Available Light Photographic Techniques for Using Existing Light Sources Don Marr Amherst Media® PUBLISHER OF PHOTOGRAPHY BOOKS Acknowledgements I would like to thank all of the models, actors and friends who posed for this book. Thank you Dimitri, Evan, Wendy, Lauren, Flora, Liz, Samantha, Valerie, Adrienne, Anna, Rob, Suzanne, Dean, Mike, Autumnrose, Jade, Lindsay, Meg, Rita, Amanda, Luke, Shawn, Erica, Erin, Carolann, Niles, Omani, Tonya, Christine, Paul, Heather, Mario, Virginia, and Scott. You made it fun! There were reasons I chose to photograph each one of you. I would like to offer special thanks to Jennifer Sliker who encouraged me through the whole process. Jen, your sense of design and photographic eye have changed the way I see the world. Thanks. Copyright © 2009 by Don Marr. All rights reserved. All photographs by the author unless otherwise noted. Published by: Amherst Media, Inc. P.O. Box 586 Buffalo, N.Y. 14226 Fax: 716-874-4508 www.AmherstMedia.com Publisher: Craig Alesse Senior Editor/Production Manager: Michelle Perkins Assistant Editor: Barbara A. Lynch-Johnt Editorial Assistance from: John S. Loder ISBN-13: 978-1-58428-255-6 Library of Congress Control Number: 2007942240 Printed in Korea. 10 9 8 7 6 5 4 3 2 1 No part of this publication may be reproduced, stored, or transmitted in any form or by any means, electronic, me- chanical, photocopied, recorded or otherwise, without prior written consent from the publisher. Notice of Disclaimer: The information contained in this book is based on the author’s experience and opinions. The author and publisher will not be held liable for the use or misuse of the information in this book. Table of Contents Introduction . . . . . . . . . . . . . . . . . . . . . . . .5 Pre-Existing Studios . . . . . . . . . . . . . . . . . . . . . . .15 Curiosity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5 Controlling the Quality of Light . . . . . . . . . . . . . .20 Equipment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6 Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22 Real-World Problem Solving . . . . . . . . . . . . . . . . . .7 A Challenge . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7 Chapter 2 Advantages of Natural Light . . . . . . . . . . . . . . . . . .7 Sunny Day . . . . . . . . . . . . . . . . . . . . . . . . .23 Becoming a Better Photographer . . . . . . . . . . . . . .8 Quick Fixes for Bright Sun . . . . . . . . . . . . . . . . . .23 Some Ideas on Photographing Children . . . . . . . .25 Chapter 1 Shadows and Color . . . . . . . . . . . . . . . . . . . . . . .26 Overcast Day . . . . . . . . . . . . . . . . . . . . . . .9 Open Shade: Many Possibilities . . . . . . . . . . . . . .28 Subtractive Lighting . . . . . . . . . . . . . . . . . . . . . . .10 A Short Primer: Color Temperature . . . . . . . . . . .31 The Tunnel of Light . . . . . . . . . . . . . . . . . . . . . . .13 Different Qualities of Light . . . . . . . . . . . . . . . . .31 Short Light . . . . . . . . . . . . . . . . . . . . . . . . . . . . .13 Sunny Day Projects . . . . . . . . . . . . . . . . . . . . . . .37 Open Shade Projects . . . . . . . . . . . . . . . . . . . . . .37 Chapter 3 Backlighting and Flare . . . . . . . . . .38 Creating Value Contrast . . . . . . . . . . . . . . . . . . . .38 A Silhouette Effect . . . . . . . . . . . . . . . . . . . . . . . .40 Avoiding Flare . . . . . . . . . . . . . . . . . . . . . . . . . . .42 Embracing Flare . . . . . . . . . . . . . . . . . . . . . . . . . .42 Lenses and Flare . . . . . . . . . . . . . . . . . . . . . . . . . .45 The Human Flag . . . . . . . . . . . . . . . . . . . . . . . . .46 The Glow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .48 Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .51 Table of Contents 3 Chapter 4 The Rule of Thirds and Power Points . . . . . . . . .108 Window Light . . . . . . . . . . . . . . . . . . . . .53 Compositional Thought Process . . . . . . . . . . . . .111 Chiaroscuro . . . . . . . . . . . . . . . . . . . . . . . . . . . . .53 Leading Lines . . . . . . . . . . . . . . . . . . . . . . . . . . .111 Same Reflector, Different Looks . . . . . . . . . . . . . .54 Light and Shape . . . . . . . . . . . . . . . . . . . . . . . . .112 Focusing Window Light . . . . . . . . . . . . . . . . . . . .56 Symmetry . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .113 Lighting Heaven . . . . . . . . . . . . . . . . . . . . . . . . .56 Point of View . . . . . . . . . . . . . . . . . . . . . . . . . . .113 Big Windows . . . . . . . . . . . . . . . . . . . . . . . . . . . .58 Extra Space . . . . . . . . . . . . . . . . . . . . . . . . . . . . .114 Small Windows and Camera Shake . . . . . . . . . . . .60 Color and Contrast . . . . . . . . . . . . . . . . . . . . . . .115 Window Light and Food Photography . . . . . . . . .63 Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .116 Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .63 Chapter 9 Chapter 5 Creating Studio Lighting The Daylight Studio . . . . . . . . . . . . . .65 at Home . . . . . . . . . . . . . . . . . . . . . . . . . . .118 A Secret Revealed . . . . . . . . . . . . . . . . . . . . . . . . .65 Your Thumb, Your Friend . . . . . . . . . . . . . . . . .118 The Correct Ratio . . . . . . . . . . . . . . . . . . . . . . . .65 Positioning the Subject . . . . . . . . . . . . . . . . . . . .119 Extreme Ratio . . . . . . . . . . . . . . . . . . . . . . . . . . .70 The Living Room Studio . . . . . . . . . . . . . . . . . .120 Absolute Black . . . . . . . . . . . . . . . . . . . . . . . . . . .72 Still Life . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .123 Understanding The Camera’s Histogram . . . . . . .76 Getting the Softbox Look . . . . . . . . . . . . . . . . . .125 Keep in Mind . . . . . . . . . . . . . . . . . . . . . . . . . . . .77 Keep in Mind . . . . . . . . . . . . . . . . . . . . . . . . . . .125 Chapter 6 Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .126 Natural Reflectors . . . . . . . . . . . . . . . .78 Indoor Natural Reflectors . . . . . . . . . . . . . . . . . . .78 The Right Time of Day . . . . . . . . . . . . . . . . . . . .81 At the Mall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .86 The Color of Natural Reflectors . . . . . . . . . . . . . .88 Keep in Mind . . . . . . . . . . . . . . . . . . . . . . . . . . . .89 Chapter 7 Finding Light . . . . . . . . . . . . . . . . . . . . . .90 Dappled Light . . . . . . . . . . . . . . . . . . . . . . . . . . .90 Visual High Points . . . . . . . . . . . . . . . . . . . . . . . .92 Finding the Right Shadows . . . . . . . . . . . . . . . . . .99 Evening Light . . . . . . . . . . . . . . . . . . . . . . . . . .100 Finding Light in Unusual Places . . . . . . . . . . . . .102 Keep in Mind . . . . . . . . . . . . . . . . . . . . . . . . . . .106 Chapter 8 Composition . . . . . . . . . . . . . . . . . . . . .107 Frames . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .107 4 Available Light Introduction Curiosity You are probably a curious person. As a photographer, you are probably particularly curious about the process of making an image. No matter how much control and technique we develop as photographers, we are always a bit surprised at the outcome of every shot. Renowned photographer Garry Winogrand once said, “I photograph to find out what something will look like photographed.” That is the joy of photography. You have to enjoy the surprise—and watching how light affects your subject is the biggest joy and surprise. It can make them look important, thoughtful, beautiful, or sad. Light reveals and transforms your subject. The light of the natural world never stops doing its magic. Look out the window; light is revealing and transforming the world around you right now. This book is about the light that surrounds us everyday. The light of the natural world I feel I’ve always had sensitivity to light (and it’s not just never stops doing its magic. from spending too much time at the computer, then step- ping out into a bright, sunny day). At around the age of twelve, I remember noticing how different the light looked after daylight savings time took effect. Walking from math class to gym class, the entire school seemed like a different place, but it was only a place an hour different from the previous day. I told a friend about the different light. I think his reply was something like, “Shut up, Don!” Later that year, at the same school, I did my first experiments with a hand-held reflector. During English class, I used my watch to reflect the sun coming in through the window onto my teacher’s face. She didn’t appre- ciate the extra light and scolded me in front of the class. I think she would Introduction 5 have changed her attitude if I had a camera with me and got her a nice 8x10 print from the shoot. Equipment You can make great photos with little or no equipment. The only equip- ment you will need is your camera and your eyes. This is not like other por- trait photography books on natural and available light that ask you to use a reflector for every shot. The photos demonstrated in this book are done almost entirely with just the camera and the natural or avail- able light. A collapsible reflector, diffusion material, and The only equipment white or black cards are used for just a few of the photos. you will need is your camera These will cost you about seventy-five dollars if you decide to buy the professional versions. They will be less expensive and your eyes. if you make your own. I do recommend buying a tripod, though. Owning a tripod is a worthwhile investment for your future pho- tographic endeavors beyond this book. No matter what camera you are currently using, this book will help you to make better photos. I shoot with a digital single lens reflex camera (DSLR). I like the control I get with depth of field, shutter speeds, differ- ent shooting modes, and a variety of lens choices. I recommend buying a DSLR. All of the major manufacturers now sell excellent starter kits (cam- era body and zoom lens) for around six-hundred dollars. The goal of this book is to get you to learn how to see the potential of natural light, not to talk about the latest gear. Cameras and equipment come and go, but light is always here. It’s in front of us every day, but we rarely stop and see it. Seeing brings you right down to this moment in time. It grounds you on the planet, alive and in the here and now—not on some planet of “shoulds” and “coulds” and “I have bills to pay.” Seeing light is good for your photography and good for your spirit, too. What is photography anyway? What is it to you? I always thought it was the perfect blend of science and art—a way of satisfying both my techno- nerdy side and my “I’m an artist” side. I enjoy buying the latest camera and lenses. I love reading the specs and understanding the newest technology. That’s my techno side. But when I go out shooting, the camera, lens, and latest technology don’t tell me what to photograph. I have to rely on my own artistic instincts about what feels right. My instincts guide me to notice light. The light then tells me what to photograph. I think we all have sensitivity to light. We just forgot how to see it. Let’s rediscover it! 6 Available Light Real-World Problem Solving With tons of useful photos, this book will inspire you to see your town and your subjects as if you were seeing them for the first time, with fresh eyes. There are a lot of photo opportunities out there; you just need to see them. Each chapter presents real-world challenges of shooting with natural or available light. How can I make a great shot in a not-so-great environment? What do I do on a cloudy day? What are my options on a sunny day? Shouldn’t I just cancel the shoot if it’s raining? This book will answer those questions and more. (The answer to the last question is a definite “No.”) The majority of the example photos in this book are portraits. I am fas- cinated with how light affects the human face and form. Give me a willing subject, window light, and a camera and I’m a happy man. This book will show you how to make your subjects look their best. The techniques shown will help you succeed in making honest, interesting, and flattering images of your subjects. Some still-life and product images are also included to show the versatility of natural light. A Challenge At the end of each chapter, I will offer you key things to keep in mind when working in different situations. Some chapters will also challenge you with projects to take up that will enhance your observation of natural light and make you a better photographer. Don’t expect all pretty pictures in this book. The photos selected will walk you through the problem-solving processes necessary to take good photos. Therefore, there will be examples of an initial setting and the prob- lems posed. There will be examples of common situations that all of us photographers have gotten ourselves stuck in I think we all have sensitivity before. to light. We just forgot how to With practice, you will gain confidence to get great shots see it. Let’s rediscover it! anywhere, under any lighting conditions. Working with natural light is about using what nature is giving you at that moment. Rather than creating an artificial environment with supplementary lighting, you will use simple techniques to mold natural light into the qual- ity and shape you want for your shot. Advantages of Natural Light There are tremendous advantages to shooting with natural or available light. First, it’s pre-existing. There’s nothing to set up. As a photographer, this lets you shoot more spontaneously. Also, with less lighting equipment around, it’s easier for your portrait subject to relax. Keep in mind that less Introduction 7 gear means less time spent thinking about gear, and more time thinking about your subject. Also, with natural and available light, what you see is what you get. It’s easy to see the relationship between highlights and shadows. You can eas- ily place your subject in a setting and see how the light is working with their face and form. This book will show you where to place your subjects and what light will work best for them. Most of all, working with natural light will get you to think on your feet. As a photographer, every time you shoot you are presented with a lighting situation. How will you make a great photo from that sit- uation? This book will help answer that question and make There are tremendous you more comfortable with the surprises presented to you advantages to shooting with by natural light. In fact, you will become a better photog- rapher by learning to work with natural and available light. natural or available light. You will no longer feel like you need to have a lot of strobes and expensive equipment to make good shots. It’s not about having a lot of light. It’s about controlling the light you have. Rembrandt didn’t have strobes. Neither did Julia Margaret Cameron. Becoming a Better Photographer In fact, reading this book will not only help you to take better photos in natural light, it will teach you the foundations of photographic lighting. The concepts of contrast, light ratios, subtractive lighting, backlighting, light quality, composition, and light direction will mold your photographic technique. You will also learn how to “read” the images of other photog- raphers, whose images you may see in magazines or online. Every profes- sional photograph you see will enhance your knowledge of lighting. Start looking at your world with fresh eyes. This will be a process of trusting yourself and making mistakes. You need to shoot a lot—especially when your subject is another human being and you want to get that fleet- ing expression or glance that can make a great shot. And you need to shoot a lot to learn about light. Digital cameras are a great way to learn to light better because they offer instant feedback. Shoot and shoot some more, and don’t be afraid to make mistakes. This book will help you understand your lighting mistakes so that you make fewer and fewer of them. This is a book on technique. When you have finished reading it and have done the projects, you will be a better photographer—technically. Use the techniques presented here to help express your ideas. Good photography comes from good ideas. And good ideas come from staying curious. “I wonder how that will look photographed?” 8 Available Light Chapter 1 Overcast Day he light on an overcast day is completely flat with little or no shad- T ows. Is this a good thing or a bad thing? Don’t photography in- structors always say that this is supposed to be good portrait light? It’s a natural softbox, right? Well, they were wrong. While your subject may not be squinting from the sun, they are lit with such flat light that they may take on a flat, shape- less appearance themselves. An overcast day will create a hot spot on their forehead and nose, and it will probably give them bags under their eyes, too—not very flattering. Just because everything is lit evenly doesn’t mean it will guarantee a flattering portrait. No studio photographer places a huge softbox directly above the head of his or her model and expects flattering light. Our goal, therefore, will be to give this all-encompassing, all-consuming light some control and direction. The good thing about an overcast day is that the light is consistent. Sometimes you can’t even tell where the sun is in the sky behind all of those clouds; The good thing about 9:00AM looks like 3:00PM. That consistency is an advan- an overcast day is that the tage, because you can take your time to shape the light in light is consistent. whatever way you desire. The following (see page 10) is an image sequence for shooting on an overcast day. In this example, the model stood on the steps in front of a building. The sun was buried behind the clouds above and to the left of the camera position. The light created unflattering results. The eyes became dark and the nose caught excessive light (1-1, 1-2; next page). Overcast Day 9