Available Light: Photographic Techniques for Using Existing by Don Marr

By Don Marr

Emphasizing how you can paintings with ordinary gentle instead of utilizing supplementary lights to create a man-made surroundings, photographers can use those uncomplicated concepts to mildew latest gentle into the specified caliber and form. All events are mentioned, together with overcast and sunny days, backlighting and flare, window mild, sunlight studios, normal reflectors, and studio lighting fixtures at domestic, delivering a plethora of principles for locating, diffusing, and growing gentle. As photographers study some great benefits of capturing with on hand light—no organize, extra spontaneity, extra time to be aware of the topic, and the power to catch preexisting relationships—they not just develop into larger photographers yet achieve self belief and an elevated know-how in their creative medium.

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The sky in the background acted like a huge light table to cast its light through the leaves. Think of it as a drawing done on white paper. Use subjects with strong lines and shapes when photographing on a “light table” like this. Projects 1. Use backlighting to create a strong value contrast between your subject and the background. Position your subject so that the background is receiving much more light than they are. Use center-weighted metering to get a correct exposure on your subject’s face.

Glass subjects always look great with backlighting. Any dusty or foggy location will have backlighting potential, as well. Backlighting and Flare 51 Chapter 4 Window Light P robably the first thing you think of when you think of doing a portrait in natural light is to use window light. I think you would be right. The great painters—Caravaggio, Vermeer, and Rembrandt—knew the beauty of window light. I suggest getting a book on art history to see how these masters used window light. Once again, it’s all about control of the light, giving it direction and shape.

Sunlight reflected off the nearby concrete to bounce light back onto her face. A nice contrast was created between her correctly exposed face and the overexposed river and bridge in the background. Overexposure can be your best friend in a situation like this. It washes out the background enough to keep the visual interest on your model. This 3-1 (facing page). With the subject’s back to the sun and face in the shade, is what’s known as value contrast. Value simply means how light or dark an a good value contrast is created be- area of your photo is on a relative scale of black to white.

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