Photographic advanced lighting techniques.

Photographic lighting technique photo example

Photographers must have control over their medium. They choose a film because it does something special. They select a particular lens because it magnifies or gets more of the subject into the picture, or to hold a deeper focus. They also determine a viewpoint from which to shoot, and they decide the instant of exposure.

Another technique within the control of the photographer is lighting. Illuminating details of the product involves control of the light source; bending it, bouncing and refracting it to bring out definition of shape and features. Photographers achieve this by augmenting the light source with tools that can re-direct the beams of light, such as tents, umbrellas, reflector cards and scrims. The choice of applied light for a photograph can deliver drama with density of color, definition with pinpointed spots, and an illusion of depth and dimension with

shadows and reflections. Photographers become a unique combination of artist and technician when applying their knowledge to the lighting of a set.

Studio shooting provides a closed artificial situation where a photographer can fine tune Photographic lighting technique photo example

color, intensity, direction and quality of light. Beautifully lighted catalog photography can be dramatic and mysterious while defining the product with richness of detail and depth. Strobes are most often used to create studio set lighting, because they are efficient to operate and because of their consistency. Strobe units are powerful enough to carry a heavy intensity of light concentration, and yet

are quick to recycle power for repeated exposures. Strobe lighting has generally replaced tungsten lighting in most studios.

Reflectors, tents and scrims will catch the light and bounce it back toward the subject, softening the lighting effect and avoiding glare by deflection. The photographer can adjust them with finite moves in order to re-direct light and better capture the image. The biggest advantage of a studio setting is the available control over light.

Photographic lighting technique photo example Outdoor lighting is most often “found” lighting... you use it when you see it. It can be controlled to some degree with the use of reflector cards and fill-screens, but not as closely as in a studio environment. Rarely does a photographer know exactly what the light outside will be at any given time of day, even in a very familiarspot. It is not possible to look at a scene and predict when the light would be perfect, and then return to photograph it at that time. The light will vary (even at the same hour) from day to day, depending on cloud cover, atmospheric conditions and temperature. Catalog shooting schedules are complicated and demanding, and would not allow that kind of planning luxury anyway.

Utilizing outdoor light does present some ideal “windows” of time in which to shoot. Weather permitting, of course, you

can generally plan to shoot from early morning until just before noontime, to break for lunch Photographic lighting technique photo example and a rest between 12:00 noon and 2:00 (when the sun is directly overhead and creating harsh glare and deep shadows), and to resume from 2:00 until sundown. Dusk is often an excellent time to shoot because of the softness of the available light.

Midday sun is not the most sympathetic light for flesh tones. It is unforgiving light in its harshness, and will reveal any blemish regardless of makeup application. Because of scheduling or previously encountered weather problems, catalogers may be forced to continue shooting during this time.

If so, the technique of light subtraction may be appropriate. You can subtract the light instead of adding to it, using screens, scrims and even an available raincoat to block out or soften the direct sunlight from the model. Dark shadows under the eyes may be caused by the overhead sun, but can be eliminated by positioning an opaque or translucent cloth above the subject’s head. Even slanting sunlight can ruin otherwise faultless complexions; placing a diffusion material between sun and subject creates a glowing, skylight effect and can help the model not to squint.

Subtractive lighting can also pay off on cloudy days, when there’s not enough natural contrast. Photographic lighting technique photo example A black cloth near one side of the model’s face gives a better contrast ratio. Cloudy day lighting will tend to flatten the subject because of the lack of contrast.

Experimenting with light- filtering or light-blocking material will help to develop skills in subtractive lighting. Photographers know that the color of the diffuser or reflector will color the picture, so they usually select white (or black) material, unless they are looking for a special effect.

For both indoor shots and outdoor scenes, the lighting and details (including composition) should be checked by looking at a Polaroid exposure as previously mentioned.

Photographic Lighting Techniques