Illuminating Light - How to Utilise Light to Your Advantage
Illuminating light
Illuminating light
By Anthony James
In my previous article I talked about the three components I believe are important in creating great photographs...light, subject matter and composition. In this article I will expand upon the first of these subjects - light.
There are many different sources of both artificial and natural light available to a photographer, but most lenses, film stocks and digital sensors are designed to be used in the narrow band of visible light within the full electromagnetic spectrum. Infrared or ultraviolet light sources along with other forms of high or low energy radiation can also be utilised but generally require specialised equipment so in this article I will focus on the use of natural light.
The term photograph itself is derived from the Greek words "photos" meaning "light" and "Graphien" meaning "to draw". Equally important and fundamentally linked to light is shadow and it is the ability to create mood and texture by utilising the interplay between these two opposing elements that has been the hallmark of some of histories great photographers such as Ansell Adams, Joe McNally and Galen Rowell to name just a few.
As a photographer you need to develop an instinct for utilising natural light and an appreciation for when it is at its most sublime. The last moments of sunlight preceeding dusk and after dawn, known as "Golden Hour", are prime time for photographers. The colour balance shifts towards warmer tones and colours intensify making it especially good for landscape photography. At this time of day the light can change rapidly so observation is important in timing your shot to coincide with the best possible lighting conditions.
The angle of light during this period also helps to create a more three-dimensional appearance due to the increase in shadow length as the sun approaches the horizon. Positioning of the light source in relation to the orientation of your camera and subject along with precise exposure settings allows you control of the highlight and shadow detail in your subject. By controlling these areas of light and shade you can determine what it is you wish to reveal or hide from the viewer.
Silhouette images are also best created at this time of day as you can easily position the sun directly behind the subject due to its proximity with the horizon. Accurate exposure for backlit subjects can be tricky so it is a good idea to check your camera's histogram or bracket your shots if you are unsure about your exposure settings in these critical situations. If you do wish to reveal detail in a backlit subject balanced fill lighting from flashes or other artificial light sources or bounced natural light can help to really add an extra dimension to a location portrait shot during this time.
Another great time for photography is during "Blue Hour" and it occurs briefly when the sun has completely disappeared below the horizon line. Cityscapes or architectural photographs benefit greatly from being shot at this time of day as there is a balance between artificial and natural light sources. This equilibrium only occurs briefly so again timing and observation are critical. The deep blue sky colour present at twilight is also far more visually appealing than the empty black space you get when shooting in the complete absence of daylight.
Photography during the harsh light of the midday sun is a real challenge as the light becomes very two-dimensional due to a flattening of the shadows and the extreme overhead angle of incoming light rays. The colour temperature at this time also tends towards a very cool blue tone and there is an associated desaturation of colour, with photographs taken during this time often having a "washed out" appearance. I find it invaluable to take a macro lens with me to use during this time of day as the lighting conditions favour this type of photography over landscape work. Give yourself options.
One way to counteract some of the problems associated with shooting at this time of day is to use a polarising filter. These are especially useful for landscape photos if you have a nice blue sky and a few clouds to work with. A polariser can help increase the overall image contrast and creates a vivid deep blue sky tone. It can also be of great benefit with reflected light sources such as glass or water as it helps to cut down glare and quell these reflections.
Other types of filters can also help to alleviate some of the problems associated with shooting in natural light. Neutral density filters allow you to control the amount of light entering through the lens and variable ND filters are especially useful, allowing up to 10 stops of exposure compensation. This is desirable when, for example, you wish to decrease the depth of field for subject isolation in bright sunlight. Alternatively, it also allows the use of slower shutter speeds if you want to create motion blur in a moving subject such as flowing water. Graduated neutral density filters help to compress the dynamic range of a scene by lessening the exposure difference between highlight and shadow and you can also utilise colour filters or bounce light sources off coloured surfaces to change the colour balance of the available light source.
Sunlight is not the only source of natural light as the heavens also provide us with moonlight and starlight to work with. These light sources are very dim so long exposure times and tripods are essential when shooting in these conditions. Lightpainting is an effective way of filling in the detail in areas where the light from these sources simply doesn't reach and by painting light onto these dark surfaces with a torch or flash you can create a visually more appealing image.
Painting with light is a fundamental skill you will need to develop as a photographer and understanding its intricacies and nuances will enable you to make the most of any lighting situation.
