Tag Archives: hard light

Three rules of lighting… simple, but effective

• Three Rules of Lighting •

• Three Rules of Lighting •

The simple explanations are the best.

Here at Photokonnexion we try hard to provide simple explanations for the things we all want to learn about our favourite subject. If you think anything is too complicated let us know on our Contact Us page or leave a comment below the article.

Well, here is a video in the spirit of simple explanations. I really do not need to explain before you see it… just watch and enjoy.

More after this…

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Three Rules of Lighting for Photography

“We talk about the three important rules regarding the behaviour of light. As photographers we can use these rules to achieve the type of lighting we want, including the look of soft light.” – Ed Verosky
© Ed Verosky 2012  External link - opens new tab/page

For more background on lighting

Don’t forget to check out our Light and Lighting resource pages and especially the links on Hard Light and Soft Light. These are essential to the understanding of light.

All our resources can be found in the menu at the top of the page.


By Damon Guy (author and editor)

Netkonnexion

Damon Guy (Netkonnexion)

Damon is managing editor of Photokonnexion.com with professional experience in photography, writing, image libraries, and computing. He is also an experienced, webmaster and a trained teacher. Damon runs regular training for digital photographers who are just starting out.
See also: Editors ‘Bio’
By Damon Guy :: Profile on Google+


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Ten simple ideas to help your portraiture improve

Video

Video

Straight forward portraiture advice is difficult to come by…

In the video we have some great ideas that help you to map out a great Portraiture session. This is straight advice aimed at getting you to a good quality completed portrait as directly as possible.

I have to add that the book advertised in the video is also a great book. It is packed with some excellent ideas and written in a simple and easy-to-read way. If you are interested in following up on the book I can highly recommend it. My copy is pretty dog-eared these days!

 

Portrait and Candid Photography: Photo Workshop This is a great book packed with lots of hints, tips and ideas like the ones below. A really worthwhile read.

 

Ten points at the core of good portraiture

In the video Erin Manning highlights the importance of the following ten points…

  1. Don’t fix your subject in the middle of the frame. Instead, think about the rule of thirds – a more dynamic outcome.
  2. Poses and “cheesy” words to force a smile are false and make the photo look strained.
  3. Make your clothes simple and un-distracting. Forget patterns and fussy details. Simple solid colours help the subject to stand out, not the clothes.
  4. Avoid straight on shots with a big flash. The open pupil in the eye will cause light to reflect back to the camera and show bright red eyes… You don’t want your subject to look like red-eyed monsters. Use red-eye reduction settings if your camera has them.
  5. Vary your poses, angles and heights. The more angles you get the more you are telling a story about your subject. Get them in many different ways.
  6. Use flash to help reduce harsh shadows. The sharp sunlight of the middle of the day is very unflattering. The use of fill-in flash softens the shadows bringing out the subjects character.
  7. Look for great quality of light. Remember that hard light (harsh edges and strong contrasts) is very unflattering. Shoot in the later afternoon or early morning to get soft light with better colours. Use shade to reduce hard light if you are forced to work in bright mid-day light.
  8. Don’t stand too close and use a wide angle lens. This exaggerates the nose. Stand away and zoom in. This reduces nose size and is much more flattering. (Great advice).
  9. Pay attention to the background. If it is too busy make sure there is nothing distracting. Check to make sure the background has not created odd effects like poles sticking out of heads and flowers in ears!
  10. Make sure you have enough battery capacity and memory card space to cover the whole session. You don’t want to lose any shots when you are in full swing.
Erin Manning’s Top 10 Dos and Don’ts for Great Portraits


Erin Manning


By Damon Guy (author and editor)

Netkonnexion

Damon Guy (Netkonnexion)

Damon is managing editor of Photokonnexion.com with professional experience in photography, writing, image libraries, and computing. He is also an experienced, webmaster and a trained teacher. Damon runs regular training for digital photographers who are just starting out.
See also: Editors ‘Bio’
By Damon Guy :: Profile on Google+

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Simple videos showing how camera settings work

Understanding the relationship between ISO, Aperture and Shutter speed…

These are the three critical factors in the exposure relationship. Getting a feel for how they work together is the essence of controlling your camera. Several people asked me to find a simple explanation for the way this relationship works after seeing this post yesterday: How to work with your camera settings – a simple, fun lesson.

The key point

The three settings, ISO, Aperture or Shutter Speed are set up on your camera in stops, or fractions of stops. The stop is a photographers way of measuring light in the camera.

The most important thing to remember is that a stop of aperture is the same as a stop of ISO, and in turn a stop of shutter speed. As they equal each other, you can keep them in balance. If you put one setting up a stop (or fraction of a stop) you can put one of the others down a stop (or fraction) and you will get the same exposure. This allows you to change your settings to get a different result (more bokeh, less movement blur etc) but retain the same exposure levels.

The two videos below will help you to understand the way the settings work. I have given you two versions of the same information. They both present differently, and they both have snippets of information that are different from the other. However, they both cover the same material. I hope that one or both of them will help you to see how the settings work. Enjoy!

Aperture Shutter Speed and ISO, Photography 101

The second video covers almost identical material but shows some of the points through the camera viewer. This helps you to see the context of the settings easier.

Exposure (Aperture, Shutter Speed, ISO)

Now try out your new knowledge…

Now you can try out CameraSim in yesterdays post. Try varying the settings for yourself like they did in the videos and see how they work together to get an exposure balance.


By Damon Guy (author and editor)

Netkonnexion

Damon Guy (Netkonnexion)

Damon is managing editor of Photokonnexion.com with professional experience in photography, writing, image libraries, and computing. He is also an experienced, webmaster and a trained teacher. Damon runs regular training for digital photographers who are just starting out.
See also: Editors ‘Bio’
By Damon Guy :: Profile on Google+


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A little known idea that will help your photography every day

Learning photography is about understanding light.

There is a ready source of learning about light you see every day. Photographs and television provide valuable lessons in light. You can learn a lot by observing how light is used in different productions. Look for the way light is cast, which direction it comes from, its colour and it’s intensity. Also look for the way it is used to create mood and atmosphere – these often show off how shadows and hard light or soft light are used. Good producers of still photography, television and film are masters of creating scenes with and manipulating light. Looking carefully at the light itself in such productions will provide great insights for your own photography.

[More about eyes: The Eyes Have It… nine ways to emphasize eyes]

Portrait Reverse Engineering – It’s In The Eyes

In the video we see one aspect of how to see the light. I have written about catchlights before. They are the bright spots in peoples eyes that are reflections of the nearby lights. In this video an examination of catchlights is used to understand the nature of the light used in the portrait session. This is a clever and interesting way to understand portrait lighting. It is also something of a study in television too. Directors use lights to create catchlights for nearly all close shots. So watch out for them as you watch television.

The Michael Andrew Photography School External link - opens new tab/page


By Damon Guy (author and editor)

Netkonnexion

Damon Guy (Netkonnexion)

Damon is managing editor of Photokonnexion.com with professional experience in photography, writing, image libraries, and computing. He is also an experienced, webmaster and a trained teacher. Damon runs regular training for digital photographers who are just starting out.
See also: Editors ‘Bio’
By Damon Guy :: Profile on Google+

Twelve Simple tips for atmospheric candlelight shots

• Burning the midnight oil •

• Burning the midnight oil •
Click image to view large
• Burning the midnight oil • By Netkonnexion on Flickr External link - opens new tab/page

Candles put out a wonderful light…

Everyone feels the atmospheric impact of candlelight. The colour and the low light seems to draw you in. Capturing that light is easy with a few simple hints. Lets look at what is needed…

Tripod…

There is nearly always low light associated with candle photography. That means working with longer exposures. A tripod is excellent for that. Indoors, beware of a wooden floor, any move you make can be transferred to the tripod. Floor vibrations can ruin a shot or make it soft. For sharpness remember to use the camera timer for the shot or a remote shutter release.

Lighting…

The best way to view candles is by their own light. Because they don’t use a tripod many people are tempted to use flash. Unfortunately flash will over-power the candlelight. It will take out the colour from the light and tend to create hard, sharp shadows. It will ruin the atmosphere of the candlelight. Make sure you switch off your flash. If you need more light the you can use as many candles as you need to raise light levels. They don’t need to be in the shot, but they will keep the light the same throughout the shot.

Composition…

First decide if your candle or candles are the subject or are props. This decision will affect your focus and how you lay out your scene. Candles can create a strong bright spot in the scene. If it is too bright the flame will form a burnt out white spot. Once you have arranged your scene, ensure that the candle will only draw the eye a small amount unless it is the subject. You should consider the placement of the candle in a way that might minimise the impact of the bright flame spot.

Positioning…

If all your candles are close together the light will tend to act as one light source. This will tend to act as a hard light creating more defined shadows. If you want the light to be softer and the shadows with less well defined edges set your candles further apart. If the light is to be cast on a face then soft light will be more flattering.

Movement…

One of the peculiarities of working with candles is that the flames are subject to the slightest air movement. Unfortunately candle flicker is attractive to the eye in real-time; but looks like a loss of sharpness in a still image. It is quite useful in close focus shots with a candle to use an air break of some kind nearby to stop air movement. In a table-top study use a large sheet of card to one side out of shot. That will help prevent air movements. If not, keep an eye on the flames when shooting. Try to capture the flame upright or, if using more than one flame, make sure they are all going the same way. They look more natural that way.

Since candle light is low intensity, make sure you also prevent other sources of movement in the shot. They will inevitably be blurred as the shot will be using a long exposure. This will look like a distraction against still flames.

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Light intensity…

The light from a candle can be made much more intense if you use something to catch the light from the candle. A face, hand or other objects bring alive the picture and complements the candle. The presence of the object acts to reflect the candlelight. Light flesh tones are particularly good in this respect since the flesh colour is tonally close to the candlelight hues and they act as a reflector to bring out the light.

From

From “Candle Series” by Spicedfish
From “Candle Series” by Spicedfish on Flickr External link - opens new tab/page

Using reflectors in a candle scene is a great way to raise the light intensity. You can find other types of surface than the one in this picture in most scenes. Walls, ceilings and even off-shot reflectors are all good. Be careful to use neutral colours. Colour reflectors will affect the colour of the scene. If you are using a big card out-of-shot make it white. This will reflect the same colour light back into the scene, filling in the light.

Shadows…

The other side of light intensity is the shadows. The darker tones and strong contrasts of candle shots create most of the atmosphere. Spend time studying the shadows created in your scene. Strong contrasts are great subjects. If you create shadows that fall badly across your scene it will impact on the overall effect. The best use of shadows is often to the edges of the shot. If the light fades out to edges this holds the scene into the shot – naturally focusing the eye. Work with shadows to ensure the mood is harmonious.

Additional lights…

If you want to use fill light in the scene try to match the quality of light from your candles. Use soft light sources and natural light with hues matching the candles. Natural light will fill the scene well but tend to neutralise the colour of the candle light. The warm glow of candles is a great mix with evening, low-intensity light.

Some people use light with gels to give a warm glow. Warming gels can also be used with a flash. However, beware the power of flash. The candles will lose their soothing effect if all the shadows are taken away around the base of the candle and harsh shadows are introduced from one side. Typically use a diffused flash on the lowest setting – it also helps to be a distance away from the candles as well.

Multiple candles…

When working with one candle as subject the main focus of the shot is clear. However, there is a lot of scope for creativity. Consider two main issues. How to layout your candles and how to use the overall light with the layout. Using candles for making patterns is great fun and can produce excellent shots.

Patterns with candles

Making patterns with candles
Click to view Google Images “Candle Light” search

Try to keep the scene simple. Overlapping candles or indistinct objects in the pattern are confusing. Work with the sharp contrasts and keep your pattern well defined.

Exposure…

How long should you make your exposure? This depends, like any scene, on your light levels. To get more light in the exposure a long shutter speed is suitable for most candle shots. A range of 1/15 second down to 2 seconds is a good starting range with an ISO of 100. Camera settings vary significantly with reflectors, multiple candles or fill lights. Experiment to get it right. Aim to make the shot moody or atmospheric while providing detail for the eye to look at around the candle flame(s).

The main exposure concern with dark or shadowy shots is digital noise. If ISO is too high you will get more noise. It is better to use a low ISO, say 100 and have longer shutter opening. This reduces noise and means more detail is visible.

Lenses…

A fast lens allows a wider aperture. Faster lenses will allow a quicker exposure than a smaller aperture. Nevertheless, when experimenting check the depth of field. With big candle patterns, or larger subjects, a very wide aperture will give a very shallow depth of field. Too shallow and you will lose a lot of detail. On the other hand, lots of candles in the background with a shallow depth of field will produce pleasing bokeh. For choosing your lens, more than other aspects of your set-up, you need to have a clear vision of what you want your final shot to look like. Then do some “Chimping” to check results.

Prime lenses, especially the 50mm, will give an approximation to the human eyes. To capture the mood of a scene a 50mm will help. A wide angle lens close-up can provide great exaggerations of candle tallness or broadness – depending on lens orientation. There is great scope for artistic interpretation. Also remember that zoom lenses tend to foreshorten, reducing the apparent depth of the shot. With a zoom lens place your candles to give an impression of depth.

White balance…

The warm glow of candles is attractive. If you change the white balance you will change the characteristics of the warm glow. Candlelight shots are about moodiness and atmosphere. It is worth playing with the white balance to influence the shot and increase moodiness, but be careful you don’t remove it. You only need to adjust white balance when shooting in *.jpg as it will be fixed once the shot is taken. If you are shooting in RAW you have more flexibility with settings in post processing to control colours and the final exposure. If you cannot shoot in RAW then, again, make sure you do some “chimping” to get the colours right.

Being safe…

Although fun, candles are naked flames. It is all too easy in low light to leave something close to the candle. Fires start quickly and spread fast too. Feel free to experiment but make sure you don’t accidentally knock over candles, touch wall paper with one or do something else to set off a fire. Never leave candles alight and unattended. Always blow them out and wait for the smoke stop raising before leaving.

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By Damon Guy (author and editor)

Netkonnexion

Damon Guy (Netkonnexion)

Damon is managing editor of Photokonnexion.com with professional experience in photography, writing, image libraries, and computing. He is also an experienced, webmaster and a trained teacher. Damon runs regular training for digital photographers who are just starting out.
See also: Editors ‘Bio’
By Damon Guy :: Profile on Google+

Easy ideas for controlling your flash unit

Specular highlights

Bath toy
Specular highlights are distracting and draw the eye which spoils the shot.

Flash is a great benefit and a problem all at once!

Most people don’t realise two things about flash. First, the standard setting is nearly always too powerful. Second, the highlights resulting from flash are very distracting.

Working with flash power

Like all things in photography you need to think carefully about using flash. It is not simply click and move on. Most improving photographers are just beginning to make shots rather than snaps when they begin to see the quality and colour of light. So it is easy to miss some of the impacts that flash has on a subject. Here are a few consequences of a flash shot…

  • An over-bright subject.
  • Strong highlights with a tendency to wash out colours.
  • Specular highlights that create sharp, bright spots that distract the eye.
  • Bright foreground, dark background.
  • Flesh tones strongly whitened giving a sick look to the face.

Each of these is almost always down to using too much power in the flash. So, the way to over come these issues is to do two things. Turn down the power of the flash and diffuse the flash so it scatters the light.

Turning down the flash is simple. You must find the setting that adjusts the flash power level. This is easy if you are using an off camera flash because the unit usually has a display and a dial or buttons to change the settings. On-camera (pop-up) flash is usually adjusted by finding a menu setting that turns the power up or down. You may need to consult your camera manual to find where that setting is found.

The key to getting the right setting for your flash is to understand how to change it. Most off-camera flash units are marked up so there is two stops of light on the flash. Normally if the flash is marked 1:1 then that is full power, and more often than not this is the default setting. You can usually turn this down by one third of a stop of light at a time. Each time you stop down the setting one stop you are halving the light it emits.

Pop-up flash units may not be marked so clearly. Some are marked [low - medium - high], others, particularly point and shoot cameras, may just have “full | half”. More sophisticated pop-up units may also be marked in the same way that off-camera flash units are marked. Which ever your flash is, you should practice with it so you have an idea of how powerful it is and how much the settings can change the impact of the flash.

Flash diffusion

The best way to get used to using flash and controlling the power is experimenting. However, the issue of nasty highlights is the other problem the inexperienced user often does not spot at first. Strong highlights raise the light levels so you can see the tonal changes in the colour of the surface the light hits. This helps to define the shape of an object. So, for example, a brighter top on a ball and dark shadows under it help to define the spherical shape.

If the light intensity is too high, particularly on reflective surfaces, the reflected light level will exceed the level the camera can cope with. The highlight then becomes blown out. The light is so bright in that area that it becomes a bright spot where all the detail is lost to pure white. Unfortunately such strong, blown out areas, are severe distractions. In the picture above, the small reflective points, called specular highlights, are also strongly distracting. So what can you do to avoid these nasty effects?

If your power adjustments are not working and you still have blown out spots or highlights then you should consider diffusing the flash. This makes a difference in two ways. The diffused light will scatter the light from the flash over a wider area. This effectively lowers the light intensity even further in the area of the highlight since the light is not hitting it from a direct focussed hard light from the flash.

Secondly, diffused light spreads the effect of the light. This makes it more likely to bounce off other surfaces nearby. These surfaces then become multiple mini-light sources. All these sources hitting your subject create a soft light which is much less likely to create specular highlights or very strong colour-destroying highlights.

So how do you do this diffusing?

For off camera flash I really recommend this superb diffuser…

I just love this great flash diffuser. If you have an off-camera flash this is the best. It is the most adaptable diffuser I have ever used. You attach it to the flash with a wrap around grip. The big diffuser stands up above the lens of the flash. It is tough, flexible and creates a lovely daylight-white light. It is superb for portraits and still life work. Coupled with adjustments to the power settings on your flash it gives you excellent control and helps reduces highlights and the effects of hard light direct onto the subject. Check it out…. Rogue large Flashbender

 
For pop-up flash the options are not as easy. However, I recommend one of two options. I have successfully used ordinary white tissue paper sticky taped over the pop-up flash to both reduce and diffuse flash. However, while this works well, reducing the light by about a full stop, it is a temporary solution. Also, if you use the flash a lot the extra insulation may cause the flash to over heat. So, not for regular use.

My favoured options for pop-up flash diffusion are one of these three methods…

Professor Kobre’s Lightscoop, Standard Version Bounce Flash Device, Universal Model, fits over the Pop-up Flash of most SLR Cameras This diffuser produces a very effective ceiling bounce for the diffusion. However, make sure that in rooms where you use it there is no strong colours on the ceiling or it will cause colour casts.

 

Gary Fong Puffer – Pop-Up Flash Diffuser for Canon / Nikon / Pentax / Olympus / Panasonic- Lumix pop-up flashes A well reviewed unit, and has the advantage of an easy fit. The other advantage is that it diffuses the light moving forwards. The other two units here bounce the light which puts you slightly at a disadvantage in controlling the flash light direction.

 

Cateye LETS Flash Reflector/Diffuser Hybrid, for use with DSLR pop-up flashes Although I have not used this one personally, I know some people who have. I have had some very good feedback on this unit and it seems to work effectively in a wide range of situations.

 

Great shots with flash…

Yes, like everything else in photography, to get good with it, you have to practice use of flash. However, first you need to make sure you can spot the highlights, specular highlights and over-powered flash. Once you know what you are looking for you can adjust your flash power.

The best way to gain control of your flash is reducing the power, or at least adjusting it. Also, the more you soften the harsh, hard flash light the less distracting and natural the highlights will be.

Whatever you decide to do to make your flash manageable do plenty of experimenting to gain control of the light. Don’t forget to Examine Shots Before Shooting Again – “Chimping” to check for highlights. The practice will pay you back in great, well lit shots many times over.

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By Damon Guy (author and editor)

Netkonnexion

Damon Guy (Netkonnexion)

Damon is managing editor of Photokonnexion.com with professional experience in photography, writing, image libraries, and computing. He is also an experienced, webmaster and a trained teacher. Damon runs regular training for digital photographers who are just starting out.
See also: Editors ‘Bio’
By Damon Guy :: Profile on Google+

The basics of portrait light patterns

• A man of substance •

• A man of substance •
This portrait lighting pattern is called the ‘short’. The main light is onto the side of the face furthest from the camera.
• A man of substance • By Netkonnexion on 365Project External link - opens new tab/page

Portrait lighting on the face.

The proper use of portrait lighting can flatter and enhance your subject. The way you use light on the face is called the “light pattern”. In general there are five or six main light patterns that are in use. The number varies depending on how important the speaker considers each of them.

These light patterns are:

  • The butterfly: Soft light, light high, full on to the front of the face. The underside of the nose is slightly dark, but no triangle of shadow on the space under the nose to the top lip. Creates a broad light to the face and shows off the eyes to an advantage and tends to hollow the cheeks. Flattering for females.
  • The Rembrandt: Light high but off-centre (approx. 45-60 degrees). The main light only lights one side of the face. A triangle of light shows on the upper cheek on the side away from the light. Flattering for men.
  • The Broad: The light comes in from the side. The face is angled so the camera sees mostly one side of the face and that is lit by the key light. The shadow of the nose and the face on the other side of the nose are lit, but only softly. The nose shadow trends toward the corner of the mouth. May also be called “the loop”
  • Split lighting: one side of the face is lit; light at face height. The other side is in soft shadow. Technique is sometimes used as a way of preventing shadow from a hat falling on the face. Very dramatic is hard light is used.
  • The Short: Often used to help rounder people have slightly longer faces. The face is angled so that the shadows are on the side of the face nearest to to the camera. The lighted side is on the side furthest from the camera.
  • The profile: The camera sees the subject from the side. Lighting is best high, from 90 degrees (above the camera) or greater than 90 degrees so it is pointing at the back of the face. Emphasises the jaw line and nose. A “strong” male pose.

Depending on the authority, the “short” or the “profile” may not be included in the main light patterns. But they are all used at some time or other. Actually all these can pretty much fade into one another with very slight changes in the light position.

Portrait light patterns – video

In the video we see some of these light patterns shown off on a dummy. The light shown is much harder/harsher than you would normally do a portrait for the purposes of demonstration. Not all of the above are in the video. You will need to watch carefully to see the characteristics of the others mentioned above.


By Damon Guy (author and editor)

Netkonnexion

Damon Guy (Netkonnexion)

Damon is managing editor of Photokonnexion.com with professional experience in photography, writing, image libraries, and computing. He is also an experienced, webmaster and a trained teacher. Damon runs regular training for digital photographers who are just starting out.
See also: Editors ‘Bio’
By Damon Guy :: Profile on Google+