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Lighting quality
Light is the basic material of the photo- grapher . The amount of light determines whether a subject can be recorded at all , and the quality and direction of the light con- trols the appearance of the subject . For good picture building therefore , you must develop an awareness of how changes in lighting affect things around you . Lighting can be used to create mood , draw attention to an area , to modify or even distort shape , or bring out form and texture in a subject .
Sometimes you will be able to choose the kind of lighting that you want to suit a particular subject by waiting for the approp- riate weather conditions or time of day . At other times you will have to make the best use of the available lighting quality .
Sunlight on a clear day has a very hard or harsh ) quality . Shadows have sharply defined edges and are frequently very dark sometimes they can even appear stronger than the main subject , and attach them selves to its shape .
Hard lighting is excellent for dramatizing texture , shapes etc. , and for creating interest- ing patterns ( see p . 58 ) , but it can also obliterate detail and reduce surfaces to flat areas of highlight or shadow . The complete photographic process from exposure to printing always tends to increase the con- trast between light and dark , so you have to be careful with very harsh lighting to avoid creating a stark or " contrasty " final image .
At the opposite extreme , outdoor light diffused by mist or an overcast sky has a very soft quality . Shadows are ill - defined and no longer a potentially dominant feature , while the low contrast helps to give roundness and form to objects . This lighting is often more suited to subjects with com- plicated , delicate elements that would other- wise become obscured or confused by small patches of shadow .
The level of contrast can subsequently be modified during processing and printing . Over- or underdevelopment ( see p . 73 ) and the paper grade or type ( see pp . 84-5 , 87 ) increase or reduce the contrast in the image .
Hard light
Hard lighting results when you have a relatively compact light source . Areas behind objects are blocked off from light , and form hard shadows , as shown above . Hard light sources include the sun ( which is comparatively small in the sky ) , flash bulbs , and bare light bulbs .
Soft light
Lighting is softened when the illumination is scattered , perhaps as a result of sunlight passing through cloud or the light being reflected from a light - toned sur- face . The result is a generalized lighting , which creates shadow areas that are diluted and soft- edged , above .
Hard evening sunlight
The scene above shows how hard light can emphasize simple shapes in a picture . The low , strong rays of the evening sun have brought out the rough texture on the cottage walls , reduced the figure almost to a silhouette , and created interesting lines and shapes in the elongated shadows . The exposure was measured from the white walls , in order to give maximum detail to the stonework and reduce shadow areas to solid blacks .
Soft , diffused daylight
The portrait , right , was photo- graphed in overcast daylight , and shows how form and detail are brought out by diffused lighting . Dull , overcast days are often quite good for subjects in which you want to include maximum detail Since the lighting was also rather dim , a wide lens aperture ( f4 ) was used , giving strong differential focus . The exposure reading was taken close to the girl's face .
Lighting quality
Light is the basic material of the photo- grapher . The amount of light determines whether a subject can be recorded at all , and the quality and direction of the light con- trols the appearance of the subject . For good picture building therefore , you must develop an awareness of how changes in lighting affect things around you . Lighting can be used to create mood , draw attention to an area , to modify or even distort shape , or bring out form and texture in a subject .
Sometimes you will be able to choose the kind of lighting that you want to suit a particular subject by waiting for the approp- riate weather conditions or time of day . At other times you will have to make the best use of the available lighting quality .
Sunlight on a clear day has a very hard or harsh ) quality . Shadows have sharply defined edges and are frequently very dark sometimes they can even appear stronger than the main subject , and attach them selves to its shape .
Hard lighting is excellent for dramatizing texture , shapes etc. , and for creating interest- ing patterns ( see p . 58 ) , but it can also obliterate detail and reduce surfaces to flat areas of highlight or shadow . The complete photographic process from exposure to printing always tends to increase the con- trast between light and dark , so you have to be careful with very harsh lighting to avoid creating a stark or " contrasty " final image .
At the opposite extreme , outdoor light diffused by mist or an overcast sky has a very soft quality . Shadows are ill - defined and no longer a potentially dominant feature , while the low contrast helps to give roundness and form to objects . This lighting is often more suited to subjects with com- plicated , delicate elements that would other- wise become obscured or confused by small patches of shadow .
The level of contrast can subsequently be modified during processing and printing . Over- or underdevelopment ( see p . 73 ) and the paper grade or type ( see pp . 84-5 , 87 ) increase or reduce the contrast in the image .
Hard light
Hard lighting results when you have a relatively compact light source . Areas behind objects are blocked off from light , and form hard shadows , as shown above . Hard light sources include the sun ( which is comparatively small in the sky ) , flash bulbs , and bare light bulbs .
Soft light
Lighting is softened when the illumination is scattered , perhaps as a result of sunlight passing through cloud or the light being reflected from a light - toned sur- face . The result is a generalized lighting , which creates shadow areas that are diluted and soft- edged , above .
Hard evening sunlight
The scene above shows how hard light can emphasize simple shapes in a picture . The low , strong rays of the evening sun have brought out the rough texture on the cottage walls , reduced the figure almost to a silhouette , and created interesting lines and shapes in the elongated shadows . The exposure was measured from the white walls , in order to give maximum detail to the stonework and reduce shadow areas to solid blacks .
Soft , diffused daylight
The portrait , right , was photo- graphed in overcast daylight , and shows how form and detail are brought out by diffused lighting . Dull , overcast days are often quite good for subjects in which you want to include maximum detail Since the lighting was also rather dim , a wide lens aperture ( f4 ) was used , giving strong differential focus . The exposure reading was taken close to the girl's face .
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