Tag Archives: Harsh light

A simple lighting technique with lovely light

The mobile phone light... soft and effective.

The mobile phone light… soft and effective.

Table-top photography works with soft light.

When you are doing still life shots you want soft, gentle light. Exposures can be longer so you can create lovely gentle shadow graduations. Your mobile phone provides an excellent light source for this. Here is how it is done.

White source image

The basic technique is to put a bright white image onto your mobile screen. When you display it on the mobile screen the illumination produces a white light. This is a wonderful, quite localised soft light for your shot. The steps in detail are…

  • Open your favourite image editor
  • Create a new image (approx size 800 pixels by 600 pixels)
  • Paint it brilliant (pure) white
  • If you are on your computer save the image then upload it to your phone
  • If you are on your mobile phone save the image to a known folder
  • When you want to use the light, display the image on screen

The white image on screen produces enough illumination to create the light you want for your table top image.

Other ways to use your mobile as a light source

Of course many mobiles are also capable cameras in their own right. So here are two other ways to use them:

Photographic light: Lots of mobiles have a “flashlight” app. This will allow you to use the camera flash as a photographic light onto your still life scene. Many on-camera (pop-up flash) flash units are very strong and have a harsh light. The flash on a mobile is often much softer and sometimes is coloured to be a similar colour to daylight (approx 5500 Kelvin). This ‘daylight balance’ is a great light and worth using if you have it. Prop your phone up with the flashlight app activated and start shooting.

Coloured light source: Traditionally coloured light is produced using colour gels. However, some apps on mobile phones can create both a white light or a range of other coloured lights. One such app for example is: Tiny flashlight + LED. This is an app. for Android phones, but there are other apps. for different operating systems. If you cannot find a suitable app. you can produce a colour image like the white one above. Store that on your phone and open the image when you want that colour light.

Versatile

While the light from the screen of your phone might not be very strong, for a long exposure that is not too important. The light is wonderful and soft. As it comes from a wide source it creates lovely wrap-around shadows. These are just great for still life. Other features of phones can help with the lighting for your photography too. So, have a look at your mobile in a new light – see what you think.

By Damon Guy (author and Photokonnexion editor)

Damon Guy - Netkonnexion

Damon Guy (Netkonnexion)

Damon is a writer-photog and editor of this site. He has run some major websites, a computing department and a digital image library. He started out as a trained teacher and now runs training for digital photogs.
See also: Editors ‘Bio’.
By Damon Guy see his profile on Google+.

Five easy tips for better photos in difficult weather and light

Its easy to make weather excuses, but….

We can actually find a way to shoot in almost any weather situation. Here are some tips to get the shot even though the weather conditions are not ideal for a photograph.

1. Rain…

Cameras hate water. If there is a sure fire way to ruin your equipment, get it wet. So we want to dodge the rain shots. Actually rain is fun. You don’t need to be shooting right in the rain. Most of the time there is cover you can use to work from for your shot. Shop fronts, cars, through open windows, under canopies… you can think of thousands of rain hides if you try. And, rain provides lots of great things to shoot too. Rain is a great cleanser. The pavements and side roads are dust-free, shiny, or with splashing drops and running water. Yet life goes on. Street photography becomes dynamic, frenetic and full of new behaviours. People are doing things they normally do not do. They run, they put up umbrellas, they crowd under cover… lots of great behaviours that often do not get photographed. Look to catch people in the puddles, jumping, dashing for cover. Look for colours and reflections. Look for droplets, wet surfaces, running water. Most of all try to catch the reactions of people as they try not to get wet. Rain is great fun. Don’t hide your equipment away. Get out and take some great shots. After the rain look for skyward glances, great reflections, splashes and people emerging from cover.

2. High noon…

A high and harsh sunlit situation is not good for any kind of photography. Normally we think of it as pretty awful for any kind of portrait shot. The direct light creates washed out, over-exposed areas of the shot. The faces look flat and colours lose the subtle tonality. You can still get a great shots though. Seek out some cool, even shade. Under the canopy of shops or malls is ideal, or maybe within the shade of a substantial tree. Look for anything that provides enough shade for you and your subject to get out of the direct sunlight. However, stay near to the main sunlight area. The direct sunlit area will act as your main light source. The shade will act as a diffuser. Now, make sure you do not shoot into the direct sunlight or deeper darkness of deep shade. Try to keep your shot on your subject and make sure any background you use is also in the same light-shade level of intensity. That way your contrasts and colours will all be within the same dynamic range of light – which your camera deal with. However, the main light source will be diffused – creating a lovely soft, bright light source. Remember, if you shoot out of the shade into the sun you will find the contrast range too high. You will get bright highlights and over-exposure which will draw the eye away from your subject. So keep the shots tight to the light level you are working within and your shots will be fine and bright. Don’t shoot in mixed or dappled light.

3. Insufficient shade?

Avoiding very hard light or direct sunlight makes sense but what if you cannot find enough shade for you and your subject to be in the same light. If you are trying to photograph a person the impact of this direct light is particularly hard on their face and unflattering. Unfortunately putting your subject into the shade can make the situation worse. The darkness in the shade contrasts strongly with the bright light outside where you are standing. So you get bright spots in your shot and harsh darker areas in the deeper shade – very distracting. To overcome this high contrast situation take your shot on the shadow line. Line up the person you want to shoot on the shadow edge so the bright light is softened. In this intermediate place your subject gets the golden glow from the brighter light but it is softened by the slight shadow.

To help your camera to cope try to shoot from the same half-in half-out of shadow position too. The contrasts will not overpower your sensor there. If you get it right you will split the light to make it just right. Carefully placed you will capture the lovely sky and background but not lose detail in the shadow-darkness under the shade. Be careful not to get dappled light from sun through the leaves, and make sure the shadow line does not cross your subject. Bright contrasts and sharp shadow lines on the subject are very unflattering. Instead shoot along the half shade into the brighter light utilising the foreground weaker light as your main source for the subject.

4. The sun flattens the landscape

Often, particularly on holiday or when out on a shoot, we cannot wait for the golden hour. We are in a place where there is a deadline to move on and you want to get the shot. Unfortunately the high, direct sunlight flattens everything, eliminating shadows and ironing out colour tones. The light is boring and harsh and the shadows minimal.

How do you get the landscape? Include more sky than usual. Often in these situation the most interesting lighting is for the sky. The clouds and far away places look good. So expose for the sky and reduce the amount of landscape you include. This means using the sky as the main bright source of light. Point your focus point to a cloud. If the autofocus ‘hunts‘ and will not focus turn it off and focus manually. Make the sky your subject and concentrate on the distance and sky. This may mean some of your foreground will be slightly underexposed. However, it is easier to brighten the foreground or a near subject later in post-processing if you have exposed for the sky.

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5. Dreary, grey diffused sky light

Another bad light situation for the photographer is the dreary grey day. Uniform light from across the sky leaves little or no shadow detail anywhere. Everything looks flat and dead. The problem here is there is nothing in the landscape that provides relief for the greyness. The sky is difficult too – you cannot do foreground shots as the uniform lack of colour or shadow means everything is pale and uninteresting. The distance has lost its sky appeal too. Even exposing for the sky creates almost uniform grey.

Well, this is the time to get out the flash. Off-camera flash is best, although pop-up flash will also do the trick. Get close to the ground or a surface with great texture. Then, shoot along the surface with the flash. If the flash is off-camera set it off to one side so it exaggerates ground shadows. If you are working with pop-up flash then make sure you work with the shadow at its maximum. This may mean shooting with your camera upside down so the light is really close to the surface and the optical axis is across the surface lit by the flash. If you use a relatively wide aperture, these low-level flash shots will bring out shadow detail in the foreground and leave the distance in bokeh and out of focus.

Some places to find great surfaces for this type of shot are low grasses, sandy or gravelly surfaces, tarmac, along road lines, autumnal leafy forest floors, bare rock… well, you get the idea. Seek out any surface that provides texture for you to capture. Lots of small to medium undulations and detail is best. Large objects will block the foreground so reserve them for the middle distance.

Remember the five rules…

The key to difficult weather and light situations is…

  • Find the right vantage point to shelter/shoot from
  • Maximise the opportunities for spotting unusual behaviour
  • Make the most of the weather opportunities (sky, puddles, splashes etc)
  • Keep the light where you are shooting within approximately the same dynamic range
  • Look for, or create, light situations that exploit texture detail

By Damon Guy (author and Photokonnexion editor)

Damon Guy - Netkonnexion

Damon Guy (Netkonnexion)

Damon is a writer-photog and editor of this site. He has run some major websites, a computing department and a digital image library. He started out as a trained teacher and now runs training for digital photogs.
See also: Editors ‘Bio’.
By Damon Guy see his profile on Google+.