The first exercise is about softening the light. We are asked to set up a still-life arrangement, with any object or group of objects. The lighting direction is to depend on our subject, and we are able to experiment but, if in doubt, we are told to fix the naked lamp more or less overhead, pointing down, with the camera aimed at a slight angle downwards. Using a diffused light source to soften the shadows and highlights we are asked to take two photographs. The first has to be with just the naked lamp, the other with the translucent material held between the lamp and the subject, but out of view. We are asked to look at the results, and write down exactly what we see as the differences.
For this exercise we are using some fruit and an Interfit 200 studio light above the fruit pointing downwards. The exposure reading is taken with a Sekonic light meter in incident mode and the exposure set at f16@1/125 iso200 50mm lens. The shadows are long and harsh in this first image and the light is reflected in the shinny surfaces of the apples giving us highlights and a high contrast image.
In the second image, we have added a translucent umbrella to shoot through. This lets less light, and a more diffused light through. For a correct exposure we have to have a setting of two stops more at f8. This produces a much more satisfying image as the shadows are not as long and pronounced, the highlights are not so strong and therefore less distracting and the contrast is much better.
The images can be enlarged by clicking on them.
For this exercise we are using some fruit and an Interfit 200 studio light above the fruit pointing downwards. The exposure reading is taken with a Sekonic light meter in incident mode and the exposure set at f16@1/125 iso200 50mm lens. The shadows are long and harsh in this first image and the light is reflected in the shinny surfaces of the apples giving us highlights and a high contrast image.
In the second image, we have added a translucent umbrella to shoot through. This lets less light, and a more diffused light through. For a correct exposure we have to have a setting of two stops more at f8. This produces a much more satisfying image as the shadows are not as long and pronounced, the highlights are not so strong and therefore less distracting and the contrast is much better.
The images can be enlarged by clicking on them.
The second exercise is about the lighting angle. Once we have worked out a manageable system for diffusing a single light, we are told to experiment with using it from different directions. We are asked to find a suitable subject. It needs to be no larger than the diffuser in front of the lamp, rounded and with relief. We are asked to eep the camera in a fixed position (on a tripod) aimed horizontally at the subject with a plain background some distance behind.
Firstly, we are asked to start with the light, fitted with its diffuser, at the same level as the subject and camera and between shots, move it around the subject, so that we photograph this lit from the front (with the light next to the camera), from the side, from behind and to one side, and from directly behind. With the light directly behind, aimed forwards to the subject and camera, the effect we will have is that of a silhouette, provided that the area of the light’s diffuser is greater than that of the subject. (First row of images below).
Secondly, we have to raise the light so that it points down towards the subject at an angle of about 45
degrees. Again, we have to move the light right around the subject between shots. (Second row of images below).
Thirdly, we have to suspend the light overhead, pointing down, and take three pictures: directly
overhead, from slightly in front, and from slightly behind. (Third row of images below)
We are asked to lay out all the photographs together and to study the differences in order to become familiar
with the effect of moving the light. The images can be enlarged by clicking on them.
My observations are that whilst the first row of images have long shadows, the 45 degree lighting in the second row gives a better feel. But I do like the fourth image in the first row where the subject is lit from behind and the shape and quality of it is more apparent. My favourite photographs are the two final ones where the lighting is overhead and we are slightly in front or behind the subject because the background is white and the edges and shape of the subject stand out more. I think these last images also give the best 3-diamensional effect. However, this may be leading me to this conclusion because I like high contrast photography and I have not managed the backdrop lighting on the other images.
Firstly, we are asked to start with the light, fitted with its diffuser, at the same level as the subject and camera and between shots, move it around the subject, so that we photograph this lit from the front (with the light next to the camera), from the side, from behind and to one side, and from directly behind. With the light directly behind, aimed forwards to the subject and camera, the effect we will have is that of a silhouette, provided that the area of the light’s diffuser is greater than that of the subject. (First row of images below).
Secondly, we have to raise the light so that it points down towards the subject at an angle of about 45
degrees. Again, we have to move the light right around the subject between shots. (Second row of images below).
Thirdly, we have to suspend the light overhead, pointing down, and take three pictures: directly
overhead, from slightly in front, and from slightly behind. (Third row of images below)
We are asked to lay out all the photographs together and to study the differences in order to become familiar
with the effect of moving the light. The images can be enlarged by clicking on them.
My observations are that whilst the first row of images have long shadows, the 45 degree lighting in the second row gives a better feel. But I do like the fourth image in the first row where the subject is lit from behind and the shape and quality of it is more apparent. My favourite photographs are the two final ones where the lighting is overhead and we are slightly in front or behind the subject because the background is white and the edges and shape of the subject stand out more. I think these last images also give the best 3-diamensional effect. However, this may be leading me to this conclusion because I like high contrast photography and I have not managed the backdrop lighting on the other images.
The third exercise is about contrast and shadow fill. We nee a large white card and some aluminium cooking foil to function as reflectors. We are asked to set up a simple still-life shot. It is not necessary to move the light around so the background can be whatever we want. We are asked to shoot from the same level as the object, with the camera on a tripod., fixing the light at about two to three feet to one side of the object and at its level, so that it is aimed at right angles to the camera’s view.
We are asked to take the first photograph without a diffuser in front of the lamp, and the second with the diffuser.
Then to follow these with a series of five exposures with the light and camera unchanged as follows -
1. White card placed three feet away from the object, on the opposite side from the light and facing it.
2. Then move the white card twice as close to the object, and take another photograph.
3. Tear off a piece of the aluminium foil sufficient to cover the area of the white card and
place it against the card, with the dull side facing the object.
4. For the next shot turn the foil round so that the shiny side is facing out.
5. For the last shot crumple the foil in your hand and then smooth it out again. Place it once more against
the card, with the shiny side facing out.
Then we are asked to compare the results and arrange them in order of contrast, from the one with the biggest difference between the lit and shaded parts, to the least. This will enable us to see now why the expression ‘shadow fill’ is used. The course manual says that In a simple lighting arrangement like this, the lamp is set up first and then, if necessary, the shadows are filled in with a reflector.
Looking at the results and comparing the images we can see that the first shot below has the most contrast which has been shot with an undiffused lamp and no reflector. With the diffuser added in the second photograph the image becomes less of a contrast and the shadowsare less harsh. The diffusion of light also starts to lighten the rear backdrop which was black in the first image.
In the second row, we can see the effect of the white card placed first at three feeet and then nearer at one and a half feet. This second image gives a better effect.
In the third row we can see the effect of using aluminium foil, first the dull side and then the shinny side.
We are asked to take the first photograph without a diffuser in front of the lamp, and the second with the diffuser.
Then to follow these with a series of five exposures with the light and camera unchanged as follows -
1. White card placed three feet away from the object, on the opposite side from the light and facing it.
2. Then move the white card twice as close to the object, and take another photograph.
3. Tear off a piece of the aluminium foil sufficient to cover the area of the white card and
place it against the card, with the dull side facing the object.
4. For the next shot turn the foil round so that the shiny side is facing out.
5. For the last shot crumple the foil in your hand and then smooth it out again. Place it once more against
the card, with the shiny side facing out.
Then we are asked to compare the results and arrange them in order of contrast, from the one with the biggest difference between the lit and shaded parts, to the least. This will enable us to see now why the expression ‘shadow fill’ is used. The course manual says that In a simple lighting arrangement like this, the lamp is set up first and then, if necessary, the shadows are filled in with a reflector.
Looking at the results and comparing the images we can see that the first shot below has the most contrast which has been shot with an undiffused lamp and no reflector. With the diffuser added in the second photograph the image becomes less of a contrast and the shadowsare less harsh. The diffusion of light also starts to lighten the rear backdrop which was black in the first image.
In the second row, we can see the effect of the white card placed first at three feeet and then nearer at one and a half feet. This second image gives a better effect.
In the third row we can see the effect of using aluminium foil, first the dull side and then the shinny side.
The next exercise is about concentrating the light. The course manual tells us that sometimes, you may want the light to fall on just a part of the scene, having the surrounds in shadow, as in the image below. Most proprietary tungsten lamps and mains flash units are sold with a simple dish reflector, which concentrates the beam of light. Today we are using a snoot light modifier on the end of the studio flash. Both images have the light above through a snoot and the exposure is f5.6@1/125 iso200. For the second image, we have fitted a honeycombe to the snoot. The effect of the honeycomb is twofold. Firstly it cuts the light output from the flash head. Secondly it only allows a small amount of very direct light, with no spillage onto the subject as we can see below.
The final exercise is about photographing shiny surfaces. This is a challenge, as we have seen in the book, "Light Science & Magic" which gives excellent advice. The course manual tells us that objects with surfaces that reflect brightly, such as anything of chrome or silver, are a special lighting problem. There are ways of dealing with them that make such a remarkable difference to a photograph that this is a very rewarding exercise to do.
We are asked to take some large sheets of tracing paper and to find a reflective object where you can see your face in it and lay it flat on the floor and photograph it from above with a simple black background. We are asked to set up the object, camera and have a light positioned close to the camera. Through the viewfinder, we can see how unsatisfactory the effect is and the first photo below is a reference photo showing this. We are then asked to roll the tracing paper in the shape of a long cone so that the wide end will sit around
the object (but out of view), and so that it tapers upwards to the small end, which should just surround the lens. Ideally, the length of this cone should be exactly the distance from the camera to your subject. We can now see what a difference this makes. In the first image we cannot capture the shinyness of the CD and wherever we put the camera and the light we are getting reflections. In the second image we are shooting through the tunnel of tracing paper down on to the CD and we can capture the true colour of the reflective surface. The light and lit the CD through the tracing paper. In the third image we have done a crop which presents the CD without the tissue surround. The manual states that depending on the choice of object, we may have some difficulty in losing the reflection of the camera lens completely. Apparently, this is one of the things that makes a rounded
shiny surface, like that of a kettle or bowl, so difficult. The manual says that even if you turn the object, the
reflection will still be there and that almost the only way of solving this last remaining problem is with composition – placing another object in front of the reflection to hide it. As a final attempt, the CD was photographed at an angle with light being reflected off a white backdrop. The problem here is that the creases in the backdrop are being reflected onto the surface of the CD giving it an almost warped like shape. The images can be enlarged by clicking on them. Now onto the Assignment !
We are asked to take some large sheets of tracing paper and to find a reflective object where you can see your face in it and lay it flat on the floor and photograph it from above with a simple black background. We are asked to set up the object, camera and have a light positioned close to the camera. Through the viewfinder, we can see how unsatisfactory the effect is and the first photo below is a reference photo showing this. We are then asked to roll the tracing paper in the shape of a long cone so that the wide end will sit around
the object (but out of view), and so that it tapers upwards to the small end, which should just surround the lens. Ideally, the length of this cone should be exactly the distance from the camera to your subject. We can now see what a difference this makes. In the first image we cannot capture the shinyness of the CD and wherever we put the camera and the light we are getting reflections. In the second image we are shooting through the tunnel of tracing paper down on to the CD and we can capture the true colour of the reflective surface. The light and lit the CD through the tracing paper. In the third image we have done a crop which presents the CD without the tissue surround. The manual states that depending on the choice of object, we may have some difficulty in losing the reflection of the camera lens completely. Apparently, this is one of the things that makes a rounded
shiny surface, like that of a kettle or bowl, so difficult. The manual says that even if you turn the object, the
reflection will still be there and that almost the only way of solving this last remaining problem is with composition – placing another object in front of the reflection to hide it. As a final attempt, the CD was photographed at an angle with light being reflected off a white backdrop. The problem here is that the creases in the backdrop are being reflected onto the surface of the CD giving it an almost warped like shape. The images can be enlarged by clicking on them. Now onto the Assignment !