem,youhavelessthanhalfasecondtotakeyourphotobeforetheylookawayindiscomfort.Forthistechniquetowork,thephotographermustbepre-focusedandreadytogo.Thesubjectsshouldknowexactlywhereyouare,sothatwhentheyopentheireyes,theylookdirectlyatthelens.Thephotographershouldalsoaskthemtoconcentrateonkeepingtheir

foreheadmusclescompletelyrelaxed.Thiswillrelaxnotonlytheirforeheadsbutalsomostofthefacialmusclesthattendtotenseupinharshlighting.Notethattheeyeadjustmentperiodisonlyanissuewhenusingconstantlightsources.Astrobe’sdurationisfartoofastfortheeyetoreacttoit.Additionally,SydneyhassuchbeautifulgreeneyesthatIwasinspiredtousethatstripoflightyouseeonthegroundinthebehind-the-scenesshot(Figure6.25)tospecificallyhighlighthereyes.

FIGURE6.25

FIGURE6.26CameraSettings:ISO100,f/6.3,1/500

Figures6.27and6.28:Inthisexample,IwasshootingRachelforaboudoirsessioninHouston,TX,atmyfriendJoeCogliandro’sstudio.Asweclimbedupthestairstoreachthesecondfloor,InoticedawindowilluminatedbydirectsunlightsimilartoFigure6.18.Asthewindowlightcamein,itleftastrongpocketofcleanlightonthewoodenfloor(CLE-7).AssoonasInoticedthatcleanpocketoflight,Iknewthiswasaphotoopportunitythatmostpeoplewouldwalkbywithoutgivingitasecondthought.Theshadow’ssharpedgestellyouthattheyarebeingcreatedbyasmalllightsource(CLE-6).Thecontrastbetweenthepocketoflightandthenon-litareasisquitehigh.Totakeadvantageofthesebrightanddarkareasonthefloor,IpositionedRachelsothathereyeandhalfherlipwouldbeinthedirectpathofthestronglightandtherestofherfacewouldfallintocompletedarkness.Onceinplace,Ipre-focusedonhereye,askedhertorelaxherforeheadandfinallyopenhereyes.Beforehereyelidevenfinishedopening,Iwasalreadytakingthephoto.Thesunlightonhereyewassobrightthatitwouldhavetakennotimeatallforhereyetoadjustandcloseindiscomfort.Herarmwasusedtoframeherface,furtherdrawingtheviewer’sattentiontowhereIwantedit.ThiskindofphotorequiredusingtheCLEswellandthinkingoutsideofthe

box.TheCLEsgiveyouthechancetoseelightingpotentialinthemostunlikelyofplaces.Itisuptoyoutoexecuteyourvision.

FIGURE6.27

FIGURE6.28CameraSettings:ISO100,f/11,1/320

Figures6.29–6.31:DuringSydney’sphotoshootinLosAngeles,IkeptnoticingmanyCLEsineverydirectionweturned.InthepreviousphotoofRachel,thepocketofcleanlightappearedonthefloor(CLE-7).Inthissituation,thecleanpocketoflightwasonabuildingwallandwassurroundedbytreebranchshadows,creatingaperfectframe.That’sallweneededtogetagreatshotinanunlikelyplaceandwithnoequipment.ThetechniquewhenIhavethesubjectclosehis/hereyesandthenquicklyopenthemwasusedhereaswell,sinceshewaslookingdirectlyatthelight.Noticethatherchinisuptowardthesuninordertoremovedistractingshadowscausedbyherfacialfeatures.

AquicknoteaboutFigures6.30and6.31.Thetwophotosweretakenforfashionpurposesandwerenotportraits.Infashionphotography,itistheclothingthatmattersmost,andlightingshouldemphasizetheclothesandnotnecessarilythemodelwearingthem.Thisisthereasonwhy,inFigure6.31,herfaceisslightlydarkbutthedressiswelllit.Furthermore,thegroundthatSydneyisstandingonisblack,whichabsorbsmostofthelight(CLE-5).Forthisreason,hershoesareabitdark,aswell.Iftheshoeswereasimportantasthedressinafashionshootconsultation,

thenIwouldhavehadtoaddlighttoilluminatehershoes.Forportraitphotography,ofcourse,youwanttomakesurethatthefaceislitperfectly;theclothesaresecondaryinimportance.

FIGURE6.29

FIGURE6.30CameraSettings:ISO200,f/10,1/1000

FIGURE6.31CameraSettings:ISO200,f/10,1/800

ACLOSERLOOKATREFLECTIONVERSUSABSORPTIONWITHCIRCUMSTANTIALLIGHTInChapter3,wewentoverhowthecolorofobjectsnearoursubjectdirectlyimpactshowthelightwillbeabsorbedorreflected(reviewFigure3.26).Blackabsorbsthemostlight,whereaswhitereflectsthemost.WhenusingtheCLEsystemduringashootwithoutanyequipment,youshouldbeparticularlysensitivetothecoloroftheobjectsaroundyoursubject.Toillustratehowmuchinfluencethecolorofobjectshasonoursubjects,turnyourattentiontothefollowingphotographs.

Figure6.32and6.33:IfoundablackmetalfencewhilewalkingaroundwithSydney.IaskedherifIcouldtakeanunflatteringphotoofhertodemonstratethecolorbehavioroflight.Thesunisilluminatingtheblackfence,yetnolightseemstobebouncingbacktotherightsideofSydney’sface.Itisnotthefencecausingthisabsorption,butthefactthatthefenceisblack.I’llbetthatthefenceisextremelyhottothetouch,sinceitisabsorbingallthatlightenergy(electromagneticradiation)andconvertingitintothermalenergy(heat).

FIGURE6.32CameraSettings:ISO200,f/4.5,1/320

FIGURE6.33

Thefencecoloriscausingasplit-lightingsituationinwhichhalfofherfaceislitwellbuttheotherhalfisthreeorfourtimesdarker.Althoughsplitlightingmightnotalwaysworkwellforbeautypurposes,itcanworkwellformen.Itcanaddasenseofmysterytoaman,makingthephotomorevisuallyappealing.Theimportantthingtorememberisthat,toanon-photographer,thatblackfenceisjustafence,buttoyou,awell-trainedphotographer,thatblackfenceisactuallyafreelightmodifierthatsubtractslight.Howcoolisthat?

Figure6.34:Justafewfeetawayfromtheblackmetalfence,therewasasmoothwhitewalldirectlyilluminatedbythesun.UsingtheinformationfromChapter3(Figure3.26),youshouldknowhowthissmoothwhitewallcanbeused.PaycloseattentiontotheleftsideofSydney’sface.Hereyesarereceivingsomuchreflectedlightthattheylookquitebeautiful!ComparethistoFigure6.32;here,theeyeclosertothewallisactuallybrighterthantheothereye.Itisimportanttonoticeandunderstandthereasonforthisgorgeouslighting.Youneverwanttorely

onluckatphotoshoots.Thelightlooksincrediblysoftandflatteringbecausethewallisnotonlywhitebutalsohuge.RemembertherelativesizebehavioroflightinChapter3?ItisnocoincidencethatlightisstrikingSydneyfromeverypossibleangle.Thewallissobigthatitisreflectingwhitelightinalldirections,strikingeveryinchofherfaceandpreventingunflatteringshadowsfromforming.

Sydney’sarmsandclothingarealsoequallylitbysoftlight.Recallingtheinversesquarelawoflight,wecandeterminethatherfaceisbrighterthanherarmsbecauseitisclosertothewhitewall,whichisthenewlightsource.Theoriginalsourceoflightmighthavebeenthesun,butsincethereflectedlightcomingfromthewallisilluminatingher,thewallbecomesthelightsource.Thereisanexplanationforeverything.Ifyouunderstandhowlightbehaves,youcancreategreatimagesanywhere,withorwithoutequipment.

FIGURE6.34CameraSettings:ISO200,f/9,1/320

OPENSHADEDONETHERIGHTWAY

Asaphotographyeducator,Imustsaytherearefewthingsmoredifficultthanconvincingphotographersthatplacingyoursubjectinopenshadeisnotalwaysagoodthing.Openshadecleansupthelight,avoidingharshdirectsunlight,butitcancomeatapriceifyouphotographyoursubjectinpoorlight.Themostobviousgo-tosolutionistocrankupthecamera’sISOtocompensateforthelowqualityandquantityoflight.Iwasavictimoftheopenshadesyndromemyself.Duringmyearlyyears,whenImetwithmyclients,thefirstthingIdidwastolookforaspotwithopenshade,againwithoutanyregardforthequalityoflightinthechosenarea.

ThefirstthingInoticedwasthelackoflightinthesubject’seyesockets.Theyalwaysseemedtobedark,andtherewerenocatchlightsintheireyes.SeeFigure6.35.Likemanypeople,ItriedtoremedythisbyaddinglighttotheireyesinPhotoshop.Itlookedawful,butatleastyoucouldseetheireyes.IevenwentsofarastocreatefakecatchlightsintheireyesinPhotoshop.Nowadays,Isimplygetitrightincamera.Thesecrettoshootinginopenshadeistohavealargelightsourcebouncinglightrightbackatit.Clearly,ithelpswithcolorissuesifthelightsourceiswhiteorisalightcolor.Thislightsourcecouldbeanykindofstrobe,areflector,or,inthiscase,awhitewall.

FIGURE6.35CameraSettings:ISO200,f/2.8,1/800

TheIdealOpenShadeScenarioFigure6.36:WediscussedthisearlierinChapter4,butthislocation

representsanidealopenshadescenario,becauseitcontainsalltheCLEsnecessarytogiveyouterrificresults.Let’sbeginwiththedirectionoflight.Thesunistherootofthelightsource,anditiscomingfromthetopleft.Thewallontheleftandthepositionofthesunarenotallowinganyraysoflighttodirectlyhittheground.Thus,thegroundisinopenshade.Thewallontherightiswhiteandrelativelysmooth,whichmakesitaveryeffectivereflector,andthelightwillnothaveanystrangecolorcasts.Thewallonthelefthasbushesthatcreateacleanpatternofgreensandbrowns,whichabsorbagoodamountofthelightstrikingit.

Thatisthelandscapewearedealingwith.Nowwemustdecideonwheretheoptimumplacewouldbetopositionoursubjectandourselves.Theinversesquarelawoflighttellsusthatifweplaceoursubjectasclosetothelightsourceaspossible,theywillreceivethehighestintensitylight.Italsosaysthatwhenthesubjectisclosetothelightsource,thelightwillfallofffaster.Ifmysubjectispositionedfacingthewhitewallontheright,thenthewallbecomesmynewlightsource.

FIGURE6.36

Figures6.37and6.38:Fordemonstrationpurposes,IfirstaskedSydney

tostandasfarfromthewhitewallaspossible.Asyoucansee,thesizeandcolorofthewallontherightissuchaneffectivereflectorthatsheisreceivingfairlyhighintensitysoftlight.AlthoughIthinkthelightingisstunninginthisexample,twothingsbothermeabit.Becausesheisstandingsoclosetothebackground,thereisnotenoughseparationbetweenherandthebackgroundintermsoflightintensityandselectivefocus.Theinversesquarelawoflightsaysthatifthesubjectisclosertothelightsource,thebrighterthesubjectwillbe,andthelightfalloffwillmakethebranch-coveredwalldarkenslightly.

FIGURE6.37

FIGURE6.38CameraSettings:ISO200,f/3.5,1/800

Figures6.39and6.40:Next,IaskedSydneytomovemuchclosertothewhitewall.LookatthedifferencebetweenthecatchlightsinhereyesinFigures6.38and6.40.Sheisglowing!Youcanalsoseetheeffectsof

thewhitecolorofthewallbecauseherskinlookslighter.Atthisdistance,andwithanapertureoff/3.5,wehaveachievedsomemuch-neededseparationbetweenSydneyandthewallbehindher.Tomostpeople,thisgorgeousqualityoflightrequiresalargestudiosetupbut,infact,ifyourelyonyourknowledgeandnotonluck,it’spossibletoachievethislookanywherethereisbrightsun.Justrememberthattobeproficientatcircumstantiallight,youmustcombineyourknowledgeofthebehavioroflightwiththecircumstantiallightelementsforeveryphotoyoutake.

FIGURE6.39

FIGURE6.40CameraSettings:ISO200,f/3.5,1/800

PARTTHREE

THELIGHTINGBENCHMARKTESTANDHELPERLIGHT

CHAPTER7

THELIGHTINGBENCHMARKTEST

IwouldliketobeginbystatingthatIamparticularlypassionateaboutthischapter.Thereasonforthisheightenedenthusiasmisthatthe“lightingbenchmark”hashadamajorimpactonmylife,turningmypassionforphotographyintoagenuinemoney-makingbusinessmyfamilyandIcanrelyon.Thelightingbenchmarkwillpushyoutoeitherfindamazinglightusingcircumstantiallightelementsorcreateityourselfusinghelperlight,suchasreflectors,diffusers,flashes,orstrobes.

Unfortunately,manyportraitphotographersdealwithlessthanideallightbysimplyraisingthecamera’sISOtocompensateforpoorlighting.Butthisisnosolutionatall.Ifthelightintensityisweak,unflattering,orcomingfromthewrongdirection,raisingtheISOwillnothelp.Icreatedthelightingbenchmarkasatesttoquicklydeterminethequality,quantity,andintensityoflightatanygivenspotduringaphotoshoot.Ittookmeyearsofexperienceandexperimentationtodevelopthistest.Here’showitworks.

Duringaphotoshoot,perhapsanoutdoorshoot,Iscantheenvironmentinsearchoflightthatmeetsorisclosetothelightingbenchmarkbyapplyingmyknowledgeofcircumstantiallight.Iusethecircumstantiallightelements(CLEs)todeterminewherethebestlightexistsandtheoptimalanglefromwhichtophotographmysubjectswiththemostflatteringlight.Therearetimeswhenthelightingbenchmarkcanbeachievednaturallybasedontheelementsaroundyou(CLEs),andthereareothertimeswhenphotographictoolsareneededtoboost,modify,add,orsubtractthelightinsomewaytopassthelightingbenchmarktest.Thetoolstodothisarereflectors,diffusers,flashes,strobes,andconstantlightsources,suchasLEDlightsor“helperlight.”Oncethelightingbenchmarkhasbeenachieved,Ifindthatitgivesmeareferencepointforthecaliberoflightintheareathatwillyieldgreatphotographicresults.Italsoopensthedoortomorecreativelightingoptionsinadditiontothelightingbenchmark.

Realizethatyoushouldalreadybefamiliarwithhowcameraexposureswork,whatastopoflightis,andthebasicrelationshipbetweenISO,shutterspeed,andaperture.Also,donottreatthislightingbenchmarkasalightingrule,becauseitisnotarule!Photographyisanart,andthephotographermustcreatehisorherownart.Ifyourlightingvisiontakesyouawayfromthisbenchmark,byallmeansgoforit!Thelighting

benchmarkhasbeenaveryusefulandpracticaltoolformetomeasurethequalityoflightataspecificlocation,andithashelpedmetodecideifIneedtobringinareflector,diffuser,orflashtocompensateforlessthandesirablequalityoflight.Itisconvenienttohaveareferencepointtodeterminewhetherthequalityoflightisexcellentataspecificlocation,orifthelightshouldbeartificiallyenhanced.Thisisthemajorpurposeofthelightingbenchmark.

Manyphotosinthisbookwerenottakenwithintheparametersofthelightingbenchmark.However,whenIamphotographing,Ikeepthebenchmarkintheforefrontofmymind,whichhelpsmetokeeptheISOlowandthusachievethebestpossibleimagequality.RaisingtheISOtolevelsover1000beginstodegradetheimage,especiallyifyouaredoinganysortofpostproduction.Forthemostpart,Iassumethatasaprofessionalphotographer,youwishtoattainthebestimagequalitypossible.AlthoughtherearetimeswhenahighISOcangiveanimageacertainmoodandfeelingthatmightbedesirable,99%ofthetimegreatimagequalityshouldbeprioritized.Rememberthatthelightingbenchmarkisawayoftestingthelightyouareabouttoshootin.Ithelpsthephotographertoquicklydeterminewhetherheorsheneedstoboostthelightsomehow.Usethelightingbenchmarkasanaid,notaruleyoumustconstrainyourselftofollow.Attheendoftheday,youaretheartistandyoudecidewhatisbestforyouandyourclientsatanygiventime.

ADJUSTINGTHELIGHTTOFITTHECAMERASETTINGS,INSTEADOFADJUSTINGTHECAMERASETTINGSTOFITTHELIGHTIntoday’scameraculture,mostphotographersliketobragabouttheircamera’sISOcapabilities.DigitalcamerascannowemployISOsmuchhigherthan100,000.Ithinkthisisgreatifyouhavealow-lightsituationandyoumustgetthejobdone.HavingtheseISOcapabilitiescombinedwithextremelyfastlensesisanidealcombinationtoworkwith,eveninthedarkestofenvironments.Ifyouareaphotojournalistdocumentingawar,youcanraisethatISOtowhateveryouneedtoachieveafastenoughshutterspeedtofreezeanyactionunfoldingonthebattlefield.

However,althoughit’squitenicetohavethishighISOtechnologyatourfingertips,I’mnotsureISO25,000isusefulforfashion,portrait,orweddingphotography.Forthemostpart,peoplewantrichandflatteringlightfortheirportraits,notlowlightwithhighISOanddistractingdigitalnoise.IseehighISOtechnologyinourcamerasasadouble-edgedsword.Ononeside,itmakesitveryeasyforustoworkinanylightingenvironment,butontheotherside,itdoesn’texactlymotivateustodiscoverandworkwithanamazingqualityoflight.Thisisodd,becauselightisatthecoreofphotographyandshouldbeyournumberonepriority.

TheLightingBenchmarkTest:TheTurningPointinMyCareerEarlyinmycareer,therewereafewyearswhenmybusinesswasinserioustrouble.Myphotoslookedfine,mypersonalitywaspleasantwithmyclients,Ishowedupontimetomyshoots,andIdeliveredtheprintedphotosaheadofschedule.Butlittlebylittle,thephonestoppedringing.Thiswasaverydifficulttimeformyfamilyandme.Icouldn’thelpbutconsiderlookingforajobincorporateAmerica.Ifeltdownonmyluck,andtheworstpartwas,Ididnotunderstandwhy.Likeeveryoneelseinmyposition,Iblamedtheeconomy,thecityIlivedin,thepeoplenotwillingtopayfororvalueprofessionalphotography,etc.Theexcuseswereendless.

Theeye-openingmomentscametomethroughaseriesofphoneconversationswithprospectiveclients.Theinitialmeetingsweregoingwell,andprospectiveclientsandIseemedtobeaperfectmatchtoworktogether.Butaweeklater,Iwouldgetanemailfromthemstatingthattheyreallyenjoyedmeetingmebutweregoingtogowithanotherphotographer.Afterafewoftheserejections,Ibegantocallthemandaskthemwhattriggeredtheirdecisiontogowithsomeoneelse.Ineverarguedwiththemorbecamedefensive;Isimplylistenedtotheirresponses,thenthankedthemfortheirtime.Themainreasontheydidn’tchoosetoworkwithmewasthattheyfoundanotherphotographerwhoofferedthemmoretimeandprintsforlessmoney.

Inordertosurvive,Ireactedtothisinformationbyloweringmypricesandofferingmoreofmytime.ThisstrategycreatedadownwardspiraltothepointthatIwasmakingmuchlessmoneybutwasworkingharderthanever!TherewasnorespectfortheworkIdid.Tomyclients,Iwasnothingmorethantheirhiredphotographerwhotookphotos,andthatwasthat.IgrewbitterandangrythatIwasunappreciatedandthatIwasworkinglonghoursforpennies.Photographywasnolongerenjoyable.

ThenIrealizedsomething:photographycansimplybeacommodity,oritcanbeanartisticandstylisticdecisionthatclientsmake.Whenyourworklooksfinebutsimilartoeveryoneelse’swork,clientswillbasetheirdecisiononprice.Butwhenyourworkhasundeniablequality,artisticexpression,andstyle,peoplewilldowhateverittakestohireyou.Intheclient’smind,youbecomeanartistwhotheyneedandrespectversussomeonewhojusttakesphotos.Ibecamedeterminedtobecometheartistpeopledesired,notthehired-helpphotographer.

MyfirstmovewastoreviewtheportraitsandweddingphotosthatIhadtakenintheprevioustwoorthreeyears.InoticedthatIchoselocationstoshootbasedonwhatwas“pretty”—theprettybuilding,theprettypark,theprettyfountain,theprettyocean,etc.NeverdidIconsiderlookingforamazinglight.Why?BecauseIcouldgotoanylocation,andifthelightqualitywaspoor,Icouldjustincreasemycamera’sISOtomakeitwork.Thatpointofviewwasmydownfall.Iwasconstantlyseducedbythelocations,notbythelight.Infact,thinkingaboutqualityoflighthadnotevenenteredmyhead.

Outoffrustration,Ibecameobsessedwithimprovingthequalityoflightinmyphotography.Inoticedthatwhenshootingataplacewheregreatqualityandintensityoflightexisted,highISOssuchas1600and3200werenolongerneeded.IcouldtakeaphotowithafastenoughshutterspeedtofreezetheactionatISO100.Ibegantolookforlocationsbasedontheirqualityoflight.ThisdecisionkeptmyISOlow.IdidnotneedthehigherISOsensitivity,sinceIwasshootingwithbeautifullight.Fromthenon,Ibegantokeepmycamerasettingsfixedandtolocatelightthatfitmycamerasettings.

Nowtheonlywaytoobtainagoodexposureonmyclients’faceswastofindaplacewithgreatqualityoflight.Itiscounterintuitivetokeepyour

camerasettingslockedandfindthelightthatfitsthosesettings.Commonpracticewouldbetogoanywhereandchangethecamerasettingstogettheexposureright,regardlessofthequalityoflight.Buttakingthatpathmademelazyaboutfindinggreatlight,andworse,itmademyworklooksimilartoeveryoneelse’swork.Thereafter,Ibegantoexperimentwithdifferentsettingsthatwouldyieldtheverybestresultswiththemostflatteringlightforportraiture.Afewyearslater,Idevelopedthelightingbenchmark.

LIGHTINGBENCHMARKCHART

UNDERSTANDINGTHELIGHTINGBENCHMARK

CHARTAtfirst,theLightingBenchmarkChartmaylookdaunting,butitisactuallyreallysimpleandeasytoremember.Pleasenotethatthesethreechartsaredesignedtobeusedforportraitpurposes,notphotojournalism.Thechartsarebasicallybrokendownintothreedifferentparts,witheachpartrepresentingacommonlightingshootingcondition.Thechartsweredesignedtobeusedunderbrightconditions,usuallyfromtwohoursaftersunriseuntiltwohoursbeforesunset.Atanyothertimes,theambientlightisfartooweak.Thenumbersrepresenttheidealcamerasettingsforeachlightingcondition.Thethreepartsare:

BenchmarkforOutdoorStrongSunnyConditions:Thislightingbenchmarkistobeusedwhenconductingashootinstrongsunlightandyoursubjectisstandingexposedtodirectsunlight.Earlymorninghoursorlateafternoonhoursdonotconstitutestrongsunlightconditions.Notethatwhenphotographingasubject’sfacewithdirectsunlight,mostlikelyyourshutterspeedwillbemuchfasterthan1/500toobtainacorrectexposure.However,doingsolimitstheamountofposesorcreativeanglesyoucanchoose.Forexample,whenphotographingawomanunderdirectsunlight,havingherturnherchinuptowardthesunisprettymuchtheonlyoptionthatwillminimizeunflatteringshadowsonherface.Furthermore,noonecanhandlestaringrightintothesunformorethanasmallfractionofasecond,soclosingoralmostclosingtheireyesareyourmaintwooptionsindirectsunlight.However,byfindingawaytosoftenthestrongsunlight—withadiffuser,forexample—orhavethesubjectturnsothatthesunisdirectlybehindtheirhead,youwillhavemoreposingoptions.

BenchmarkforBrightOvercastConditions:Thislightingbenchmarkistobeusedwhentheskyisovercastoryoursubjectispositionedinopenshade.Whenshootingoutdoors,thisismymostusefulbenchmark.Forexample,ifyouarephotographingoutdoorsoncitystreetsandyoursubjectisstandingwithinthecoverofabuilding’sshade,thenyouusethisbenchmark.Anytimeyoursubjectispositionedinanykindofshadecastbyanyobjectinyoursurroundings,youusethisbenchmark.NotethattheonlydifferencebetweenthefirstbenchmarkandthisoneisthattheISOfortheovercast/openshadebenchmarkisISO400insteadof

ISO100forshootinginstrongconditionsexposedtothesun.

BenchmarkforIndoorStrongSunnyConditions:Thisbenchmarkistobeusedwhenshootingwithwindowlightoranytimetheshootoccursindoors.Again,theonlydifferencebetweentheindoorbenchmarkandtheovercastbenchmarkisthattheISOjumpsfromISO400toISO800forindoorsituations.Everythingelseremainsthesame.

Thebluenumbersoneachbenchmarkchartrepresenteasy-to-remembercamerasettingsonwhichtobaseyourlighting.Forexample,intheoutdoorstrongsunnyconditionsbenchmark,thebasesettingsareISO100,f/4,1/500.Ichoseaperturef/4asthebasetorememberbecausemostphotographersrunningabusinesshavelensesthatcanreachaperturef/4,butnoteveryonehaslensesthatcanreachaperturef/2.8orevenlower.Theothercamerasettingstotheleftandrightofthebluecolumnaresimplyvariationsthatwillyieldanequivalentexposurebutatdifferentaperturechoicesthatarecommoninportraitphotography.Forexample,ifyouarephotographingahighschoolsenior,youmightchooseanapertureoff/2.8toisolatethesubjectfromthebackground.Ifusingthefirstchart(outdoorstrongsunlightconditions),yoursettingswillsimplybeISO100,f/2.8,1/1000.Usingthebluecolumnasastartingpoint,youchangetheaperturefromf/4tof/2.8.Thatisincreasingtheamountoflightbyonestop.Therefore,tocompensateforthelargeraperture,wemustincreasetheshutterspeedfrom1/500to1/1000.That’sit!Ifyouweretochangetheaperturetof/2,thenthatwouldbeadifferenceoftwostopsoflightfromthebluecolumn.Thatwouldmeanthatyourshutterspeedwouldhavetocompensatefortwostopsoflight,whichwouldbe1/2000.

Allthreesmallchartsarebasedonfullstopstomakeiteasytoremember.ThewayIrecommendthatyourememberthesechartsisbyjustmemorizingoneofthem.Forinstance,allIhaveclearlymemorizedisthebluecolumnintheoutdoorstrongsunnyconditionsbenchmark.Thenumbersinthebluecolumnaresimple:ISO100,f/4,1/500.Fromthere,Iknowthatifmysubjectsstandinshade,IsimplychangetheISOto400andkeepeverythingelsethesame.Similarly,ifmysubjectsareindoors—forexample,insideahotelroom—IwouldchangemyISOto800andkeepeverythingelsethesame.Thethreeconditionchartsdon’tchangeexceptthattheISOchangesfrom100to400to800.Therestof

thecolumnsarenothingmorethanidenticalexposures,basedonthebluecolumn,atdifferentaperturesandshutterspeeds.

AcceptableShutterSpeedThefourthrowofeachbenchmarkisthe“acceptableshutterspeed,”labeledinred.Toreachtheidealbenchmark,quiteabitofsoftlightisrequired.Ipersonallydomybesttofindaplacetophotographmyclientswheretheidealbenchmarkcanbereached.However,sometimesyoujusthavetotakethephoto.Iconsideravarianceofonestopmorelightoronestoplesslightfromtheidealshutterspeedtobeacceptable.

IftheidealbaselineisISO100,f/4,1/500,thenofcourseIconsiderthelighttohavepassedthetest.Iftheshutterspeedvariesbyonestoplesslight(1/250)oronestopmorelight(1/1000),Iwouldstillbeabletoachieveaproperexposureonmyclient’sface.Onlocation,youwillfinditmucheasiertofindlightattheacceptableshutterspeedsettingsratherthantheidealsettings.However,ifIchoosealocationtoshootmysubjectsandthelightissoweakthatmysettingsforaproperexposureontheirfacesareISO100,f/4,1/125(twostopsbelowtheidealbenchmark),orevenworse,1/60(threestopsbelowtheidealbenchmark),Isimplywon’tshootthereandwillpolitelyaskmyclientstomovesomeplaceelse.Ifmyclientsaskmetoshootinthatlocationbecauseitisimportanttothem,thenIbringinhelperlight(flashes,reflectors,diffusers)inordertobringthelightuptotheidealbenchmark.Naturally,youwouldhavetoincreasetherelativesizeoftheflashinordertocreatesoftlightonyoursubjects.

Butwhatifthereistoomuchlight?Let’sdiscusstheoppositescenario.Inalocationwherethereismorelightthantheacceptablelightingbenchmarkparametersspecify,youaremostlikelyshootingindirectsunlightwithnodiffusion.Ifyoursubject’sfaceislitbystronganddirectsunlight,itwillcauseharshshadowstoappearduetothefactthatthesun,withoutanydiffusion,isaverysmalllightsource.Theonlywaytocontroltheresultingunflatteringshadowswouldbetoaltertheposetothelightandexposeforthebrightestpointintheframe.SeeFigures6.23and6.24fromthepreviouschapter.Thiscanbeachievedbyraisingthesubject’schintowardthesunorphotographingonlyonesideofthe

subject’sface,thentweakingtheposeuntiltheshadowseitherdisappear,areminimized,orarenolongerdistracting.Butknowthatwhendirectsunlightisdiffused,theresultinglightwillbewithinthelightingbenchmarkparameters.

Theothersituationwhenitwouldbeokaytoshootattheacceptableshutterspeed(whichisonestopmoreorlesslightthantheidealbenchmark)iswhenmyclient’seyesaretoosensitivetolight.Forexample,whenshootingheadshots,ImightbebetteroffattheacceptablesettingsofISO100,f/4,1/250inordertokeepthesubject’seyeswideopen.Thisisimportantforheadshots,sincenobodywantsaheadshotwithsquintyeyesorwherethesubjectlooksasthoughtheyareinpain.

LIGHTINGBENCHMARKSCENARIOSRemember,thelightingbenchmarkismoreofalightingtest.Iuseittodeterminewhethertheidealbaselineexistsnaturallybythewaythesunlightbouncesoffbuildings,theground,oranyotherobjectatthescene.AssoonasIsetfootoutsideforaphotoshoot,Iusethecircumstantiallightelementspreviouslydiscussedtofindthebestlightaroundme.IfIfindaspotthatlookspromising,Itakeatestphototodeterminewhetherthelightpassesthebenchmarktestornot.Forexample,ifIseeaplaceinopenshadethathasagreatdealoflightilluminatingitfromothersourcesbouncinglightintotheopenshadearea,IwillposemyassistantormysubjecttotakeaquicktestphotoatISO400,f/4,1/500.IuseISO400becauseI’mshootingmysubjectsinopenshade.Iftheexposurelooksgoodonthesubject’sfaceatthosesettings,thelighthaspassedthetest.Butiftheexposureistoodarkatthosesettings,Imustdooneofthefollowingthreethings:

Movemysubjecttoadifferentplacewithbetterlight.

Adjusttheposetoplacemoreofthesurroundingfilllightontheface.

Rotatethesubjecttowardthebrightestareainfrontofthemtopossiblyplacemorelightontheface.

Ifallthisfails,ormyclientswantmetoshootatthatspecificlocationbecauseit’simportanttothemortheyjustlovethatspot,thenIbringinhelperlighttoboosttheweaklightinthatarea.Withsomeexperience,boostingthelightwithhelperlightwilltakelessthanaminute.Trustme,it’sworththeextraeffort.Justtoremindyou,helperlightcomesfromflashes,reflectors,diffusers,videolights,oraportablestrobe,ifyouhaveone.Ofcourse,helperlightmustbemodifiedinordertoproduceflatteringresults.Forexample,aflashshouldbemodifiedtoincreaseitsrelativesizetoproducesofterlight.

NotethatIdon’tchangemycamerasettingswhenIbringinhelperlight;Iboostthelightinsteadtofitmycamerasettings,whicharelockedin.Iamawarethisiscounterintuitivetomostpeople,buttryit.Itwillcompletelychangethewayyouseelight.Ifanything,trypracticingthiswaywithfriends.Let’susemytrustedmannequin,namedPaco,tolookatsomeexamplesofhowyoucanpracticeworkingwiththelightingbenchmark.

FailingtheLightingBenchmarkTestFigure7.1:Theveryfirstthingyoushouldconsiderwhenchoosingaplacetopositionyoursubjectsisthelistofcircumstantiallightelements(CLEs).Forexample,CLE-3asks,“Doyouseebackgroundsthatarecleanandfreeofdistractingobjects,havesimilarcolorelements(suchasbrownsorgreens),orthatcontainapattern?”Inthiscase,theanswerwouldbeyes.Thatcream-coloredgaragedoorispaintedjustonecolor,makingitacleanandnon-distractingbackgroundforyoursubject.

FIGURE7.1CameraSettings:ISO400,f/4,1/250

Figure7.2:Next,wesetourcamerasettingstotheidealbenchmark.Thisareaisunderopenshade,whichmeansweusetheopenshadeorovercastskiescharttotestthelightingatthisspot.Thecamerasettingswillalwaysbesetatourstartingpoint(seethebluecolumnonthechart).ThisisISO400,f/4,1/500.Takeatestshot.Howdoestheexposurelook?Doyouhaveaproperexposureonyoursubject’sface?Inthiscase,clearlywedonot.Theexposureisfartoodarkatthesesettings.Thistellsyouthatthecircumstantiallightelementsherearenotworkinginyourfavor.Theobjectsinthisareaandthesunlightarenotalignedtocreategreatbouncelighthere.

Figure7.3:Next,wetakeasecondtestshotwiththe“acceptableshutterspeedof1/250.”Asyoucansee,evenat1/250thephotostilllooksdark.Payparticularattentiontothesubject’seyes.YoucanseehowmuchdarkerPaco’seyesocketsarecomparedtohisforehead.Asportraitphotographers,wecareabouttheeyes,nottheforehead.Soweshouldfocusourattentiononhowwelltheeyesocketsareexposed.Thisareafailsthelightingbenchmarktest.

FIGURE7.2CameraSettings:ISO400,f/4,1/500

FIGURE7.3CameraSettings:ISO400,f/4,1/250

Figure7.4:Askyourself,“Whydidthisplacefailthetest?”Youmustgothroughthementalexercisestotroubleshootthelocation.Knowingspecificallywhysomethingfailsisevenmoreimportantforyourgrowththanknowingwhysomethingsucceeds.Figure7.4containsalltheinformationyouneedtodeterminewhythislocationfailed.UsethecircumstantiallightelementsintroducedinChapter4toinvestigate.

ThemainreasonwhythislocationfailedisbecausePacoispositionedinaplacewheretherearenoobjects,walls,etc.thatarebeingdirectlyilluminatedbythesun.Therefore,thepossibilityofbouncelightdoesnotexist.Thereisopenshadeeverywherearoundhim.Eventhebuildingsin

frontofhimarealsoinopenshade.ThereasonwhyPaco’sforeheadismuchbrighterthanhiseyesisbecause,inthissituation,mostofthelightistravelingverticallyfromtheskydowntotheground.Thereisnotenoughlighttravelinghorizontallyorbouncingoffanearbybuildingorobjecttowardhiseyes.Furthermore,CLE-5asks,“Whatisthecolor,material,andtextureofthegroundyoursubjectisstandingon?”Theanswerhereisblacktar,whichisnotexactlyagreatreflector.Thelightinopenshadeisweaktobeginwith,andnowthelightisweakenedevenmorebythedarkground,whichabsorbslightinsteadofreflectingit.

FIGURE7.4

PassingtheLightingBenchmarkTestFigure7.5:Hereisanotherpromisinglocation.ThewallbehindPacoissmooth,clean,andpaintedasinglecolor.AccordingtoCLE-3,thismakesaperfectbackdropforaportrait.WecanpositionPacothereandseeifthislocationpassesthelightingbenchmarktest.

FIGURE7.5

Figure7.6:Againweareinopenshade,sowemustusetheopenshadebenchmarkofISO400totestthisspot.ThecamerasettingsareISO400,f/4,1/500.Thetestshotrevealsthatbothofourcriteriaaremet.First,theexposureisspoton,andsecond,Paco’sforeheadandhiseyesocketsareevenlyexposedrelativetoeachother.ThistellsyouthatPacoisreceivingagreatdealofhorizontallightilluminatinghiseyes.

FIGURE7.6CameraSettings:ISO400,f/4,1/500

Figure7.7:Whydidthislocationpassthelightingbenchmarktest?Ifwetakeacloserlookatthecircumstantiallightelementsinthisscene,wecaneasilydeterminewhythisareaisasuccess.ThemostinfluentialCLEhereisCLE-2,whichasks,“Istherearelativelyflatobjectbeingilluminateddirectlybythemainlightsourceincloseproximitytothesubject?”Theanswerhereisadefiniteyes!Next,CLE-4asksaboutthepropertiesoftheobjectsaroundoursubject.ThereisahugewalldirectlyinfrontofPaco.Thesizeofthewallincreasestherelativesizeoftheoriginallightsource,whichisthesun.Nowweknowwehavesoftlightcomingfromthatwall.Thewalliswhiteandsmooth,whichmakesita

veryeffectivereflector.CLE-5asksaboutthegroundcharacteristics.Well,thedrivewayisalightercolorthantheroad,whichisalmostblack.Thedrivewayisalsosmooth.Thismeansthatagoodamountofthelightstrikingthegroundisreflectingbackup,furtherenhancingthelightonoursubject.

Sowhatdidwelearnfromthis?ThemaindifferencebetweenthislocationandtheoneinFigure7.2isthatweusedtheCLEshereinamuchmoreeffectivewaytoachieveabeautifulexposurewithourcamera’slockedsettingsofISO400,f/4,1/500.Thelargewhitebuildingwall,directlyilluminatedbythesun,createdenoughbouncelighttomakeallthedifference.Therefore,thislocationpassesthelightingbenchmarktestwithflyingcolors.Forme,thereallymind-bogglingthingisthatthesetwolocationsareonlyafewyardsawayfromeachother—lessthana20-secondwalk.Whowouldn’twanttotaketheextraefforttolookaroundandfindanearbyspotthathassomuchbetterlight?

FIGURE7.7

RotatingtheSubject’sHeadTowardtheBrightest

CircumstantialLightElementintheSceneFigure7.8:Studythissceneforaminuteandnoticethecallouts.Pacoispositionedunderthecoverofopenshadeontheleftsideoftheframe.Infrontofhim,thereisabuildingdirectlylitbythesuntohisleft,andabuildingcoveredinshadetohisright.IalsopositionedPacoherebecausethereisaclean,non-distractingwallbehindhimthatcouldmakeagoodbackdrop(CLE-3).Myquestionwouldbe,“IfPacoistoofarfromtheshadowlinearea(CLE-6),whereisthebrightestspotinfrontofhimtoproduceaproperexposureonhisface?”

FIGURE7.8

Figure7.9:First,IplacedPacofacingtheshadedgaragedoorsacrossthealleywayfromhim.Attheveryleast,thiswillresultinaminimumimprovementinbouncedlight,becauseifPacoisfacingtheyellowJeeparea,nolightatallwillbebouncedtowardhim.Despitebeingshaded,thegaragedoorsarelarge,flat,andwhite(CLE-4).Theseattributesmakethesedoorsfarmoreeffectiveatbouncinglightbackintohisface.

FIGURE7.9

Figure7.10:IsettheexposuretoISO400,f/4,1/500becauseheisinopenshade.Thetestphotolooksgood,butnotgreat.Inmostcases,thiswouldbefine.However,inthiscase,improvingtheexposuresignificantlywouldtakenoeffortatall,asyouwillseeinthefollowingexample.

FIGURE7.10CameraSettings:ISO400,f/4,1/500

Figure7.11:AllthatwasneededtoimprovetheexposureatthebenchmarksettingsofISO400,f/4,1/500wassimplytotakeasecondtopayattentiontothecircumstantiallightelementsaroundthesubjectbeforerushingtopushtheshutterbutton.CLE-2asks,“Istherearelativelyflatobjectbeingilluminateddirectlybythemainlightsource,asdeterminedbyCLE-1,incloseproximitytothesubject?”Clearlytheanswerhereisyes.ToPaco’sleft,thereisalargebuildingwithflatwhitewallsthataredirectlyilluminatedbythesun.Thatcontinuousbrightwall,incombinationwithasmallposeadjustment,isallyouneedtoquicklyimprovetheexposurewithouthavingtochangethecamerasettings.By

rotatingPacotowardthesunlitbuilding,hereceivesmuchmoreofthefilllightreflectedfromthebuildingontohisface.

FIGURE7.11

Figure7.12:AttheexactsamesettingsasFigure7.10,theexposureonPacohasbeengreatlyimprovedbyjusttwominoradjustments—whereheisfacingandmyshootingposition.Theseadjustmentsharnessedthefilllightpossibilitiesthatexistedinthatenvironment.Payingattentiontothesmalldetailscanmakeabigdifference.Notethatinthiscase,nohelperlightwasneededtoimprovetheexposure.Thecircumstantiallightelementsinthescenetookcareofit.AlthoughPacowasatleast20feetfromthesunlitbuilding,theintensityoflighthittingthatbuildingwasstrongenoughtoreflectlightallthewaybacktoPaco.Keepinmindthatifyoucannotmoveyoursubjects,youcanrotatethemtowardthebrightestspotatthescene.

FIGURE7.12CameraSettings:ISO400,f/4,1/500

MovingtheSubjectTowardHigherIntensityLighttoAchievetheLightingBenchmark

Figure7.13:Inmostcases,outdoorlocationshavepocketsofvaryingqualitiesoflight.Ourgoalasportraitphotographersistospotthebestexistinglightquickly.Workingwiththebestqualityoflightincreasestherobustnessofthephotographicfileandilluminatesyoursubjectwiththemostflatteringlightavailable.Inthisexample,Ifoundaroomoutdoorswithonesideexposedtotheoutsidelight.CLE-8asks,“Arethereareaswherethereisanytypeofceilingthatcastsopenshade,oraceilingwiththreewallsleavingonesideopentotheoutside,suchasanoutdoorgarage?”Well,thisisagaragesoit’sperfect.Insituationslikethis,mostofthelightistravelinghorizontallyfromtheoutsideintothegarage.Theroom’sceilingblocksthelightcomingfromthesun.Illuminatingasubjectwithstronghorizontallightsuchasthisresultsinaportraitwithexceedinglyflatteringlight.Atfirst,IpositionedPacoclosetothebackwall.Totestthelightatthisspot,IsetmycameratoISO400,f/4,1/500becausePacoisstandinginopenshade.

FIGURE7.13

Figure7.14:Theresultofthetestphotofallsshort.Althoughitappearedpromising,thelighthadtotraveltoofarfromtheentranceofthegaragedoortothebackwall.Theresultingexposureatourlockedsettingsis

verydark.Naturally,youareprobablyaskingyourself,“WhynotjustraisetheISOtoimprovetheexposure?”Well,thatgoesagainsteverythingwearetryingtodohere.Thepointofthelightingbenchmarkistotrainourselvestomaketheextraefforttofindthebestpossiblelight.

Figure7.15:Thenextspotwewilltestisinthemiddleofthegarage.Withourknowledgeoftheinversesquarelawoflight,weknowthatthecloseryoursubjectistothelightsource,thehighertheintensityoflightwillbe.ThismeansthatpositioningPacointhemiddleofthegarageputshimclosertothelightsource.Butthehighestintensityoflightoccursbystandingascloseaspossibletothelightsource.Well,themiddleofthegarageiscertainlynottheclosestwecangettothelight,solet’stakeatestshottoseehowmuchtheexposureimproved.

FIGURE7.14CameraSettings:ISO400,f/4,1/500

FIGURE7.15

Figure7.16:Withoutchangingthecamerasettingsfromouropenshadebenchmark,weseethattheexposureimproved,butnotbyverymuch.Weexpectedthat,becausetheinversesquarelawoflighttellsusthattheintensityoflightfalloffdoesnotchangemuchbeingsofarawayfromthelightsource.ReferbacktotheinversesquarelawoflightchartinChapter3.Youwillseehow,atthisdistance,thelightintensitychangesonlybyafewpercentagepointscomparedtoPaco’spreviousposition,whichisnotenoughtomakearealdifference.Conclusion:atthisspot,thetestphotofailstoproduceagoodexposureonthesubject.

FIGURE7.16CameraSettings:ISO400,f/4,1/500

Figure7.17:Finally,wemovePacomuchclosertothelightsource.Atthisdistance,theinversesquarelawoflighttellsusthatPacowillbereceivingamuchhigherintensityoflightcomparedtowhenPacowasinthemiddleofthegarage.Again,wesetourcameratoISO400,f/4,1/500totakeatestshotinopenshade.

Figure7.18:Success!Bytakingtheextrafivesecondstomoveoursubjecttobetterlight,wehaveachievedthelightingbenchmarkforopenshade.Thiswouldbetheideallocationtophotographyourrealsubject

withthemostflatteringlight.Fromthisspot,youcanchangeyourshootingangletocreateshortlight,broadlight,flatlight,splitlight,oranyothercreativelightingyoucanthinkof.

Noticehowbyunderstandingthewaylightbehaves(coveredinChapter3),wecanusethisknowledgetoquicklyfindthebestpocketsoflightavailable.Betteryet,wedidnothavetouseanyhelperlighttoachievetheopenshadelightingbenchmark.Ifyouareonaphotoshootbyyourself,usingtheCLEstoachievethelightingbenchmarkisideal.Inthenextchapter,wewillexplorehowtousehelperlighttogiveweaklighttheboostitneedstoachievethelightingbenchmark.

FIGURE7.17

FIGURE7.18CameraSettings:ISO400,f/4,1/500

CHAPTER8

HELPERLIGHT:REFLECTORTECHNIQUES

Justlikeanyotherseeminglybasictool,areflectoratfirstappearstobeprettyself-explanatory.Itallowsthephotographertoredirectlightwhereheorshewantsittogo.Reflectorsaremostcommonlyusedtoaddlighttoasubject’sposition,asneeded.Overtheyears,however,Ihavelearnedthatthereareeffectivetricksyoucanusetogetthemostoutofyourreflector.

Lightfromthesuntravelsverticallyfromtheskydowntotheground,andthereflectorcanredirectthelight’strajectorytoahorizontalpathfromlefttoright.Yoursubjectwillthenbeilluminatedbyhorizontallight,enablingthelighttofillinallthedarkareasthatverticalsunlightcannotreach,suchasfacialbonestructure.Probablythebiggestchallengethatcomeswithusingverticallightishowtoilluminatesomeone’seyesockets.Thebonejustabovetheeyeandbeneaththeeyebrowthatcreatesadarkshadowwhenlitfromaboveiscalledthesupraorbitalarch.Toilluminateeyes,lightmusttravelhorizontallytodirectlyentertheeyesocket.Thenoseisanotherproblematicfeaturethatcancausedistractingshadows.

Reflectorscanplacelightwhereyouwantittoreducethoseunwantedshadows.Althoughreflectorsaremadeofnothingmorethanareflectivematerial,theymustbeusedwithcare.Thinkoftheiruselikesaltingyourfood.Alittlesaltcanawakenyourtastebudsandmakeyourfoodtastesomuchbetter,butifyouaddtoomuchsalt,aperfectlywonderfuldishbecomesinedible.

NOTALLREFLECTORSAREEQUALIfyoutakeatriptothecamerastore,youmightbeoverwhelmedbythenumerouschoicesofreflectoroptions.Everymanufacturerwantsapieceofthepie—allphotographersneedareflector—andthereforemanufacturershavedevelopedeverypossiblepermutationofreflectorwecouldpossiblywant.Inmyopinion,havingahigh-qualityreflectorisextremelyimportant.Ihavepurchasedmanycheapreflectorsinmyyears,andtheywereawful.

Therearetoomanyreflectorfeaturestomention,soI’lldiscussjustthemostimportantonestolookfor.Mostreflectorsareeithercircularorsquarewithroundedcorners,andtheycomeinsilver,gold,white,black,

zebra(goldandsilver),zebra(whiteandsilver),andmanyothercolorcombinations.Inordertobeahigh-qualityreflector,whenitisexpandedthereflectivematerialshouldhavenocreasesorfolds,anditshouldnotbelooseinanyway.Ifanyofthesedefectsarepresent,thelightwillbereflectedinunpredictabledirections.Inmyopinion,thebestreflectorsatthetimeofthiswritingareCaliforniaSunbouncereflectors.Theyareveryexpensive,butthey’reworththemoney.OthergreatmanufacturersareWestcottandProfoto.TheProfotoreflectorsarecollapsibleandhavehandles,whichmakesthemverypractical.WestcottmakestheOmegareflector,whichisa10-in-1reflector.TheOmegareflectoralsocomeswithaconvenientsuctioncup,whichcanbeusedwhendiffusingdirectsunlightcomingthroughawindow.Iownmanydifferentsizesofreflectorsanddiffusers,butifIhadtochooseonesize,Iwouldbuyonethatislargerthan40inchesbutsmallerthan52inchesindiameter.Thissizerangeisthemostpracticalforportraiture.Itislargeenoughtosoftenthelightyetsmallenoughtotransporteasily.

DIRECTREFLECTIONVERSUSDIFFUSEDREFLECTIONAreflectorismostlikelythefirstlightmodifieraphotographerbuyswhenstartingacareerinphotography.Weallknowitreflectslight,butwhatmaynotbesoobviousishowtouseareflectorsothatyoursubjectremainscomfortableasarecipientofthatstrongreflectedlightthatissynonymouswithreflectors.Therearetwomajortechniqueswhenusingareflector:directreflectionanddiffusedreflection.

DirectReflectionAdirectreflectionoccurswhenthesilver,gold,orzebra(silverandgold)sideofthereflectorisusedtoilluminatethesubject.Thesematerialsaredesignedtoreflectallthelightthatstrikesthereflectorbacktowardyoursubjectwithmuchthesamebehaviorandintensityasamirror,whichistheultimatedirectreflectiontool.Thematerialissoreflectivethatwhenitisdirectedstraighttowardthesubject,itisalmostasifyouarethrowing

thefullpowerofthesun’sraysintotheireyes.Thisisariskyanduncomfortablemoveforsubjects,becausethehumaneyecannothandlethatkindoflightintensity.

DiffusedReflectionAdiffusedreflectionoccurswhensomeofthelightraysthatstrikethereflectorareabsorbedbythelessshiny,whitefabric.Theresultisasofter,diffusedlightonthesubjects.

Aswitheverythingelseinphotography,youarefreetodoasyouseefit,butinmyopinionthebestwaytouseareflectoristodooneofthefollowingwithit:

Giveadecentqualityoflightaboost,usuallywithinonestopoflight

Enhancethelightinyoursubject’seyestogivethemcatchlights

Redirectextralighttowardaspecificlocation

Ialwaysrecommendthatyouposethesubjectindecentlighttobeginwith,thenusethereflectortoaddsomeoomphtothelight.Whileanythingispossibleinphotography,Ipersonallydonotrecommendusingareflectorasasubstituteforbadlight.

DIRECTREFLECTIONTECHNIQUESTherearetimeswhenitisdesirabletousethefullpowerareflectorcanprovide.Itcanbeusedtoseparateyoursubjectfromthebackground(Figure8.1).Ifthereisnowallbehindthesubject,itcanmakethebackgroundmuchdarker(Figure8.2).However,therearecompromisesthatmustbemadeforreflectingthatmuchcontinuouslightintoasubject’seyes.

FIGURE8.1

FIGURE8.2

TimetheEyesIfindthatwhenpeopleuseareflectorasadirectreflectiontool,theextremeintensityofthereflectedlightmeansthatitwillmostlikelybecomethedominantormainlightsource.Thiscouldproduceanunbearableintensityoflightinthesubject’seyes.Naturally,ifyouposethesubjectwithhisorhereyesclosed,orifyouareilluminatingtheside

ofthefaceawayfromtheeyes,thisdirectreflectiontechniquecouldwork.Buthereisanapproachthatworksquitewellwhendonecorrectly.

AsdiscussedinChapter7,whensomeone’seyesareclosed,ittakestheaveragepersonalittlelessthanhalfofasecondtoreacttobrightnesswhenopeningtheireyes.Askingapersontolookatsomethingasbrightasintensesunlightfromareflectorwillcauseimmediateeyestrain,forcingyoursubjecttoturnawayinextremediscomfort.Whenclientslookintoareflectorthatbright,theywillquicklylosetheirpatienceaswellastheirwillingnesstocooperatewithyou.Thesolutionistotakeadvantageofthehalfsecondittakestheretinatoadjusttobrightlight.Let’slookatanexample.

Figure8.3:ThefirstthingtonoticehereisthatmodelJacquelynispositionedatalocationwithdecentlight.Butthelightingisflat;thelightintensityonthewallbehindheristhesameasthelightintensityilluminatingher.Togivethisflatlightsomepunch,wemustincreasetheintensityoflightonthesubjectsothatshewillbeatleastslightlybrighterthanthebackground.Ifindmostphotographersdonotnoticeaproblemwhenthelightintensitiesbetweenthesubjectandthebackgroundmatch.Thosewhodonoticetheissuedon’tthinkitisworththetroubletofixbecausetheyconvincethemselvesthatitcanbeadjustedinPhotoshop.Let’sseewhathappenswhenwedecidetofixitincamerabybringinginareflectorusingthesilversidetocreateadirectreflection.

FIGURE8.3

Figure8.4:Usingthesilversideofareflectortoreflectthesuntowardoursubjectisobviouslyadirectreflection.Thismeansthatthesubjectshouldbeposedwithhereyesclosedsothatsheremainscomfortable.Removethereflectorforamomentandaskyoursubjecttolookataspecificspot.Onceshehasthatpointofreference,askhertoclosehereyes.Positionthereflectortoreflectasmuchlightaspossibletowardyoursubject.Counttothreeandhaveheropenhereyesasquicklyaspossibleforjusthalfasecond,thenimmediatelyclosethem.Yourjobistopushtheshutterexactlywhenhereyesareopen.

FIGURE8.4

Figure8.5:Theresultsspeakforthemselves.Usingthisdirectreflectiontechniquetoaddsomehotsaucetotheotherwiseflatlighttookthisimagetoadifferentlevel.Thisphotolooksdynamicandalive,whereasthelightwithoutthedirectreflectionwasflatandboring.Whenusingthistechnique,besuretokeeptrackoftheshadowscausedbythestrongdirectionallightonyoursubject’sface.Adjusttheposeaccordinglytokeepunwantedshadowsawayfromtheface.

YoumightbeabletoincreasetheexposureinPhotoshop,butcreatingnaturalcatchlightsinyoursubject’seyes,suchasinthisexample,wouldbeamuchmoredifficultchallenge.Takingaminutetoadjustthelightandimprovetheimageincameraalsosavesyoucountlesshoursofediting.

FIGURE8.5

IncreasetheDistancetoSoftentheEffectsofDirectReflection

Wealreadyknowthatifweusethesilver,gold,orzebrasidesofareflector,theresultscanbedazzling.However,wealsoknowthatlightlosesintensityasittravels,sowecantakeadvantageofthatbehaviorduringphotoshoots.

Figure8.6:Adirectreflectionthisintenseshouldbeusedsparingly.Youcouldusetheeye-timingtechniquedescribedearlier,buteventhenyouwouldonlybeabletotakeacoupleofphotographs.IfyoulookcloselyatPaco,youcanrecognizetheinversesquarelawinaction.NoticehowbrightPaco’sfaceis,butthenitgoesintoshadowalmostimmediately.Rememberthatwhenthesubjectisclosetothelightsource,thelightintensityisatitshighest,andthelightfalloffwillhappenquickly.Ifyouwantthelighttonotfalloffsoquickly,thenyoumustmovethesubjectfurtherawayfromthelightsource.Ifyouareconfusedaboutthislaststatement,reviewtheinversesquarelawoflightinChapter3.Eventhoughthesunistheoriginallightsource,thereflectorisnowtheactuallightsourcesinceitisthelightbouncingfromthereflectorthatisilluminatingthesubject.

FIGURE8.6

Figure8.7:Forthisexample,IkeptthecamerasettingsthesameasforFigure8.6soyoucancomparethedifferencethatoccursbetweenbrightnesslevelsbyadjustingonlythedistance.Standingagood20–30feetawayfromthesubject,thestrongsunlightbouncingfromthesilverreflectorhastotravelquiteadistancetoreachPaco.Bythetimeitreacheshim,thelightismuchsofter,butitstillgivestheexistinglightanicepoptoseparateoursubjectfromthebackground.Naturally,youwouldadjusttheexposureaccordinglyduringarealphotoshoot.Thelessonhereisthatifyoumustuseasilver,gold,orzebrareflector,youcanusedistancetoyouradvantagetomakethelightpopbutalsobemoremanageableforyoursubjects.Ifyouneedtoincreasetheexposureonyoursubjectsbyonestoporless,thisisagreattechnique.

FIGURE8.7

ConcaveVersusConvexBendingTechniquesFigure8.8:Whenusingthesideofthereflectorthatproducesdirectreflection,youcanbendthereflectorintoeitheraconvexoraconcaveshape.Thiswilldispersethelightraysinseveraldirectionsandcreatea

softereffect,evenwhenusingthesilverorzebrasideofareflector.Leavingthereflectorflatwillsometimesthrowmuchtoomuchlightontoyoursubjects.Bendingthereflectorisaneffectivesolutionthatlowerstheintensityofthelightbutstillallowsyoutokeepthereflectorclosetoyoursubjects.LookingatFigure8.8,theconvexcurvewillthrowlightraysfromthegroundbackuptothesky,withmanyofthelightraysmissingyoursubject.Thismethodproducesasofterresult.Alternatively,foralittleextrakick,youcanusetheconcavemethod.Theconcavecurvecausesmanymoreraysoflighttostrikeyoursubject.Nevertheless,itwillbemuchsofterthanholdingthereflectorflat.

FIGURE8.8

Figure8.9:Thisisanexampleofaconcavereflectorbendingtechnique.TurnyourattentiontoPaco.Heisbrighterthanthebackground,butitiscertainlynotoverkill.ComparethisexamplewithFigure8.6whenthereflectorwaskeptstraight.

Figure8.10:Thisisanexampleofaconvexreflectorbendingtechnique.IkeptthecamerasettingsthesameasforFigure8.9soyoucanseehowthelightintensitychangedbybendingthereflectorintoaconvexshape.Asyoucansee,Pacohaslostalmosthalfofthelightintensitythathewasreceivingwiththeconcavemethod.

Figure8.11:Thisexampleillustratesahorizontalorientationoftheconvexmethod.Byshiftingtheorientationfromverticaltohorizontal,moreofthereflector’ssurfaceareawilldirectlightraystowardyoursubject.Asyoucansee,almosttwiceasmuchlightreachesPacothanwhenthereflectorisheldinaverticalorientationinFigure8.10.ThecamerasettingswerekeptthesameforFigures8.9–8.11.Thismakesitmucheasiertofocusonlyontheeffectsofthevariousreflectortechniques.

FIGURE8.9

FIGURE8.10

FIGURE8.11

DIFFUSEDREFLECTIONTECHNIQUESNowlet’smoveontoamuchmorepracticalapproach.Generallyspeaking,ifyouchoosetopositionyoursubjectsinrelativelygoodlight,youshouldbeatorclosetothelightingbenchmarkdiscussedinthepreviouschapter.Mostlikely,youwillbewithinonestopoflightinordertoreachthelightingbenchmark.Adiffusedreflectionwillnotbenearlyaspowerfulasadirectreflection,butitcanstillprovideenough“hotsauce”tothelighttomakeyoursubjectspopfromthebackground.Givingyoursubjectsatouchmorelightthanthebackgroundtheyarestandinginfrontofwillgreatlyimprovethelookofyourportraitphotography.

UsetheWhiteSideoftheReflectoratCloseProximityWhenbuyingareflector,makesureyoubuyonethathasawhiteside.Thewhitesideofthereflectorgivesyouadiffusedreflectionbecausethematerialisnotasreflectiveorsmoothasthesilverorgoldmaterial.Let’stakealook.

Figure8.12:Ifyoumuststandclosetothesubjecttopickupsunlight,usethewhitesideofthereflector.Itprovidesasoft,elegantlookeventhoughthereflectorisincloseproximity.Thewhitesideisalsomuchmoremanageableforyoursubjects;theycankeeptheireyesopenforlongerthanthehalfsecondwediscussedwithdirectreflections.Thewhitesideofthereflectorisefficaciousforheadshotswhenyouneedtohavethesubject’seyeswideopen.

Iusethewhitesideofthereflectorforthemajorityofmyphotoshoots.Inthisexample,thereflectorusediswhiteononesideandgoldontheother.Noticehowgradualthechangeisfromthelightersideofherfacetothedarkerside.Itisaverysmoothandnaturaltransition.

FIGURE8.12

ModifyYourReflectortoProduceDiffusedReflectionTheremaybetimeswhenyoufindyourselfinthemiddleofashootandyouneedawhitereflector,butyouleftitbehind;allyouhaveisaregularsilver,gold,orzebrareflector.Attimeslikethis,thereisaquicksolution.Allyouhavetodoismodifythereflectivematerialsomehowsothatsomeofthelightisabsorbed.Thiscanbedonebyplacingwhitepillowcases,awhiteblanket,orevenpapertowelsoverthereflectorandsecuringthatmaterialinplace.Itwon’tlookpretty,butitwillgetthejobdoneinapinch.

Figure8.13:Reflectorusedwithoutanymodificationtowardsubject.

Figure8.14:Theresultsareglaringandunflattering.

Figure8.15:Iplacedawhitesheetoverthereflectorandusedminiclampstoholditinplace.Thesheetwillabsorbmuchofthelightbut

reflectenoughtogivethesubjectanicepopwithoutoverwhelmingherwithlight.

Figure8.16:Thisistheresultofmodifyingthereflectorwiththewhitefabric.TheportraitofMargotlooksmuchmorepleasingtotheeye.Sheismorecomfortable,andthelightingisveryflattering.

FIGURE8.13

FIGURE8.14

FIGURE8.15

FIGURE8.16

ADVANCEDREFLECTORTECHNIQUESFOR

PORTRAITUREAdvanceduseofareflectorrequiresaverygentleandefficientapproach.Forexample,whenphotographingheadshotsorcleanportraitssuchaswithhighschoolseniors,Iliketoseeresultsfrommyreflectorthataccomplishthreemaingoals:

Givemysubjectaclearbutgentleseparationfromthebackground.

Nohotspotsontheface.

Eyesocketsareclearlyilluminated,withcatchlightsintheeyesandnosignsofdiscomfort.

Thesethreegoalsrequirequiteabitoffinesseinreflectorusetechniques.Wemustunderstandthedifferencebetweenreflectinglighttowardthesunandreflectinglightawayfromthesun.Thetwocouldn’tbemoredifferent.Let’stakealook.

ReflectingLightTowardtheSunFigure8.17:Thisdiagramrepresentsacommonsituationduringphotoshoots.Thequickestwaytoseewhatishappeninghereisthatthereflectorispointedtowardthesun.Youcaneasilytellbylookingatthedirectionoftheshadowsontheground.Noticeinthediagramthatthereflectorisperfectlydirectedtowardthesubject’sshadow.Thiswillusuallyresultinaveryharshlightonyoursubject.Figure8.14wasphotographedthisway.Ifyoumustpointyourreflectortowardyoursubject’sshadow,usethewhitereflector.Thiswilltonedownthenegativereflectiveeffects.Iusuallytrytoavoidthisscenario,butifImustshootunderthesecircumstances,I’llbereadybyusingthetechniquesdiscussedearlier.

FIGURE8.17Reflectinglighttowardthesun

ReflectingLightAwayfromtheSunFigure8.18:Thisdiagramillustratesasituationthatusuallyyieldsqualityresults.IusethistechniquealmosteverytimeIneedtouseareflectortoboostthelightortoaccomplishthethreegoalslistedearlier.Ifyoudon’thaveatonofexpensiveequipmentandyouareaskedtodoheadshots,thistechniquecouldbealifesaver.

First,youmustfindthedirectioninwhichtheobjectsaroundyouarecastingashadow.Thisservesasyourreferencepoint.Then,placeyoursubjectunderopenshadeascloseaspossibletotheshadowline(CLE-6),whichmeanscompletelyunderopenshadebutalsoasclosetothelightaspossible.Finally,thekeytothistechniqueistofindopenshadeinadifferentdirectionfromtheshadowscastbytheobjectsaroundyouthatareilluminatedbythesun.Inthisdiagram,thesuniscomingfromtheleft,butthesubjectistotheright.Thismeansthatthereflectorispointedawayfromthesun.Inthiscase,itispointedtowardtheright.Youmustthenmanipulatethereflectorinsuchawaythatyoufeatherthelighttowardthesubjectcarefully.Ifyoudoitcorrectly,asmallpieceofthereflectorwillpickupthesun’sdirectrays,buttherestwillbemorefill

light.Thisiswhatgivesthesubjectsuchasoft,lightlook.Ittakessomepracticetomanipulatethereflector,butitisveryeasytoaccomplishonceyouknowwhatyouarelookingfor.Hereareafewexamplesofthistechnique,showninaprogression.

FIGURE8.18Reflectinglightawayfromthesun

Figure8.19:Webeginbybuildingthelightinguptothepointatwhichoursubjecthasabeautifulandnaturalglow.Thisphotoshowsaverycommonlookamongphotographers.Thephotolooksfine,butthesubject’seyesarelifeless.Whenaclient,suchasLindsayhere,asksmetocreateherheadshots,Ioweittothatclienttodoagreatjob.Theexposureisabitdark,butmostimportantly,therearenocatchlightsinhereyes.Manyphotographerswhonoticetheneedforlightintheeyes

thinktothemselvesthattheycanjustbringupthelightinPhotoshop.

Figure8.20:Thisisthesamephoto,butbrightenedinPhotoshop.Theeyesarestilldull.Youcanbrightentheeyes,butit’sverydifficulttocreateanatural-lookingcatchlightdigitally.

FIGURE8.19

FIGURE8.20

Figure8.21:Lookatthedifferencenow.Theeyesarefulloflife!ThelightingwasaccomplishedbyfirstplacingLindsayunderopenshade.However,theopenshademustbetotherightortotheleftoftheshadowsonthegroundcastbythevariousobjectsinourshootingenvironment.Thisway,whenweusethereflectortobringlightintohereyes,wearepointingthereflectorawayfromthesun.SeeFigure8.18.MyassistantholdingthereflectorshifteditspositionwithsmallmovementsuntiltherightamountofsoftlightenteredLindsay’seyes.Becausewearenotreflectingthelightbacktowardthedirectionofthesun,itismucheasiertoreflectsoftlighttowardoursubject.

FIGURE8.21

Figure8.22:Hereisaclose-upofhereyessoyoucanseehowthereflectorwasused.Atcloseinspection,youcanseedetailthroughoutthereflectormaterial.Thismeansthatthesun’sraysarenotdirectlyhitting

thesilvermaterial.Iftheywere,theywouldcreateapowerfulspecularhighlight,andthereflectorwouldbeblownout.

FIGURE8.22

Next,wewillmovetoadifferentlocationthathasallthepropertiesrequired.

Figure8.23:Lookcloselyatthisrooftop.Theshadowscastbytheobjectstellyoueverythingyouneedtohelpyoudecidewheretopositionyoursubject.Weknowweneedtoplaceoursubjectinopenshade.Thesmallareainsidethefenceisalmostallinopenshade.Ifwepositionoursubjectunderthedoorframe,shewouldbecompletelyinopenshade.That’sgood,butnowwemustmakesurethattheopenshadeisintherightplacerelativetothesun.Todeterminethis,welookattheshadowsontheground.Thefence’sshadowispointeddownwardandslightlytotherightoftheframe.Ifweplaceoursubjectunderthedoorframe,thereflectorwouldbedirecteduptowardthedoorframeandnotbacktowardthedirectionoftheshadows.Aslongasthereflectorispointedinadifferentdirectionthantheshadowsontheground,theplacequalifiesforthistechnique.

Figure8.24:Theresultsareremarkable!Thelightissoftbutimpactful.

Hereyesarewideopenbecausethelightilluminatingthemissoft.Ifyoulookclosely,partofthereflectorisinshadeandthetopsectionofthereflectorislitbythesun.Theentirereflectorisplayingaroleinthebeautifulillumination,butthekeyisthatthesun’sraysthatstrikethereflectorarenotcomingataperpendicularanglerelativetothereflector(a90-degreeangle).Thatiswhatcreatesthisamazingqualityoflight.

FIGURE8.23

FIGURE8.24

Figure8.25:Thisphotoshowshowreliablethistechniqueis.MygoodfriendCollinPiersonaskedmetotakehisheadshots.IknewIcouldrelyonthereflecting-light-away-from-the-suntechniquetogiveme

outstandingresultsquickly.Samedrill.Iposedhiminaplaceunderopenshadetoshieldhimawayfromdirectsunlight.Then,Imadesurethatthechosenlocationwastotherightorleftoftheshadowscastontheground.Thislocationwasindeedtotherightofthesun.Therefore,Iusedareflectortomakethelightingonhimpop,becauseIknewthelightrayswouldstrikethereflectoratanangle.AsinFigure8.23,partofthereflectorwasinopenshadeandasmallareawaslitbythesun’srays.

FIGURE8.25

Themainpointtorememberisthatifyouwishtousethistechnique,youmustnotaimthereflectordirectlybacktowardthesun.Youcanalwaysusetheshadowsonthegroundasyourguide.

Notethatifyouhappentobeworkingalone,youcanuseasmallreflectortopropupthelargereflectortowardyoursubjects.Again,itdoesn’tlookpretty,butitgetsthejobdonewithouthavingtolugmoregearthanyoucanhandle.SeeFigure8.26.

FIGURE8.26

CHAPTER9

HELPERLIGHT:DIFFUSERTECHNIQUES

Diffusersareamongthehandiestoflightmodifiers.Theyareinexpensiveandportable.Insimpleterms,diffusersbreakuptheharshdirectionalraysofthesunintomultipledirections,resultingindiffusedlight.Iownalargevarietyofdiffusers,fromsmallonesthatare12"indiametertoalarge6'x4'diffusercalledtheSun-SwatterbyCaliforniaSunbouce.Thesizeofthediffuserisnottheonlyfeatureyoucanchoose.Thethicknessofthediffusingmaterialalsomattersconsiderably.Clearly,thethinnerthematerial,themorelightwillpassthroughthediffusertowardyoursubjects.Themostcommonchoicesofferbetweenonestopofdiffusion(thethinnestmaterial)andthreestopsofdiffusion(thethickestmaterial).Irecommendthatyouchooseone-stopandtwo-stopdiffusers,whichequipyouwiththemostoptions.Wewillnowinvestigateseveraldiffusertechniques,beginningwithaphotographindirectsunlightwithoutanydiffuserandendingwithanoptimumfinalresultthatusesadiffuserandstrobe.

NODIFFUSEROUTSIDEFigure9.1:Onaclearday,thesunproducesagreatdealofstronglighttravelingfromasingledirection.Wecancertainlyusethisstronglighttoouradvantageinphotography,butthelightmustbetamed.ThisphotoofmyfriendRachaelwastakenasaquickexampleoftheresultsofdirectsunlightwithoutdiffusion.Thisunflatteringlightoccursbecausethesunissofarawaythatitbecomesarelativelytinylightsourceinthesky.Thesun’sraysarealltravelinginthesamedirection,strikingRachael’sface.Duetothatdirection,lightraysilluminateonesideofherfacebutcannotreachtheotherside.Sunlightistravelingverticallyfromtheskytotheground,whichmeansthatthebonesbeneathhereyebrowsdonotallowthesunlighttoenterhereyesockets,causingthedarknessinhereyes.

Thereisalotofpotentialinthisphoto,butfirstwemustchangethewaythelightstrikesherface.Tosoftenthelight,thelightraysmuststrikeherfacefrommanyangles,notjustone.Ifweplacedadiffuserbetweenherandthesun,thediffuserwouldbecomethenewlightsourceandthediffusingmaterialwoulddispersethelightraysinthousandsofdirections,illuminatingeverycurveofherface.

FIGURE9.1

NODIFFUSERINSIDE

Figure9.2:Inthiscase,thesubjectmaybeinsideclosetoawindow,butthelightfromthesunisstilldirectlystrikinghisfacefromasingledirection.Thewindowdoesnotdispersethelightraysenoughtomakeanydifference.Theresultsarethesameasifhewereoutside.Simplyplacingadiffuserbetweenhimandthewindowwouldresolvetheissuesoftheharshlightandtheshadowsonhisface.

FIGURE9.2

USINGADIFFUSERASACLEANBACKGROUNDOnegreatwaytouseadiffuserisnotjustfordiffusinglight,butalsotouseitasacleanbackground.Granted,thistechniquerequiresalightsourcesuchasthesuntobacklightthediffuser.Let’stakealookathowthisworks.

Figure9.3:DuringoneofmyposingworkshopsinSeattle,Ifoundalocationwherethesunwasbacklightingthemodel’shair.Thelightwasfairlynice,butIfoundthegreenbushesinthebackgroundtobedistracting.Thiswasaperfectplacetousethediffuser-as-a-backgroundtechnique.

FIGURE9.3

Figures9.4and9.5:Thekeytothistechniqueisthatthediffusermustbebacklitbythesunoranyotherstronglightsource.Thisensuresthatthewrinklesorfoldsofthediffusingmaterialtexturedonotshowupinthefinalimage.

FIGURE9.4

FIGURE9.5

Figure9.6:Ipositionedmyselfinfrontofthediffuserandexposedforherface.Becauseherfacewouldnaturallybedarkerthanthewhitediffuser,exposingforherfacewouldblowoutthediffuser,givingmeaclean,whitesurfaceasabackground.Thedistractingbackgroundwasgone.

FIGURE9.6

ADVANCEDDIFFUSERTECHNIQUESFORPORTRAITUREMuchlikeusingareflector,coveredinthepreviouschapter,usingadiffuserseemsself-explanatory,butit’snot.Therearesomewaystouseadiffuserthatcangreatlyimproveyourresults.Let’sgothroughaseriesofphotosofCaitlinthatshowcaseaprogressionofdifferentdiffusertechniquesuntilthefinalresultisachieved.

NoDiffuserUsedFigure9.7:Webegintheshootwithnodiffuseratall.Withtheexceptionofhigh-fashionphotography,thislookwillnotbepleasingtomostpeople.Theonlywaytoworkwithharshdirectsunlikethisistoadjusttheposetothelight.

Figure9.8:Clearly,herewedidnotadjustthepose.Theharshresults

andstrongshadowsonherfacearetheresultofworkingunderstrongdirectionalsunlightwithnodiffusertodistributethelight.

FIGURE9.7

FIGURE9.8

DiffuserNotPointedTowardtheSun,FurtherAwayfromSubject’sHead

Figure9.9:Thisphotodemonstratesanineffectivewaytoholdadiffuser.First,thediffusershouldbeasclosetothesubjectaspossibleinordertoincreasetheintensityoflightreachingthesubject.Inthisphoto,thediffuserisbeingheldhigheraboveCaitlin’sheadthanitneedstobe.Second,thediffuserisnottiltedtowardthesun.Thisgreatlyreducestheamountofdiffusedlightthatreachesthesubject.

Figure9.10:Thisistheresultofholdingthediffuserfurtherawayfromthesubjectandnottiltedtowardthesun.Thisphoto—alongwiththerestofthephotoscomingup—werealltakenwithidenticalcamerasettings:ISO100,f/5.6,1/400.Therefore,thebrightnessleveldifferencesthatyou’llseeareonlycausedbythevariousmethodsofholdingadiffuser,notbyanychangesinthecamerasettings.Asyoucansee,thephotoappearstohaveevenlightbecausethediffuserspreadthelightaround.However,thelightthatreachesCaitlinisweakandhasnovibrancytoit.

FIGURE9.9

FIGURE9.10

DiffuserNotTiltedTowardtheSun,ClosertoSubject’sHead

Figure9.11:NowwehavethediffusermuchclosertoCaitlin’shead,whichincreasestheintensityoflightilluminatingher.However,thediffuserisstillbeingheldinthewrongwaytomaximizediffusedlightintensity.Thediffusershouldbetiltedtowardthesunandnotparalleltotheground.

Figure9.12:KeepingthecamerasettingsexactlythesameasinFigure9.10,wecanseethatmovingthediffuserclosertothesubject’sheadmadequiteadifferenceinthebrightnesslevels.Caitlinseemstobereceiving60–80%morelight.

FIGURE9.11

FIGURE9.12

DiffuserTiltedTowardtheSun,FurtherAwayfromSubject’sHead

Figure9.13:Itisveryimportanttonotethatwhenusingthistechniqueoftiltingthediffusertowardthesun,thesubjectshouldalsobefacingthesun.Otherwise,itwouldbecounterproductive.Inthisexample,IpositionedCaitlintofacethesunandaskedmyassistant,Franny,totiltthediffusertowardthesunbutasfarfromCaitlin’sheadasherarmscouldreach.Ididthispurposelyinordertodemonstratehowmuchdiffusedlightyoulosewhenyouholdthediffuserhighoveryoursubject’shead.

Figure9.14:Thefirstthingyoumightnoticeishowmuchwarmerthelightisonherbody.Thisoccursbecausethelightilluminatingherbodyandfaceisstraightdiffusedsunlight.Before,whenthediffuserwasnottiltedtowardthesun,partofthelightilluminatingCaitlinwasshadefilllight,whichhasabluecolorcast.ComparethisphotowithFigure9.10.ThetiltofthediffuseralsoincreasedthelightintensityonCaitlin.

FIGURE9.13

FIGURE9.14

DiffuserTiltedTowardtheSun,ClosertotheSubject’sHead

Figure9.15:Thisisthemosteffectivesetupwhenusingadiffuser,asitmaximizesthelightintensityonthesubject.Thesubjectisfacingthesun.Thediffuseristiltedtowardthesun.Finally,thediffuserisheldascloselyaspossibletothemodel’sheadwithoutbeingvisibleinthephoto.

Figure9.16:WehavecomealongwayinourefforttoincreasethequalityandintensityofthediffusedlightfromFigure9.10.Thecamerasettingswereneverchanged,yetthisphotohasmorethantwicethelightilluminatingCaitlin.Allwehadtodotoachievethisresultwashavethemodelfacethesun,tiltthediffusertowardthesun,andholditascloselyaspossibletothesubject’shead.

FIGURE9.15

FIGURE9.16

DiffuseandLightFigure9.17:Thisisthefinalstepinobtainingthemostfromourdiffuser.

First,itrequiresusingthediffusercorrectlyasshowninFigure9.15.Second,oncethemodelislitbydiffusedlight,wenowaddastrobetogivethelightingaseriousboost!

FIGURE9.17

Figure9.18:Thisphotofeaturesthepowerfulcombinationofdiffusedlightwithastrobe.Evenwhenusingadiffusercorrectly,oftenthesubject’seyeswillremaindark.Totakethisbeautifuldiffusedlighttothenextlevel,useastrobetogivethephotoapopandalsoaddcatchlightstothesubject’seyes.

Iusethisdiffuser/strobecombinationabout80%ofthetimebecauseitreallygivestheimagesahigh-endmagazinelook.Notethatthestrobemustbemodifiedtobecomealarge-enoughlightsourcetoproducesoftlight.Inthisexample,IusedadiffuserpanelattachedtoaBroncolorPara88tofurthersoftenthelight.

FIGURE9.18

PARTFOUR

HELPERLIGHT:FLASHTECHNIQUES

CHAPTER10

UNDERSTANDINGTHEKEYCAPABILITIESANDFUNCTIONSOFYOURFLASH

YOURFLASH

Tomany,understandingandeffectivelyusingflashisthemostdauntingpartofbeingaphotographer,anditoftentakesawaytheenjoymentofphotography.Unlikewithnaturallight,withflashwhatyouseeisnotwhatyouget.Furthermore,whenyouturnonthatflashunit,youarenowdealingwithtwoexposurestotakeasinglephoto,whereaswithnaturallightyouonlyhavetoworryaboutoneexposure.

Anotherstrongreasonwhypeopleshyawayfromusingflashisbecauseifflashisnotusedproperly,itcanmaketheirphotoslook,well,“flashy”insteadofnatural.Photographersbuyexpensiveprofessionalflashunits,butunfortunately,manyphotographersneverinvestthetimeittakestoreallyunderstandhowtousethemorhowflashcanimprovetheirwork.Forthesereasonsandmore,theydecidetoshyawayfromflashandlabelthemselvesassimply“naturallightphotographers.”

ButImusttellyou,lightcomingfromaflashismadeupofphotons—theexactsameparticlesoflightthatcomefromthesun.Itdoesn’tmatterifphotonsoriginatedfromthesunorfromaflash.Lightislight,andlightwillalwaysbehavesimilarly,regardlessofwhereitcomesfrom.Naturallightcanlooklikeflash,andthelightfromaflashcanalsolooklikenaturallight.Ifyoukeepthisinmind,youwillbeabletoacceptthisinformationwithanopenmindandthinkofflashasjustanotherlight,notsomescaryimplementtryingtoruinyourphotos.

Thereareonlythreethingsyoumustknowinordertohaveyourflashworkforyouinsteadofagainstyou:

Howyourflashunitworksandwhatitscapabilitiesare(thischapter)

Howlightbehaves(Chapter3)

Howyourcameraandyourflashworktogether(thischapterandChapter12)

Flashcanbeareallifesaver.What’sexcitingaboutbeingknowledgeableaboutflashisthataslongasthatflashunithasafreshsetofbatteries,itwillalwaysprovideyouwithlightwheneverandwhereveryouneedit.Thesunorambientlightcanbestrong,weak,blue,ororange,butaflashisalwaysconsistent.Younolongerhavetobeatthemercyofweaksunlightoranearbywindowfortherestofyourlife.

THEPURPOSEOFTHISCHAPTERIthoughtlongandhardabouthowtoapproachthischapter.Irememberbeingbaffledbyflashduringmyearlyyears.Iwouldtrytosoakupeveryresourceavailabletohelpmefigureouthowtomanageflash.Ididnothavemuchluck.Flashjustseemedtobeawildanimalthatcouldnotbetamed,andthusmyconfusionandfrustrationgrewdaybyday.

Sothisismyapproach,andherearemygoalsforyou.Myprimaryobjectiveinwritingthisandthenextchapteristohelpyouseeflashasatooltomakeyourphotographslookbetter.Iwantyoutonothaveanysecondthoughtsaboutusingflashbecauseyoufeelitwillruinyourphoto.Iwantyoutofeel100%incontrolofhowthatflashwillbehaveandwhattheresultswillbe.Iwantyoutouseyourflashasatooltobringspecialattentiontoanypartofyourimage.Iwantyoutoseeflashasawaytocomplementbeautifulnaturallight,notruinit.Andfinally,Iwantyoutoseeflashasasimpletoolthatcanopenupaplethoraofcreativepossibilitiesandtakeyourimagerytonewheights.

Todothis,I’mgoingtoremoveeverypieceofscientificinformationthatisnotnecessaryforlearninghowtocontrolandunderstandflash.Anythingnumericalormathematicalthatimpedesyourunderstandingwillbeminimized,ifnotomitted.Iwillavoidtalkingaboutspecificflashmodelsorbrandsasmuchaspossible;technologychangesallthetime,butunderstandingthemainprinciplesofaflashsystemremainthesame.

EventhoughIhaveinvestedyearsstudyingeverythingthereistoknowaboutflashsystems,Idon’tbelieveyouneedtoknoweverysinglesetting,specification,andfunctionofyourflashtouseiteffectively.Youwillfindthatyourepeatedlyusethesamehandfuloffeatures90%ofthetime.Aboveallelse,itismywishforyoutofeelverycomfortablewith

yourflash,notforyoutobeabletotalkshopatacocktailpartywithelectricalengineersandphysicists.

SIMPLIFIEDFLASHTERMINOLOGYANDKEYFEATURESAlladvancedmodernflasheshavemoreorlessthesamebuilt-intechnology.AsIwritethischapter,Iwillassumeyouownatypicalprofessionalflashunitthatcanworkinmanualmode,TTLmode,andbeusedasanoff-cameraflashingroupsandchannels.Ialsoassumethatyouownatleasttwoflashunitsforoff-cameraflashoperation.MostflasheshavethefeaturesIwilldiscuss.Theonlyflashesthatdonotarethebare-bones,basicflashesthatIpersonallywouldnotconsidertobeforprofessionaluse.

Regardlessofthebrand,mostprofessionalflasheshaveasimilarwayofdisplayingthemostcommonflashfunctions.Theremaybesomedifferencesfromtimetotime,butforthemostparttheyareallverysimilar.Thepurposeofshowingthephotosthatfollowisonlytoshowyouthesekeyfeaturesactiveonaflash.Therearejusttoomanymodelsandbrandsoutonthemarkettocoverthespecificsofeachone,andinafewmonthsanewflagshipmodelmaycomeoutwithfeaturesdisplayedinadifferentplace.JustfocusonthekeyfeaturesI’mshowingyouandtrynottobeconcernedaboutthebrandofflashyouhave.

TTLThisabbreviationstandsforThroughTheLens.Assoonasyouturnonyourflashunit,itwillmostlikelybeinTTLmode.Atthemostbasiclevel,whenyourflashisinTTLmode,itmeansthattheflashcomputertriestodothethinkingforyou.Theflashcommunicateswiththecamerawiththeinformationthatcomesin“throughthelens”todeterminehowmuchflashpowertorelease.WhentheflashisinTTLmode,ithasbeenprogrammedtoalwaystrytoachievean18%grayexposure.Nottoobrightandnottoodark,theflashwillalwaystrytosettheexposurerightinthemiddle.

Figure10.1:Foravisualunderstandingofthisconcept,lookatthisdiagram.Theblacksidetotheleftrepresentsthecameraregisteringadarkenvironmentthroughthelens.Thewhitesidetotherightofthechartrepresentsthecameraregisteringaverybrightenvironmentthroughthelens.Theredlinerepresentswhattheflashisprogrammedtoachieve:18%gray.ThisdiagrammakesunderstandingTTLthinkingverystraightforwardandeasy.Whenyoupointyourlensatsomethingdark(leftoftheredline),theflashpumpsmorelightpowerintothescenesothatwhenthephotoistaken,theexposurecomesbacktohomebase,whichistheredline.Butifyoupointyourcameraatsomethingthatistoobright(rightoftheredline),theflashproducesonlyaglimpseoflightinordertobringtheexposurebacktowardtheredline.(Youmightthinktheflashshouldn’tfireatall,butitmustbecausewe’veturneditonandtoldittofire.)Nomatterwhereyoupointyourlens,theflashinTTLmodealwaysadjustsitsoutputupordowninordertobringtheexposurebacktotheredline.

FIGURE10.1

Figure10.2:ThisflashiscurrentlyoperatinginTTLmode.YoucanignoretheEbeforetheTTL.The“E”isjusttoindicateamoremodernapproachfromtheoriginalTTLsystem(moreonthisinamoment).

FIGURE10.2

FECThisabbreviationstandsforFlashExposureCompensation.AdjustingtheFECisusuallythesecondstepafteraphotohasbeentakenwithTTLflash.WhatthisbasicallymeansisthatifyouarenothappywiththeTTLflashresults,youcanoverridetheflashbytellingittoeitherincreaseordecreasethepowerinthesceneasyouseefit.Forexample,ifyourflashisinTTLmodeandyoupointyourlenstowardasubject,theflashwillfireenoughlightintothescenetomakesurethatitstaysontheredline(Figure10.1).Butifyoursubjectstilllookstoodark,youcansimplyoverridetheflash’sdecisionandpumpmorelightpowerintothescenebyusingtheFECfeature.Mostflashesallowyoutoadjusttheflashoutputuptothreestopsdarkerorthreestopsbrighter.Inmostcases,it

helpstothinkofTTLasagreatstartingpoint,andthenyoucansimplyuseFECtofine-tunetheflashoutputupordownuntilyouarehappywiththeresults.Itisthatsimple.

Figure10.3:ThescreenonthisflashtellsyouthatitisoperatinginTTLmode.ButtheFlashExposureCompensation(FEC)buttonhasbeenpressedtoactivateFECadjustments.ThisflashisreadytoreceiveFECadjustments,becausetheFECscalehasbeenhighlighted.However,accordingtothescreen,noFECadjustmentsweremade.Thelittlesquareunderneaththenumberscaleindicatesthatitisstillat“0.”

Figure10.4:TheFECscreenishighlighted,whichmeansit’sactivatedandreadytoreceiveFECadjustments.Thistime,thephotographerchosetwostopstotheleftof“0”(–2).TheTTLflashwillnowtrytoexposethesceneasitseesfit,butthenitwillloweritspowerbytwostopsoflightbeforeitfires.

FIGURE10.3

FIGURE10.4

Figure10.5:Thistime,theFEChasbeenraisedbyonestop(+1).TheflashwillraiseitspowerbyonestopfromitsoriginalTTLestimatebeforeitfires.

FIGURE10.5

E-TTLandE-TTLIIE-TTLandE-TTLIIarenothingmorethanmodernandmoreadvancedversionsofTTL.TheselaterversionsofTTLtechnologyaresavvierwhendealingwiththedistancefromthesubjecttotheflashunitandalsowhendealingwithtrickysituations,suchasbacklitsubjectsordarkbackgroundsbehindyoursubjects.Atthecore,though,TTLtechnologydoesthesamething:itdoesthethinkingforyou.Sometimesthesetechnologiesaresuccessful,andsometimestheyarefarfromwhatyouhadinmind.The“E-TTL”standsforEvaluativeThroughTheLensmetering.(Youmayalsoseeavariantofthisfromothermanufacturers,suchasi-TTL[IntelligentThroughTheLens]metering.)It’sanamazingtooltousewhenthedistancebetweenyoursubjectandthelightisconstantlychanging.Butitdoesnotreadyourmind.Ifyouhavea

differentvisionforthelightingfromwhattheflash’sTTLcomputer“thinks,”youmusttakethewheelandcontrolitmanually.

ManualFlash(M)Whentheflashissettomanual(M)mode,theflashTTLmeteringsystemshutsdownandputsyouinchargeofthepoweroutputchoices.Onceyoutelltheflashhowmuchpoweryouwant,itwillalwaysputoutthatpower,regardlessofanysituationorsubjectdistance.Theflashwillcontinuefiringatthatchosenintensityuntilyouchangeit.Therealbeautyofmanualflashisthatthereisnoguesswork.Ifsomethingdoesn’tlookthewayyouwantorifyouchoseapowerlevelthatleavesyoursubjecttoodark,simplychooseahigheroutputleveluntilyoursubjectlooksperfect.Inthesamemanner,ifyouchoseapowerlevelthatleavesyoursubjecttoobright,thenenteralowerflashoutputtoobtaintherightexposure.

Inmanualmode,youcanalsosettheflashtofirethelowestamountofpowerpossibletothrowjustakissoflighttowardyoursubjectstogivetheireyesanicecatchlightwithoutinfluencingtheoverallexposure.Thatisallthereistoit!

Iusemyflashonmanualover95%ofthetime.IputmyflashinTTLmodeonlywhenmysubjectismovingtowardmeorawayfrommeasItakethephoto.Otherwise,myflashstaysinmanualmode.Afteryearsofteachingflashallovertheworld,Ibelievethatthemainreasonwhypeoplearefrustratedwiththeirflashresultsisthattheyfeelflashisjustuncontrollable.ThereasonissimplybecausetheyrelyonTTLmode.TTLmodewillchangetheflashpowerconstantly,dependingonhowthecamerareadsthescene.Ifmorepeopleusedtheirflashinmanualmode,theywouldseehoweasilytheycancontrolflash.

Figure10.6:ThemodeforthisflashhasbeenswitchedfromTTLtomanual(M).Inmanualmode,youcanchooseanypowersettingyouwant.Inthiscase,thescaletellsusthattheflashissettofullpower,or1/1.Thelittlesquareindicatorisfartotherightofthescale.

Figure10.7:Themodeforthisflashisstillinmanualmode.Butthepowerhasbeenreducedto1/8.

FIGURE10.6

FIGURE10.7

FirstCurtainSyncFirstcurtainsyncreferstowhentheflashactuallyfiresasanexposureisbeingmade.Whenyourflashissettofirstcurtainsync,itfiresattheverybeginningoftheexposure,assoonasyoupresstheshutterbutton.

Twocurtainscoverthecamera’ssensor.Whentheshutterbuttonispressed,thefirstcurtainbeginstomoveandexposethesensortothelight.Theflashwillfireimmediately.Ifyouaretakingaphotowithaslowshutterspeed—let’ssayonesecond—thentheflashwillfireattheveryfirstinstancewhenthesensoriscompletelyexposedtothelight.It’simportanttoknowthatwhenaflashfires,theburstoflight(knownasthe“flashduration”)happensmuchfasterthananyshutterspeedyouuseinyourcamerasettings.Thismeansthattheflashwillfreezethemotionat

theverybeginningoftheexposure.Ifyoursubjectsmoveastheexposureisbeingtaken,aghost-likemotionblurwillbevisibleinthephoto.

SecondCurtainSyncThisfeatureistheoppositeoffirstcurtainsync.Assumingyouhaveaslowshutterspeed—let’sstickwithonesecondasourexample—theflashwillfireatthelastpossibleinstantbeforetheshuttercurtainsclosetocompletetheexposure.Thismeansthatyoucanshootwithalongershutterspeedtocollectambientlightandthen,withtheflash,freezeanymotionhappeninginfrontofyourcameratheinstantbeforetheshuttercloses.Iusesecondcurtainsyncatweddingreceptionstostaytruetothemoodoftheroombutfreezepeopledancingonthedancefloor.Notethatsecondcurtainsynconlyworkswhenyourflashisonthecamera’shotshoe.

Figure10.8:Thisisacommonsymbolforsecondcurtainsync.Thelittleblackarrowontherightrepresentstheflashfiringattheveryendoftheexposureinsteadofatthebeginning.ItiswisetogetintothehabitofalwayslookingattheentireLCDscreenforanoverallviewofwhat’sgoingon.Inthisfigure,noticetheflashmodeisTTL,andthereiszeroflashexposurecompensation.Withthisparticularunit,thesyncfeaturecanbeaccessedbythebuttonindicatedbythecallout.ButyoucanfindthisfeaturewhetheryouuseNikon,Sony,oranotherbrandofflash.It’sallthesame.

FIGURE10.8

High-SpeedSyncCamerashavealimittohowfasttheshutterspeedcanbewhenusingflashorastrobe.Thisiscalledthe“flashsyncspeed.”ForCanon,theflashsyncspeedis1/200second.ForNikon,itis1/250.However,flashtechnologyhasovercomethisissuebyintroducinghigh-speedsync.Whenthisfeatureisactivatedonyourflashunit,itallowsforflashtobeusedatanyshutterspeed,evenatthefastestshutterspeedpossible,whichisoften1/8000.Thatsaid,thereisapricetopayforusingflashatanyshutterspeedwithhigh-speedsync:itgreatlyweakenstheflashpower.Youlosearoundtwo-and-a-halfstopsoflightwhenhigh-speedsyncisused.Butifyoursubjectisnottoofarfromthecamera,theflashwillhaveenoughpowertoreachyoursubject.

Iusehigh-speedsyncmorethanhalfthetimeI’mshootingoutdoors.Ialwaysliketoaddjustalittleflashtogivemyportraitlightingalittlezest,andhigh-speedsyncmakesitpossibleformetousemyflashinbroaddaylightatanyshutterspeed.

Figure10.9:Thisisthecommonsymbolforhigh-speedsync.Itisveryimportantthatyourecognizeyourflash’sindicatorforhigh-speedsync,becauseifit’son,itgreatlyreducesthepowerofyourflash.

FIGURE10.9

ThisiswhyIalwayssuggestthatphotographerslookattheentireflashscreenbeforeshootingtomakesurethateverythingisinorder.

FlashZoomTheareathattheflashcoverscanbeadjustedbyusingtheflashzoom

feature.Whentheflashisfired,itcancoverawideareaoritcanbeanarrowbeamoflight,orsomewhereinbetween.Generallyspeaking,thecameraautomaticallycommunicateswiththeflashunitaboutwhatlensisbeingused,thentheflashautomaticallyadjuststheflashzoomtocoverjusttheareathatthelens“sees.”

However,youcanalsochangethisflashzoomfeaturetobecontrolledmanually.Thismeansthatyoucanputawide-anglelensonyourcamera,suchasa35mmlens,thenzoomtheflashtocoveronlyasmallarea,asifyouwereusinga200mmlens.Whywouldyouwanttodothis?Because,iftheflashiszoomedtoanarrowbeamoflightbutyouareshootingwithawide-anglelens,theflashwillnotilluminatetheentireframefromcornertocorner.Thisresultsinanaturalvignette.Theflashwillnicelylightthecenteroftheframeandthengraduallybecomedarkeranddarkerasyouapproachtheedgesofthephoto.Ioftenusethistechnique.

Anotherinnovativewaytousetheflashzoomfeatureistocombineitsusewithhigh-speedsync.Asdiscussedabove,whenusinghigh-speedsync,theflashlosesmuchofitspower.Therefore,ifyouzoomtheflashtoanarrowbeamoflight,thelightintensitynaturallyincreases,compensatingforsomeofthelossofpower.

Figure10.10:Bypressingtheleftbuttonasindicatedbythecallout,Iactivatedthemanualflashzoomfunction.Youcanalwaystellthatfeatureisactivatedbecauseitishighlighted,asyoucanseebytheuppercallout.Inthiscase,thezoomissettoultrawidecoverageof20mm.

FIGURE10.10

Figure10.11:Nowtheflashzoomhasbeenchangedfrom20mmtothemaximumzoomof200mm.Differentflashbrandshavedifferentmaximumzooms.ThisisthezoomsettingthatIchoosetocreateanaturalvignette.

FIGURE10.11

OFF-CAMERAWIRELESSFLASHThereseemstobemoreconfusioninunderstandingoff-camerawirelessflashthanthereisinunderstandingblackholesintheuniverse.Aswitheverythingelseconcerningflash,Iblametheterminology,charts,numbers,andunitsthatareusedwhentalkingaboutwirelessflash.Iwilldomybesttokeepitsimple,clarifytheterminology,andminimizeanyconfusion.Toexplainhowwirelessoff-cameraflashworks,Iwilluseananalogy.

Herearethenutsandboltsofoff-camerawirelessflash.Therearejustfivethingsyouneedtoknow:

Youneedtoknowwhatamasterorcommanderflashis.

Youneedtoknowwhataslaveflashis.

Youneedtoknowwhatachannelis.

Youneedtoknowwhatagroupis.

Youneedtoknowthedifferencebetweenopticalandradiotransmission.

WhatIsaMasterorCommanderFlash?Amaster(a.k.a,commander)flashistheflashthatsitsonyourcamera’shotshoeandservesastheleaderofalltheoff-cameraflashes.This“master”flashtellstheotherswhentofireandhowtofire.Therecanonlybeonemasterflash.AremotetriggersuchasaPocketWizardcanalsobeusedasamastertransmitterandcommunicatewithotheroff-cameraflashesthatareconnectedtoaPocketWizardreceiver.

Figure10.12:Thisflashhasbeenassignedtobethemasterflashbypressingthewirelessbuttonindicatedbythecallout.Ifyouuseadifferentbrand,simplyfindthebuttonorcommandthatmakesoneflashthemasterandtheothertheslave.Thesearebasicwirelessfunctionsonanyprofessionalflash,sotheyshouldbeeasytofind,regardlessofthebrandyouuse.

FIGURE10.12

WhatIsaSlaveFlash?Aslaveflashistheflashorflashesthatarenotmountedtothecamera’shotshoe.Youhaveonemasterflashcontrollingasetofslaveflashes.Themasterflashislikethegeneral,andtheslaveflashesarelikethesoldiersonthefrontlines.Theslaveflashesdon’tdoathingunlesstoldtodosobythemasterflashunit.SlaveflashescanbesetindividuallytofireineitherTTLmodeorinmanualmode.

Figure10.13:Thisflashhasbeenassignedtobeaslaveflashbypressingthewirelessbuttonindicatedbythecallout.Thisflashwillnowreceivecommandsfromthemasterflash.

FIGURE10.13

WhatIsaChannel?Channelswerecreatedsothatphotographerswhoareworkingincloseproximitytoeachotherandareusingoff-cameraflashdon’taccidentallyfireeachother’sflashes.Onephotographercanchoosetobeonchannel1,andtheothercanagreetobeonchannel2.Nowthephotographerswillonlytriggertheflashesontheirchosenchannel.Ataweddingreception,Isetallmyflashestochannel1,andmysecondshooter’sflashesarealwaysonchannel2.Therefore,whenhetakesaphoto,onlyhisflasheswillfire,whileminedonot.

FIGURE10.14

Figure10.14:Thisslaveflashissettochannel1.Thebuttonindicatedbythecalloutactivatesthechannelsettings.Mostprofessionalflasheshaveaneasilyaccessiblechannelbutton.

WhatIsaGroup?WithineachchannelyoucanhavemultipleflashesthatcanbecontrolledeitherinTTLormanualmode,andwithdifferentpowersettings.Inordertotelleachindividualflashwhattodo,wemustgiveeachoneofthemaname.

Let’ssayyouhavethreeslaveflashesonchannel1.FlashescanbeassignedtobeingroupsA,B,C,D,orE.Forexample,oneflashcanbeassignedtogroupAandtheremainingtwoflashescanbeassignedto

groupB.Nowwecantelleachgroupwhattodoseparately.(NotethatthemasterflashisalwaysassignedtogroupA.)Fromthemasterflashorfromthecamera’sflashmenu,wecansetallflashesingroupAtofireatfullpowerinmanualmode.Inthiscase,thereisonlyoneslaveflashingroupA,butyoucanalwayshavemore.FlashesingroupBcouldbesetto1/4powerinmanualmode.Inthisexample,therearetwoflashesingroupB.YoucanalsosetgroupAtoworkinmanualmodeandgroupBtoworkinTTLmode.Thechoiceisyours.NotethattousetheTTLmeteringsystemwithoff-cameraflash,youmusthavetherighttransmissiontechnologytomakeitwork.Forexample,PocketWizardorsimilarcompaniesareimprovingtheirtechnologytoallowforTTLoff-cameraflashcapabilities.ProbablytheeasiestwaytouseTTLoff-cameraflashtechnologyistousemodernflashesthatarethesamebrandandmodelnumber.Thiswillhighlyimprovereliabilityandeaseofuse.Irealizethattherearesomepopularthird-partyflashesthatareveryinexpensive,butduringmyworkshopsIhaveseenmixedresultswiththoseinexpensivealternativeflashes.Inmyopinion,itisbettertohavefewerflashesofareliablebrandsuchasCanon,Nikon,orSonythantohavemoreflashesthatdonotalwaysreliablywork.Flashesarefartooimportanttotrytosavemoneyonthem.Frankly,Iwouldrathersavemoneyonlensesthanonflashes.

Figure10.15:Thisfigureshowsthreeslaveflashes.Allaresettochannel1,whichmeanstheywillallspeaktoeachotherandfiresimultaneouslywhenthemasterflashsendsthesignaltodoso.TheflashontheleftisassignedtogroupA.TheflashinthemiddleisassignedtogroupB.AndtheflashontherightisassignedtogroupC.Thismeansyoucanseteachgrouptofireatdifferentpowersettingsorindifferentmodes.Inthiscase,theLCDscreentellsusthattheyareallsettoTTLandtheflashexposurecompensationissettozero.

FIGURE10.15

WhatAreFlashRatios?Simplyput,flashratiosallowyoutoassigndifferentpowersettingstothedifferentflashgroups.Forexample,whenshootingwithtwogroups,AandB,thephotographercanchoosetomaketheflashassignedtogroupAmorepowerfulthangroupB,orviceversa.YoucanevencontrolthreegroupssuchasgroupsA,B,andC.GroupsAandBcouldbeusedtoilluminatethesubjectatyourdesiredratio,andgroupCcouldbeusedtoilluminatethebackgroundindependentlyofgroupsAandB.Experimentingwithflashratioscanmakeflashphotographymuchmoreinteresting,andflashratioscanbeakeyfeaturetousewhentryingtoshapeandcraftthelighttomeetyourvision.

WhatIstheDifferenceBetweenRadioandOpticalTransmission?Therearetwopossibletypesofwirelessflashcommunicationthatcan

takeplacebetweenthemasterflashandtheslaves.Thefirstiscalledopticaltransmission,orlineofsight.Whenusingopticaltransmission,themasterflashcommunicateswiththeslavesbyfiringaquickcommunicationflash.Whentheslaveflashesdetectthelightfromthemasterflash,theyallimmediatelyfire.Thisprocesshappenssofastyoucannotseeitinaction,andthecommunicationflashfromthemasterslavedoesnotcontributeinanywaytotheactualexposure.Becauseallflashesmustbeableto“see”eachother’sflashesgooffinordertocommunicate,theyallmustbeinthelineofsightofeachother.Therecannotbeawalloranyotherobjectblockinganyslaveflash’sfieldofvision,becausethentheslaveflashwillnotseethemasterflashgooff.

Theotherkindoftransmission,radiotransmission,usesradiowavestoenabletheflashestocommunicatewitheachother.Youmayneedseparatehardware,suchasPocketWizards,toprovidetheradiotransmissiontechnology.Onedeviceisneededtosendtheradiosignals(transmitter),andanotherisneededtoreceivethesignals(receiver).Itsoundsabitcumbersome,buttheadvantagethatradiotransmissionoffersisthatradiowavescantravelthroughwalls,cars,trees,oralmostanythingelse.Therefore,whenusingradiotransmission,youcanplacetheslaveflasheswhereveryouwish,andyoucanbeconfidentthatalltheflasheswillfirewhenyoupushtheshutterbutton.

TheadvantageofopticaltransmissionisthatyoucansetyourslaveflashestoeithermanualorTTLmode.Inradiotransmission,mostlikelyyouwillhavetosetallofyourslavestomanualmode.However,atthetimeofthisbook’swriting,thisTTL/manuallimitationisbecomingathingofthepastinradiotransmission.Soon,mostcameramanufacturerswillhaveradiotransmissiontechnologybuiltintotheirflashunitssothatnootherexternaldevicesareneeded.Canon’scurrentflagshipflashunit,theCanon600EX-RT,wasthefirsttohaveradiotransmissionbuiltintotheflash(hencetheRTattheendofitsname).Soon,othercompanieswillfollow.

Camerashavealimitonhowmanyslaveflashesyoucancontrolatthesametime.Youshouldrefertoyourmanualtofindouthowmanyyourcameracanhandle.Inmyentirecareer,Ihavehadatotalofsixflashes.RarelyhaveIusedallsixatthesametime.Iusuallyworkwithaflashasamasterandtwoslaveflashes.Ofcourse,italldependsuponeach

individualsituation.

Figure10.16:Thisparticularflashhasabuilt-inradiotransmitterandreceiver.Therefore,thisflashcanperformbothradiotransmissionandopticaltransmissionwithouttheneedforanyadditionalgear,suchasPocketWizards.Thesymbolinsidethecalloutonthetoprightindicatesthatthisslaveflashissettoradiotransmission.Therefore,themasterflashmustalsobesettoradiotransmissionsotheycancommunicatewitheachother.

Figure10.17:TheLCDonthisslaveflashistellingusthatitissettoopticaltransmission,orlineofsight.Forthisflashtoworkatthissetting,themasterflashmustalsobesettoopticaltransmission.Manyofmystudentsexperienceagreatdealoffrustrationwhentheydon’trealizethatoneoftheirflashesissettoradiotransmissionbuttheotherisaccidentallysettoopticaltransmission,andthereforetheflashesdon’twork.Theythinktheremustbesomethingwrongwiththeflash,butinfacttheyjustdidnottakeacarefullookatthescreenandreadallofthesymbols.Sometimes,aquick,patientglanceatthescreeniconsisallittakestofix90%ofyourflash-relatedheadaches.

FIGURE10.16

FIGURE10.17

AQUICKTESTFigure10.18:Takeacloselookatthescreenineachofthesethreeflashes.ItdoesnotmatterifyouuseNikon,Sony,Olympus,Canon,etc.Justbasedonwhatwehavepreviouslydiscussed,trytofigureoutwhatishappeningwiththisthree-flashwirelesssetup.Onceyouaredone,moveontothenextfigurefortheanswer.Inanactualshoot,youshouldbeabletoglanceatthesethreescreensandcompletelyunderstandhoweachflashwillbehave.

FIGURE10.18

Figure10.19:ThefirstthingInoticeisthatallthreeflashesaresettoradiotransmission.Ifoneofthemwassettoopticaltransmission,thenthatflashwouldnotworkwiththeothers.Second,Ichecktoseeifallthreeflashesareonthesamechannel.Theyarenot!Thefirsttwoflashesaresettochannel1,buttheflashontherightissettochannel2.Thismeansthatifthemasterflashissettochannel1,theflashonchannel2willnotfire.Next,theflashontheleftisassignedtogroupA.It’salsosettoworkinmanualmode,andthepowerhasbeensetto1/4.ThemiddleflashisassignedtogroupB.ItissettoworkinTTLmode,andtheflashexposurecompensationissettozero.Lastly,theflashontherightisassignedtogroupC.ThisflashissettoTTLbutnowtheflashexposurecompensationhasbeenreducedto–2stops.Alsonoticethatallthreeflashesaresettomanualzoomat24mm.

FIGURE10.19

Itisexercisessuchasthisonethatwillhelpextricateyoufromastickysituationwhenyouareunderpressure.IremovedthemodelnumberoftheseflashessoyouwouldfocusonthefeatureslistedontheLCDscreenandnotthebrandormodeloftheflash.Thatinformationisirrelevanttoourgoal.Youmusttakethetimetorunsmalltestslikethistoseeifyounoticeeverythingonthescreens,determinewhatdiscrepanciesexist,andunderstandwhatyouhavetodotoaddressthemsothatalltheflashesdowhattheyaresupposedtodo.Trustme,youwillfeelrelievedthatyoudid!

CHAPTER11

SPEEDDEVELOPMENTEXERCISESFORFLASH

Truthfully,ifyouwanttolearnanewskill,youmustbreakitdownintosmall,manageablepartsandbecomecomfortablewitheachofthem.Themostdauntingtaskscanbemasteredbysimplylearningbite-sizepieces,thenmovingontomoredifficultcomponents,andsoon.Flashisnodifferent.Evenatthisstageinmycareer,ifithasbeenawhilesinceIhaveusedaflash,Istillhavetotakeitoutandrunthroughsomeofthekeyfeaturestomakesurethatmymemoryisrefreshedandrunningsmoothly.ThelastthingIwantistobeunderpressureduringaphotoshoot,andIcan’trememberhowtodosomethingwithmyflash.

Duringmyyearsasaprofessionalclassicalguitarist,Ihadtolearnandperfectnewmusicpieceseverymonthformybimonthlyperformances.Somepiecesweremorethan10pagesofsheetmusic.ThewayIwasabletomemorizeeverythingwasnottotrytolearnthepieceallatonce.Iwouldpretendthattheentirepiecewasjustthefirstlineofmusiconthefirstpage.IwouldrepeatthatlineoverandoveruntilIreallybegantoenjoyplayingit,evenwithmyeyesclosed.IwouldgettothepointthatIknewthatlineleftandright.Itbecameamemory-muscleexercise,andIwouldreachthepointwhenIdidnotevenhavetothinkabouthowtoplaythatlinewithtechnicalmasteryandexpression.

Photographyisverymuchthesame.Usingtheflashfunctionsisthetechnicalaspectofphotography,andusingthelightfromtheflashtobringyourvisiontolifeistheexpressiveaspect.Itisverydifficulttobeexpressiveifyoudon’thavethetechnicalsidedownpat.Inordertothinkcreativelyandproducesomethingspecial,yourbrainmustbeabletofocusonthecreativeprocess,notwhichbuttonstopushtoobtainthedesiredflashsettings.Understandingkeyflashfeaturesshouldbecomesecondnaturetoyou.

HOWTOGETTHEMOSTFROMTHESEFLASHMICROEXERCISESThefollowingexercisesarepresentedinincreasingorderofcomplexity.Theseexerciseswillchallengeyouandmaybeevenfrustrateyou.Butitishowyouuseyourfrustrationthatwillmakearealdifferenceinyourknowledgeofwirelessoff-cameraflash.Idonotexpectyoutogothrough

andcompletealloftheseexercisesinonesitting.Thisismoreofaprocess.Thelastfewexercisesareverycomplicated;theyaskyoutoperformanumberofadvancedoff-cameratechniquesusingmultipleflashes.

Pleasekeepinmindthat,formanyoftheseexercises—especiallythoseintheoff-cameraflashsection—IfocusheavilyonhowtoadjustandcontrolTTLflash.ThisisbecauseTTLisusuallytheculpritwhentheresultsyougetarenottheresultsyouhadinmind.Sincethecamera’stechnologyismakingdecisionsbasedontryingtobringtheexposureto18%graywhileusingthechosenmeteringmode,theresultscanvarygreatly.KnowinghowtopredictandadjustTTLflashquicklywillbeextremelybeneficialtoyou.However,forthisreason,asstatedinthepreviouschapter,Ipersonallychoosetokeepmyflashesonmanualthemajorityofthetime.Thisway,Idon’thavetoguesswhattheflashisthinkingordoing.Icansimplyadjustthepowerdowniftheflashistoobright,orupiftheflashistoodark.

Ihighlyencourageyoutohaveyourflashmanual(s)handy.Sinceitisimpossibleformetoknowwhattypeofequipmenteveryreaderhas,howolditis,andwhattechnologiesitincludes,theexercisesrequireyoutoknow,orbeabletofindout,howtoactivatetheneededfunctionstocompleteeachtask.Ifyoucannotfigureouthowtofindacertainfunctiononyourflash,tryaskingsomeoneonlinetohelpyou.Youcouldalsoformagroupofinterestedpeopletoworkthroughtheseexercisestogether.Thatway,eachperson’sknowledgecanhelpeveryoneelseplowthroughtheseexercisestogether.

Anotherapproachwouldbetocompleteasmanyoftheseexercisesasyoucanhandleonyourownorwithagroup,andthenmoveontothefollowingchaptersinthebook.Later,youcanmakeitagoaltofinishalloftheseexerciseswithoutanyhelp.Theseexerciseswillforceyoutodoresearchonyourownflashunits,andtheywillmakethelearningprocessthatmuchmorepowerfulandbeneficialinthelongrun.Sohaveagoodtimewiththeseexercises,readeachpieceofinstructionverycarefully,andhavefunlearning!Soon,youwillknowtheseexercises,anditwillfeellikeawalkinthepark.Let’sbegin.

ON-CAMERAFLASHSPEEDDEVELOPMENTEXERCISESFortheseexercises,thesetupisanindoorroom.Thecameraisplacedsixfeetinfrontofthemannequin,withtheflashattachedtothecamera’shotshoe.

Thisisthesetupusedforexercises1–13

1.MakingSuretheFlashIsonTTLwithZeroFECAppliedGoal:TocheckthattheflashisworkingonTTLmodeandthatzeroflashexposurecompensation(FEC)hasbeenapplied.

1. Turntheflashon.

2. BrowsethescreenandcheckthattheTTLmodefeatureisactive.

3. FindtheFECscaleontheflashLCDscreenandmakesureit’ssetto0.

4. Ifeverythinglooksgood,youaredone.Ifnot,makethenecessarychangestoachievethegoalofthisexercise.

5. Takeaphoto,thenturntheflashoff(Figure11.1).

2.MakingSuretheFlashIsonTTLwith–2FECAppliedGoal:TocheckthattheflashisworkingonTTLmodeandthat–2flashexposurecompensation(FEC)hasbeenapplied.Thisphotoshouldappeardarkerthantheoneinexercise#1.

1. Turntheflashuniton.

2. BrowsethescreenandcheckthattheTTLmodefeatureisactive.

3. ActivatetheFECscaleontheflashLCDscreenandmakesure–2FEChasbeenapplied.

4. Ifeverythinglooksgood,youaredone.Ifnot,makethenecessarychangestoachievethegoalofthisexercise.

5. Takeaphotoofthesamesubjectasinexercise#1,andthenturntheflashoff(Figure11.2).

FIGURE11.1

FIGURE11.2

3.MakingSuretheFlashIsonTTLwith+3FECAppliedGoal:TocheckthattheflashisworkingonTTLmodeandthat+3flashexposurecompensation(FEC)hasbeenapplied.Thisphotoshouldappearmuchbrighterthantheoneinexercise#1.

1. Turntheflashuniton.

2. BrowsethescreenandcheckthattheTTLmodefeatureisactive.

3. ActivatetheFECscaleontheflashLCDscreenandmakesure+3FEChasbeenapplied.

4. Ifeverythinglooksgood,youaredone.Ifnot,makethenecessarychangestoachievethegoalofthisexercise.

5. Takeaphotoof thesamesubjectasexercise#1,and then turntheflashoff(Figure11.3).

FIGURE11.3

4.SwitchingBetweenTTLandManualModesGoal:TogainspeedandconfidencewhenswitchingbetweenTTLandmanualmodes.

1. Turntheflashuniton.

2. BrowsethescreenandcheckthattheTTLmodefeatureisactive.

3. Find thebuttonorswitch thatallowsyouchange the flashmodefromTTLtomanual.

4. Switchyourflashtomanualmode.

5. SwitchitbacktoTTLmode.

6. Turntheflashoff.

5.SwitchingtoManualModeatFullPower(or1/1)Goal:Tochangetheflashmodetomanualmodeandsetitatfullpower.Thisphotowillbecompletelyblownoutbecausetheflashatfullpowerhasfartoomuchlightforourcurrentsettingsandsetup.

1. Turntheflashuniton.

2. BrowsethescreenandcheckthattheTTLmodefeatureisactive.

3. Find thebuttonorswitch thatallowsyouchange the flashmodefromTTLtomanual.

4. Switchyourflashtomanualmode.

5. Activate thepoweroptionsandgoall theway to the right for fullpower(or1/1).

6. Takethephoto(Figure11.4).

7. Turntheflashoff.

6.ManualModeat1/4Power,Then1/32Power,Then1/128Power

Goal:Togainspeedatmakingchangesquicklyinmanualmodetoachieveacorrectexposure.

1. Turntheflashuniton.

2. Makesuretochoosemanualmode.

3. Activatethepoweroptionsandsettheflashto1/4power.

4. Takethephoto(Figure11.5).

5. Changethepowerto1/32power.

6. Takethephoto(Figure11.6).

7. Changethepowerto1/128power.

8. Takethephoto(Figure11.7).

9. Turntheflashoff.

FIGURE11.4

FIGURE11.5

FIGURE11.6

FIGURE11.7

7.ChangingtheFlashtoSecondCurtainSyncGoal:Toknowhowtoquicklychangetheflashsyncsettingtosecondcurtainsync.Bydefault,theflashisalwaysonfirstcurtainsync.

1. Turntheflashuniton.

2. ChangeyourflashtoTTLmodewith0FEC.

3. Withyourcamerashootinginmanualmode,settheshutterspeedto1second,theaperturetof/8,andtheISOto800.

4. Find the sync button or feature on your flash unit and activatesecondcurtainsync.

5. Takethephoto(Figure11.8).Youwillnoticetheflashsendsoutapre-flashfortheTTLsystemtocalculatedistanceandflashpowersettings.Then,at theveryendof theexposure, youwill see theflash fire just before the shutter closes. This will help freezemovement of your subjects during exposures with slow shutter

speeds,suchaswhenpeoplearedancing.

6. Turntheflashoff.

FIGURE11.8

8.ChangingtheFlashBacktoFirstCurtainSyncGoal:Toknowhowtoquicklychangetheflashsyncsettingfromsecondcurtainsynctofirstcurtainsync.

1. Turntheflashuniton.

2. MakesureyourflashissettoTTLmodewith0FEC.

3. Withyourcamerashootinginmanualmode,settheshutterspeedto1second,theaperturetof/8,andtheISOto800.

4. Find the sync button or feature on your flash unit and removesecondcurtainsync.Bydefault,removingsecondcurtainsyncwillautomaticallyactivatefirstcurtainsync.ItislikelythatyouwillnotseefirstcurtainsyncdisplayedonanyflashLCDscreenbecause

itisthenormal,defaultflashsyncsetting.

5. Take the photo (Figure 11.9). As soon as you push the shutterbutton,thepre-flashandrealflashfirepracticallyatthesametime.Thishappenssofastthatyouwillonlyseeoneflash.Attheendofthe exposure, no flash will fire because it already did at thebeginningoftheexposure.Hencethename“firstcurtainsync.”

6. Turntheflashoff.

FIGURE11.9

9.ActivatingHigh-SpeedSyncGoal:Toquicklychangetheflashsettingsfromfirstcurtainsynctohigh-speedsync(HSS).Nikoncallsthisfeature“FP.”Regardlessofthename,thefeaturehasthesamegoal:tosynctheflashtoanyshutterspeedpastthecamera’smaximumflashsyncspeed.

1. Turntheflashuniton.

2. MakesureyourflashissettoTTLmodewith0FEC.

3. Withyourcamerashootinginmanualmode,settheshutterspeedto1/500,theaperturetof/4,andtheISOto800.

4. Findtheflashsyncbuttonorfeatureandactivatehigh-speedsync.

5. Takethephoto(Figure11.10).Activatinghigh-speedsyncgreatlyreduces the flash’s power. But if your subject is at a relativelyclosedistance,theflashathigh-speedsyncwillstillhaveenoughstrengthtoilluminateyoursubjectproperly.Mymannequinheadissixfeetawayfrommycameraforthisexercise.

6. Changetheshutterspeedto1/2000andtheaperturetof/5.6.

7. Takeaphoto(Figure11.11).Youwillseethattheexposurelooksthesame,eventhoughyouincreasedtheshutterspeedandmadetheapertureonestopsmaller.Theflashwillworkparticularlyhardtotrytocompensateforyourcamerasettings.

8. Turntheflashoff.

FIGURE11.10

FIGURE11.11

10.ZoomingtheFlashGoal:Toquicklyzoomtheflashheadtovariousfocallengths.

1. Turntheflashuniton.

2. Change your flash to manual mode (M) and set the power to1/128.

3. Withyourcamerashootinginmanualmode,settheshutterspeedto1/200,theaperturetof/4,andtheISOto200.

4. Findthebuttonorfeaturethatactivatestheflashzoomsoyoucanmanuallysetit.

5. Changethezoomtothelowestnumberyourflashcanreach, i.e.thewidestflashzoompossible.Myflashcanbeaslowas20mm.

6. Takeaphoto(Figure11.12).Fortheseexamples,I’mkeepingmylens at 35mm.The flash has been set to 20mm.Therefore, youwillseeanevendistributionoflightthroughouttheframe.

7. Zoomtheflashtothemaximumnumberyourflashcanreach.Myflashcanbezoomedto200mm.

8. Takeaphoto (Figure11.13).Youwill see thatalthoughyoudidnotchangeyourflashpowersettingsoryourcamerasettings,thelight from the flash looks much more powerful on your subjectwhenzoomedtothemaximumsetting.Thishappensbecauseyouare creating a very narrow beam of light, causing it to bemoreconcentrated.Now, the edges of the frame look darker than themiddle.ThisisthevignettingeffectthatIreferredtoinChapter10.Zooming the flash head to its maximum setting is also a cleverway togive the flashanextraboostwhenworking inhigh-speedsync.

9. Switchfrommanualzoombacktoautozoom.

10. Turntheflashoff.

FIGURE11.12

FIGURE11.13

11.CombiningDifferentFeatures#1Goal:Togainspeedatcombiningdifferentsettingsonyourflash.

1. Turntheflashuniton.

2. Withyourcamerashootinginmanualmode,enterthesesettings:ISO400,f/4,1/200.

3. PutyourflashtoworkonTTLmode.

4. SettheFECto+2.

5. Activatetheflashzoomandsetitto50mm.

6. Takethephoto(Figure11.14).

7. Turntheflashoff.

FIGURE11.14

12.CombiningDifferentFeatures#2Goal:Togainspeedatcombiningdifferentsettingsonyourflash.

1. Turntheflashuniton.

2. Withyourcamerashootinginmanualmode,enterthesesettings:ISO100,f/8,1/125.

3. Putyourflashtoworkonmanualmodeandsetthepowerto1/64.

4. Makesurethatthezoomissettoautozoom.

5. Takeaphoto.Giventhatyoursubjectdistanceissimilartomine—around six feet—your subject should appear underexposed(Figure11.15).

6. To correct for the underexposed subject, quickly activate themanualflashpowersettingsandsetthepowerto1/16.

7. Takeaphoto.Thatwillgiveyoutwomorestopsoflight,exposingyoursubjectcorrectly(Figure11.16).

8. Turntheflashoff.

FIGURE11.15

FIGURE11.16

13.CombiningDifferentFeatures#3Goal:Togainspeedatcombiningdifferentsettingsonyourflash.

1. Turntheflashuniton.

2. Withyourcamerashootinginmanualmode,enterthesesettings:ISO400,f/4,1/6.

3. PutyourflashtoworkonTTL.

4. SettheFECto–1.

5. Findthesyncbuttonandactivatesecondcurtainsync.

6. Activatetheflashzoomandsetitto105mm.

7. Takeaphoto(Figure11.17).

8. Turntheflashoff.

FIGURE11.17

Notethatthereasonwhythereisastrongyellowcolorcastonthisphotographisbecause,atslowershutterspeeds,muchmoreoftheambientlightinfluencestheexposure.Iphotographedtheseexercisesunderthreeyellowtungstenlightsources,whichiswhyyouseethestrongyellowcolorcastinthephoto.Theslowertheshutterspeed,themoreambientlightwillimpactthefinalexposure.Thefastertheshutterspeed,thelessimpacttheambientlightwillhave.

OFF-CAMERAWIRELESSFLASHSPEEDDEVELOPMENTEXERCISESAsImentionedearlier,thereisnowayformetoknowwhatequipmenteveryreaderhas.Thereissomuchthird-partygenericflashequipmentpoppingupthatitisdifficulttoknowwhohaswhatflashortomakebroadassumptionsaboutthecapabilitiesofthesegenericproducts.Sometimestheyworkwell,andothertimestheyburnoutorstopfunctioningaltogether.OnethingIdoknowisthattheadvancedflashunitsavailablefromCanon,Nikon,Sony,andmostthird-partymanufacturersshouldhavetheabilitytochangethechannelandthegroupandtocreatelightingratiosbycontrollingeachflashoutputseparately.

Thefollowingexercisesfocusonoff-cameraflashtechniques.ThereisnowayIcantellyouexactlywhichbuttonstopushtofindandadjustthevariousfeaturesofyourequipment.Youwillhavetorefertoyourmanual.JustrememberthateverysettingIaskyoutofindisabasicoff-cameraflashsetting.Itshouldbeeasytofind,regardlessofwhatgearyouhave.

Thisisthesetupusedforexercises14–16

Thisisthesetupforexercises17and18

Forthefollowingexercises,thesetupisanindoorroomwithverylittlewindowlightcomingintotheroom.Yourlivingroomcouldbeaperfectlocation.Thecameraisplacedsixfeetinfrontofthemannequin.Theoff-cameraflashforexercises14–16issetsixfeetdirectlytocameraright.Forexercises17and18,theoff-cameraflashispositionedsixfeettocameraleft.Iperformedalloftheseexercisesbytriggeringtheoff-cameraflashwithopticaltransmission(lineofsight).Theprinciplesarethesamewithopticalorwithradiotransmission.Theonlyrealdifferenceisthatwithradiotransmission,theflashesdonothavetobeinlineofsightofeachotherbecausetheyareactivatedbyradiosignals.Withradiotransmission,theflashescanbehiddenbehindwalls,people,cars,etc.,andthesignalfromthemasterflashwillstillreachtheslaveflash.

ThereasonIusedopticaltransmissionfortheseexercisesisbecauseeverymodernprofessionalflashhasbuilt-inopticaltransmission.For

radiotransmissiontowork,youneedtohaveeitheradditionalequipment,suchasPocketWizards,oraflashthathasradiotransmissionalreadybuiltintotheflashunit.However,regardlessofwhetheryou’reusingopticalorradiotransmission,thebuttonsandfeaturesfortheseexercisesarethesame.

14.SettingOneFlashastheMasterandtheOtherasaSlaveGoal:Togainspeedwhencorrectlysettingupabasicwirelessoff-cameraflashsetup.

Equipmentneeded:Twoflashesthatarecompatiblewitheachotherforoff-cameraflashoperation.It’sbestifbothflashesarethesamemakeandmodelforeaseofoperation.Makesureyourflashesarebackonautozoom.Somecamerasallowforthebuilt-inpop-upflashtobeusedasacommander/masterflash.However,inmyexperienceitisbettertousearealflashunitasacommanderormasterflashtoimprovereachandreliability.

1. Mountone flashon thecamera’shot shoe,andmount theotherflashonastandsixfeettothesideofthemannequin.

2. Set your camera to shoot in manual mode and enter thesesettings:ISO400,f/4,1/125.

3. Turnbothflasheson.

4. MakesurebothflashesareonTTLmodewith0FEC.

5. Assigntheflashonyourcameratobethemaster.

6. Assigntheflashinyourhandtobetheslave.

7. FindthechanneldisplayontheflashLCDscreenandmakesurethatboththemasterandtheslaveareonchannel1.Thisensuresthattheycancommunicatewitheachother.

8. Findthebuttonorfeaturetosetthegroup,andmakesurethattheslaveflashisassignedtogroupA.

9. Themasterandslaveflashesshouldnowbesynced.

10. Take a photo. Both flashes fired to make the exposure (Figure11.18).

11. Turntheflashesoff.

FIGURE11.18

15.AssigningtheSlaveFlashtoaDifferentGroupGoal:Togainspeedchangingtheslaveflashgroup.

Equipmentneeded:Twoflashesthatarecompatiblewitheachotherforoff-cameraflashoperation.It’sbestifbothflashesarethesamemakeandmodelforeaseofoperation.Makesureyourflashesarebackonautozoom.

1. Repeatthefirstsixstepsfromexercise#14.

2. Ontheslaveflashunit,findthebuttonorfeaturetosetthegroup,andchangetheslavegroupfromgroupAtogroupB.Whenyouhaveflashesindifferentgroups,suchasinthiscase(themasteris

ingroupAandtheslaveisingroupB),youcancontrolthepowerofeachgroupseparately.Forexample,bychangingtheratiosonyour flash ratiomenu, flashes in groupA can bemore powerfulthan flashes in group B (and vice versa). Note: By default, themaster flash on top of your camera is always in group A.Therefore, in this setup, yourmaster flash is always in groupA,butyourslaveflashisnowingroupB.

3. Takeaphoto(Figure11.19).

4. Turntheflashesoff.

FIGURE11.19

16.ChangingtheChannelandGroupGoal:Togainspeedchangingthechannelonboththemasterandtheslave,andtheslaveflashgroup.

Equipmentneeded:Twoflashesthatarecompatiblewitheachotherforoff-cameraflashoperation.It’sbestifbothflashesarethesamemakeandmodelforeaseofoperation.Makesureyourflashesareonauto

zoom.

1. Repeatthefirstsixstepsfromexercise#14.

2. Onthemasterflash,findthebuttonorfeaturetosetthechannel,andchange thechannel fromchannel1 tochannel2.Leave theslaveflashonchannel1forthemoment.

3. Takeaphoto(Figure11.20).

4. Noticeyourslave flashdidnot fire.That’sbecauseyouchangedthe channel on the master flash to channel 2, but you did notchangethechannelontheslaveflash.This is themostcommonreasonwhypeoplecan’tfigureoutwhytheirslaveflashesarenotfiring.Forthemasterflashtocommunicatewiththeslaveflashes,alltheflashesneedtobeonthesamechannel.Getintothehabitof checking your entire LCD screen before shooting to get aglimpseofallofyoursettingsandmakesuretheyarecorrect.

5. Changetheslaveflashtochannel2tomatchthemasterchannel.

6. Takeaphoto(Figure11.21).

7. Now the master and the slave flash are both on channel 2.Therefore, the slave flash was able to communicate with themasterflashandfire.

8. Turntheflashesoff.

FIGURE11.20

FIGURE11.21

17.ChangingtheSlaveFlashtoManualModeandStoppingtheMasterFlashfromFiringGoal:Togainspeedchangingtheslaveflashtomanualmodeandnotallowingthemasterflashtocontributetotheexposurebyturningoffitsfiringcapabilities.Inthissituation,themasterflashwillonlyserveasatransmitterandnotasaflash.

Equipmentneeded:Twoflashesthatarecompatiblewitheachotherforoff-cameraflashoperation.It’sbestifbothflashesarethesamemakeandmodelforeaseofoperation.Makesureyourflashesareonautozoom.

1. Repeatthefirstsixstepsfromexercise#14.

2. Putthemasterflashandtheslaveflashbacktochannel1.

3. FindthebuttonorfeaturetosetthegrouponyourslaveflashandmakesurethatitisassignedtogroupA.

4. Using your master flash or your camera’s flash control menus,change the slave flash’smode fromTTL tomanual, andchoose1/32power.

5. Usingyourmasterflashoryourcamera’sflashcontrolmenus,findandchoose theoption tonotallow the themaster flash to fire. Ifyoudon’tknowwherethatoptionis,useyourflashmanualtofindit(oryourcameramanual,ifyou’retryingtosetitinthecamera’sflash control menus). Now the master flash will only work as atransmitter; theonly flashcontributing to theexposureshouldbetheslaveflashingroupA.

6. Takeaphoto(Figure11.22).

7. Noticethelightonlycomesfromcameraleft.Themasterflashdidnotcontributetotheexposureatall.Thisisahandytechniquetousewhenyouonlywantdirectionallightinyourphotograph.

8. Activate the master flash to fire as well. Now both flashes willcontributetotheexposure.

9. Takeaphoto.

10. Turntheflashesoff.

FIGURE11.22

18.ActivatingOff-CameraHigh-SpeedSyncFlashGoal:Togainspeedactivatinghigh-speedsyncwithoff-camerawirelessflash.

Equipmentneeded:Twoflashesthatarecompatiblewitheachotherforoff-cameraflashoperation.It’sbestifbothflashesarethesamemakeandmodelforeaseofoperation.Makesureyourflashesareonautozoom.

1. Set your camera to shoot in manual mode and enter thesesettings:ISO400,f/4,1/2000.

2. Makesurethemasterflashandtheslaveflasharesettochannel1.

3. FindthebuttonorfeaturetosetthegrouponyourslaveflashandmakesureitisassignedtogroupA.

4. Withyourflashinmanualmode,choosefullpower(or1/1).

5. Usingyourmasterflashorthecamera’sflashcontrolmenus,findandchoosetheoptiontonotallowthemasterflashtofire.

6. Usingyourmasterflashorthecamera’sflashcontrolmenus,findandactivatehigh-speedsync.

7. Takeaphoto(Figure11.23).

8. Yourslave flashwill fireathigh-speedsync,allowingyou touseflash at a shutter speed of 1/2000 second,which is far past thecamera’ssyncspeedlimitof1/200or1/250.Thisisprobablyoneof themost useful off-camera flash techniques that I use in mywork.

9. Turntheflashesoff.

FIGURE11.23

Thisisthesetupusedforexercises19–21

19.WorkingwithTwoSlaveFlashesGoal:Togainspeedworkingwithtwoslaveflashes.

Equipmentneeded:Threeflashesthatarecompatiblewitheachotherforoff-cameraflashoperation.Oneflashisusedasamaster;theothertwoareslaveflashes.It’sbestifallthreeflashesarethesamemakeandmodelforeaseofoperation.Makesureyourflashesareonautozoom.

Setup:Thecamerawithmasterflashissixfeetinfrontofthemannequin.Thetwoslaveflashesarealsosixfeetfromthemannequin:oneslaveflashistocameraleftandtheotherslaveflashtocameraright.

1. Set your camera to shoot in manual mode and enter thesesettings:ISO100,f/4,1/125.

2. Make sure the master flash and both slave flashes are set tochannel1.

3. Find thebuttonor feature toset thegrouponbothslave flashesandsetthembothtogroupA.

4. Makesurethathigh-speedsyncisnolongeractivatedandthattheflashisbacktoitsdefault,firstcurtainsync.

5. Withyourflashesinmanualmode,setthepowerto1/64.

6. Usingyourmasterflashorthecamera’sflashcontrolmenus,find

andchoosetheoptiontonotallowthemasterflashtofire.

7. 7. Take a photo (Figure 11.24). Youwill see both slave flashesfire,illuminatingtheleftandrightsidesofthemannequin.

8. Now, allow the master flash to contribute to the exposure bysettingthemasterflashtofire.

9. Takeaphoto(Figure11.25).Noticethemasterflashfired,whichcontributed to the exposure by putting light dead center on themannequin.

10. Turntheflashesoff.

FIGURE11.24

FIGURE11.25

20.SettingEachSlaveFlashwithaDifferentGroupSoTheyCanBeControlledSeparatelyGoal:Togainspeedchangingtheslaveflashgroupssothatyoucancontroleachslaveflashseparately.

Equipmentneeded:Threeflashesthatarecompatiblewitheachotherforoff-cameraflashoperation.Oneflashisusedasamasterandtheothertwoareslaveflashes.It’sbestifallthreeflashesarethesamemakeandmodelforeaseofoperation.Makesureyourflashesareonautozoom.

Setup:Thecamerawithmasterflashissixfeetinfrontofthemannequin.Thetwoslaveflashesarealsosixfeetfromthemannequin:oneslaveflashistocameraleftandtheotherslaveflashtocameraright.

1. Set your camera to shoot in manual mode and enter thesesettings:ISO100,f/4,1/125.

2. Make sure the master flash and both slave flashes are set tochannel1.

3. SettheslaveflashatcameralefttogroupAandtheslaveflashatcamerarighttogroupB.

4. Using your master flash or the camera’s flash control menus,changethemodetoTTL.

5. Usingyourmasterflashorthecamera’sflashcontrolmenus,findandchoosetheoptiontonotallowthemasterflashtofire.

6. FindandactivatetheA:Bratiofeatureandchoosethe8:1option,which should beall theway to the left of the scale. Thismeansthatyouwantmostof thelightpowertocomefromtheleft flash,whichiswhytheleftnumberis8andtherightnumberis1.(Theratiohasactuallysettheleftflashtobeeighttimesmorepowerfulthan the right flash, hence the 8:1 ratio.) To find the A:B ratiofeature,youmighthavetorefertoyourmanualbecausedifferentflashmanufacturersputthissettingindifferentplaces.

7. Take a photo. You can clearly see that the 8:1 ratio option putmostofthelightontheleftside(Figure11.26).

8. ChangetheA:Bratiotothemiddleof thescale,whichshouldbelabeled1:1.Thismeansthattherewillbeequalpowerfromtheleftslave flashand the right slave flash,which iswhybothnumbersarethesame.

9. Takeaphoto.Nowyousee that the light isequalonbothsides(Figure11.27).

10. ChangetheA:Bratiototherightlimitofthescale,whichshouldbelabeled 1:8. Thismeans that there will bemore power from therightslaveflashthanfromtheleftslaveflash.Thisalsomeansthatyou want most of the light power to come from the right flash,whichiswhytheleftnumberis1andtherightnumberis8.

11. Takeaphoto.Youcanclearlyseethatthe1:8ratiooptionplacesmostofthelightontherightside(Figure11.28).

12. Turntheflashesoff.

FIGURE11.26

FIGURE11.27

FIGURE11.28

21.MixingModes:SettingSlaveFlashGroupAtoOperateinTTLModeandSlaveFlashGroupBtoOperateinManualModeGoal:TogainspeedmixingTTLandmanualmodes.

Equipmentneeded:Threeflashesthatarecompatiblewitheachotherforoff-cameraflashoperation.Oneflashisusedasamaster;theothertwoareslaveflashes.It’sbestifallthreeflashesarethesamemakeandmodelforeaseofoperation.Makesurethatyourflashesareonautozoom.

Setup:Thecamerawithmasterflashissixfeetinfrontofthemannequin.Thetwoslaveflashesarealsosixfeetfromthemannequin:oneslaveflashistocameraleftandtheotherslaveflashistocameraright.

1. Set your camera to shoot in manual mode and enter thesesettings:ISO100,f/4,1/125.

2. Make sure the master flash and both slave flashes are set tochannel1.

3. SettheslaveflashatcameralefttogroupAandtheslaveflashatcamerarighttogroupB.

4. Using your master flash or the camera’s flash control menus,changethemodetoTTLandmakesurethereis0FECapplied.

5. Usingyourmasterflashorthecamera’sflashcontrolmenus,findandchoosetheoptiontonotallowthemasterflashtofire.

6. Grabtherightslaveflash(ingroupB)andforceittogotomanualmode.Withmy current Canon flash, this is achieved by holdingdown theModebutton for threeseconds.When this isdone,myflash displays “individual slave” on the LCD screen. Perhaps asimilar method is used with Nikon, Sony, or third-party flashes.Again, refer toyourowner’smanual toseehowthis isdonewithyour particular flash units. But realize that if you own modernprofessional flashes, theyshouldbeable tomixmodes.You justhavetofigureouthow,orasksomeonetohelpyou.

7. Once the slave flash in group B is inmanual mode, change itsflashpowersettingto1/4.

8. Takeaphoto.Now theslave flash ingroupA fires inTTLmodeandtheslaveflashingroupBfiresat1/4powerinmanualmode.Fromthelookofthephoto,1/4powerwastoomuchlightforthisparticularsituation(Figure11.29).

9. Using your master flash or the camera’s flash control menus,changetheFECto+2.SincetheslaveflashingroupAistheonlyflashoperating inTTLmode, itwill be theonly flashaffectedbythischange.

10. Using themenu on the slave flash in group B, turn themanualpowerdownto1/64.

11. Takeaphoto.Nowyouseethecameraleftsideofthemannequin,illuminatedby the slave flash in groupAoperating inTTLmodewith+2FEC,ismuchbrighterthanthecamerarightside,whichisilluminatedbytheslaveflashingroupBoperatinginmanualmode

at1/64power(Figure11.30).Thisisanadvancedtechnique,butitisworththetimetomastersoyoucanhavecompletecontrolofyouroff-cameraflashlighting.

12. Turntheflashesoff.

FIGURE11.29

FIGURE11.30

22.WorkingwithThreeSlaveFlashesAssignedtoThreeDifferentGroups(A,B,andC)Goal:Togainspeedworkingwiththreeslaveflashessettothreedifferentgroups.

Equipmentneeded:Fourflashesthatarecompatiblewitheachotherforoff-cameraflashoperation.Oneflashisusedasamaster;theotherthreeareslaveflashes(ingroupA,B,andC).It’sbestifallfourflashesarethesamemakeandmodelforeaseofoperation.Makesureyourflashesareonautozoom.

Setup:Thecamerawithmasterflashissixfeetinfrontofthemannequin.Twooftheslaveflashesaresixfeetfromthemannequin:oneslaveflashistocameraleft(ingroupA),theotherslaveflashistocameraright(ingroupB).Thethirdslaveflashisbehindthemannequin(ingroupC).Abluegelhasbeenappliedtothisthirdslaveflashtomakeiteasiertoseeitseffectsinthephotograph.

1. Set your camera to shoot in manual mode and enter thesesettings:ISO100,f/4,1/125.

2. Makesurethemaster flashandall threeslaveflashesareset tochannel1.

3. Set the slave flash at camera left to groupA, the slave flash atcamera right to groupB, and the slave flashplacedon the floorbehindthemannequintogroupC.

4. Using your master flash or the camera’s flash control menus,changethemodetoTTLandmakesurethereis0FECapplied.

5. MakesureallflashesareoperatinginTTLmode.

6. Usingyourmasterflashorthecamera’sflashcontrolmenus,findandchoosetheoptiontonotallowthemasterflashtofire.

7. Usingyourmasterflashorthecamera’sflashcontrolmenus,findthe flash ratio featureandactivateA:Bslave ratios.Youwill see“A:B” displayed on the LCD screen. Carefully cycle through theoptionsuntil yousee “A:BC”displayedon theLCDscreen.Thespacebetweenthe“A:B”andthe“C”tellsyouthattheslaveflashingroupCisoperatingindependentlyoftheA:Bflashratio.

8. Once the “A:B C” is displayed, activate group C and adjust theTTLFECto–2.Setthe“A:B”ratioto1:1sothattheslaveflashesingroupsAandBfireatequalpower.

9. Take thephoto. Inmycase, thephoto looksabitunderexposed(Figure11.31).

10. Tocorrecttheunderexposure,turntheratiosettingsoff(thismaybepossiblebypushingtheratiobuttonuntilyouhavesuccessfullyturnedofftheratiosettings).

11. Now use the TTL FEC scale and adjust the setting to +2 FEC.Becausetheratiosareoff, this isaglobalchangethataffectsallslave flashes at the same time. This is a good way to turn allflashesupordownquicklywithonemasterchange.

12. Takeaphoto.Nowtheoverallexposureismuchbrighter.Allthreeslave flash groups (A, B, and C) were given +2 FEC (Figure

11.32).

13. Turntheflashesoff.

FIGURE11.31

FIGURE11.32

Congratulations!Youhavecompletedthefirststepsofagreatmentalworkouttobecomingawirelessoff-cameraflashwell-oiledmachine.Isay“firststeps”becauseitismyhopethatyouwillfeelmotivatedandempoweredtodevelopyourownsetofexercisesthatfurtherenhanceyourskillsandfityourstyleofphotography.

Mostpeoplewillneverdoanotherexerciseagain,butifyouarethetypeofpersonwhohasafireinside—burningtobecomeamasterphotographer—thenIknowyouwillbeamongthesmallpercentageofphotographerswhowilltakethetimethatisrequiredtodevelopaskillaboveandbeyondthenorm.Taking30minutestopracticemycraftawayfromclientsonmyowntimeispartofmyweeklyroutine.Ihopeyoumakeityoursaswell.

CHAPTER12

HELPERLIGHT:BOOSTINGAVAILABLELIGHTWITHFLASH

InChapter10,youstudiedseveralkeyflashfunctionsandtermsyoumustknow.Then,inChapter11,Idevelopedaseriesofexercisestohelpyoufamiliarizeyourselfwiththefunctionsandbuttonsofyourflashunitsinordertogainspeedoperatingthem.Inthischapter,wewillexplorehowflashcanrevealawholenewworldofpossibilitiesbysupplementingnaturallightwhenitfallsshort.

LetmebeginbysayingthatIlovethelookofnaturallightinmywork.Thereisacertainsoftnessandpredictabilitytonaturallightthatreallyworkswell.Oneofmyfavoritenaturallightcombinationsistouseawide-anglelensataperturesbetweenf/1.2andf/2;theresultsaretrulybeautiful!Butwhenyoucombinegreatnaturallightwithahintofflash,magichappens,anditisjustmorefun.Whowantstophotographnaturallight–onlyportraitsfortherestoftheirlife?Thatwouldbelikeeatingapplepieforeverydessertfortherestofyourlife,withoutexception.ThoughIloveapplepie,sometimesIfeellikehavingpecanpieoricecream.Photographyshouldbeenjoyableandinteresting,anditisfuntospicethingsup.

Presently,mostphotographersseemtobelongtooneoftwodistinctcamps:thenaturallightcampandthestrobe/flashcamp.Idonotthinkthatthereshouldbetwocamps.Thereshouldbejustonecamp,whosemembers’mantraisthis:“I’maphotographerwhomakesnoexcuses,whousesanylightsourcenecessarytobringmylightingvisiontolife,whomakesmyclientshappyandlooktheirbest,andwhophotographsunderanyconditions—daytime,nighttime,rain,orshine.”ThatisthecampIbelongto,andIwouldlovetoseeitsmembershipgrow.

Thepurposeofthischapteristomotivateyoutouseyourflashanddiscoverhowvaluableflashcanbewhensupplementingnaturallight.Iknowhowmuchflashhasenhancedmywork,andIwishthesameforyouandyourwork.Inthefollowingpages,wewillexplorehowtouseflashtobringyourphotosclosertothelightingbenchmarkdescribedinChapter7.Byusingflashtogivenaturallightaboost,youwillbeabletokeepyourISOlowbyincreasingthequalityandquantityoflight.Forinstance,ifyoufindyourselfshootinginaplacethatistwostopsbelowthelightingbenchmark,flashcanbeusedtoincreasethelightbyonestop,whichbringsthelightintotheacceptablerangetopassthelightingbenchmarktest.Andthisway,mostoftheilluminationisstillcomingfrom

naturallight.

Althoughmoderncamerashavegreatlow-lightcapabilities,inmostportraiturescenarios,morelightismoredesirablethanlesslight.YoushouldincreasethelightinyoursceneinsteadofincreasingtheISOtoaccommodateforalowqualityoflight.Irealizethisisaparadigmshiftinhowwedealwithandthinkaboutlighting,butitwillforceyoutobecomeabetterphotographer.

THEBENEFITSOFUSINGFLASHAflashisapowerfullightsourceinasmallpackage.Whenalightsourceissmallrelativetothesubject,thelightishardandunflattering.Butiftheflashismodifiedwithabiggerlightmodifiersuchasasimplecollapsiblediffuserorsoftbox,thentheflashbecomesalargelightsourcerelativetothesubject.Forthemostpart,largelightsourcesproducesoftandflatteringlight.OnceyoufullygrasptheconceptsinChapter3,“TheFiveKeyBehaviorsofLight,”youwillhaveamucheasiertimemakingdecisionsaboutif,when,andhowtomodifyaflash.

SHOOTINGONTHEMOVEWhenshootingweddings,engagements,orportraitsonthemove,IonlyuseaProfotocollapsiblediffusertomodifymyflash.IcancollapsethediffuserifIdon’tneedit,orIcanexpanditinfivesecondstomakethelightsourcebigger.Thereisnoneedtobuildsoftboxeswithspeedrings,rods,orothercomplicatedsetupsthattaketimeandeffort.Ifyouaremovingquicklyfromplacetoplace,acollapsiblediffuserwillgiveyoumuchbetterresults.Thisismyon-locationmantra:“Keepitsimple!”Naturally,ifyouareonabigphotoshootthatrequiresmoreplanningandallowsyoumoretime,thengoaheadandsetuplargesoftboxesinadvance.IusebothProfotoandChimerasoftboxeswhenIhavethetimetocreatealightingsetupandwhenthephotoshootismorestationary.

Manyportraitphotographersneverreallyconsideraddingflashtotheirskillset,andthustheyspendtheircareersusingonlynaturallightandstandingnexttowindowswhileshootingindoors.Becauseofthis,flashcanbeagreattoolforyoutoseparateyourselffromacrowdedfieldof“onlynaturallight”photographers.AlthoughIamanenthusiastofnaturallight,sometimesmycreativevisionrequiresanalternativelightsource,andsometimesnaturallightisnotstrongenoughandneedsaboost.

Whenshootingindoors,naturallightphotographersareoftenforcedtoworkadjacenttoanavailablewindowforlight.Thoughwindowlightisincrediblyflatteringandbeautiful,Iprefertobefreetocreatewell-litphotoswheneverandwhereverIwant.Beingchainedtoawindowfortherestofmylifeisn’texcitingtome.

Oneofthemostimportantcontributionsthatflashaddstothebeautifullookofnaturallightisitsabilitytocastlightinahorizontaldirection.Thelightfromthesuntravelsdownwardbecausethesunisalwaysaboveus.Thisconstantlycreatesissueswithunflatteringshadowsonthefaceand,especially,darknessinaperson’seyes.Withflash,youcanaddgentlehorizontallightdirectlyintosomeone’seyes,whichbringslifetoyoursubject’seyesandeliminatesunwantedshadows.

Flashcanalsobeusedtocreateseparationbetweenyoursubjectandthebackground.Additionally,flashcanaddmuch-neededdimensiontoanyportrait,asyouareabletochoosethebrightnesslevelsoneachsideofthesubject’sface.Finally,flashcanbeusedasaccentlightingtobringattentiontoacertainpartoftheportrait.Unlikethesun,whichchangeseveryhourofthedayincolorandintensity,flashisalwayspredictableandcanbeasstrongorassoftasyouwish,dependingonhowyoumodifyit.Thelightfromthesunisourgreatestlightsource,butwiththecarefuladditionofflash,theopportunitiesforyourphotographyaretrulyendless.Lastly,becauseofthegreattechnologybuiltintomodernprofessionalflashes,therearecreativetechniquesyoucanexecutewithflashthatareimpossiblewithnaturallight.

FIGURE12.1CameraSettings:ISO800,f/3.5,1/45

AFEWEXAMPLESOFTHEVALUEFLASHCANADDTOYOURWORK

WeddingPhotowithFlashFigure12.1:Thisphotoisveryspecialtome,andflashreallysavedtheday!ThebrideandgroomcelebratedtheirweddingatthebeautifulRingleyMuseuminSarasota,Florida,andtheyflewmefromLosAngelestophotographtheevent.However,onthedayofthewedding,ahurricanepassedthroughthearea.ItwasoneofthefierceststormsIhaveeverwitnessed.Itrainedviolentlyalmostallday,withafewraremomentsofcalm.Thebridekeptuphergoodspiritsbutwasunderstandablydisappointedwiththeturnofevents.Ibecamedeterminedtotakeaphotographintherainthatwassospectacularthatitwouldcompletelychangeheroutlook,andshewouldbealmostthankfulfortherain.Iwantedtomakeupforthebadweatherbycreatingaworkofart!

IaskedtheRollsRoycedrivertomovethecarfromtheparkinglottoaspotinfrontofthelargetree.IaskedmygoodfriendCollinPierson,who

wasshootingtheweddingwithme,tostand10feetbehindthebrideandgroom.Weusedtwooff-cameraflashesforthisshot.Onewaspointedatthecar’sheadlights,whichmadeitseemasiftheheadlightswereresponsiblefortheilluminationintheshot.Thesecondflashwasplaceddirectlybehindthecoupletoseparatethemwithasoftrimlightfromthedarkbackground.Onceeverythingwassetup,Ibeggedthecouplenottomindgettingwetforafewseconds.Withsomehesitation,theyaccepted,andIthoughttomyself,“Thishadbetterlookgood!”Ihadonechance,andthatwasit!Thankstomyflashes,Iwasabletocreatethismagicalphotoformyclients.Thecouplewasincompletedisbeliefwhentheyfirstsawthephotoonthebackofmycamera.Thisisoneofmymostcherishedmomentsinmyentirephotographiccareer!Withoutacreativeuseofflash,thisphotographwouldhaveneverexisted.

BoudoirPhotowithFlashFigure12.2:ThisisaphotoofmyfriendRachael.Althoughtherewasalargewindowtotheleftofthephotograph,IgreatlyunderexposedthewindowlightandusedaflashtohighlightwhatIwantedtofeatureintheimage.Herbackwasgorgeous,andIdidnotwantthewindowlighttodictatewhatIcouldandcouldn’tshow.Afterall,Iamtheartist,notthewindow.Tofeatureherelegantback,Iplacedamodifiedflashinchesawayfromherbacktocameraright.Iuseda24-inchoctasoftboxtosoftentheflash,andIplaceditclosetoherbacktocreatebeautifulshadows.Thisphotoisagreatexampleofhowflashcanhelpaphotographerbreakawayfromtheoverlyused“windowlightlook.”Mycreativevisioncalledforlightonherback,notonherface.Flashwasabletoprovidethatformeinawaythatlooksdifferentfromeveryoneelse’sbeautifulphotosbyawindow.Havingachoicewillneverhurt.

IndoorMoodyPortraitwithFlashFigure12.3:ThisportraitofKaitlinwascreatedduringoneofmyposingworkshopsinToronto,andshewasmodelingforus.TheilluminationonKaitlinis90%flash.Ilovedthemoodinthebar,andIwantedtokeepthatmoodintact.Withtheproperuseofflash,youcancreateasoftmood

aswell.IusedaCTO(ColorTemperatureOrange)filteronaCanonflashtomatchthewarmtonesofthebar,andIfiredtheflashthroughaninexpensive42-inchdiffuser.That’sit.

TheflashwasonmanualmodesinceIprefertobeabletocontrolitmyself.Idialedtheflashpowerdownincrementallyuntilitmoreorlessmatchedthesoftnessoftheoverheadtungstenlights.Nowyoucanseeasubtlecatchlightinhereyesthatwouldhavebeenimpossibletocreatewiththeoverheadlights.Herentireeyesocketissoftlyilluminatedinsteadofbeinginshadow.Thankstocarefuluseofflash,itfeelsasifyouarelookingatthisscenefromawindow,outsidelookingin.AlthoughalmostalloftheilluminationonKaitlincamefromaflash,theintegrityofthemoodwasleftintact.(I’lltalkmoreaboutthisimageinthenextchapter.)

FIGURE12.2CameraSettings:ISO200,f/10,1/500

FIGURE12.3CameraSettings:ISO200,f/2.8,1/30

Thesethreephotos(Figures12.1–12.3)constitutejustatinycollectionofexamplesthatdemonstratehowincrediblyversatileflashcanbe.Learningtouseflashcangreatlyhelpyouproducephotosthatsimplywouldn’tbepossiblewithambientornaturallightalone.Ifyoumasterflash,youwillseelocationsinawholenewlight.Nolongerwillyourelyonthewindowasyouronlyoptionandhopeforabright,sunnyday.Youwillbeabletofreelychoosewhereyoushootandwhatmoodyouwanttocreate,whetheritisdayornight.Bestofall,ifdoneright,itwilllookcompletelynatural.

FLASHASHELPERLIGHTTOBOOSTWEAKNATURALLIGHTWhenphotographingoutdoors,photographersmustdealwithanarrayoflightintensitiesandangles,dependingonthesun’sposition.Therearealsothosecloudydayswitheven,diffusedlightthroughoutthelocation.Youmightthinkthat’sgood,butit’sreallynotagreatlookallthetime.

Diffusedlightfromcloudscausesdarknessunderpeople’seyes,andtherearenocatchlightsbecausethereisnotenoughlightintensitytobouncethesunlightfromawallbackintoyoursubject’seyes.Thismeanshoursspentinfrontofyourcomputer,editingandtryingtobringlifeintoyoursubject’seyes.

Instead,allthiscanbeavoidedeasilyduringtheshootbyaddingflashtoyourphoto.Let’stakealookatanexample.

Figure12.4:Usingmylightingbenchmarktest,IbeganinwhatIthoughtwouldbealocationwithgreatlight.Itturnedoutthatafterputtingitthroughmybenchmarktest,thelightfellshortbyalittlemorethantwostops.Itwassimplytoodark,asyoucanseefromthephoto.AlthoughthereisasunlitwallrightinfrontofLaura,thelightisnotstrongenoughtoreachhereyes,leavingthemabitdark.Furthermore,sinceLauraisstandinginpureshade,thelight’scoloriscolderandlessflattering.Now,youhavetwooptions.YoucancrankupyourISOtomakeupforthelackoflight,oryoucansimplyaddlightandkeepyourISOlowtomaximizeimagequality.

FIGURE12.4CameraSettings:ISO100,f/4,1/250

FIGURE12.5

Figure12.5:Thisphotoshowsthebehind-the-sceneprocessoftakingaportraitofLaura.Atthetimeofthisshoot,thesunilluminatedthewallinfrontofLauraatanangleandintensitythatdidnotbounceenoughlighttoilluminateherproperlyusingmybenchmarksettings.Ichosethislocationbasedonthecircumstantiallightelementsitprovided;lookcloselyandyouwillnoticewhythislocationlookssopromising.However,Ididnotwanttousemyflashtoilluminatemysubject;Ilikedthesoftnessofthelightthatthewallprovidedduetoitslargesize.Therefore,Idecidedtopointmyflashtowardthewallandgivethewallreflectiontheboostoflightitneeded.

IusedadevicethatcanholdthreeflashestogethercalledaTripleThreat(manycompanies,suchasWestcott,makethiskindofdevice).Thereasonforgroupingthreeflashestogetherwassimplyaprecaution,incaseIneededtousehigh-speedsync.Inthiscase,Ididnot.Iusedmycamera’smaximumsyncspeedof1/200fortheshutterspeed.Remember,high-speedsync(orfocalplane[FP]syncforNikon)greatlyweakenstheflash’spower.Therefore,moreflashesareneededtomakeupforthedifferenceinpowerloss.

TheangleatwhichIhadKenzieholdtheflashesrelativetothewallwasalsostrategicallychosen.WeknowfromChapter3thattheangleof

incidenceequalstheangleofreflection.Thisisimportant;ifyouchoosethewrongangleofincidence,thereflectinganglefromthebouncedlightcouldmissLaura.Thatwoulddefeatthepurposeofusingflash.

Figure12.6:NowyoucanseetheresultsofaddingflashtohelpwiththelightintensityofthewallinfrontofLaura.Sincetheflashispointedtowardthewall,thelightsourceilluminatingLauraremainsthewall,nottheflash.ThisisevidentinthesoftnessoftheshadowedgetoLaura’sleft(cameraright).Thewallissolargethattheresultinglightissoftandflattering.Thekeyistousetheflashnotasthelightsourcebutasatooltocreateanotherlightsourcethatismuchbigger.Inthiscase,itwasthewallinfrontofthesubject.Thatisthereasonwhythisportraitlooksasifitwaslitbybeautiful,naturallight.Thetwotopbenefitsthatflashprovidesinthisimagearethegorgeousilluminationinhereyeswithflatteringcatchlights,andtheabilitytokeeptheISOat100,whichdeliversthebestpossibleimagequality.Winwin!

FIGURE12.6CameraSettings:ISO100,f/4,1/200

Figure12.7:Forthisphoto,IaddedKenzietothephototogiveitabitofafashionflare.Ialsochangedmyaperturefromf/4tof/2.8toallowalittle

morelightfromtheflashintomyexposuretoincreasethequalityofthecatchlights.Thismovereallypaidoff.ThecatchlightsforbothLauraandKenzielookabsolutelybeautiful,makingtheireyeslookalive.Thisisasuperbexampleofhowflashcanworktogetherwithnaturallightseamlesslytobringoutthebestinyourwork.

Figure12.8:DuringaclassIwasteachinginNewYorkCity,wefoundourselvesshootinginthelateafternooninatypical,narrowNewYorkCitystreet.Thebuildingsallaroundusblockedwhatlittlelightwasleftfromthesun.Theweak,naturallightwasnotdoingthebeautifulmodelVeronicajustice,andhereyesweredark.Thisiswhereflashcancometotherescue.

FIGURE12.7CameraSettings:ISO100,f/2.8,1/250

FIGURE12.8CameraSettings:ISO400,f/2,1/750

Figure12.9:Forthisphoto,Ifirstsloweddowntheshutterspeedbyhalfastopinordertobringinmoreambientlight.Mygoalwastoplacebeautiful,warmlightintohereyesandtohighlightherbonestructure.WeusednothingmorethanasimplelargecollapsiblediffuserbyProfotoandonesingleoff-cameraflashplacedtoherleft(cameraright).Weplacedthediffuserascloseaspossibletoherwithoutallowingittoentertheframe.Ialsozoomedtheflashheadto20mmtoensurethatthelightwouldspreadthroughoutthediameterofthediffuser.Thiswoulddeliverthesoftestlightpossible.Remember,thecloserthelightsourceis,thelargeritsrelativesizebecomes.Ikeptalltheothercamerasettingsthesame.ThenIputtheoff-cameraflashonmanualmodeandsetitto1/16power,justasastartingpoint.Ifitlookstoodarkatthatpowersetting,Isimplymovetheflashupto1/8power.Inthesameway,if1/16istoobright,Idialdowntheflashpowerto1/64or1/128,andsoon.IdothisuntilIfeelthelightfromtheflashblendsnicelywiththeambientlight.Therefore,noonecanreallytellthataflashisbeingused,andthelightinglookswonderful.

FIGURE12.9CameraSettings:ISO400,f/2,1/500

APROGRESSIONOFLIGHT

Aswonderfulasnaturallightcanbe,maximizingitsbeautywithoutsacrificingqualityrequiresthatyoursubjectstandattheperfectplacebasedontheCLEsatyourlocation.Let’scallthisplace“theglowzone.”Wedemonstratedthis“glowzone”timeandtimeagainwiththephotosofSydneyinChapter6.Butnotallphotoshootshappenattheperfectplaceattheperfecttime.InlessthanidealCLEsituations,theoptimal“glowzone”maynotexist,oritmayneedjustalittleboost.Thisiswhereflashcanhelpyoucreategreatimagesthatglow—anditcansaveyoutimeintheprocess.ThefollowingphotosillustrateasequenceofshotsItookinlessthanidealconditionsduringoneofmyworkshopsinChicago.Iwasdemonstratingtomystudentshowtocreatethe“glowzone”lookusingflash.

Figure12.10:Thisisthefirstphotowetookinthesequence.Asyoucansee,therearesomeCLEspresentthatarehelpingus,andthereareotherfactorsthatareworkingagainstus.First,thegroundBrookeisstandingonislightgray(CLE-5),andthesunisbehindher(CLE-1).Tocameraright,thereisaredbrickbuilding.Thecolorredandthetextureofbrickarenotconducivetobeingagreatreflector(CLE-4).Tocameraleft,therearenowallsnearbythatcouldeffectivelyreflectlightbacktowardBrooke(CLE-4).Thismeansthatmostofthelightistravelingverticallyfromthesundowntothegroundandfromthegroundbackup.

FIGURE12.10

Figure12.11:Theresultsaremixed.Thelightingisgoodbutnotgreat.Thereisplentyofdarknessinhereyesocketscausedbythedirectionoflight.Thattellsusweneedhelp.

Figure12.12:Next,weplaceadiffusernearhertoactasawallsendinghorizontallightbacktowardBrooke’sface(CLE-2andCLE-4).

Figure12.13:Thisismuchbetter.MorelightisnowilluminatingtheleftsideofBrooke’sface.However,thereisstillnotenoughpop.Personally,Iprefertohaveonesideofmysubject’sfacealittlebrighterthantheothertogivethephotoasenseofdimension.Otherwise,thelightingcanlookflat.Areflectorherecouldworkbutitmightreflecttoomuchlight,andwewouldlosethesoftnessthatwearelookingfor.

Figure12.14:SinceIalreadyhadadiffuseroutandreadytogo,Idecideditwouldbebesttojustaddatrickleofsoftlightontheleftsideofherfaceusingflash.Thediffuserwouldincreasetherelativesizeofthelightsource,givingussoftandflatteringlight.

FIGURE12.11CameraSettings:ISO100,f/2.8,1/180

FIGURE12.12

FIGURE12.13CameraSettings:ISO100,f/2.8,1/180

FIGURE12.14

Figure12.15:Thisisthefinalphotograph.Withtheflashonmanual,Ibeganwithmyusualpowerof1/16.Then,Idialeditupordownuntiltheblendingofthelightbetweentheflashandnaturallightappearedseamless.Now,wehavea“glowzone”lookandfeelwithouthavingtheperfectcombinationofCLEspresentinthescene.Hereyesarebrightandlively.

ThisseriesofphotoswastakenquicklyonthestreetsofChicagowithoutgivingmuchthoughttothebackground.Thepurposeoftheexercisewastostandanywhereandquicklycreateagreatportraitusinglightfromaflashtoboostthenaturallightpresentatthescene.Withabetterbackground,thisphotocouldbestunning.Takethetimetostudyyoursubject’seyesockets,andaskyourselfifhorizontallightisneededtofillinthedarknessintheeyes.IftheCLEsaroundyoucannotproduceenoughlight,thenuseflash.

FIGURE12.15CameraSettings:ISO100,f/4,1/180

CHANGINGTHESHAPEANDRELATIVESIZEOF

ASINGLEDIFFUSER

FlashCloserorFurtherAwayfromtheDiffuserThedistancebetweentheflashandthediffuseriscriticaltodefiningthesoftnessofthelight.Similarly,youmaywishtomakethelightsourcesmallerinordertoachieveaharder,morecontrastinglight.Inthiscase,allyouhavetodoisbringtheflashclosertothelightmodifierinordertouseonlyaportionofthediffuser.Let’slookatacouplediagrams.

Figure12.16:Thiswillproduceaharder,morecontrastinglightbecauseyouareessentiallymakingthelightsourcesmaller.

Figure12.17:Byplacingtheflashfurtherawayfromthediffuser,thelightrayshavespacetospreadout,reachingtheentiresurfaceofthediffuser.Thistakesadvantageoftheentirediameterofthediffuser,andthusmakesthelightmuchsofter.

FIGURE12.16Flashincloseproximitytodiffuser

FIGURE12.17Flashfurtherawayfromdiffuser

ShortSideandLongSideofaDiffuserWhenusingasimplecollapsiblereflectorformodifyingyourflash,youactuallyhavemoreoptionsandversatilitythanyoumayinitiallythink.Weknowthatplacingtheflashfurtherawayorclosertothediffuserchangesthesizeofthelightsourcebyutilizingmoreorlessofthesurfaceofthediffuser.Youcanalsofurthersoftenthelightbymovingthediffusersideways.Thiscreatesashortsideoralongside,relativetothesubject’sface.Notethatfortheseexamples,IusedaProfoto47"translucentdiffuser.

Figure12.18:Bymovingthediffusersidewayssuchthatmoreofthediffusermaterialisbehindthesubject’sface,youareeffectivelycreatingasmallstriplightfeelwithouttheneedtobuyastripsoftbox.Thiscausesthelighttofalloffveryrapidly.Becausethereisnotenoughdiffusingmaterialinfrontofthesubject’sface,nolightwillbeabletoreachthedarkersideofthesubject.Theflashisangledinsuchawayastofurther

directthelightraystowardonesideofthesubject’sface.Naturally,theflashisontheothersideofthediffuser.Playaroundwiththeflashheaddirection,andyouwilldiscoverinterestingvariationsofthislightingeffect.

FIGURE12.18Shortside

Figure12.19:Thisisanexampleofonepossibleresultwhenshootingwiththeshortsideofthediffuser.Asyoucansee,thecirculardiffusertakesonmoreofastriplightlook.Thisisveryeffectiveifyouwishtocreateadramaticandhigh-contrastlightingstyle.

FIGURE12.19CameraSettings:ISO100,f/3.5,1/200

Figure12.20:Next,slidethediffusersidewaysuntilmostofthediffuserisinfrontofthesubject’sface.Whatthisisdoingisbasicallyincreasingthesizeofthelightsourceinfrontoftheperson’sface.Inthisposition,

thelightrayswillbeabletoreachthedarkersideoftheface,softeningthelight.Thistime,theflashisangledinsuchawayastofavorthedarkersideoftheface.

FIGURE12.20Longside

Figure12.21:ThedifferencesbetweenthisimageandFigure12.19areeasilyapparent.Now,Peihu’sfaceislitwithmuchsofterlight.Bothsidesofhisfacearereceivinglight,andthereisdimensiontohisfacebecauseonesideisstilllitbrighterthantheother.Achievingthislookwithconventionallightmodifierswouldrequiremuchmoreofasetupandexpense.

FIGURE12.21CameraSettings:ISO100,f/2.5,1/90

GIVINGWINDOWLIGHTABOOST

Figure12.22:Inthisexample,wehaveagreatmodelseatedabout15feetfromawindowtohisright.Theorangewallmakesacleanbackgroundforaportrait.Theproblemisthatthewindowlightistoofaraway.Inthisimage,thelightisdead,flat,andunflatteringwithnodimension.Butwithcarefuluseofmodifiedflash,thisisnotaproblem;essentially,wecanbringthe“window”closertohim.

Figure12.23:Sincethewindowlightistoofarfromoursubject,Idecidedtocreateanewwindowbyfiringflashthroughasimplediffuser.Whentheflashilluminatesthelargediffuser,thediffuserbecomesthenewlightsourceilluminatingthesubject.Sincethediffuserismuchlargerthanourmodel’shead,itwillproduceadynamicbutsoftlight.

Figure12.24:LookatthedifferencebetweenthisphotoandFigure12.22.Theflasheswereplacedfarenoughfromthediffusersothatwhentheyfired,thespreadoflightreachedeverycornerofthediffusionpanel.Thismadethelightsourceasbigaspossible,creatingaveryflattering,softlight.Makesurethatyourflashisonmanualmode.Ifthelightistoostrong,youcanjusttoneitdownanotch,andifthelightistooweak,youcancrankitupuntilthelightinglooksgood.Youcanalsochangetheaperturetoreduceorincreasetheflash’sinfluenceontheexposure.Inthiscase,Iwantedtokeepthewalloutoffocus.Therefore,myaperturecouldnotsafelybeanysmallerthanf/4.

FIGURE12.22CameraSettings:ISO400,f/2.8,1/90

FIGURE12.23

Therearefourwaystoinfluencethepoweroftheflashonyourexposure:

Changetheactualpoweroftheflashupordown

ChangetheISO

Changetheaperture

Changethedistancefromthelighttothesubject

Ifyouareshootinginahurry,changingtheapertureisprobablythefastestwaytoincreaseordecreasetheflash’sinfluenceontheexposure.Butifyouhavefivesecondsandyouwishtousethesameaperture,thensimplychoosethefirstoptionandchangethepoweroftheactualflashunitupordown.

FIGURE12.24CameraSettings:ISO400,f/4,1/90

CHAPTER13

ADVANCEDFLASHTECHNIQUES

Asaprofessionalphotographer,oneofthebestdecisionsIhavemadetoimprovemyworkistoalwaysaskmyselfthequestion“Canthelightingbeimproved?”beforepressingtheshutterbutton.Naturallightiscapableofpossessingqualitiesthatmakephotographstrulygreat.Butitcanoftenfallshort,dependingonthetimeofdayandweatherconditions.Therearefartoomanyvariablesthatmustbeperfectfornaturallighttobeatitsbest.Aphotographercannotdependonthesenaturallightvariablestolineupperfectlyateveryphotoshoot.

Andwhennaturallightisnotatitsbest,havingknowledgeofflashcanreallysavetheday.Thereissomuchphotographicpotentialwithsomanycreativeopportunitieswhenusingflash,whereyoucaneitherhelpnaturallightorcreatealookthatissimplyimpossiblewithjustnaturallight.Onekeyexample:flash’sabilitytoseparatetheexposuresbetweenthesubjectandtheenvironment.Withoutflash,everythingfallsunderthesameexposure.Butifyouwishtounderexposetheambientandboostthelightonyoursubject,youmustseparatetheexposures.Flashcandothatforyou.

Theprimarypurposeofthischapteristoshowyouthepotentialandmagicthatflashcanbringtoyourworkthroughtechniquesthataresimpletoexecute,inexpensive,andveryeffective.IowemuchofthesuccessIhavehadinmycareertotheflashtechniquesIdescribeinthischapter.

CREATINGSEPARATIONBETWEENTHESUBJECTANDBACKGROUNDTHROUGHLIGHTINGFigure13.1:WhilewalkingthroughthelobbyofTheSignaturehotelinLasVegasduringoneofmyworkshops,Inoticedthereallyunusualbacklitmaterialofitsdecorativecolumns.Asyoucansee,thecolumnwasyellow,andmodelKenzie’shairanddresswerealsoyellow.Ithoughtthatthedifferentshadesofyellowwouldworkwellforaphoto.However,thewindowwastoofarawayfromthecolumntoprovidemewithanykindofhigh-qualitylight.Also,IwantedtocreateseparationbetweenKenzieandtheyellowcolumn.Theanswerwastouseaflashto

separatetheexposures.Thewindowlightwouldilluminatethecolumn,andtheflashwouldilluminateKenzie.IalreadyhadaProfotoflashsetupwithasoftbox,soIdecidedtouseit.IcouldhavejustaseasilyusedaCanonflashthroughadiffuser,butforconvenienceIusedwhatIhadavailabletome.Remember:lightislight.ThesmallreflectortoKenzie’sleftwasusedtoboosttheilluminationontheleftsideofherlip.

Withoutflash,thelightqualitywouldhavebeenfartooweaktotakeadvantageoftheornatebackdrop.Moreimportantly,byaddingflash,Iwasabletoseparatetheexposures.Icouldnowcontrolboththeambientexposureandtheflashexposureseparately.ThereasonwhymyassistantwasholdingtheflashwiththesoftboxsoclosetoKenzie’sfacewastoincreasetherelativesizeofthelightsourceandthuscreatesofterlight.

Figure13.2:Thisistheresultofseparatingexposuresandimprovingthequalityoflightpresentatthescene.IfyoucouldimaginethatthewindowtoKenzie’srightwasjustafewfeetawayfromherface,thelightingonherfacewouldhavebeensimilar.But,consequently,thatwindowlightwouldhavealsoblownoutthebackgroundsinceitwasalreadybacklit.Forthissituation,youfirstexposeforthebackgrounduntilitlooksgoodtoyou.Next,youturnontheflashandpointittowardthesubject’sface,makingsurethatitdoesnotilluminatethebackground.Finally,turnthepowerupordownonyourmanualflashuntiltheexposureonyoursubjectalsolooksgoodtoyou,thentakethephoto.It’sthatsimple.

FIGURE13.1

FIGURE13.2CameraSettings:ISO400,f/5.6,1/125

Figure13.3:ThisphotoofVeronicawastakenduringaclassinNewYorkCity.Iwantedtodemonstrateflash’sabilitytoseparatethesubjectfromthebackground.Thisphotowastakenasastartingpoint,withoutanyflash.

Figure13.4:Forthisphoto,wesimplyaddedaflashzoomedto20mmtothrowlighteverywhere.Thiswouldensurethatsomeofthelightrayswouldreflectoffcars,walls,thesidewalk,etc.Theflashwaspositionedabout10feetbehindVeronicatocameraright.Youcanseethelightonherhair.Theflashsuccessfullyseparatesherfromthebackground,makingtherestofthestreetscenelighterincolor,whichcontrastsbetterwithherdarklycoloredclothes.Thisisagreattechniquetousewhenshootinginastreetenvironment,anditonlyrequiresoneoff-cameraflash.

FIGURE13.3CameraSettings:ISO400,f/2,1/350

FIGURE13.4CameraSettings:ISO400,f/2,1/200

Figure13.5:ThisisanexampleofatechniquethatIdon’tusemuch,butwhenIdo,italwaysprovestobeusefulwhenshootinginadistractingenvironment.Again,youonlyneedoneoff-cameraflashforthis

techniquetowork.DuringatriptoPeru,IposedmymodelintheworstpossibleplaceIcouldthinkof,withterriblelightingandnumerousdistractionseverywherebehindher.

FIGURE13.5

Figure13.6:Thisresultwasachievedbyplacingasingleflash10feetbehindthemodel.Sincethisexampleisrightoutofcamera,youcanstillseethemanholdingtheflashbehindher.Theflashwasatfullpoweronmanualandwellwithinthesyncspeedtoensuremaximuminfluenceonthescene.Thisphotowastakeninblackandwhiteandhashadnoeditingdonetoit.Thankstothistechnique,Iwasabletocreateanimpactfulimageoutofnexttonothing.

FIGURE13.6CameraSettings:ISO200,f/2.8,1/90

Figure13.7:ThisexamplewasmadeinthecityofBucharest,Romania.Iwantedtodemonstratehowimportantitistoatleasttrytocreatesomeseparationvialightingtogivephotographsahigherimpactvalue.Most

photographersdon’ttakethetimetocreateseparationwithlight,sotheprofessionalswhodoreallystandoutfromthecrowd.Thisisthephotowithoutanyflash.Theseparationisonlyachievedthroughselectivefocusandashallowaperturethatrendersthebackgrounddeeplyoutoffocus.

FIGURE13.7CameraSettings:ISO125,f/2.8,1/180

Figure13.8:Here,weaddedaflashapproximately15feetbehindthecoupletocameraright.Theflashwaszoomedto200mmtogiveitaspotlighteffectandensurethatthelightfromtheflashwouldnotinteractwithanyotherobjectsatthescene;itwouldonlyilluminatethecouple.IusedtheflashonmanualandbroughtthepowerupordownuntilIwassatisfiedwiththeresults.AsIhavementionedbefore,Iusuallystartwithmyflashat1/16powerandproceedfromthere.

Figure13.9:Thisphotowastakenonacloudy,rainydayinCologne,Germany.Withthesavvyuseofflash,though,photosdonothavetolookdarkanddepressingliketheweather.Thisisthephotowithoutflash.Now,wewillseewhatflashcandotocreateextraordinaryresultsinthisless-than-idealsituation.

FIGURE13.8CameraSettings:ISO125,f/2.8,1/180

FIGURE13.9

Figure13.10:Lookatthedifference.Flashcanhelpphotographersovercomeasituationthatwouldforceotherstocancelthephotoshoot.Theresultsareexceptional,andthetechniqueissimple.Again,oneoff-cameraflashonmanualmodeat1/8powerwaszoomedwideto20mmtobacklightasmanyraindropsaspossible.Therewasabuildinginfrontofthecouplethatreflectedsomeofthelightfromtheflashbackintothecouple’sfaces.NoamountofPhotoshopcouldrecreatethis,andifitcould,itwouldtakehoursofwork.Whyresorttosuchtediumwhenyoucanjustuseflash?

FIGURE13.10CameraSettings:ISO500,f/3.5,1/200

Figure13.11:Hereisasituationthatoccursfrequentlyatweddings.Weseeaninterestingbackground,suchastheserowsoflovelytreeswithpinkflowers.Weplacethecoupleinfrontofthatbackgroundandwetakeaphotograph.Buttakeacloserlookatthecouple’seyes.Theyaredark.Asgorgeousasthebackgroundmaybe,raccooneyesarehardlydesirable.EvenifyoucrankuptheISO,theavailablenaturallightsimplywon’treachtheireyes.Here,Ialsonoticedthatthepinkflowersweretransparent,soanylightingfrombehindwouldreallyshowthrough.Thepetalsarenotraindrops,likeinthepreviousexample,butwhenbacklit,

theywouldcomealiveliketheraindid.Itwastimetopullouttheflashandharnessthetruepotentialofthislocation.

FIGURE13.11

Figure13.12:Ihadmyassistantstandapproximately10–15feetfromthecoupleandhidebetweenthem.Theflashwaszoomedoutto20mmtomaximizethespreadoflightilluminatingbothrowsoftrees.Therewasabuildingbehindmethatwouldreflectthelightfromtheflashbacktowardthecoupleandserveasfill.Isetmyflashatmyusualmanualpowerof1/16andtookatestshot.ThenIadjustedthepowerupordownuntilthelightlookednatural.Inmostcasesittakesonlytwotestphotostodialintheperfectpowersettingsontheflash.Seehowthisphotocomesalive?!Thepinkpetalsarebeautifullybacklit,andthecouple’seyesnowpossessaflatteringlight.Iusedoneoff-cameraflash,whichtooklessthan30secondstosetup.Itwaswellworththeextraeffort!

FIGURE13.12CameraSettings:ISO400,f/3.5,1/200

RETAININGTHEINTEGRITYOFTHEMOODWITHFLASHFigure13.13:DuringaworkshopinToronto,thetemperatureplummetedsolowthatwewereforcedtodoallphotographyinsidethehotel.Weweregivenpermissionbythebarmanagertotakesomephotosatthebarduetotherainandfrigidtemperaturesoutside.

ThefirstthingInoticedasIenteredtheroomwastheuniqueatmosphereofthebar.Thereweretungstenlightseverywhere,andtheywerewarmerthanusual.Also,noticehowfarthewindowisfromthebar.Evenonabrightsunnyday,thewindowlightwouldbefartooweaktophotographatthisdistance.Inourcase,therewasnosun,soverylittlelightmadeitthroughthewindowatall.AsIpulledoutmyflashtocreateabeautifulportraitofKaitlin,someofmystudentswereabitshocked,wonderingwhyIwouldruinthemoodoftheplacewithabrightflash.ButIuseda1/2CTOfilterovermyflashtowarmupthelightandmatchthereferencelightaroundme(CLE-10).ItisveryimportanttofollowCLE-10;

otherwise,thelightfromtheflashwouldnotmakelogicalsenseinthephoto,anditwouldfeeloutofplacewiththerestofthemoodofthebar.Youmustbaseflashonsomethingaroundyousothateverythingmixestogetherseamlessly.

FIGURE13.13

Figure13.14:Thisphotowasheavilyilluminatedbyflash,yetitappearstobelitbytheambientlightatthebar.Thelightissoftandwarm,inkeepingwiththemood.Iusedonlya1/2CTObecauseifIhadusedafullCTO,thelightwouldhavelookedtooorangeforKaitlin’sskintone.Weusedthesametechniqueasdescribedearlier,shootingaflashthroughadiffusertoincreasetherelativesizeofthelightsource.Thenwechosetoworkwiththeflashonmanualpower,turningitupordownuntilthelightfromtheflashmatchedthelightingfromthebar.Itisportraitssuchasthisonethatremindusthataflashcanbeasflatteringasanyotherlightsourcewhenusedcorrectly.Knowingtheprinciplesofthebehavioroflight,whicharecoveredinChapter3,iscriticaltounderstandinghowtouseormodifytheflashtogiveyoutheresultsyoudesire.

FIGURE13.14CameraSettings:ISO200,f/2.8,1/30

Figure13.15:DuringatriptoSaoPaulo,Brazil,IwasdemonstratingtomyclasshowtousethelightingreferencepointdescribedinCLE-10tocomplementthemoodandappearanceofanylocationusingflash.Thisphotowastakeninsideanexpohall,wheretheboothswerebeingsetupforthenextday.Thelightingisquitechallenginghere.First,itisdark,andsecond,theonlylightsourceiscomingfromabove,castingunflatteringshadowsonthemodel’sface.

FIGURE13.15

Figure13.16:Toretainthemoodofalocation,itiskeytousethedirectionandcolorofthelightingreferencepoint.Toachievethishere,thelightfromtheflashhadtocomefromabovethemodeltosimulatethelightmountedontheceiling.Wepositionedourflashtobeshotthroughadiffusertosoftenthelight.Then,Iadjustedtheposetobringthesubject’schinuptowardthelight,fillinginherfacewithlighttoremovetheunflatteringshadows.Nowwhensomeonelooksatthisphoto,theymostlikelythinkthatthelightilluminatingherfacecomesfromthelightdirectlyaboveher.However,itwasallflash.

FIGURE13.16CameraSettings:ISO250,f/5.6,1/200

Figure13.17:Duringanotherclassdemonstrationwithflash,Ihadthemodelsitonachairnearalampthathadaburned-outlightbulb.ThisisaprimeexampleofusingalightingreferencepointdescribedinCLE-10.Iwantedtobetterilluminatethemodel,butthelightinginthatroomwasfartooweak.Therefore,usingflashwasthelogicalsolution.However,flashmustbeusedcarefullysoitspresenceisunnoticed.Thelampwastheperfectobjecttoserveasthereferencepointlightsource.Sincetherewasnofunctioninglightbulbinside,Iplacedmyflash,gelledwithaCTOfilter,ontopofthelampbasepointedtowardtheshadetosimulatetheorangecolorofthelamp.Whentheflashfired,itwouldappearasifthelampwason.

FIGURE13.17

Figure13.18:Afterexperimentingwiththeflashpoweronmanual,Izoomedtheflashheadto200mmtonarrowthebeamoflightandavoidasmuchlightspillaspossible.Finally,Iposedthemodelandfiredtheflash.It’sprettycooltothinkyoucanturnonanylampusingflashandcreateagreatportrait!Anyoneviewingthisphotowouldthinkthatthelightilluminatingthemodelcomesfromthelampwhen,infact,thelampdidnotevenwork.

FIGURE13.18CameraSettings:ISO400,f/2.8,1/1000

CONTROLLEDLIGHT(REMOVINGALLAMBIENTLIGHT)Figure13.19:OnceagainatTheSignaturehotelinLasVegas,Inoticedanoddlyshapedtabletopplacedoveracream-coloredcarpetinthelobby.AsIstudiedthelocation,Inoticedthefollowing:Thelightfromthewindowwassofarawaythatitwouldn’tcontributemuchtoaphoto,andtheartificialceilinglightswerefartooyellowincolorandtemperature;therefore,anyuseofavailablelightwasnotgoingtowork.

Butinsteadofwalkingawayandlookingforanotherphotoopportunityclosertothewindow,Idecidedtomakeitwork.Theshapeofthedarkbrowntableoverthelight-coloredcarpetwastooenticingtoletgo.IaskedKenzietoliedownonthetable,andIposedher.ThenIaskedoneofmystudentstoholdtheProfotolightmodifiedwithasmalloctabox.Thistime,IdidnotwantthelighttooclosetoherbecauseIwantedtheflashtoalsoilluminatethetable.But,asweallnowknow,thefurtherthelightwasfromKenzie,theharsherthelightwouldbecome,sothis

becameabalancingact.SincetheProfotolightwastheonlylightsource,thedistancefromthelighttothesubjectreallydidmatter.Ifthelightwastoofarawayfromher,itwouldcausetheshadowsonherfacetohaveaharderedge.

FIGURE13.19

Ichosetostandonachairtophotographfromananglethatwouldshowboththetableandthelight-coloredcarpet.Afterall,that’swhatcaughtmyattentioninthefirstplace.Tocompletelyremoveanyambientlightfromenteringmyexposure,Ichangedmyaperturetof/8andkeptmyISOat100.Atthesesettings,theonlylightcontributingtomyexposurewouldcomefromtheflash.Thelaststepwastosimplyturnuptheflash’spowerhigherandhigheruntiltheexposurelookedgood.ThisisthereasonwhyIalmostalwayshavemyflashesonmanual.

Figure13.20:Thisisthefinalresultofremovingallambientlightfrominfluencingtheexposureandusingonlyflashtoilluminatetheportrait.Bymodifyingtheflashandvaryingthedistancefromtheflashtothesubject,theresultisahigh-impactportraitwithgreatcatchlights,goodseparation

fromthebackground,andahigh-qualityfilesincethephotographwascreatedatISO100.

FIGURE13.20CameraSettings:ISO100,f/8,1/125

Figure13.21:ThisisatestshotforambientlightduringaworkshopinChicagowithmodelBrooke.Iwasdoingaquickdemonstrationtoshowhowaphotographercanaddimpactanddramatoaphotoinsecondswithonlyoneoff-cameraflash.Thisphotoislitbyonlynaturallight.Itissimple—andslightlyboring.Ipulledoutmyoff-cameraflashtoturnthisaveragephotointosomethingmoreexciting.

FIGURE13.21CameraSettings:ISO100,f/2.8,1/250

Figure13.22:Thefirstmovewastoeliminatetheflat,naturallight.Ichangedmyaperturefromf/2.8allthewaytof/16andkeptmyISOat100.Atthesesettings,nonaturallightregisteredonmysensor;itlookedcompletelyblackwhenItookatestphoto.Thenextstepwastoturnonmyoff-cameraflashandshootitthroughadiffuserveryclosetoBrooke.Theproximityofthediffusertothesubjectwouldincreasetherelativesizeofthelightsourceandthereforesoftenthelight.Atfirst,theflashwastooweak,soIsimplyturnedthedialuptoincreasethepoweroftheflashuntilIgottheexposureIwanted.Next,IaskedBrooketoturnherfacequicklytoherleft,knowingthattheflashwouldcompletelyfreezethemovement,includingeverystrandofhair.Whenaflashisyourmainlightsource,itfreezesmovement.Thisphotoandthepreviousphotousingonlynaturallight(Figure13.21)weretakenonlyaminuteapart.Flashcancompletelychangethelookofphotosquicklyandgiveyougreatresults.

FIGURE13.22CameraSettings:ISO100,f/16,1/200

Figure13.23:Forthecoverofthisbook,Ienvisionedthedress’sfringeflyingaroundinmid-air.IwantedthisimagetogivetheillusionthateverythingwasinmovementexceptforKiara’shead,whichwouldbe

perfectlystillwithhereyeslookingstraightatthecamera.Todothis,Ineededtomaximizetheflash’smotion-freezingcapabilities.Tofreezefast-movingactionperfectly,itisbesttoremoveallnaturallight.Naturallightisaconstantlightsource.Mostconstantlightsources,includingthesun,simplycannotcompetewithaflash’sflashdurationtime.Theburstfromtheflashfiresatincrediblyfastspeeds,freezingeverythingitreaches.Iwasphotographingthiscoverphotographoutdoorsunderdirectsunlight,soIhadtousemycamerasettingstoremoveallnaturallightfrominfluencingtheexposure.ThesettingswereISO100,1/400ofasecond,f/14.

FIGURE13.23CameraSettings:ISO100,f/14,1/400

FIGURE13.24

Ifyouarewonderinghowitispossibletoshootfasterthanthecamera’ssyncspeed(withoutusinghigh-speedsync),theansweristhatIwasusingamediumformatcamerawithaleafshutterlens,whichcansyncupto1/1600ofasecond.Thatfastsyncspeedfeatureofleafshutterlensescanbehandyinextremesituationssuchasthisone.Iusedtwoflashes(strobes),onemodifiedwithalargesix-footumbrellaplaceddirectlyinfrontofthemodeltoserveasthemainlight,andthesecondflashtoherleft(cameraright),modifiedwithaBroncolorPara88pointedatherfacetofunctionasagentleaccentlight.Thissecondlightiswhatgivestheleftsideofherfaceslightlymorelightthanherrightside.Withouttheaccentlight,Kiara’sfacewouldappeartobeflatbecauseitwouldbelitevenly.Toprovidesomedimensionalitytothephoto,onesideofthefaceshouldbebrighterthantheother.Thelightingissoftandflatteringbecausebothlightsourcesarerelativelylarge.SeeFigure13.24foraquicklookatthebehind-the-scenessetup.

CREATINGCLEANSILHOUETTESUSINGFLASHFigures13.25and13.26:Oneofmyfavoritetechniqueswithaflash

demonstratesitsabilitytotransformwhatyouseewiththenakedeyeintosomethingquiteunexpected.Forexample,thesephotosweretakeninsideatypicalconferenceroominthebasementofahotelinBoston.Theroomwaswindowless,litonlybyyellowoverheadtungstenlights.Thewallswerecoveredinmass-producedcorporatewallpaper,materialjustdecentenoughtodothejobwithminimalexpense.Therewasnothingflatteringaboutthatroom.

Butwiththeflashsetontheflooratfullpoweronmanualmode,youcanblowouteverythinginthebackground,givingyouacleanwhitebackground,whichisperfectforabeautifulsilhouette.Theflashwasplacedontheflooronitssmallmountpointedtowardthewallwiththeflashheadzoomedto35mm.Youmayhavetoplaywiththeflashzoominordertoincludetheentirewallwithintheframe.Thisisanotherexampleofhowflashallowsaphotographertoproducebeautifulimagesinworst-casescenariosandchallenginglocations.Imaginethepossibilitieswhenyoucantransformthewallofanyroomintoacleanwhitecanvas,ontowhichyoucanposeyoursubjects.

FIGURE13.25CameraSettings:ISO100,f/4.5,1/200

FIGURE13.26CameraSettings:ISO100,f/4.5,1/200

Figure13.27:Here,IamreturningtotheweddinginSarasota,Florida,whichoccurredduringahurricane,toshowyoutheprocessofphotographingininclementweather.Therainwasrelentless,andIwasforcedtoadaptandfindplacestophotographthecouplethatwereundertheprotectionofaroofbutwerestillsomehowspecial.Rainorshine,clientsexpectustoproducegreatwork.Ifyouareaprofessional

photographer,yourabilitytoadaptandconsistentlyproducegreatworkshouldbeexpected.Inthiscase,abuildingwithMiddleEasternarchitecturecaughtmyeye.Therewasaroofinsidethehallway,andthewindowsweredarkinsidetheirframes.Thedarknessiswhatgavemetheideatouseflashtobringthephototolifewithasilhouette.Inoticedtheyellow/orangelightshangingfromtheceiling.Thoselightswouldbemylightingreferencepoint(CLE-10).

FIGURE13.27

Figure13.28:Byexposingforthebrightestpointinthescene,anydetailsofthebuildingwouldgotoblack,leavingonlyitsMiddleEasternoutline.Iposedthecoupleunderthelargestarch,placedaflashonthegroundpointedtowardthewallandgelleditwithahalfCTOfiltertohelpmatchtheorangecoloroftheoverheadlights.Ididnotwantanylightilluminatingmyclients.Iwantedjustthewalltobelit.ThisistheonlywayIcouldmakethelightfromtheflashmorebelievable.Ialsohadtomakethephotoappearasiftherewerelightsilluminatingthepathway.Eventhoughthat’sastretch,itwasbetterthanthealternativeofpointingthe

flashtowardthecouple,leavingastrongrimlightaroundthem.Thatwouldbemuchlessbelievable.So,Ichosethebetterofthetwooptionsandcreatedthisbeautifulimageformyclients.Withoutflash,thisphotowouldhavenotbeenpossible.

FIGURE13.28CameraSettings:ISO640,f/2.8,1/30

CREATINGGRAPHICINTERESTWITHSHADOWSCREATEDBYFLASHShadowscanaddagreatdealofvisualinteresttoaphotograph.Shadowsarenaturallycreatedbylight,sowhentheambientlightisweak,theflashcan,onceagain,cometotherescue.Theitemsyouneedforthistechniqueareacleanbackground,anobjecttoshootthrough,andanoff-cameraflash.That’sit.Ioftenusethistechniquetospiceupadullorboringlocation.Let’slookatafewexamples.

Figure13.29:ThisphotowastakenonaconventionexpofloorinSaoPaulo,Brazil.Thecleanwhitewallwasperfectforcastingshadows.Wefoundachairwithawood-paneledbackrest,whichIthoughtwouldbe

perfecttoshinelightthroughwiththeflash.Ilefttheflashheadonautozoomforthisphoto.Tocreatethetypeofshadowyouwant,youmustrememberhowlightbehaves(Chapter3).Thefurtherthelightisfromanobject,thesmallertherelativesizeofthelightsourcewillbe;thus,thelightwillcreatecrispershadowswithharderedges.Ontheotherhand,ifyouweretobringtheflashclosertothechair,theflashwouldincreaseinrelativesizetothechairandcastasofterlight.Theresultwouldbeshadowswithedgestoosofttocastaclearpatternonthewall.Inthisexample,placingtheflashapproximatelyfourfeetfromthechaircreatedtheperfectshadowonthewall.

FIGURE13.29

Figure13.30:Hereistheresultofshootingaflashthroughanordinaryobjecttocreategreatvisualinterest.Icarefullyposedthemodelsothatthestripoflightwouldcrosshereyes.Imaginethisphotowithouttheflash’shelp.Itwouldlookdull,andthelowlightintheroomwouldnotbeflatteringtothesubject.

FIGURE13.30CameraSettings:ISO250,f/4,1/200

Figure13.31:Thiswasafunimagetocreate,anditutilizesthesameprinciplesfromthepreviousexample,exceptthistimetheshadowwascastonacleanwhiteceiling,notawall.Theflashwasplacedaroundeightfeetinfrontofthecouple,angledperfectlytocastacleanshadowoftheirbodiesontheceilingontheothersideofthearch.Thephotowithouttheshadowwouldhavebeenattractive,butwiththeshadowontheceiling,ittakesthephototoanewlevelofcreativity.

FIGURE13.31CameraSettings:ISO320,f/3.2,1/60

Figure13.32:Oneofthemostchallengingaspectsofthisflashtechniqueistokeepyoureyeswideopenforanyopportunitiesthatcouldmanifestthemselves.Theseopportunitiesarenotalwaysobvious,andit

requiresyoutopaycloseattentiontounusualobjects.DuringafineartphotoshootinWinnipeg,Manitoba,IwaswalkingaroundAspireStudioswhereIspottedanairventclosetothefloorinadarkroom.Withflash,thisairventwasallthatwasneededtocreateanimpactfulphotograph.

Figure13.33:Iaskedthemake-upartisttopleaseholdasingleoff-cameraflash,settomanualpower,andpointittowardtheairventfromtheothersideofthewall,asshownhere.

Figure13.34:Next,weadjustedthepoweroftheflash,aswellastheaperture,shutterspeed,andISOtoshapetheshadowcastonthefloor.Oncetheshadowwasright,weplacedthemodel,Amber,onthefloor,sothattheshadowfromtheairventwouldbecastontoherbody.

FIGURE13.32

FIGURE13.33

FIGURE13.34

Figure13.35:Theresultingimage—whichbeganbyspottingasimpleairvent—transformedthelocationintoaspecialphotograph.Theflashwas

zoomedto200mminordertonarrowthebeamoflightasmuchaspossible.Sincetheroomwasalreadydark,itdidnottakemuchpowerfortheflashtocastaclear,distinctshadowonthemodel.

FIGURE13.35CameraSettings:ISO250,f/4.5,1/125

CREATINGALOW-CONTRAST,DREAMY,HAZYEFFECTUSINGFLASHThistechniquecreatesoneofmyall-timefavoriteeffects.It’snotforeverybody,anditcanprovetobefrustratingattimes,butwhenyougetitright,itlooksterrific!Thiseffectisaccomplishedbypointinganoff-cameraflashtowardthecameralens.Whenthelightraysfromtheflashenterthelensandstrikethesensor,thecontrastintheimageisdramaticallyreduced,resultinginaverydreamyeffect.Thisisespeciallyusefulwhenshootingboudoir,aswellaswhenyouwanttoaddasenseofdreamymysterytoaportrait.Thiseffectisalsosuccessfulatreducingwrinklesonsomeone’sfacebytakingawaymuchofthecontrast.

Figure13.36:Thisfirstphotoshowshowtosetupforthelow-contrast/dreamyeffect.

Figure13.37:Theflashherecreatesaniceseparationbetweenthesubjectsandthetrees,butitwasplacedinthewrongspot.Noneofthelightfromtheflashactuallystrikesthecamera’slens.

Figure13.38:Theadjustmentwemadewastomovethepersonholdingtheflashtotherightsideofthecameraframeandfiretheflashonmanualat1/2power.ThenIaskedthatpersontomovealittletotheleftorright,upordown,untiltheflashstruckthecameralensperfectly.Thereisnoexactsciencetothisdirection.Itmustbedonethroughtrialanderror.Yourgoalistoseethatthelensflarecausedbythelightpassingthroughthelensisnotonyoursubjects.Micromovementswiththecameraortheflashcanpositionthelensflarecirclesindifferentplaces.Keepmovingarounduntilyoursubjectsareclear.Togetthemostlighttoenterthelens,Ifindthatpositioningtheflashbetween10and20feetfromthelensworksbest.

FIGURE13.36CameraSettings:ISO200,f/4,1/180

FIGURE13.37CameraSettings:ISO200,f/4,1/125

FIGURE13.38

Figure13.39:Thisisthefinalresultofpointingtheflashtowardthelensattheperfectangletocreatethisdreamyeffectwhileavoidinglensflarecirclesonyoursubjects.Asyoucansee,itcanbeaveryflatteringlook.Ifthisisnotyourstyle,that’sperfectlyfine.ButIstillencourageyoutotryitoutduringpracticeandusethetechniqueonaclientifyouwishtochangeitupalittlebit.Havingmultipleoptionsneverhurts.

FIGURE13.39CameraSettings:ISO100,f/4.5,1/180

Figure13.40:DuringaphotowalkinNewYork,Iwasboredbythelowqualityofavailablelighttowardtheendoftheafternoon.Idecidedtousethistechniquetocreatesomethingalittlemoreexciting—oratleastmorevisuallyinteresting.

Figure13.41:Forthisfinalphoto,Ihadoneofmystudentsholdaflashbehindtheyellowflowerstotheleftofthecameraframe.Iadjustedthepoweroftheoff-cameraflashupanddownuntilIachievedtherightamountoflighthittingthelens.What’sgreataboutthistechniqueisthatyoucanchoosetodialitupordowntoyourheart’sdesire.Forexample,thisphotocontainsaverylowdoseofthiseffect.Itloweredthecontrastandgavetheimageasubtledreamyeffectwithoutgoingoverboard.Iftoomuchlighthitsthelens,thephotowillturnalmostpurewhite.Thistechniquerequiresabalancingactandsubtletweakingtoachievethelookyouwant.

FIGURE13.40CameraSettings:ISO500,f/2,1/125

FIGURE13.41CameraSettings:ISO500,f/2,1/125

Figure13.42:Thisphotowastakenlateintheafternoon.Therewasverylittlelightenteringthewindow.TocreateabeautifulimagewhenIhadsolittlelighttoworkwith,Idecidedtousethistechniquetoaddabitofromancetoaboudoirphoto.Ihadmyassistantholdaflashinfrontofmeandtomyleft,abouteightfeetawayfromthecamera.Iputtheflashonmanualatafairlyhighpower.ThenIusedmycamera’sapertureandISOtocontrolhowmuchofthatlightstruckmysensor.Atf/2.8,fartoomuchlightenteredthesensor,makingeverythingalmostcompletelywhite.Isettheaperturetof/4and,althoughtheresultwasbetter,itwasstilltoostrongformytaste.Atf/5.6,theimagewasperfect.IthenposedJacquelynandtookthisphoto.Noticehowsoftherskinlooks,becausethelighthittingthelensremovedalotofthecontrastbutleftjustenoughtostillseetextureandcolor.Don’thesitatetotrythistechnique.Youmaylovetheresults.

FIGURE13.42CameraSettings:ISO100,f/5.6,1/200

PARTFIVE

EXECUTINGYOURLIGHTINGVISION

CHAPTER14

PUTTINGITALLTOGETHER

Inthisbook,wehavediscussedhowtoachieveoptimumlightingforanysituation,fromheadshotstoweddings,fashiontoportraits.Ibeganbydiscussingtheneedtoprioritizehavingalightingvisionoveralightingstyle.Whetheryouarea“portraitartist”oryousimplyphotographpeopleinmanydifferentkindsofsituations,Iencourageyoutobreakoutofthemoldandaskyourselfhowyouwantthelighttofallonyoursubjectinordertohighlightwhatyou,thephotographer,wishtoshowtheviewer.Thinkofyourselfasapoet.Poetscarefullychoosetheformofthepoemandthewordsthatgoonthepagewiththeintentionofelicitinganemotionalresponsefromthereader.Peoplephotographersshouldhavethesamegoal.Ifyouweretoalwaysusestudiostrobesornaturallightwithoutanyexceptions,itwouldbesimilartousingthesamewordsforeverypoemyouwrite.Therefore,havingalightingvisionsimplyinvitesyou,thephotographer,totakeamomenttothinkaboutwhatitisyouwanttosaythroughtheportraitbycraftingthelighttoyourwill.

InChapter3,wewentoverthefivekeybehaviorsoflight:

AngleBehavior:Theangleofincidence=theangleofreflection

InverseSquareBehavior:Theinversesquarelawoflight

SizeBehavior:Relativesizeofthelightsource

ColorBehavior:Thecoloroflight

ScatterBehavior:Howpredictablethelightreflectingfromanysurfacewillbe

Thesebehaviorsarepredictable,andyoucancountonthemnomatterwhatkindoflightyouareusing—whetherthat’swindowlight,flashes,strobes,orvideolights.AllofPicturePerfectLightingrefersbacktothesefivebehaviorsbecausealllightingdecisions,withoutexception,dependonthem.Ifyoutrulytakethetimetounderstandthesebehaviors,youwilldiscoveraplethoraofcreativeopportunitiesforyourphotography,andyourfrustrationswithlightwilldiminish.

Afterthefivebehaviorsoflight,Iintroducedyoutoanewwayoffinding,analyzing,andharnessingthebestpossiblelightinanylocation.Icalledthissystemcircumstantiallightelements,orCLEs.Thereareatotalof10

CLEs.Followingthreechaptersofintroducing,analyzing,andimplementingcircumstantiallightelements,Chapter7introducedyoutoanoriginalmethodoftestingthequalityoflightatanylocationpriortoshooting.Icalledthisthelightingbenchmarktest.IstressedthatIconstantlyusethelightingbenchmarkinmyphotoshoots,butIdon’tnecessarilyrestrictmyselftoitsparameters.Everysituationisdifferent,anditrequiresthatthephotographerassesswhenitisappropriatetousethelightingbenchmark.Thatsaid,thelightingbenchmarkhasbeenresponsibleforthegreatestimprovementsinthelightingofmyphotographs.Ibelievethatifyoufollowit,youwillalsoseehugeimprovementinyourwork.ThefundamentalgoalforthelightingbenchmarkistohelpyoufindawaytophotographportraitswiththelowestISOpossiblebyaddinganynecessarylighttothescene.

Afteryouhaveemployedthelightingbenchmarktest,theresultswillmakeiteasierforyoutodeterminewhetherornotyouneedhelperlight.Helperlights—whicharereflectors,diffusers,videolights,andflashes—canbeusedindividuallyorincombinationtohelpyouimprovelightingconditionsanywhere.DoingsoallowsyoutophotographwithlowerISOswhilekeepingtheimagequalityatitshighest.MymantraistoaddnecessarylighttoanysituationinsteadofraisingtheISOtocompensateforlowqualityorquantityoflight.Keepinmindthatthisisforportraitpurposes,notphotojournalism.

Ithasbeenalongjourney.Nowlet’sgooversomecasestudiesinordertoshowyouwhatmentalstepsItaketoarriveatmylightingdecisionswhilekeepinginmindeverythingwediscussedabove.Naturally,thesearemythoughtprocesses,andyourscouldverywelldifferfrommine.That’sjustfine.Howyouarriveatyourlightingdecisionsisapersonalchoice.Whatmattersmostisthatyouhaveavisioninmind.

MYTHOUGHTPROCESSREGARDINGLIGHTInphotography,everythingcanbealtered.Therefore,whenIwalkintoanysituation,Iseealllocationsnotforwhattheyare,butmerelyassuggestions.Forexample,walkingintoaroomwithawell-litwindowdoesnotmeanIhavetousethewindowasmylightsource.Itisjustone

suggestion.It’sasifthelocationistalkingtome,suggesting,“Usethewindow,”or“Gotothelovelyfountainatthepark.”IcanusethewindowifIchooseto,orIcancreatemyownlightelsewhere.Thedecisionisminetomake.

WhatIwilldoisquicklyglanceateveryroomorpossiblelocationandbeginassessingthecircumstantiallightelementsaroundme.Iconsiderthedirectionoflight,flatsurfaces,thecolorofthewallsandground,thetypeofshadows,etc.ThenIbegintothinkaboutthefivebehaviorsoflightanddeterminehowIcanusetheCLEstocreatetheportraitIwant.Forexample,ifthewindowisindeedmychosenlightsource,thenIknow,fromtheinversesquarelawoflightbehavior,thatifIplacemysubjectveryclosetothewindow,thelightwillbeverypowerfulatfirst,thenfallofftodarknessimmediately.However,ifIchoosetocreatemoreevenlightfortheportrait,IknowthatIcanplacemysubjectfurtherawayfromthelightsourceandthelightingwillbemoreevenlydistributedacrossthesubject’sface.

Next,Idecideonthepose.Iaskmyselftwoquestions:

DoIletthelightsourcedictatethepose?

DoIwanttochoosetheposeandthencreatethelighttocomplementmychosenpose?

Iquicklytakeatestshot.Mylightingbenchmarktestdeterminesthequalityandquantityoflightinanygivenlocation.Iftheexposureistoodarkgivenmylightingbenchmarkparameters,thenIknowIhavetousehelperlight.

Ifhelperlightisrequired,Ichoosewhattypeofhelperlightwillbethemostflatteringandefficient.Ibasethisdecisionpurelyonexperienceandfromcountlesspracticesessions.Bypracticingthesetypesofscenarios,Icanquicklydeterminewhatwillgivemethebestresults.Icannotstressenoughhowimportantpracticingis.Withoutproperpractice,youwillbeexperimentinginfrontofyourclientsandyouwillappearunpreparedornotincontrol.Youmightgetluckyonceinawhile,butit’sbettertorelyonprovenexperienceandnothopeforaluckybreak.

Finally,IreferonceagaintotheCLEsandthefivebehaviorsoflightto

determinehowtousethehelperlight.ThenItakethephoto.

Thissoundslikealotofsteps,anditis.Inmymind,thisentireprocesshappensinamatterofseconds.Again,Ibelieveinthepowerofpracticing.Themoreyoupractice,thefastertheprocessbecomes.Eventually,allofthesedecisionshappenautomaticallyandyouwon’tevenconsciouslynoticethem.

Nowlet’sgothroughaseriesofphotographsfromdifferentphotoshootstobreakdownthethoughtprocessofeach,fromconcepttofinalphotograph.

CASESTUDIESANDEXERCISESIhighlyencourageyoutotrytorecreatemostofthesescenariosinordertomastertheconceptsyourself.Treatthefollowingcasestudiesasexercisesforyoutotackle.Doingsowillallowyoutounderstandthesetechniquesindepthinsteadofsuperficially.

LIGHTINGCASESTUDIES

CaseStudy1:HelperLight(Flash)Figure14.1:DuringaphotoshootforadressdesignerinLugano,Switzerland,IhadthepleasureofworkingwithSwissmodelNorafortheinitialpartoftheshoot.Atfirstglance,theCLEsdidn’tseemtobeworkinginmyfavor.CLE-1asksforthedirectionoflight.Well,itwasabouttorainandthereweredarkcloudsoverhead.Thereisalwaysadirectionoflightbecausethesunhastobesomewhere,butincaseslikethis,itisirrelevant.Therewasnotmuchsunlightcomingthrough.Thisisaperfectexampleofhowlimitingyourselftoonlyusingnaturallightcanreallybecomeaproblem.Theslightbitoflightthatwascomingthroughwasbeingabsorbedbythegreenbushes(CLE-4).However,thosesamebushesprovidedaclean-patternedbackground(CLE-3)thatcontrastednicelywiththecolorofNora’sdress.Thiswasthedefiningfactorforchoosingthislocationforthephotograph.IknewIcouldn’tcountonnaturallight,butIcouldrelyonmyflashestocreatebeautiful,softlightthatwouldlookcompletelynatural.Onekeythingtonoticeisthelackof

separationbetweenNora’shairandthedarkgreenbushesbehindher.Asaportraitartist,wemustbeawareofthisproblemandcreatethatneededseparation.

Figure14.2:Iusedtwoflashestocreatethisimage:oneflashforthefrontandoneflashattheback,heldbymyfriendMarian,tofunctionasahairlight.Thefrontflash(mainlight)wasphotographedthrougha52"diffusertoincreasethesizeofthelightsourcerelativetoNora.Thisdecisionwasbasedonthesizebehavioroflight.Theflashinthebackwasfiredwithoutamodifier.WesimplychangedtheangleoftheflashsothatonlysomeraysoflightwouldstrikeNora’shair,andthussoftlyseparateherfromthebushesinthebackground.Mostofthelightfromtheflashwaseitherilluminatingthegroundorpointedtowardthesky,andneitherofthoseareaswouldbeincludedinthephoto.Thisisawayoffeatheringthelightfromabareflash.

FIGURE14.1

FIGURE14.2

Figure14.3:Thisisthefinalphotograph.YoucanseehownicelyCLE-3workedinthisfinalimage.ThelightonNora’sfacelookselegantandsoftduetothesizeofthediffuserthatweshottheflashthrough.Mostimportantly,thelightfromtherearflashprovidedmuchneededseparationbetweenNoraandthebackground.Separationisoneofthekeyfeaturesofmixingflashwithnaturallight.

FIGURE14.3CameraSettings:ISO200,f/4,1/250

CaseStudy2:HelperLight(Reflector)Figure14.4:ThisphotoofJenniferandMarkwastakenonthebeautifulFrenchislandofSt.Barts.Thesunsetwasjustincredibleandprovidedagorgeousbacklight,creatingasilhouette(CLE-1).Butmyvisionfortheimagewasnottohaveasilhouette.Instead,IenvisionedsubtleyetfulldetailonthesideofJenniferandMarkclosesttothecamera.However,thegroundonwhichtheywerestandingconsistedofdarkbrowndirt(CLE-5).Thistypeoftextureabsorbsmorelightthanitreflects.

Ididnotwanttosettleforanalternative;therefore,Ineededhelperlight.Aflashwouldbetooharshunlessitwashighlymodified,andIdidnothaveanytimetomodifyit.Thebestchoicewasareflector.Areflectorwouldbouncethatwarmandromanticlightbacktowardthecouple.WehadtousetheconvexbendingtechniquedescribedinChapter8tofeatherthelightgentlyontothecouple.Otherwise,usingthereflectorinitsdefaultflatformwouldhavereflectedfartoomuchlight,takingawaymuchoftheromance.

FIGURE14.4CameraSettings:ISO800,f/5,1/800

CaseStudy3:CircumstantialLightElementsFigure14.5:Forthisphoto,Iusedthecircumstantiallightelementstodoalltheheavyliftingforme.Thesourceanddirectionoflightcamefromthesunthroughaskylightabove(CLE-1).Thegroundwassomewhatglossyandlightincolor(CLE-5).Thisgavetheentireroomsoftandevenillumination.Whatreallycaughtmyattentionwerethesunspotsontheground.Thesepocketsofcleanlightontheground(CLE-7)werewhatgavemetheideaforthephotograph.ByplacingLilaadjacenttooneofthesepocketsoflightontheground,thatlightwouldreflectbackontoherdress(CLE-5).Therefore,nohelperlightwasneeded.Thegroundwasalreadyalargelightsourceactingasareflector.Furthermore,theintenselightcomingthroughtheskylightcoupledwiththehighlyreflectedlightfromthegroundprovidedmewithagreatseparationbetweenthebrideandtherestofthescene(CLE-9).ThisisjustoneexampleofwhyIstresstheneedtorecognizeandmasteralltheCLEs.

FIGURE14.5CameraSettings:ISO400,f/6.3,1/160

CaseStudy4:CircumstantialLightElementsFigure14.6:DuringaposingworkshopinIzmir,Turkey,Inoticedacleanpocketoflightonthegroundverysimilartotheoneinthepreviouscasestudy(CLE-7).ThispocketoflightonthegroundwasallIneededtocreateanimpressivephotograph.Nohelperlightwouldbeneeded—again,becausetheCLEsareprovidingallthenecessarylight.AllIhadtodowasadjusttheposetofitthedirectionoflight.

FIGURE14.6

Figure14.7:Hereisthefinalphoto.ThekeyistheanglefromwhichItookthephoto.Bychoosingthisangle,Icanlettheinversesquarelawoflightbehaviorcreateflatteringshadowstosculptherface.Thiswasthebestangletoshootfrominordertofeaturethoseshadows.BecauseNazliwasrelativelyclosetotheopendoorway,Iknewthatthelightwouldfalloffherfaceratherquickly.Thiswouldcreateahigh-contrastphotograph.HadIchosentophotographthisscenewiththelightsourcebehindme,youwouldseethebeautifulilluminationonherface,butyouwouldnotseetheshadows.Therefore,Icreatedaposeandusedashootinganglethatwouldclearlyshowthestrong,flatteringlightilluminatingNazli’sface,aswellastheshadowsthatgivethisimageitsbeautifultextureonherfaceandveil.

FIGURE14.7CameraSettings:ISO100,f/2.8,1/2000

CaseStudy5:CircumstantialLightElementsFigure14.8:Thislocationdoesnotlooklikemuch,buttakeacloserlookwhilekeepingtheCLEsinmind.First,thereisalargelightsourcetotherightwiththelargewindows(CLE-1).Thelightsourceisrightinfrontofacleanwhitewall(CLE-3).ThesetwoCLEsworkingtogetherareallyouneedtocreateagreatphoto.

FIGURE14.8

Figure14.9:Asthesunchangedpositionthroughouttheday,itcreateddifferenttypesoflightonthewallinfrontofthewindows(CLE-3).Atapproximately4:40p.m.,thesunwaslowenoughtoshinedirectlythroughthewindow,castingastronglightonthewall.Thewindowframescastashadowonthewall,leavingtwocleanpocketsoflight(CLE-7).Thistime,thepocketsoflightwerepresentonthewallandnotonthefloor,astheywereinthepreviousexamples.IposedTurkishmodelMurattofitthelight.Forthisphoto,Iplacedhimasfaraspossiblefromthewindowlighttomakesurethelightingintensityonhimwasalmostidenticalfromthefrontofhisfacetothebackofhishead.Thisisduetotheinversesquarelawoflight.Thecloserthesubjectistothelightsource,thefasterthelightfalloffwillbe.Therefore,ifthesubjectisfarawayfromthelightsource,thelightwillbemoreevenlydistributedacrosshisfacebecausethefalloffisalmostimperceptible.

FIGURE14.9CameraSettings:ISO100,f/3.5,1/500

CaseStudy6:CircumstantialLightElementsFigure14.10:Tensecondsafterthepreviousphotowastaken,IdecidedtousetheinversesquarelawoflighttocreateaportraitofMuratwiththelightfallingoffimmediately.Thewindowisalargelightsource.Thus,thesizebehavioroflightensuresthatthelightwillbesoft(CLE-1andCLE-4).Thiswillcausethelighttoshapehisfaceverynicely,givingitamoremysteriousappearanceinthephotograph.

FIGURE14.10

Figure14.11:Thisisthefinalimage.Iusedthemirrortothelefttoproduceareflectionintheimage.ThisallowedmetoplacethereflectionontheleftsideoftheframeandMuratontherightside,balancingtheimageperfectly.Furthermore,Murat’scloseproximitytoabrightlightsourceinsidearoomcreatesgreatseparationbecausetheroomgoesalmostdarkduetothefactthatIexposedforthebrightestpointonMurat’sface(CLE-9).Noticehownicelythelightfallsoffhisface,andhisearsarealmostincompletedarkness.

FIGURE14.11CameraSettings:ISO100,f/3.5,1/250

CaseStudy7:HelperLight(VideoLight)Figure14.12:Thisisoneofmyfavoriteengagementphotos.Thecouplewantedsomethingdifferent,soIcreatedthisphotographfortheminahotelballroominGalveston,Texas.Therewaswindowlightandsomeoverheadtungstenlights.Myvisionforthisphotodidnotincludeanywindowlight,soIaskedmyassistanttoblockallthelightfromthewindows.Next,Ivisualizedthepose,andIusedthreevideolightsatvariousintensitiestocreatethephoto.Themainlightwasthevideolightilluminatingthereflectionoftheirfacesinthemirror.Asecondlightwassettothelowestpowertosoftlyilluminatetheveil.Iusedthelastvideolighttoilluminatetheman’schest.

WhenIsaythatyoushouldprioritizehavingalightingvisionoveralightingstyleinChapter1,thisphotodemonstratesexactlywhatImean.Myvisioncalledformetobeincompletecontrolofthelight.HadIusedthewindowasthelightsource,thisimagewouldnothavebeenpossible.

FIGURE14.12CameraSettings:ISO100,f/4,1/40

CaseStudy8:HelperLight(Flash)Figure14.13:DuringaworkshopinLosAngeles,Iwasdemonstratingtheimportanceofalwayssearchingforagreatqualityoflight,regardlessoftheweatherconditions.Sureenough,alargecloudcoveredthesunandleftuswithopenshade.Asyoucanseebythebehind-the-scenesphoto,IaskedmyfriendAndretoholdaflashbehinda52"diffusertoshootthrough.Becauseofthesizebehavioroflight,thislargediffuserwouldprovideasoftwindow-lightlooktotheportraitandcreateseparationfromthebackground.

FIGURE14.13

Figure14.14:Withjustoneflashshotthroughalargecollapsiblediffuser,thelightingfromtheflashresembleswindowlight.Iusedhigh-speedsyncontheflashtobringmyshutterspeedupto1/2000.Becausetheflashlosessomuchpowerwhenworkingonhigh-speedsync(Canon)—orfocalplanemode(Nikon)—theflashhadtobeat1/2powertobestrongenoughtopassthroughthediffuserandreachDylanandIan.TheimagequalityisgreatbecausetheISOwaslow,eventhoughtheshutterspeedwashighandwedidnothavealotofsunlighttoworkwith.Forthesereasons,Iencourageyoutolearnhowtouseflashproperlysothatyourportraitsareofthehighestqualitypossible.

Notethatwhenshootingwithnaturallight,oursubjects’eyesocketsareofteninshadowbecauseoftheface’sbonestructure.Onthisshoot,theissuewasamplifiedbecausetherewasnotmuchsunlighttobouncearoundandreflectlightbackintothesubjects’eyes.HadInotusedaflash,bothDylan’sandIan’seyeswouldhavebeensignificantlydarker.However,withtheflash,notonlydoyouclearlyseetheireyes,butthereisaflatteringcatchlightinDylan’seyes.

FIGURE14.14CameraSettings:ISO200,f/2.5,1/2000

CaseStudy9:HelperLight(Reflector)Figure14.15:DuringoneofourusualtripstoPalmSprings,Iwantedtotakeaquickportraitofmybeautifulwife,Kim.Idecidedtousethewindowlightasmymainlightsource.IplacedKimascloselyaspossibletothelighttotakeadvantageoftheincreasedintensityoflightatcloseproximitytothelightsource.However,thatsamebehavioralsocausesthelighttofalloffimmediatelybecausesheissoclosetothelightsource.Notmanywomenwantaportraitwithsplitlight.Therefore,Ineededsomehelperlightoncamerarighttofillintheshadowscausedbytheproximitytothewindow.Ifeatheredthereflectortoprovideasoft,reflectedlight.Thecream-coloredwallinthebackgroundprovidedaclean,non-distractingbackgroundfortheportrait(CLE-3).Inthisexample,Iadjustedtheposetofitthelight.

FIGURE14.15CameraSettings:ISO200,f/4,1/800

Figure14.16:Forthisfashion-likeportraitofmyfriendLaura,IwentinacompletelyoppositedirectionfromthedecisionsImadewhenphotographingKim.Thistime,therewasalargewindowinfrontofLaurathatIdecidedtoignore.Myvisionwastocreateasexy,fashion-likeportraitofLaura,notabeautyportrait.Therefore,tocreateasenseofmystery,Ipositionedaflashonmanualatalmostfullpower,shotthroughamedium-sizedsoftbox,highaboveherheadtocameraleft.Thisplaced

thelightonLaura’shairandlips,leavinghereyesdarkandmysterious,whichaddedtothesexyandglamorousfeelingIenvisioned.Inthisphoto,Iadjustedthelighttothepose.

TheportraitsofKimandLauraareverysimilarintermsofthecropandtheuseofacleanwallasthebackground(CLE-3),butthetwoportraitscouldnotbemoredifferent.Lightshouldhelpyoubringyourvisiontolife.

FIGURE14.16CameraSettings:ISO100,f/16,1/250

CaseStudy10:HelperLight(Flash)Figure14.17:Duringthegroomportraitportionofthisweddingin

downtownLosAngeles,Inoticedagreat,moodyroominsidethevenue.Theproblemwasthatthewindowbehindmewastheonlylightsourceprovidingthatroomwithanylight.Itwasdark!However,althoughthatwindowbehindmewasfarawayandnothelpingmuch,itdidgivemealightingreferencepoint(CLE-10).Mythoughtprocesswasthis:ifthereisawindowbehindme,itisverypossiblethattherecouldbeanotherwindowoutofsighttocameraright.Inreality,therewasnowindow,butIdecidedtocreatemyownwindowbyshootingaflashthroughthelargestdiffuserIhadwithme,whichwas52"indiameter.

FIGURE14.17

Figure14.18:Ihadmyassistantputtheflashonmanualat1/2powerandshootitthroughthediffuserabouteightfeetawayfromMichaeltocameraright.IposedMichaelaccordingly.IneededtheflashonnormalsyncbecauseIcouldn’taffordtoloseanypowerfromtheflashasItriedtomakeitseemasifawindowwascreatingtheilluminationtotherightoftheframe.Withoutflash,IwouldhavehadtoresorttoanISOofatleast3200inordertoworkatareasonableshutterspeed.Butthankstotheflashactinglikeawindow,IwasabletolowermyISOtoasurprisingISO400andstillkeepmyshutterspeedat1/125.ThelowerISOallowed

theimagetoretainthemoodwithoutalargeamountofdigitalnoisedegradingtheimage.Noticehowclearthephotolooks.Youcanseeeverydetail,includinghiseyes,andyoucanevenseedetailintheblackchairtotheleftoftheimage.Forthisreason,IalwaysaskphotographersaroundtheworldtoaddlighttothesceneinsteadofincreasingtheISO.Ittakesanextraminute,andtheresultsareextraordinary!

FIGURE14.18CameraSettings:ISO400,f/6.3,1/125

CaseStudy11:HelperLight(VideoLight)Figure14.19:DuringtheweddingofmygreatfriendsBrookeandCliffinNewYorkCity,wewantedtocreateafewportraitsinthebaroftheAceHotel.Theproblemwasthattherewasonlymoodlighting,soeverythingwasverydim.IaskedmyfellowphotographerCollintogettwoIceLights,oneforeachperson,tocreateseparationbetweenthecoupleandthebackground.Oncetheseparationwascreated,Iwasabletoshoottheirreflectioninthesmallmirrorontheleft.

FIGURE14.19

Figure14.20:ThisisthefinalimageofBrookeandCliffusingtwoIceLightstocreateseparation.Idecidednottouseflashbecausethedarkwood-paneledwallsweresoglossy(CLE-4).Thistypeofmaterialwouldhavebeenfartooreflectivewithflash.Videolightwasmorecontrollableinthissituation,nottomentionfastertoexecute.

FIGURE14.20CameraSettings:ISO1600,f/2.8,1/60

Figure14.21:Here,Inoticedthatthedark-coloredcurtainbehindthebridewouldmakeagreatbackgroundbecausethedarktoneswouldcontrastperfectlywithherwhitedress(CLE-3).However,thewindowinfrontofthebridewasnotprovidingthenecessarylightintensitytocreateaclearseparation(CLE-1).Therefore,IhadtoboostthewindowlightwithanIceLightheldbyoneofthebridesmaids.Ithenposedthebridewithherchinuptofillherfacewithlight.

FIGURE14.21

Figure14.22:Thisismyfinalimage.KeeptheCLEsinmindasyoubegintoputtogetheryourimage.Asyoucanseehere,thedarkcolorofthecurtaindidworkwellasabackgroundtohelpcreateseparation.Had

Ileftthecurtainslightlyopen,itwouldhaveletaslitoflightthrough,causingamajordistraction.ThevideolightnotonlyprovidedtheboostoflightIneeded,italsoallowedmetoposethebrideinamoreflatteringwaybyraisingherchinuptothelight.

FIGURE14.22CameraSettings:ISO250,f/2.8,1/90

CaseStudy12:HelperLight(Flash)Figure14.23:Oneofthemostadvantageousbenefitsofbeingfamiliarwithflashistheabilitytoforeseehowascenecanbealteredusingit.Thisispreciselywhatoccurredduringthemakingofthisphotograph.WhileIwalkedaroundtheCaliforniaClubindowntownLosAngeles,Inoticedthiselegantroomdecoratedwithclassicalpaintings.Inoticedacoupleobstacles.First,thepaintingswerehangingtoohigh,andsecond,therewerestrongyellowoverheadlightspointingdirectlyattheheadsoftheladiesinthepaintings.Thesolutionwastoexposeforthebrightestpointinthepaintingandtoelevatethebrideusingachair.

Figure14.24:Next,theartistwhopaintedthesewomendidsoinfrontofaflatbackground.Therefore,Ienvisionedanimagewherethebrideand

backgroundappearedsimilartothepaintings.Theonlywaytodothatwastosimulatetheflatlighting.Iflightthatisbothflatandsoftisneeded,thenthattellsmethatthelightsourcemustbeverylargetomakethelightsoft,andthelightmuststrikethebridedirectlyfromthefront.Thisangleoflightingwillflattenthephotograph.IfIhadchosentoputtheflashoneithersideofthebride,thelightwouldhavegivenherfartoomuchdimension.Creatingflatlightlikethisisthesameapproachusedforbeautylighting;becausethereislittletexturewithflatlight,thesubject’swrinklesareminimized.

FIGURE14.23

FIGURE14.24

Figure14.25:Toflattenthelight,IlettheCLEdotheworkforme.Therewasalargeflatwallbehindme(CLE-2).IfIpointedmyflashtowardthewallbehindme,itwouldmakethatwallthenewlightsource.Becausetherewerenostronghighlightsorshadowsinthescene,IknewTTLflashwouldworkwellhere;therewasnothingtrickyaboutthisparticular

place.RememberthatTTLtechnologyoftengetstrickedwhenthelightinfrontofthelensisuneven.Therefore,onovercastdaysorindoorsinasituationlikethis,TTLflashwillberightontargetwithalmosteverypushoftheshutterbutton.Iwentaheadandrotatedtheon-cameraflashheadtowardthewallbehindmeandfired,creatingthisbeautifulandelegantphotograph.Thereasonwhythebride’sskintonesappearwarmisbecausethewallbehindmehadasimilartan-coloredwallpaper.Thecolorbehavioroflighttellsusthatlightwillpickupanycoloritstrikes.Inthiscase,thewhitelightfromtheflashturnedtanbecauseitpickedupthecolortoneofthewallpaper.

FIGURE14.25CameraSettings:ISO400,f/4,1/45

FIGURE14.26CameraSettings:ISO400,f/5,1/125

Figure14.26:ToachievethelookofthisphotoofNorainSwitzerland,Iusedthesametechniqueofflatteningthelightwithoneflashasdescribedinthepreviousexample.TheflatwallbehindmeandincloseproximitytoNora(CLE-2)becamemylightsource,asIpointedmyflash—again,inTTLmode—tostrikethewallandreflectallthatsoftlightbackontoNoraandtheentirescene.Noticehowalmosteverycornerofthisphotoislitbythesameintensityoflight.Thisisagreattechniquetousetocreatebeautylighting.Flatteningthelightmakespeopleappearyoungerbecauselightstrikesthefacefrommanyanglesatonce,fillingeveryshadowcausedbywrinkleswithlight.

CaseStudy13:CircumstantialLightElementsFigure14.27:DuringabeautifulweddingattheCaliforniaClubindowntownLosAngeles,Inoticedthisroomontheothersideofthebuilding.Theroomhadathinrectangularshapesuchthattwoofthewallswerefairlyclosetoeachother.Wallscanworkasreflectors,sothis

thinrectangularshapewasabonus(CLE-2).AnotheradvantageInoticedwasthatthisroomfeaturedtall,largewindowsfacingtheoppositewallthatwereincloseproximityduetotheroom’sshape(CLE-1).Unfortunately,eventhoughtheroomhadalargewindow,thesunwasontheoppositesideofthebuilding.Thistoldmethatthelightcomingintotheroomwasnotdirectwindowlightbutfillwindowlight,asdiscussedinChapter6.Thismeantthatalthoughtheroomwasverybeautiful,itwasalsoverydark.

FIGURE14.27CameraSettings:ISO200,f/4,1/40

ThedifficultyIfacedwiththisphotographwasthatIwasnotexpectingtotakeaphotothere.Iwassimplywalkingbyonmywaytoanotherroom.Therefore,Ididnothaveanyofmyhelperlightequipmentwithme,andwewererunningoutoftime.IwasdeterminednottoraisemyISOto6400tobringuptheshutterspeedtobefastenoughtoavoidblur.Theanswerwastofindatabletouseasatripodtopropupthecameraandtousethecamera’smirrorlock-upfeaturetoavoidanycamerashakewhentakingtheexposure.Lastbutnotleast,thebackgroundwasvery

symmetricalandgraceful(CLE-3).TheseareallthingswemustkeeptrackofinordertomastertheabilitytorecognizeCLEsinanyenvironment.

Thestagewassetforabeautifulandelegantportraitofthebrideandgroom.Whatmakesthisparticularportraitstandoutisthedetailonthebacksofthebrideandgroom.OfcourseIhadtoslowdowntheshutterspeedto1/40togatherenoughlighttoyielddetail.Usually,placingacoupleinfrontofalargewindowwillresultinmoreofasilhouette.Butinthiscase,thewallbehindmewaslarge,andthusreflectedsoftlightbackatthecouple(CLE-4).Thedetailonthebackofherdressiskeytotheimage.Ifthewallbehindmehadbeenfurtherawayfromthewindow,itwouldhaveweakeneditsreflectivecapabilities.Nohelperlightwasneededforthisportrait,andIwasstillabletotakethisphotographwithalowISO,whichisalwaysthegoal—especiallyinportraiture.KeepingISOnumberslowwhilehavingenoughlighttocreateawell-litportraitiswhythelightingbenchmarkissoimportant.

Itisworthnotingthat,althoughthisroomwasfartoodarktopassthelightingbenchmarktest,Istayedtruetothelightingbenchmark,butinadifferentway.Ihadtostabilizethecameraonatabletopusingaverylowshutterspeedtogathersufficientlighttocreatethisresult.Thelightingbenchmark’smainpurposeistoencouragephotographerstoincreasetheamountofnecessarylightinanyscene,insteadofincreasingtheISOandworkingwithalowqualityoflight.Well,Ididincreasethelightherebyslowingdowntheshutterspeedandallowingenoughlighttoentertheexposure.Forthesereasons,IwasabletokeepmyISOlowand,thus,takeahigh-qualityportrait.

Figure14.28:ForthisportraitofmyfriendCliff,Iwasinspiredbythebillboardofthewomaninblackandwhiteinthedistance.Iwantedtoincorporateitsomehowinthephoto.MyCLEtrainingkickedin,andIimmediatelylookeddownatthegroundtonoteitscolorandtexture(CLE-5).Tomysurprise,itwasalightgraycolorandfairlysmooth.Therefore,thegroundwouldbecomemyreflectorwithnohelperlightnecessary.IjusthadtoadjusttheposesothatCliff’sfacewaspointedtowardthereflector(theground).ItwasabrightandsunnydayinNewYork,soitwasachallengetokeepone’seyesopenwhenfacingthesun.IusedthetechniqueinChapter8(“TimetheEyes”)toachieveanatural

andrelaxedfeel.IaskedClifftolookataspecificpointonthegroundsothatthereflectedlightfromthegroundilluminatedhisface.ThenIaskedhimtoclosehiseyes,andonmycounttoopenthemquicklyandlockhiseyesontheagreedspot.Ipre-focusedsothatIwouldbereadywhenheopenedhiseyes.

Remember,whendirectlyfacingthesunoranyotherbrightlight,thephotographerhaslessthanasecondfromwhenthesubjectopenshisorhereyestotakethephotobeforetheeyesadjustandreacttotheoverwhelminglight.Inthiscase,althoughthesunwasinfrontofhim,Ihadhimlookingdowntowardthegroundtomakeiteasiertoobtainanaturalexpressionunderbright,sunnyconditions.

FIGURE14.28

Figure14.29:Thisisthefinalphotowiththebillboardinthebackground.Fromalightingperspective,IdidnotneedanyhelperlightbecauseIwasphotographingaman.Itismoreacceptableformentohaveabitofdarknessintheeyesbecauseitlooksmysteriousandsexy,butforwomenit’sbesttoaddsomehorizontallightusinganyformofhelperlighttofilltheeyesocketswithlight.PosingCliff’sfacetowardthereflectivegroundcertainlyhelped,buthiseyesweretoofarfromtheground,andthereforeonlyasmallamountoflightfromthegroundreachedhisface.

FIGURE14.29CameraSettings:ISO200,f/4.5,1/2000

CaseStudy14:HelperLight(DiffuserandFlash)Figure14.30:ThisphotoofNora—createdforthedesignerofthedressshe’swearing—wastakenatalocationthatmanyphotographersoftenusebutcancauseabigproblem;however,thisproblemcanbeaddressedusinghelperlight.Iamreferringtophotographingovergreengrass,suchasinparks.Accordingtothecolorbehavioroflight,whichwediscussedinChapter3,thegreencolorofthegrassispickedupbythelightandtransferredtooursubject(CLE-5).ThisphotowasthefirsttestshotItooktoseewhatissuesneededtobeaddressed.Clearlythedirectsunlightmustbediffusedtosoftenthefeelandlowerthecontrastofthephotograph.IhadtophotographfromthisanglebecauseNorawassurroundedbybushes.Therefore,Icouldn’taltermyangletodealwiththelight.Thesolutionwastobringinsomehelperlightwithadiffuser.

FIGURE14.30

Figure14.31:ThisphotowastakenwithadiffuserplacedaboveNoraandoverthebushestosoftenthedirectsunlight.Withthediffuserinplace,Igottheunflatteringshadowsundercontrol.However,itbecameevidentthatwehadacolorcastproblem,andtherewasalsonocleardetailvisibleonherdress.Infashionphotography,thatisabigno-no.Ihadtobringinamodifiedflashtoaddressthisissue.

FIGURE14.31

Figure14.32:Thisisthefinalphotograph,usingflashandadiffuserworkingintandem.Flashisdaylightbalanced;therefore,anygreencolorcastpresentonthesubjectcanbecounteredbyflash.Manyfamilyandseniorportraitsaretakenatparksfortheirprettygreeneryandnaturalenvironment.Butwithoutusingflashorareflector,youwillhavetocorrectforagreencolorcastinpostproduction.InNora’scase,inadditiontothegreengrassontheground,thereweregreenbushescompletelysurroundingher(CLE-4).Forthesereasons,IpulledoutaflashandfireditthroughthelargestdiffuserIhadavailable(88").Thislargediffusernotonlyprovidedsoftlight,butitalsoilluminatedNorawithflatteringwarmlight.Furthermore,becausethiswasaphotoshootforthedressdesigner,Imadesurethattheflashprovidedbeautifulilluminationofthedetailsonthedress.WhatIloveaboutthistechniqueofshootingaflashthroughalargediffuseristhatthereisnotraceofanyflashbeingused.Thephotoappearstobelitonlybybeautiful,naturallight.

FIGURE14.32CameraSettings:ISO100,f/3.5,1/1000

Figure14.33:Ihadthepleasureoftakingafewengagementphotosformylittlesister,Susana,andherfiancé,Daniel,inBeverlyHills,CA.Forthisphototowork,Ineededatwo-stephelperlightsolution.First,thesunwascomingstraightdownonthem,soIneededadiffusertosoftenthesunlight.Oncethatlightwasdiffusedontothecouple,theredbushbehindthembecamebrighterthantheywerebecausethebushwasbeinglitbydirectsunlight,whichwasobviouslybrighterthanthediffusedlightonmysisterandDaniel.Ineededhelperlighttoseparatetheexposuresbetweenthesubjectsandtheredbushinthebackground.Thathelperlightwouldallowmetocontroleachexposureindependently.Iusedaflashattachedtoamedium-sizedsoftbox(around24"indiameter).Ifirstnaileddowntheexposureontheredbushes.Then,Iturnedontheoff-cameraflashandputitinmanualmode.IincreasedanddecreasedtheflashpoweruntilIwassatisfiedwiththeexposureonmysisterandDaniel.Thefinalpowerontheflashwas1/8power.Intheimage,theexposureonthecoupleisthesameintensityasthesunlitredbushbehindthem,andtherearenicecatchlightsintheireyes.

FIGURE14.33CameraSettings:ISO100,f/4.5,1/500

CaseStudy15:HelperLight(Flash)Figure14.34:DuringCliffandBrook’sweddinginNewYorkCity,Isaw

thisreflectioninapuddleonthegroundmadebytherainthenightbefore(CLE-5).Tocreatesomethingalittledifferent,Idecidedtousethepuddleofwatertocreateaportrait.However,asyoucanseebythisphoto,theirreflectionswerequitedark.Tomakereflectionswork,thereflectedobject(s)mustbebrightlyilluminatedinthewater(oranyotherreflectivesurface)forthereflectiontobeclear.IputaflashinTTLmodeanddialedin+2flashexposurecompensation(FEC).Theflashheadwaszoomedoutto105mmtonarrowthebeamoflightcomingfromtheflash.

Thereasonforthecouple’sheavytiltistocompensateformycameraangle.Bytiltingtheirbodies,theymatchedtheangleofmycamera,andtheywouldappearstraightinthefinalphoto.

FIGURE14.34

Figure14.35:Hereyoucanseetheflashinactionasitbringsuptheexposureonthereflectionontheground.

FIGURE14.35

Figure14.36:Thefinalphotographwasconvertedtoblackandwhite.Comparethebrightnessofthereflectionnowtothefirstbehind-the-scenesphotointhiscasestudy.Thedifferenceisquitesignificant.Byusingflash,Iwasabletoexposeforthesunlitbuildingsandbringuptheexposureonthecoupletothesameluminositylevelasthebuildingsinthebackground.Now,itappearsasifthesunisilluminatingboththebuildingsandthecouple.

FIGURE14.36

Figure14.37:ForthisphotographofMilanesemodelAna,Ipickedabeautifulroominthehousewherewewereshooting.Unfortunatelyitwasquitedarkbecauseitwascloudyandrainingoutside.MylightingbenchmarkgoalistokeeptheISOlow,regardlessofthedarkconditions.TheonlywayIcouldbringuptheexposureintheroomwithalowISOwouldbetoslowdowntheshutterspeedtothepointthatitwouldmostlikelyblurfromcamerashake.Therefore,IdecidedtokeeptheroomdarkandmoodyandjustaddlighttoAna’sreflectioninthemirror.ThiswouldnotonlyhelpmekeeptheISOlow,butitwouldalsohelpmecreateacriticalseparationbetweenthemoodoftheroomandAna.Themirrorwasrathersmall,soIneededtorestrictthelightrayscomingfromtheflashtohitjustAna’sface;Ihadtobecarefulnottospilllightontherestoftheroom,whichwoulddefeatthepurpose.Toaccomplishthis,Iusedafive-degreehoneycombgridoveraProfotostrobe.Tosoftenthelightsothatitappearednatural,Iplacedapapertowelbetweentheflashandthehoneycombgridattachmentandchangedtheflashpowertoalowsettingof4outof10.Onceset,IchangedmyISOto100,lockedthecamera’smirroruptoavoidcamerashake,andtookthisportraitofAna.

FIGURE14.37

Asyoulookatthisphotograph,trytoimaginehowitwouldhavelookedifIhadraisedmyISOto8000tocompensateforthedarknessoftheroom.IfIhadnotusedmyflashtoseparateAna’sexposurefromtherestoftheroom,mostlikelythephotowouldhaveappearedwithoutdimension,andAnawouldhaveblendedinwiththeroom.Theresultswouldhavebeenfairlyuseless.TheseparationofexposuresbetweensubjectandbackgroundhasbeeninstrumentaltothesuccessIhavehadasaphotographer.Tomysurprise,prospectiveclientsactuallynoticethedifferenceandarewillingtopayforthesehighercaliberphotographs.

Byremainingtruetomyvisionandshapingthelight,Icreatedaportraitthatlookscarefullycraftedwithamysticalmoodthatcompelstheviewertobecomeimmersedinthephotograph.Asanadditionaladvantage,verylittleeditingwasrequiredforthisphotograph.Everythingwascreatedincamera.

CaseStudy16:HelperLight(VideoLight)

Figure14.38:IntheexampledepictingNorasurroundedbygreenery(casestudy#14),Iusedflashtobringoutthedetailsofthedress.Inthatsituation,flashwasthecorrecthelperlighttoolbecausethephotowastakenoutdoors.Inthiscase,thegoalwassimilar.IwantedtoshowcasethetrulyamazingcraftsmanshipofJennifer’sveil.Todothis,Iplacedherbythewindowtomaximizethelight—butfirst,Iclosedthecurtainstodarkenthebackground.ThiswouldcreateagreatseparationbetweenJenniferandtherestoftheroom(CLE-9).Thewindowlightwouldprovidesoftlighttocomplementthesoftandelegantfeelofthisportrait.However,thecloseproximitytothelightsourcetellsus,accordingtotheinversesquarelaw,thatthelightwouldbeintenseatfirstbutthenfallofftodarknessveryquickly.Therefore,beforeplacingJenniferbythewindow,IaskedmyassistanttopulloutanIceLighttoilluminatethedarkersideofJennifer’sveil.Nowyouseebeautifuldetailthroughoutherveil.Withexperienceandpractice,youwillknowwhenandwhattypeofhelperlightyouneedbeforeeventakingatestphoto.

Figure14.39:ForthisphototoworkattheSLSHotelinBeverlyHills,wehadtotrytomatchthelightonthebride’sfacetothelightonthebacklitpanelbehindher.However,shewaswearingawhitedress,andaddingtoomuchlightontoherwouldhaveblownoutherdress.Therefore,weaddedasmuchlightaspossiblebeforeweranintotroublewiththehighlights.Thisphotoisanotherprimeexampleofthelightingbenchmarkmentality,whereyouaddlighttothesceneinsteadofincreasingthecamera’sISO.

FIGURE14.38

FIGURE14.39CameraSettings:ISO400,f/2.8,1/90

Figure14.40:Thisphotographwasverytrickytoexecute.CLE-1asksforthedirectionandthesourceofthemainlightsource,andCLE-4asksustobeawareofthematerialsoftheobjectssurroundingoursubjects.KeepingthesetwoCLEsinmind,wecametotheconclusionthatthisphotomustbetakeninsidetheelevatorinsteadofoutsideofit,whichwastheoriginalplan.Thereasonforthiswasthattheelevatorprovidedhelperlightformewithitsoverheadlights.ThishelperlightwouldcreateaneffectasifIhadsomeoneholdanIceLightoverthecouple.Wecouldnottakethisphotooutsidetheelevatordoorsbecausetheentireareawasdecoratedwithahighlyreflectiveplexiglasmaterial.HadItakenthisphotooutsidetheelevatordoors,thereflectionoftheIceLight(whichIwouldhaveneededtouse)ontheplexiglaswouldhaveruinedthephoto.

Themoralofthestoryisthatsometimestheenvironmentprovidesthehelperlightforyou.Ionlyhadtochangetheintendedposetoonethatwouldbesuitableforthelightingcomingfromabove.

FIGURE14.40CameraSettings:ISO800,f/2.8,1/30

CaseStudy17:Pantea’sPhotoShootIfirstmetPanteaataPersianweddingattheSt.RegisresortinOrangeCounty,CA.Shewasoneoftheguestsatthewedding,andIaskedherifIcouldtakeherportrait.Aftershesaidyes,ittookmealmosteightmonthstomakeithappen,butwefinallydidit.Thepurposeoftheseportraitswastousedifferentbeautylightingtechniques.Webeganwithnaturallight,thenmovedontodirectsunlight,andwefinishedtheshootlateintheafternoonusingonlyflashesfortheilluminationsincethesunwasnolongerprovidingusefullight.

Figure14.41:Thisisthebehind-the-scenesphotoofthenaturallightportraits.Beautylightrequiresthatlightraysreacheverypossiblesquareinchofaperson’sface.Therefore,itdoesnotallowanyshadowstoformunderthenoseoreyes.Also,byilluminatingtheentirefaceevenly,anynaturalwrinklesareminimized;hencethename“beautylighting.”ChimeramakesaportablestudiosystemcalledtheHeadShotBooth,whichismadeupofpanelsthatcanbeconfiguredhoweveryouwant.IusedthemtocreatemyowncircumstantiallightelementssinceIwasdoingthephotoshootonarooftop.IusedtwooftheChimerapanelstocreatewhitewallsthatwouldreflectlightonbothsidesofPantea’sface(CLE-2).Thegroundwouldreflectlightfromthecenter(CLE-5).Themainlightsourcewasthesunilluminatingfrombehind(CLE-1).Finally,IusedaWestcottbackdropcanvasforthebackground(CLE-3).Withthissetup,softbutintenselightwouldilluminateeveryangleofPantea’sface,makingherglow.

FIGURE14.41

Figure14.42:ThisisthefirstportraitofPanteawiththissetup,usingonlynaturallight.Noticethatthecamera-leftsideofherfaceisslightlybrighterthantherightside.Thishappenedbecausethesunwasdirectlystrikingthepanelclosetothecamera-leftsideofherface.(SeeFigure14.41.)Beautylightingisprobablythemostflatteringlightyoucanuseonawoman.Italwayslooksamazing!

FIGURE14.42CameraSettings:ISO100,f/4,1/250

Figure14.43:Next,IturnedPanteaaroundtofacetherightpanelandmovedherasclosetothatpanelaspossibletoincreasetheintensityoflightonherface.Ichosetherightpanelbecausetheleftpanelwas

throwingmorelightfromthesun.Ineededthatextralighttoilluminateherblackhair.IfIhadturnedhertheotherway,herfacewouldhavebeenreallywelllitbutherhairdetailwouldnothavebeenaslustrous.

FIGURE14.43CameraSettings:ISO100,f/4,1/350

Figure14.44:Thesenexttwoportraitsweretakenwithdirectsunlight.Nodiffusionwasused.Directsunlightportraitscanbedynamicandedgy,butyouhavetobeverycarefulwiththepose.Thesmallestwrongmovementofthesubject’sfacecouldcreateunflatteringshadows,renderingthephotouseless.Indirectsunlightportraits,youmustconcentrateontheshadowplacement.

Forthesetwoimages,Iusedatypical4'x8'foamboardasabackground.Youcanfindtheseatanycamerasupplystore.

FIGURE14.44

Figure14.45:Forthisportrait,IdecidedtofavortherightsideofPantea’sface.Therefore,Iaskedhertoraiseherchinupandtiltherheadslightlytowardherleftshoulder.Thisputmostofthedirectsunlightononesideofherfaceandlefttheothersideintheshadowcausedbyherownface.Noticethattherearenostrangeshadowsunderhernoseorcheeks.Theonlyrealshadowsyouseeonthebrightsideofherfacearetheshadowscausedbyhereyelashes.

FIGURE14.45CameraSettings:ISO100,f/4,1/3000

Figure14.46:Next,IhadPanteaturnaroundandhavebothsidesofherfacedirectlyfacingthesun.Iaskedhertoslowlykeeptiltingherheadtowardherleftshoulderuntilthatshadowontheleftsideofherfacewas

perfect.Thisisreallysculptingaperson’sfacewithlight.Bothofthesephotoshaveaveryfashion-forwardandedgyfeeltothem.

FIGURE14.46CameraSettings:ISO100,f/3.5,1/4000

Figure14.47:Finally,thesunwassettingandtherewasverylittlelightleft.Ofcourse,withflashthiswasnotaproblem.However,inordertocreatethelookofnaturallight,youmusthavealargeenoughmodifier.Forthisreason,IusedaChimera5'OctaPlustogetherwiththeChimeraHeadShotBoothpanelstobouncethelightbackandforth.Thiscombinationgavemethelookandfeelofnaturallight,althoughitwas100%litbystrobe.Forthesephotos,IusedaBroncolorMove1200Lstrobe,butIcouldhaveusedaregularoff-cameraflashinthesameway.IusedtheBroncolorstrobepurelyoutofconveniencebecauseIalreadyhaditnearby.Otherwise,IwouldhaveclampedmyCanonflashtotheChimeraOctaPlus,andtheresultswouldhavebeenprettymuchthesame.

FIGURE14.47

Figure14.48:Thisisthefinalresultofcorrectlyusingandmodifyingstrobestocreatethesoftnessofnaturallight.Thekeytocreatinggreatsoftlightisinhowyoumodifytheflashesorthestrobes.Theproofisinthepudding.MostpeoplewouldnotbeabletodistinguishwhetherthisportraitofPanteawasachievedwithflashorwithnaturallight.

FIGURE14.48CameraSettings:ISO100,f/3.5,1/180

CaseStudy18:Peter’sPhotoShootLet’smoveontosculptingaperson’sfaceforaheadshot.Thistime,I

hadthepleasureofphotographingmyfather-in-law,Peter.IusedtheChimeraHeadShotBoothpanelsagainforthesephotographs.

Figure14.49:Forthisfirstheadshot,IsetuptwooftheChimerapanelsonthewhitesidetoreflectlightineverydirectiontowardPeter’sface.Toaddmorelighttothemix,Iplacedasilverreflectorunderhimtoreflectlightbackup.ThistypeoflightingisilluminatingPeterfromeveryangle:thesunfromabove,thewhitepanelsonbothsides,andthereflectorfrombelow.Onlynaturallightwasusedfortheseportraits,butitishowIuseandharnessthepoweroftheCLEsthatcraftandshapethelightindifferentwaysthatmakeseachphotoasuccess.Here,IhadtocreatemyownCLEsbyusingtheChimerapanels,butitisverypossibletofindalloftheseelementsintheenvironment,asIdemonstratedinChapter6;insteadoftheChimerapanelswiththewhitecloth,itcouldbethewhitestuccowallofahousedownthestreet.

FIGURE14.49

Figure14.50:Formostheadshots,thisismygo-tosetupbecauseitiseasytoassembleandinexpensive.Thesunistheonlylightsource,sonoexcessiveamountofequipmentisneeded.Theonlydownfallisthat

youdoneedthesunandaclearskytohaveenoughlighttomakethiswork.NoticehoweventhelightisfromthebottomtothetopandfromsidetosideonPeter’sface.Thisisnotonlyflattering,butitlooksveryprofessionalaswell.

FIGURE14.50CameraSettings:ISO100,f/2.8,1/180

Figure14.51:Forthissetup,weturnedtheChimeraHeadShotBoothpanelsaroundsothattheblacksideofthepanelsfacedPeteronbothsidesofhisface.Inthisbehind-the-scenesphoto,onlyonepanelshows,butwhenthephotowasactuallytaken(Figure14.52),theblackflagyouseeonthefloorrestingagainstthewallwasusedincloseproximitytotheleftsideofPeter’sface.

FIGURE14.51

Figure14.52:Thereasonforusingtheblacksideofthepanelsisbecausethecolorbehavioroflighttellsusthattheblackcolorofthepanelandtheblackflagwillabsorborsubtractlight,andnotreflectit.ThiswilldarkentheleftandrightsidesofPeter’sface,leavingonlythefrontwellilluminated.Becausethesidesofhisfacearedarkerthanthefront,itslimsdownthefaceandalsogivestheheadshotmorecharacterthaninthepreviousexample.

Therearecountlesswaystolightandshapeaperson’sface.Iusethesetwolightingtechniquesforheadshots90%ofthetime.Fromhighschool

seniorstoactorstocompanyCEOs,thisisthewayIhavelitheadshotssuccessfullyforyears.

FIGURE14.52CameraSettings:ISO100,f/4,1/90

CaseStudy19:Ian’sPhotoShootForIan’sphotoshoot,Iwantedtocreateaportraitthathadalittleoomphtoit.Ilovethecleanlookofnaturallight,butinthiscaseIwantedsomedramaintheportrait.

Figure14.53:ThisisaphotoofIanusingonlynaturallight.Thephotolooksgood,butitfailstoprovideanyunexpectedvisualinterestormood.

Figure14.54:ThisisthesetupforIan’sportrait.Forthissetup,Iusedtwoflashes.Oneflashwasclippedontoalarge5'ChimeraOctaPlusmodifier,andtheotherflashwithabarebulbwasplacedbehindhim.Thepurposeoftheflashbehindhimwastoprovideaccentlightonhisfaceandhair,andalsotomakelightraysenterthelenstogivethephotothatmoodyfeelItalkedaboutinChapter13.

Figure14.55:HereishowIclipmyCanonflashestoanysoftbox.Iuseagenericadapterwithacoldshoeonitandsimplyholditinplacewithtwoorthreeheavy-dutyclamps.ThisphotoshowstheflashclippedontoasmallerOctaBeauty,butIusedthesamesetupforthelarge5'OctaPlusatIan’sportraitshoot.

FIGURE14.53CameraSettings:ISO100,f/2.8,1/180

FIGURE14.54

FIGURE14.55

Figure14.56:Finally,hereistheresultofthetwo-flashsetup.TheflashbehindIan,pointingatmylens,providedasubtlebuteffectiveshiftinthemood.ThelargeOctaPlusmodifierprovidedgreatsoftlightontheleftsideofhisface.Itisasimplesetupwithpowerfulresults.Usingflashescreatedthemoodandfeelofthisportrait.Inthissituation,achievingthedramaticlookofthisportraitwouldnothavebeenpossibleusingonlynaturallight.

FIGURE14.56CameraSettings:ISO100,f/5.6,1/180

CaseStudy20:Ellie’sPhotoShootForthelastcasestudy,IwanttosharethephotoshootIdidofmyniece

Elliana.Sheisanextremelydeterminedballerina,devotingmostofherdaytodancepracticetomasterballet.Inthisphotoshoot,Iusedawidevarietyoflightingtechniquestoobtainseveraldifferentlooks.Thesephotosarespecialtome,becauseEllieismynieceandalsobecausetheydemonstrateposing,composition,lighting,andexperimentationallinonephotoshoot.ThisisalsowhyIlovephotographysomuch.Theresultsyoucanachievebyhardworkandbeingunafraidtofailmakesphotographyaddictive!Thesephotosaremoreforyourenjoyment,buttherearealwayslessonstobelearnedwhenstudyingphotographs.

Figure14.57:Thisfirstphotowastakenonarooftopusingonlynaturallight.IpositionedEllierightinfrontofthesuntocreateadramaticsilhouette.

FIGURE14.57CameraSettings:ISO125,f/7.1,1/5000

Figure14.58:Forthisphotograph,Ichangedthecolorofthewhitebalance(Kelvintemperature)withinthecameratoachieveabluecolortone.ThenIusedaflash,whichisdaylightbalanced,towarmupwhateveritilluminates.Iaskedmywife,Kim,toholdtheflashfromabove,pointedstraightatEllieandzoomedat200mmtoavoidanylight

spillfromtheflash.ThenIremovedtheflashinpostproduction.

FIGURE14.58CameraSettings:ISO320,f/6.3,1/200

Figure14.59:Thegoalforthisphotographwastoshowcasecontrasts.Ellielookssosmallwhenposedagainstthesehugebuildingsandskyscrapersthatarevisibleinthebackground.Butthewaysheisposedshowsherdeterminationagainstallodds.IpositionedaflashbetweenEllieandthestepstoboostthecontrastbetweenEllieandtheDisneyConcertHall.ThenIremovedtheflashinpostproduction.

FIGURE14.59CameraSettings:ISO320,f/6.3,1/200

Figure14.60:Iwantedtofeaturethewayaballerina’slegsmovewhendancing.ItisincredibletomehowsymmetricalandcalculatedEllie’smovementsare.Ithoughtthatthebestwaytoshowtheevennessof

balletfootworkwastotryshowingthelegsthroughstroboscopicflashpulses,freezingthemotion.

Fourflasheswereusedtocreatethisphotograph.Allfourflasheswereonstroboscopicmodewiththecameraonbulbexposureforjustoveronesecond.Thisisoneofmyfavoritephotosoftheshootbecauseitsuccessfullybringstolifeanewperspectiveonsuchaccuracyinmovementandhumandiscipline.

Figure14.61:Ihavearrivedatthelastphotoofthebook.IwantedtocreateaportraitofElliethatresembledmoreofapaintingthanaphotograph.Todothis,wewenttothestoreandpurchasedabottleofbabypowder.Iwantedtobacklightthepowderassheshookitwithherhandsfromhertutu.Ialsoaskedhertotakeasmallstepbackwhilesheshookthepowderofftocreateanintriguingsenseofmovement.

Fourflashesonstroboscopicmodewerealsousedtocreatethisportrait.Ittookafewtriestogetitdialedinperfectly,andweendedupbreathingmorebabypowderintoourlungsthanweshouldhave.Buthey,wetookariskanditpaidoff!TheresultsaremorebeautifulthanIhadimagined!

FIGURE14.60CameraSettings:ISO160,f/7.1,1.3"

FIGURE14.61CameraSettings:ISO160,f/5.6,1"

CONCLUSION

Photographic lighting is trulyafascinatingsubject.Lightingcanbewhatmakes the difference between a photograph looking like a mindlesssnapshot or an exquisite work of art. Whether you use an entry-levelcamera or the most expensive state-of-the-art medium format camerasystem, a photo takenwith poor quality of lightwill always resemble asnapshot.

At the beginning of my photographic career, I didn’t really understandwhat“greatqualityoflight”reallymeant.Duringthattime,therewereonlytwokindsof light:sunandshade.That’sprettymuch it.Littleby little, Ibegantonoticehowobjectsaroundmewereabletoinfluencethelight.From numerous observations, I began to challengemyself to seek outthemost flattering light forasubjectwhilekeeping thecamera’s ISOat100.Thisproved tobeverydifficultat first. It requiredacombinationofstrong light bouncing off large, flat, and light-colored objects in closeproximity to my subject. The “ISO 100 challenge” gave birth to theconcept of the lighting benchmark test inChapter 7. And looking for acombinationofobjects tocreate flattering light formysubject led to thecreation of the circumstantial light elements (CLEs) that I discuss inChapters 4–6. I used these two systems together—alongwith a strongfoundationofhowlightbehaves,describedinChapter3—andkaboom!ItwasmagiceverytimeIpulledoutmycamera.

Thiswasthemostexcitingtimeformeasaphotographer.Knowinghowto find the dazzling hidden light at every location propelled my careerforward. All of a sudden, clients were willing to invest in photographyagain,insteadofjustchoosingtheleastexpensiveoption.Peoplebegantorefertomeasan“artist”insteadof“thephotographer.”

Thesecondbiggest leap inmycareeroccurredwhen I recognized thatflashcouldbeusedtoboostexistinglightandkeepitlookingcompletelynatural. This knowledge of flash allowed me to create high-caliberphotographswhetherthedaywasbeautifulandsunnyormiserableandrainy.

Aftersomanyyearsoflisteningtoallthelightingdebates,Irealizedthat,withgreatknowledgeoflightanditsbehavior,thesedebatesaboutwhatkindof lightwasbetter than theotherwere reallymoresubjective thanobjective. For example, a large light source relative to the subject willalways produce soft light because it is the size of the light source thatmatters,notwhetherthelightwascreatedbythesunoraflash.

Thebestapproach tosuccessfullyusing light inyourphotography is tobecomeknowledgeableaboutalllightsourcesandthenchoosetherightkindoflightorcombinationoflightstobringyourvisiontolife.Ifyoulikephotography,takethetimetopracticeandmaster lighting; thenyouwilllovephotography.Greatlightingallowsyoutomakepeoplelookamazingandlandscapesappearmystical.Yourphotoswillbebeautiful!

It ismyhope thatafter reading thisbookand taking theproper time toapplytheconceptscarefully,youwillbeabletodistinguishyourselfinanever-growing competitive field and flourish as a professionalphotographer.Bestwishesandhappylighting!

—RobertoValenzuela,CanonExplorerofLight

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