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Lighting direction
The direction of lighting , together with its quality , affects the amount of contrast ( dif- ference between light and dark areas ) in a subject . Contrast is closely related to the tonal range in a subject , and with shape it determines form . When the light quality is hard , contrast is generally high , and the direction of the lighting can be used to em- phasize or suppress the form of your subject , as shown right .
If your subject is static you may have to alter your viewpoint to make the best use of available lighting . The strongest three - dimensional effects are usually pro- duced by side - lighting ; with the light behind the camera ( " front lighting " ) , subject detail is brought out with minimal texture and depth ; shooting against the light ( " back lighting " ) creates high contrast , reduces de- tail , and simplifies form . ( Never look directly into the midday sun through your camera . You may permanently damage your eyes and your camera . )
Sometimes you may be able to select the ideal viewpoint and then return when the lighting direction and quality give the sort of effect you want . The time of day ( see p . 154 ) , and prevailing weather conditions affect the direction and quality of natural lighting most . But in practice your view- point often has to be a compromise between the best view of the subject and the best use of existing light .
Lighting direction and form
The two pictures , right , were photographed from exactly the same viewpoint but at different times of day . Together they show how lighting direction alters the appearance of form .
The top picture was taken in the early morning with the sun casting hard light from directly behind the camera . All the surfaces of the building are illuminated equally and the detail is generally good . But the form of the building is weak and unclear surfaces at right angles to each other are difficult to separate .
In the lower picture , hard quality sunlight was also present . However , this picture was taken in the late afternoon with the sun low and well to the left of the camera . The different direction of the light strongly separates the front and side surfaces of each tower , and the shapes of the win- dows are more distinct . Overall , the whole building has more depth and body , but detail is lost in the strong shadow areas .
Back lighting : high contrast
The picture of Whitby Abbey in Yorkshire , England , left , was taken looking directly into the setting sun , so that contrast is very high and the ruin appears as a two- dimensional silhouette . The deli- cate window shapes are empha- sized by the lighting , but almost all other detail is lost . To increase the contrast , the exposure was meas ured from the bright sky to the right of the abbey . The viewpoint was chosen to include just enough sun to flare into the picture ; this gives a point of emphasis , and adds to the dramatic atmosphere .
Using high contrast
The picture of the novelist William Burroughs , right , shows how a portrait can be deliberately simpli- fied by controlling the contrast . It was taken indoors with a large window at the rear . Dark furnish- ings behind the photographer reflected very little window light into the shadows . By measuring the exposure for the forehead the photographer has recorded detail only in the lit edge of the profile .
Using low contrast
The schoolgirl below was lit simi- larly by soft directional light from a window well to one side - but here bright surroundings ( in- cluding the book on the desk ) reflected diffused light into shadow areas . Consequently , fine detail , particularly on the girl's face , has been brought out . If you want to reduce lighting contrast when working with close - up subjects . such as portraits , hold a sheet of paper or white cloth near the cam- era to reflect light into shadow areas . Outdoors , a light toned sky . building or fence can have a sim- ilar effect on contrast .
Assignment : using viewpoint and lighting
1. Choose an interesting , static subject such as a tree or a building . Take the following pictures over a short period of time so that lighting direction and quality remain as similar as possible :
A. With the picture frame filled with the subject and from a viewpoint which emphasizes its most important features .
B. From two different viewpoints which significantly change the subject's relation- ship to its surroundings .
2. Take the following head and shoulders portraits of someone you know , keeping the camera at the same height and distance :
A. Take a full - face portrait , in direct sun- light , mostly from behind the camera .
B. Turn the subject and , using a viewpoint that sidelights the face , make the head look as three - dimensional as possible .
C. Move your subject into a shaded area so that the lighting is more diffused . Take two more shots using the same camera angles and subject distances chosen for A and B.
Compare your results and decide which are the most successful pictures of the two assignment subjects .
Lighting direction
The direction of lighting , together with its quality , affects the amount of contrast ( dif- ference between light and dark areas ) in a subject . Contrast is closely related to the tonal range in a subject , and with shape it determines form . When the light quality is hard , contrast is generally high , and the direction of the lighting can be used to em- phasize or suppress the form of your subject , as shown right .
If your subject is static you may have to alter your viewpoint to make the best use of available lighting . The strongest three - dimensional effects are usually pro- duced by side - lighting ; with the light behind the camera ( " front lighting " ) , subject detail is brought out with minimal texture and depth ; shooting against the light ( " back lighting " ) creates high contrast , reduces de- tail , and simplifies form . ( Never look directly into the midday sun through your camera . You may permanently damage your eyes and your camera . )
Sometimes you may be able to select the ideal viewpoint and then return when the lighting direction and quality give the sort of effect you want . The time of day ( see p . 154 ) , and prevailing weather conditions affect the direction and quality of natural lighting most . But in practice your view- point often has to be a compromise between the best view of the subject and the best use of existing light .
Lighting direction and form
The two pictures , right , were photographed from exactly the same viewpoint but at different times of day . Together they show how lighting direction alters the appearance of form .
The top picture was taken in the early morning with the sun casting hard light from directly behind the camera . All the surfaces of the building are illuminated equally and the detail is generally good . But the form of the building is weak and unclear surfaces at right angles to each other are difficult to separate .
In the lower picture , hard quality sunlight was also present . However , this picture was taken in the late afternoon with the sun low and well to the left of the camera . The different direction of the light strongly separates the front and side surfaces of each tower , and the shapes of the win- dows are more distinct . Overall , the whole building has more depth and body , but detail is lost in the strong shadow areas .
Back lighting : high contrast
The picture of Whitby Abbey in Yorkshire , England , left , was taken looking directly into the setting sun , so that contrast is very high and the ruin appears as a two- dimensional silhouette . The deli- cate window shapes are empha- sized by the lighting , but almost all other detail is lost . To increase the contrast , the exposure was meas ured from the bright sky to the right of the abbey . The viewpoint was chosen to include just enough sun to flare into the picture ; this gives a point of emphasis , and adds to the dramatic atmosphere .
Using high contrast
The picture of the novelist William Burroughs , right , shows how a portrait can be deliberately simpli- fied by controlling the contrast . It was taken indoors with a large window at the rear . Dark furnish- ings behind the photographer reflected very little window light into the shadows . By measuring the exposure for the forehead the photographer has recorded detail only in the lit edge of the profile .
Using low contrast
The schoolgirl below was lit simi- larly by soft directional light from a window well to one side - but here bright surroundings ( in- cluding the book on the desk ) reflected diffused light into shadow areas . Consequently , fine detail , particularly on the girl's face , has been brought out . If you want to reduce lighting contrast when working with close - up subjects . such as portraits , hold a sheet of paper or white cloth near the cam- era to reflect light into shadow areas . Outdoors , a light toned sky . building or fence can have a sim- ilar effect on contrast .
Assignment : using viewpoint and lighting
1. Choose an interesting , static subject such as a tree or a building . Take the following pictures over a short period of time so that lighting direction and quality remain as similar as possible :
A. With the picture frame filled with the subject and from a viewpoint which emphasizes its most important features .
B. From two different viewpoints which significantly change the subject's relation- ship to its surroundings .
2. Take the following head and shoulders portraits of someone you know , keeping the camera at the same height and distance :
A. Take a full - face portrait , in direct sun- light , mostly from behind the camera .
B. Turn the subject and , using a viewpoint that sidelights the face , make the head look as three - dimensional as possible .
C. Move your subject into a shaded area so that the lighting is more diffused . Take two more shots using the same camera angles and subject distances chosen for A and B.
Compare your results and decide which are the most successful pictures of the two assignment subjects .
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