Tag Archives: Shadow

Sidelight – How to capture great texture in your photographs

Rippled Sand • Sidelight creates a lovely texture

• Rippled Sand •
Beautiful soft sidelight from bottom left creates lovely shadows after each ripple. Had the shot been taken with flash from above, the ripples would have been near invisible.
Rippled sand by Seldom Scene Photography, on FlickrExternal link - opens new tab/page

The capture of texture depends on the angle of light.

It is that simple. The lower you get your light to the side of your subject the more you will create shadows that stand out. Photographers have long recognised the benefit of long shadows for their definition in landscapes. Beside the great colours of sunset, the long shadows from sidelight provide character and definition to the landscape.

The same idea can be applied to the much smaller scale. Still life, studio set-ups and even drying paint can all be enhanced by sidelight. When working with smaller subjects, “get in tight and sidelight” is great advice.

Vintage Store Photo Challenge

This is the best video I have seen on working with smaller objects and side lighting. Gavin Hoey explains with an off-camera flash how to bring out texture and detail in still life photos. This is a very simple lesson. After seeing it you will want to explore side lighting further.

After the video there are some more resources on the subject…

 

Approaching sidelight with your images

In the video Gavin Hoey used a diffused speedlight, off-camera flash. In the post “Off-camera flash” you can find out all about what they are and the functions they provide.

If you want to improve your off-camera flash working with some sort of diffuser is a great idea. I have worked with a range of off-camera flash diffusers over the years and often been disappointed. I am really enthusiastic about the Rogue Flashbender range of diffusers. I use the Large Rogue Flashbender and the diffuser to go with it for work and my own projects. It is an exceptionally flexible piece of kit and occupies only a tiny space in your kitbag since it rolls up very tightly. The whole Rogue Flashbender range are great products and worth checking out.

One of the great tools I keep within reach when doing table top photography is the little LED light unit below. Designed for camping it has become a great light for my table top product work. It is small, adaptable and very cheap to run as it uses very little battery power.

I have two of these and place them on the table lying down or on end. The light itself is quite white so it will not give you colour casts. If the light is too harsh I just cover the LED panel with tracing paper or ordinary (white) toilet tissue. The tissue-light is gorgeous, soft and easy to use. These are excellent products and inexpensive to buy. They are probably the simplest way to set up a table top sidelight.

Working with people, stronger light gives you more control over freezing your subject. For portrait work a flash helps. To freeze a portrait for a sharp picture use a brighter light and a short exposure. A side-lit portrait is 100% better than a pop-up flash shot where the light is straight on. For this, the off-camera flash is the way to go. You have the flexibility to create a sidelight that creates shadows that define the face. Make the light as soft as possible so the shadows wrap around. Avoid hard or harsh shadow lines on faces. It is not flattering.

At the other end of the scale the low intensity light of the LED panels allows for long exposures when using static subjects. Use a longer shutter time if you want your subject to be lit more brightly. Of course to do that you will need a way of steadying your camera for long exposures. A tripod is probably best in this situation.

The way to go…

In the wilds, or doing table-top studies the best light comes in from a shallow angle as sidelight. It is the shadows that define objects and bring out strong textures. Look for side lighting where ever you can, and create it yourself if the natural light can’t do it for you.

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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 photographers.
See also: Editors ‘Bio’.

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The nature of shadows – ideas and inspiration

Shadows are most important in photography.

Without shadows the everyday shapes we see would be ill-defined. It’s shadows that help to give shape to the objects we view. They can also be the very essence of the picture. In this post I am going to look at different aspects of shadows as the subject of the picture. They can be extraordinary elements, message carriers, central attractions or complementary features. They are major influences in our art, sight and our everyday lives. I hope you will be inspired by shadows and appreciative of them as a strong compositional element in your photography.

What is a shadow?

Shadows help us to see. They are not an absence of light (darkness). It is the reduced light in a shadow that creates the contrasts that the eye picks out. In fact the camera does too. Where shadows are well defined, and contrast to the other light around them, we see a lot better than when there are few shadows and very bright light. Brightness makes it difficult to see things because the contrasts are absent and we can’t make out edges or three dimensions either. The variations in light intensities across an object tell us about its shape. If everything was in uniform brightness shapes would disappear.

Aesthetics and shadows

Shadow, and its counterpart light, are the medium of our vision. Decoding the light/shadow relationship is as stimulating as the pleasure of touching a sensuous surface; the electric excitement of a tantalising taste; being immersed in a powerful smell, or mellowing in the caress of a musical experience. Little wonder that as one of our five senses our understanding of light and shadow is also a deep part of our understanding of beauty and ugliness.

Seeing shadow

Of course our eyes sometimes misinterpret shadows and we make mistakes about them as with anything else. So it’s fun to consider the implications of false statements in shadow. In this first picture the shadow as the carrier of a message, but also the shadow as illusion. Shadow views of this sort bring out dark emotions and “shadowy” thoughts, but are also great fun artistically…

366 • 65 • Shadow monster by Pragmagraphr, on Flickr

366 • 65 • Shadow monster by Pragmagraphr, on Flickr
366 • 65 • Shadow monster by Pragmagraphr, on Flickr External link - opens new tab/page

In his notes on this picture the author says… “I have a lot of school work hanging over me like a shadow.” The visual pun is interesting and conveys a great message.

We love it when something appears as one thing and turns out as another. One of the endearing attributes of shadow is the other side of the visual story. In this next picture the lovely shape and bright eyes of this animal convey it’s essential “catness”. But the shadow is something different. The author says… “Her shadow makes me think about a French bulldog – with a tail” … shadows easily take on different meanings.

Flibberty and Her Shadow by peter_hasselbom, on Flickr

Flibberty and Her Shadow by peter_hasselbom, on Flickr
Flibberty and Her Shadow by peter_hasselbom, on FlickrExternal link - opens new tab/page

Of course shadows can be so much more than just a passive message. In this next picture the message is clear and the visual pun means so much to an English-speaking person. A clever use of shadow as the subject.

Shadow of 'a doubt' by Jon Downs, on Flickr

Shadow of ‘a doubt’ by Jon Downs, on Flickr
Shadow of ‘a doubt’ by Jon Downs, on FlickrExternal link - opens new tab/page

While the subject of a picture may not be the shadow there is still an important complimentary part to play by the shadow. The cobalt blue of the shadow in the next picture creates a wonderful tonality. The shape of the object is defined by the shadow, but it is the blueness that makes the statement. The author acknowledges that fact by his title…

If you can write a visual story with your photograph you pull the viewer directly into the shot. In this next picture the shadow and its disembodied juxtaposition on the ladder brilliantly conveys a set of meanings that we, the viewer, impose. The interest is the simplicity of the picture and yet the complexity of the possible meanings… fireman, escapee, workman, who is he? The interpretations are endless…

Shadow Climbing the Ladder at Sunset by S@ilor, on Flickr

Shadow Climbing the Ladder at Sunset by S@ilor, on Flickr
Shadow Climbing the Ladder at Sunset by S@ilor, on FlickrExternal link - opens new tab/page

Shadow and silhouette are closely related. The dark-side of a silhouette is the result of blocked light, as is the shadow. Normally the statement made by a silhouette is in its shape. I like this next picture because the silhouette is betrayed by the darkness behind it. The hard light and low light-source has lengthened and strongly defined the shadow creating a strong subject. It has become all the more threatening because the silhouette is only partially seen. What is there – is there a threat? Are we being menaced by our imagination misinterpreting the shadow… This is a clever interplay of light and of mood. Nicely done…

Shadow. by David Giron, on Flickr

Shadow. by David Giron, on Flickr
Click image to view large
Shadow. by David Giron, on Flickr External link - opens new tab/page

Shadows can convey much more than just mood. They create a picture themselves, but in a minimalist way. The two dimensional aspect of shadow is only partially compensated for by shape. We know that we can so easily misinterpret a shadow. So it is a relief when the meaning is implied without threat or misinterpretation.

Shadows and intimacy are frequently associated. Above, the closeness of the characters shows intimacy. In the next picture the intimacy of the boudoir is so strong that the viewer is relieved by the pattern of shadows to redirect the mood.

Shadows by Pablo Miranzo

Shadows by Pablo Miranzo.


The author says this is one of a series of pictures intended to contrast light and dark and is in black and white to simplify the composition. Oddly enough the composition is simplified by that, but complicated by the opposing mood settings. An interesting picture of mixed tensions.

The interplay between textures is important. While the shadow is a major part of many subjects, sometimes it is not the only subject. Look out for pattern shots that are uniform across the shot until you allow yourself to be drawn in. Often pattern shots have some compositional element to break the pattern, something that draws the eye. Wood grain and the subtle variations in the rhythm of its lines create micro textures and variation providing relief from the pattern, for example. It is that which draws you in.

Texture is an exciting aspect of any picture. It is created by the subtle tonal variations of light and shadow at the micro-level in the picture. If you see a texture and it convinces you that you would feel the texture if you touched it then the picture has convincingly been created as an image in your mind. In this next picture the image I see is all texture. The wonderful curve of the stair rail and its counterpart, the twisted shadow, combine to create great depth in this picture. The combination gives you the feeling that you can reach in and touch… A great image.

The stairs in the next image are pretty minimalist in themselves. However, the elaborate pattern of light and shadow created by them is exquisite. It is a wonderful example of how shadows transform a picture. In this case the shadows have turned the purely mechanical geometry of the stairs into a complex of pattern and curves. It is a wonderful play-off between the simplicity of one and complexity of the other…

Pulling it all together

The shadow as a subject is clearly a compositional feature. It adds to the texture of the shot too. The clever use of shadow can also add a message and/or impart mood as well. Sometimes though, it all just comes together. If you can combine mood, subject, story, composition and texture you have really made the grade. Your picture comes alive in the mind of the viewer. You have truly created an image. To do all this using just shadow is a clever and precious creation. I think this next image is one such example…

Using shadow as a subject is challenging but worthwhile photographic pursuit. Shadow gives you all the essential elements of a good photograph but supplies it with simplicity and meaning if done well. There are untold interpretations and subjects out there for you to tackle. I hope that I have inspired some new thinking on the subject.

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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 photographers.
See also: Editors ‘Bio’.

Eight ways to bring out texture in your photographs

• Medieval Prison •  Bring out the texture in your shots

• Medieval Prison •
A dismal dungeon! Bring out the texture in your shots.
Click image to view large
• Medieval Prison • By Netkonnexion on Flickr External link - opens new tab/page

Texture is essential for a 3D effect.

If you want a realistic feel you need to work at it. Convincing texture lies in the fine detail – your picture must look like it feels. Here are eight things you can do to increase the texture from capture to printing…

What is texture?

Texture is the fine detail in your photograph. I am sure you would know what it feels like to run your finger over the surface of a brick. If a photograph of a brick convinces you that touching the photograph would feel like a brick, your depiction of texture has been successful. The term texture is a fine art concept which applies to photography [texture definition].

More after this…

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Eight ways to enhance texture
  1. Pick your subject to ensure it will show texture. Close ups are easiest as you can work large. If you are with a large subject like a person and want to show fine texture on the background you should ensure the background surface you pick is well defined. Look for the largest contrast in shades of colour and in light/dark. Look for shadow areas and bright areas. Make sure that the physical texture (roughness) is roughest where you will be taking the shot. These are the features of texture the camera will pick up.
  2. Hard light on your texture will give it a sharp, unyielding feel, a sandpaper type effect. Soft light will give it a rounded less harsh look, more like weathered stone surfaces. Arrange your light to emphasis the character of the texture you are photographing.
  3. When taking your photograph arrange the light coming at your texture from the side. A shallow angle of light creates light/shadow areas which define the texture. When these little contrasts can be seen they make the texture stand out. If light comes from where you are shooting from these shadows are not created and the texture will be flat (eg. pop-up flash or sun from behind you).
  4. Consider very slightly over-exposing your shot. This will give you room to exaggerate the contrast in the post processing.
  5. In the developing module of your processing (RAW only) use the contrast tool to maximise the contrast potential in your texture. If working in *.jpg enhance the contrast in the normal picture editing view.
  6. Consider making your picture a grey-scale shot in post processing. If possible do not do a direct colour to black & white conversion. Use colour control methods to enhance the contrasts in each colour. You will need a more advanced image editing application for this (PhotoShop, or Elements for example).
  7. Use the ‘burn’ in post processing to deepen the dark areas of the shot. Set it to emphasis shadow. Manually pick out the shadow/darker areas and give them a very slight darkening. Try working at about 10% (or less) ‘burn’ exposure. Similarly, use the ‘dodge’ tool to brighten the highlights. Set the tool to pick out highlights at about 8%-18% exposure.
  8. When printing use paper that has a texture appropriate to the texture you want to bring out. You will need to print a test print. Then hold the test texture up against several paper surfaces to compare the textures. Paper with softer, uneven texture will take the edge off textures in the print. Harder textures with more regular surface will tend to sharpen the depicted texture. However, the eye must be your final guide. There is great skill involved in picking the right paper texture for specific pictures when printing. So you might need to make several tests with different paper textures to get the most emphasis for your texture.

Enhancing the contrast between light and dark or between colours will emphasis texture, but the most effective impact will be what you achieve in the actual shot. Try to ensure you use the light to gain the best advantage from your texture as you do the shooting. It will look more realistic and you will have to spend less time at the computer.

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 photographers.
See also: Editors ‘Bio’.

Can you write? Of course you can!
Write for Photokonnexion...

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A quick tip to help you see the light (or darkness)

What is the nature of darkness?

• Tall Entrance •
What is the nature of darkness?
Click image to view large.
• Tall Entrance • By Netkonnexion on Flickr External link - opens new tab/page

Of darkness and the essence of photography.

Dark is an obvious candidate to be the opposite to light. But is it in real terms the opposite of light? Darkness clearly makes for significant food for thought. Here are some ways to think about darkness with respect to cameras.

Darkness is the absence of light…

Er… no. It is easy to say that dark is the opposite of light. However, it clearly is not, because a shot like the one above successfully portrays the light as well as the dark in close proximity. Well… that depends how you see it. Or rather, that depends on how the camera sees it.

I cheated – slightly. The image was underexposed in the digital developing to accentuate the essence of the lights in the entrance. That prevented them blowing out, over-exposing the area surrounding them. It would have been easy to blow out large areas of the internal walls with bright patches of white. The cream colour in the entrance allowed me to keep the brightness down and still preserve the true colours. This would have been difficult in a long exposure with whites as the wall colour. The whites would have made the range of brights-to-darks too much for my camera. Details would have been lost at the ends of the light range (in the blacks and whites).

The cream paint in the entrance, and the tungsten lights gave me flexibility. It allowed me to keep most of the light and dark areas within the dynamic range of the camera. In other words, the camera could see both blacks and whites without losing detail in the important part of the image. Remember a camera will normally only work within a narrow range of light. Typically a (good) camera will be able to see (at maximum) across a range of between 8 and 12 stops of light. Not all that will be visible in the final photo – some detail will be lost depending on the display media. Using RAW will help you bring out lost detail but depending on the camera you may get digital noise. Nevertheless, about twelve stops of light will be retained in the data. Which allows a certain amount of editing freedom (in RAW).

What you need to do is make sure that the exposure captures the light intensity you intend as the focus of your image. I could have exposed to brighten the side windows. That would have made the entrance too bright (and blown out). However, I chose to expose for the brighter central entrance area, but lost the brightness in the side windows. I did that because I had a picture in my head of what I wanted to be the visual focal point of my picture – the entrance.

This picture shows us that darkness in photography is different to that which we see with our eyes. Understanding the nature of exposure helped me to spot that the light in the entrance could be contained within the range my camera could see. Although, a lot of detail has still been lost in the blacks. The darkness in this picture is an artificial creation of my cameras inability to see a wide range of light. Even to our eyes, darkness is relative to our eyesight and its ability to see contrasts.

The essence of photography is…

With this type of shot you need a clear idea in your head of what you want to produce. Also you need an idea of what the camera can do – it does not see the scene as you do. So, before you press the button you need to have clearly formulated your vision of the finished shot. You need to think your image into existence before pressing the button.

Great images are produced long before the shutter button is pressed. The ultimate aim of photography is to conjure up a vivid representation of the scene in the viewers mind. The essence of the act of photography is to create that before you take the shot. If you can do it you will truly be making images instead of taking pictures.

Three little known facts about shadows

What is shadow? Why is it so important in photography?

What is shadow? Why is it so important in photography?

Shadow is difficult to understand… it’s, well, shadowy.

To a photographer the nature of shadow is the second most important concept we work with, but most don’t understand what it is. Here is a look at three ideas to help you know shadow.

First, you may ask, what is the most important concept to a photographer before shadow? Light… it’s the very centre of photography. It is also the reason we have shadow.

Fact no. 1 – It’s all in the difference

Light and shadow are in fact the same thing. They are not opposites. Dark is the absence of light – a pretty rare thing in modern times. But, shadow is the difference between a particular light intensity and a lower light intensity next to it. Shadow is created by an object intercepting the light from a light source. Light passing the object will be brighter than the light where the beam has been blocked.

Fact no. 2 – It’s not dark in the shadow because…

Light is pretty fickle stuff. It travels in straight lines (direct light) unless it bounces off something. In fact light will bounce off almost anything – even the atmosphere. We see everything around us because light has bounced off things and then entered our eyes. Places with a lot of light bouncing around from different objects and in many directions is said to have diffused light. Some of that light will be bounced into shadow areas. It lightens the shadows. Some light is produced by big light sources like a photographer’s umbrella. This causes a less direct or soft light. The soft light source creates shadows with poorly defined edges. The shadows have a gradual transition from light to the darker shadow areas. Where soft light and diffusion occurs you get less shadow and it is poorly defined.

Fact no. 3 – Direct light and little diffusion equals hard light

Direct light, where there is little diffusion, creates sharp edges on the shadows. The shadow abruptly stops and the brighter light starts. This is called hard light and is normally created by a small light source. Because there is little diffusion the shadow is more intense. This is because there is no diffused light bouncing into the shadow area to lighten it. Hard light and little diffusion creates well defined shadows.

Where does this lead us

The photographer works mainly with light intensity, direction, colour and hardness. Together these components create the quality of light that is so important for successful photography. We intuitively understand intensity and direction. Colour in light is something that we gradually learn to see (harsh blue of mid-day to the golden glow of dusk).

Most photographers don’t immediately see the difference between hard and soft light, and what the effects are on shadow formation. However, shadows are of great importance because they define what we see many ways. More intense shadows stand out more. As they catch our eye we are better able to see what is causing them. As we do so we become aware of the shapes and forms that are sculpting the shadows. In other words, shadows help to give definition to the objects and world around us.

Photography is a two dimensional media. We are very experienced at seeing the world in three dimensions. When we see a flat representation of the world we are able to interpret it in three dimensions because we understand how shape and form are portrayed by the light/shadow relationship. So get to know shadows, hard and soft. Become skilled at capturing them in your images. You will be better able to create a three dimensional world for your viewer – even within a two dimensional medium.