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Dealing with the fickle winter light

In the volatile winter conditions, it is difficult for the amateur photographer to adapt to the rapid changes that occur even in one photography trip and within a few minutes. However, with the professional photographer, this can be turned into material for taking various and multiple photos of repeated scenes.

Light in winter is more variable and challenging for a photographer than at any other time of the year. It can change in terms of strength and color from moment to moment, as long as storms give way to the return of sunlight on a cloudy day, and the shimmering snow melts into shades of muddy gray. Changes like this go a long way for the crafty photographer who wants to brave the elements and harness the creative energies of the winter light.

Any movies. ? .
Disparity and difference are the essence of light in winter, and in order to deal fairly with the energies that must be secured, it is advisable to obtain a number of different and varied films.
The ultra-fast photosensitizers will provide maximum flexibility when light levels are low, and the new ASA 1000 films are ideal for shooting on cloudy days, as they
Allows greater adjustment of shutter speeds and apertures under low light conditions.
As for bright sunny days, especially with white snow or ice - adding more luster to the light - we need a slower movie, and the movie schedule attached to this topic gives us a summary of the different options available.
This, and if we do not reach a decision regarding the choice between a color negative film or a color reflection film, it is worth remembering that the former gives a greater exposure field, while the latter is a better bet on accurate color production.

- the time of day
In terms of color, the winter light changes over the course of the day. The hottest color gradations arise with sunrise in the early morning or at sunset in the late afternoon, because the orange glow of the light will add warmth to the winter scene, especially to the gloom of winter silhouettes.

However, the following light effects, therefore, and in order to make sure that the most dramatic ones exist for one minute and disappear in a minute, record what we see, we must prepare
Frame and capture quickly. It is worth noting that the best results may not be achieved with the first exposure. It may take two or even three shots to record the most effective image.

Light and structure
The winter light is generally softer than it is at other times of the year, so the colors are diluted and the light contrasts are suppressed. As for the harsh light contrasts emitted by the strong summer sun, they do not occur in winter except when there is snow on the ground, or when the sun is low. In the sky, that is, at dawn or dusk.
These are the times when the winter light will intensify the light contrasts that accentuate the structures and turn the terrestrial subjects into interesting camera material.
Its effects will be more noticeable in wooded areas. The low-angle light that seeps through the trunks and falls on the leaves lying on the ground turns them into typical winter subjects for creative close-up shots. In the city, the low-angle solar rays will highlight the bright walls of the buildings, adding warmth and formation to the cityscape.
We get to the snowy structures, and we find them appearing at their best with backlighting. Ice varicose veins, frozen dew, and icy crusts, in turn, tend
To appear more dramatic when photographed, the edges are lit and the sun is shining towards the camera. Moreover, it is possible to avoid the problem of glare by using a lens shed and protector. With a lens from direct rays.

- Exposure to snowy scenes
Acting as a huge scale white reflector, the snow cover pushes the light values ​​up to a great extent, which can lead to bad effects on camera exposures.
Even in foggy conditions, exposures will be limited to films of moderate speed, and it is advisable to work with slow films under bright sunlight.

Then, when conditions are deceiving, exposure banding becomes the most reliable way to ensure that successful images are obtained. Banding with two stops on either side of the expressive exposure will confirm the achievement of good results from negative, mono and color films. Transparency films, on the other hand, have a much smaller exposure range and banding within narrower limits, half a stop on either side of the metered exposure, will prove more satisfying.
It is possible to achieve exciting fun effects with some of the most specialized creative filters available today. Particularly effective under winter light are the gradient filters and the star filters. These are provided by most of the major filter manufacturers