Posted on December 22, 2011
It’s been a busy year (in fact there’s still a few shoots to do before Christmas Day!). Thank you to all of you that continue to want to learn and know more and I hope that you enjoy your Christmas and New Year.
Posted on December 12, 2011
One light – from the front it’s flat, but from the side and back it creates shadow which means you can alter how something looks. You can create form and shape by adding shadow or adding highlights. I like to backlight where I can (on location, the sun does this) but try where possible to add reflected light before a second light, where it’s appropriate. Here’s a few examples from the gallery below, reading from left to right:
Row 1 – Image 1 – single light to the side, soft but no separation; Image 2 harder light with shadows which model the chin; Image 3 – backlight to hair create separation.
Row 2 – Image 1- Backlight is more from above with reflected light (tri-flector) pushing from below and flattening shadows; Image 2- softbox and backlight; Image 3, same but more like sandwich lighting.
Row 3 – Image 1 – single light camera right and high key set means that ration of 2:1 achieved by reflected light alone; Image 2 and 3 – Canon speedlite to the the rear and off camera left.
Posted on December 6, 2011
Winter weddings can be great to shoot because of the quality of light. It’s soft and flattering but it can also be a bit weak. It can be lacking on contrast. So here’s a few quick things that were covered in part of the course that relates to he 12 pictures in the gallery below. The lighting levels were very low and the weather cold!
1. Shot of the groom against the wall. Natural light from camera left and modelling / shadow coming from the wall.
2. Shot of groom against the wall. Kicker light from camera left , balanced for ambient.
3. Groom against the pillars. Kill the ambient and turn day to night. High contrast from flash gun off camera.
4. Window light that acts as a giant softbox. Use the direction of the subject’s face to control shadows.
5. If you’ve set your exposure relative to the direction of the light, shoot away in manual, with confidence.
6. Making sunshine with off camera flash to add contrast and remove some of the flatness of the ambient.
7. Dark, dark churches. Using off camera flash to mimic where light is coming from but is too weak to make the photograph without some help. First light is the backlight which lights the red carpet and mimics the direction of light from the window. Second light from the the side as fill. The third shot mimics the backlighting from the tungsten lights overhead.
8. Imagine it’s raining outside – so make use of whatever you can. This is a curtain to the left of the altar. Shadows can be used to hide anything unsightly and strong directional lights adds drama and contrast. If you’re at a venue with little in the way of attractive backgrounds it’s your lighting that will save you.
9. 10.11.12 Ambient light can still be a bit tricky depending on how you shoot with it. A large diffused light sourced can be flat – but by placing the subject under cover (as in picture 12) see how the highlights appear on the hair and shoulders and modelling comes into the face.
If you’re interested in learning more about lighting and camera skills training, please do get in touch.