Shooting in Sh*tty Light: The Top Ten Worst
Contents
1. WORST PHOTOGRAPHY LIGHTING SITUATIONS AND HOW TO CONQUER THEM sity LIGHT THE TOP TEN WORST PHOTOGRAPHY LIGHTING SITUATIONS AND HOW TO CONQUER THEM Lindsay Adler Erik Valind Shooting in Sh tty Light The Top Ten Worst Photography Lighting Situations and How to Conquer Them Lindsay Adler and Erik Valind Peachpit Press www peachpit com To report errors please send a note to errata peachpit com Peachpit Press is division of Pearson Education Copyright O 2013 by Lindsay Adler and Erik Valind Acquisitions Editor Ted Waitt Project Editor Valerie Witte Production Editor Lisa Brazieal Developmental Editor Linda Laflamme Copyeditor Linda Laflamme Proofreader Erin Heath Composition WolfsonDesign Indexer Rebecca Plunkett Cover Photo Lindsay Adler Cover Design Charlene Charles Will Interior Design WolfsonDesign Notice of Rights All rights reserved No part of this book may be reproduced or transmitted in any form by any means electronic mechanical photocopying recording or otherwise without the prior written permission of the publisher For information on getting permission for reprints and excerpts contact permissions peachpit com Notice of Liability The information in this book is distributed on an As Is basis without warranty While every precaution has been taken in the preparation of the book neither the authors nor Peachpit shall have any liability to any person o2. FIGURE 4 6 Here the tungsten illuminated model has very unpleasant light on her face There are shadows in her eyes and she seems to blend into the background ADD GELLED FLASH 81 FIGURE 4 7 When you introduce a flash into the equa tion the subject pops from the background and has a better qual ity of light on the face With no gel however the light on her face is a different color tem perature daylight com pared to the ambient light tungsten 82 CHAPTER FOUR Mixed Color Temperatures FIGURE 4 8 Add tungsten gel to the flash so that the flash color temperature matches the ambient light Not only does the flash improve the quality of light on the face but now you can neutralize the white balance for bal anced image ADD GELLED FLASH 83 Overpower One Light Source A final very popular solution for mixed lighting is to overpower one of the light sources In short you introduce a gelled flash into the scene and use it to overpower the weaker light source In some situations when you cannot turn off overhead light and cannot move your subject overpowering at least one of the mixed light sources may be your only option In the record store scenario for example one option is to overpower the daylight win dow and white balance for tungsten light Here are the steps to take 1 Set your white balance Set a custom white balance using an Ex
3. 5 Natural Light Solutions aaret nat bad ke Flash SANS ens EE SE 150 ENTER 151 119 120 129 133 139 140 143 144 145 147 149 CONTENTS ix Overcast Day 177 Watch Your Angles 178 Try Reflectors 180 Eliminate Overhead 187 Turn Their Eyes to the 5 191 Use FAS REE EEE EE 194 APPENDIX A Glossary 198 APPENDIX B Equipment 202 Gamera EE EE 203 E 204 WONG 204 Flash and Flash Accessories 205 Flash 207 5 11510 10 ETE EE EE 208 209 White Balance 5 210 Index 212 x CONTENTS Introduction As photographers we all fantasize about capturing that perfect shoot under the ideal lighting conditions Nothing feels better than clicking the shutter knowing that you have captured that beautiful scene Perhaps you show up to portrait session with the sun low in the sky creating heav enly glow of light around your subject She is tall slender and flowing dress on
4. 140 defined 200 metering subject s face in backlit shots 164 setting exposure in 163 164 165 using for night shots 93 mixed color temperatures 73 87 analyzing light for scene 74 eliminating conflicting light sources 75 overpowering one light source 84 86 reducing number by moving subject 75 79 using gelled flash in 80 83 monopods 111 moving subjects mitigating mixed color temperatures by 75 79 out of direct sunlight 2 4 to source of light 116 N natural reflectors 20 24 night shots 89 105 challenges in 89 contrast in 102 103 dragging shutter for 97 99 ISO adjustments for 93 96 light modifiers for 100 101 stylistic lighting for 101 105 tools to help focusing 90 92 Nikon D800 DSLR camera 203 204 Nikon SB 800 flash 205 206 Nikon SC 29 TTL Coiled Remote Cord 205 206 noise defined 114 200 software for reducing 115 Noise Ninja 115 Noiseware 115 0 off camera flash with backlight 168 174 effect of 133 137 sculpting subject with 133 using on overcast days 194 197 off the camera axis 200 open shade defined 201 mitigating with foam core 12 unflattering highlighting in 5 6 8 10 overcast days 177 197 angle of light on 178 180 challenges of 177 178 eliminating overhead light 187 190 flash on 194 197 posing subject s face to sky 191 193 reflectors on 180 186 INDEX 217 overhangs creating 9 11 12 natural reflectors with 24 25 overhead light eliminating 187 190
5. 140 141 142 customizing white balance of 62 65 embracing lens flare in 160 placing highlights in 143 synchronizing white balance of multiple 60 61 International Organization for Standardization See ISO IS Image Stabilization lens 110 200 ISO International Organization for Standardization adjusting for night shots 93 96 compensating for slower shutter with 165 defined 200 increasing in low light 114 115 117 165 lens image stabilized 110 200 larger apertures for low light 113 117 shooting 1 focal length of 110 165 used by authors 204 VR 110 201 lens flare 158 160 162 light See also mixed color temperatures and specific kinds of lighting adding fill flash to ambient 151 155 194 195 analyzing 5 13 74 diffusing 149 eliminating conflicting sources of 75 even reflection of 18 feathering 18 19 40 200 imitating direction with reflector 182 measuring 63 65 overpowering one source of 84 86 reflecting too much from below 32 softening 35 36 stylistic 101 105 light modifiers 100 101 on location solutions for 129 132 light traps 32 34 lighting ratio altering between ambient and flash 170 174 creating contrast with 102 103 defined 200 low light with flash challenges shooting with 119 moving flash off camera 133 137 settings requiring 119 softening flash light 129 132 using on camera flash 120 128 Manual M mode advantages of
6. composing shots against 2 creating shade on 32 33 effect of dragging shutter on 98 104 105 filling in shadows of 145 146 picking neutral 20 25 popping subject from 82 softening with wide aperture 12 13 varying exposure with flash on overcast days 194 197 backlight 157 174 adjusting color temperature of flash in 170 avoiding too much fill 166 difficulties focusing with heavy 161 162 finding correct exposure in 163 167 off camera flash with 168 174 photographic options with 157 working with lens flare 158 160 balance in night scenes 104 105 bokeh 198 bounce umbrella 169 bouncing light into eyes 39 43 off walls and ceiling 121 125 180 131 from speedlight 120 128 built in bounce cards 120 C camera shake dragging shutter to avoid 108 110 fast glass solutions for 113 stance for minimizing 113 tripods to avoid 111 cameras 5 also Aperture Priority mode lens Manual mode AF Assist Illuminator 90 Depth of Field Preview button 92 199 focusing backlight shots 161 162 image stabilized lens for 110 metering subject s face in backlit shots 164 minimizing shake of 108 110 111 113 moving flash off 133 137 Nikon D800 DSLR 203 picking exposure mode for 93 140 separating focus and shutter 162 setting white balance presets for 54 57 catchlights adding sparkle to 14 15 creating on overcast day 188 defined 198 illuminating in direct sunlight 4 using light traps to give 34 ceiling
7. flagging off 147 148 187 188 redirecting 39 43 shadows of 5 8 softening 9 13 overusing reflectors 14 17 P P Program mode 93 201 PocketBox 133 134 135 137 207 PocketWizard wireless triggers 92 133 137 168 205 206 portraits See also catchlights hair light subjects adding sparkle to catchlights 14 15 analyzing light on subject s face 5 avoiding raccoon eyes 39 40 41 diffusing and reflecting light on face 150 effect of direct sunlight in 32 metering face in backlit shots 164 167 posing with face to sky 191 193 reflecting too much light from below 32 seeking covered shade for shooting 5 7 8 softening direct light for 35 40 too much reflected light on face 48 post production software adjusting white balance in 58 59 60 61 reducing noise 115 Program P mode 93 201 218 INDEX R raccoon eyes 39 40 41 reflectors adding catchlight sparkle with 14 15 angles of 46 50 147 blocking off light with 32 158 159 diffuser with 150 evening out highlights with 144 147 feathering light with 18 19 40 filling in shadows with 145 146 147 5 in 1 180 208 209 illuminating subjects evenly 18 imitating direction of light with 182 introducing light source with 44 natural 20 24 neutral surfaces as 20 25 optimum distance from subject 185 overusing 14 17 scrims with 39 43 selecting 14 silver 182 184 silver gold mix 14 15 17 19 182 186 too much light from below 3
8. 100 Try Stylistic 101 ho 102 BANC ER 104 CHAPTER SIX Extremely Low Light No Flash Allowed 107 Drag Your 6 108 Try an Image Stabilized 5 110 Usea 111 Shoot with a Fast 5 113 Increase to High 50 114 Combine It 116 Move or 1 116 5 CHAPTER SEVEN Low Light with Flash Try On Camera Flash Modify on Move Your Flash Off Camera CHAPTER EIGHT Dappled Light High Contrast Choose What s Important Purposefully Place Highlights Even Out the Fill with Block Off Highlights ETE Diffuse Ea EE ETTER Diffuse Then Add Use Fill Flash Jarl easier see CHAPTER NINE Strong Backlight Harness Lens Overcome Difficulty Focusing Achieve Correct
9. bouncing light off 120 121 125 130 131 shooting with colored 130 131 color avoiding unwanted tint 20 choosing reflector 180 186 green cast of fluorescent light 53 55 color casts avoiding from flags 191 defined 199 reflected from walls and ceiling 130 131 color temperature See also mixed color temperatures adjusting with white balance 54 55 57 balancing nighttime 104 105 considering for flash in night shots 100 creating contrast with 102 defined 199 fluorescent vs daylight 54 gel options for flash 69 70 170 Golden Hour 170 mixed 76 conflicting light sources adjusting white balance for 84 86 87 eliminating 75 overpowering with flash 84 contrast See also dappled light high contrast found in night scenes 102 103 covered shade creating overhang with foam core 9 11 12 defined 199 reflectors in 24 25 shooting portraits in 5 7 8 CTO Color Temperature Orange gels 80 170 customizing white balance 62 65 D dappled light high contrast adding interest to photos with 143 adding reflector with diffuser 150 blocking off highlights 147 148 diffusing light 149 evening out dappled light 144 147 fill flash for 151 155 handling tonal range 40 41 picking exposure modes 140 situations with 139 INDEX 213 Datacolor 58 depth of field 199 Depth of Field Preview button 92 199 diffusers adding reflector with 150 defined 35 199 evening out light with 149 softening light with
10. our editors Ted Linda and Valerie You embraced a unique title and it has been a pleasure working together to bring it to fruition excited for our first completed project together and to empower photographers in their battle in overcoming sh tty light Erik CONTENTS v 5 introd ctiorn GEN ERR had Hebe ns ae xi CHAPTER ONE Direct Sunlight 1 Take Cover 2 Beware of Overhead 5 Create Your Own 9 Combine Shade and Reflector 14 Make Use of Your 20 Look for Backlit Leaves on Trees 26 Shoot in Direct 5 28 When You Are 28 CHAPTER TWO Direct Sunlight No Shade in Sight 31 Create Your Own 5 32 Soften the Light 35 Use a Scrim or Diffusion Material 37 Use a Scrim and a 39 vi CONTENTS Face Subjects Away from the 5 44 Use Flash on 51 CHAPTER TH
11. the beach as waves crash behind her Sometimes you really do have those striking visuals in front of you just waiting to be recorded Other times reality is not so pleasant even bordering on brutal You show up to the midday shoot to find harsh sunlight with no shade in sight and a concrete building for a background Or perhaps the event you re photo graphing is indoors lit by sickly green overhead fluorescent lights The reality can sometimes be miserable but your images don t have to be You can t always control everything on your shoot but as portrait wedding and fashion photographers lighting is an essential ingredient we must master xi xii Think of Shooting in Sh tty Light as your survival guide for terrible lighting situations No longer will you feel overwhelmed or confused when approaching challenging or unpleasant lighting We Lindsay and Erik are here to demystify the light and give you practical effective solutions to common lighting challenges Whether you re a beginning photographer or experienced professional this book will help you feel confident in creating quality images no matter how undesirable the light you encounter You will know how to assess the scene and use your photographic toolbox to take control if it In this book we will teach you how to handle the ten most common scenarios of bad lighting Some crappy lighting situations are actually a blessing in disguise if you know how to wor
12. tools and solutions are best We wrote this book so that you can achieve almost all of the techniques with any digital camera that allows you to adjust your basic settings aperture shutter speed and ISO Furthermore you don t even need an expensive lens While we recommend a faster lens see Appendix B Equipment most images can be achieved with the basic kit lens included with your DLSR The most important thing in any photographer s toolbox is an understanding of light and how to interact with it So before you stress out about filling up your kit with expensive equipment fill it with Knowledge Your credit cards will thank you later Introduction Tip 5 Practice Makes Imperfect Light Perfect We will provide you with various suggested tools and options but remember that it s all about which option works for you Don t just take our word for it Try out these techniques We mean it Try them out see what fits best with your photographic style your budget and the challenges ahead of you Practice before you need to perform on big job like photographing someone s wedding day Practice makes perfect and this book will help you perfect that imperfect light 5 PRACTICE MAKES IMPERFECT LIGHT PERFECT xv CHAPTER FOUR Mixed Color Temperatures A photographer a model and an assistant walk into a bar It may sound like a bad joke but it actually happens What makes it a bad joke on the photographer is
13. 2 used by authors 208 209 using in backlit shots 166 167 using on overcast days 180 186 white 181 183 Rogue FlashBender 100 120 124 130 131 133 208 Rogue Gels 205 206 rotating subjects 178 180 5 sandwich techniques 32 34 188 189 scrim defined 35 201 reflectors used with 39 using 37 Scrim Jim 35 36 208 209 sculpting highlighting facial 39 40 light 31 off camera flash for 133 reflector for 49 shade See also open shade covered 5 7 8 creating 9 13 difficulties with open 5 6 8 10 light traps in 32 34 moving subjects into 4 using reflectors in 14 19 shadows angles of reflector creating 147 avoiding harsh 28 evening out with diffuser 149 filling in with reflectors 145 146 147 setting exposure to specific 140 using fill flash at half power to fill 151 155 shooting from above 39 46 193 shutter See also dragging shutter adjusting when going from direct to low light 108 109 separating focus from 162 shooting 1 focal length of lens 110 165 speed of Aperture Priority mode 165 syncing flash with speed of 170 172 174 silver gold mix reflectors 14 15 17 19 182 186 silver reflectors 182 184 softboxes 133 134 137 softening direct light 35 43 See also diffusers reflectors umbrellas adding scrim and reflector 39 43 combining scrims and diffusers 35 diffusers 35 36 37 38 shoot through umbrellas for 36 37 using scrims 37 specular highlights 201 s
14. 35 36 37 38 used by authors 209 210 using fill flash with 154 155 diffusion material 35 digital cameras See cameras direct sunlight 1 28 31 51 See also softening direct light angles of reflectors in 46 50 combining shade and reflector in 14 19 creating shade in 9 13 32 34 exposure settings for 142 facing subjects away from sun 44 50 flash on location 46 51 light traps in 32 34 minimizing effect of 5 8 moving subjects out of 2 4 neutral surfaces as reflectors in 20 25 setting aperture for backlit leaves 26 27 softening light 35 43 when to shoot in 28 29 dragging shutter defined 199 effect of 97 99 increasing exposure by 108 109 E equipment 202 211 See also specific equipment type AF Assist Illuminator 90 cameras 203 214 INDEX combining for low light shots 116 117 Depth of Field Preview button 92 199 diffusers 209 210 for finding white balance 210 211 flash and accessories 205 206 flashlight 91 lenses 204 tripod 111 112 204 205 white balance tools 210 211 Wide Area AF Assist Illuminator 91 201 ExpoDisc about 210 211 measuring light with 63 65 reading white balance with 78 80 86 87 exposure adjusting flash for backlit 170 choosing for backlit scenes 163 167 compensating for light traps 32 33 dragging shutter to increase 108 109 finding for night shots 93 96 high ISO for right 93 96 metering subject s face in backlit shots 164 165 selecting tonal range i
15. REE Fluorescent Light 53 Set Your White Balance 54 Default White Balance Presets 54 Gray ee ncaa i e te oe Web ee hae ad 58 White Balance in Lightroom Pes hedged ey ies 60 Custom White 62 Use Flash to Augment Existing 66 CHAPTER FOUR Mixed Color Temperatures 73 Survey the 5 74 Eliminate Conflicting Light Sources 75 Move Your 75 Add Gelled 1 80 Overpower One Light Source 84 Don t Wait for Post Processing 86 CONTENTS vii CHAPTER FIVE Shooting at Night 89 Focus inthe aa 90 Assist Illuminator uk mae arve 90 Wide Area AF Assist 91 iad bo EE 91 Depth of Field Preview cc cc band 92 Find the Right Exposure 93 93 Dragging h Nes NU GENET EEE SEE SE EE 97 Use Light Modifiers
16. This is something you ll learn with practice and by careful examination Look around the room Are there windows What is the source of overhead light Does the room have any decorative lighting table lamps or other mixed light sources Understanding the scene and light sources will help you better conquer them Next ask yourself What is the dominant light source in the scene Is the room lit predominantly by window light How much is that tungsten light from overhead affecting the room Is the room illuminated by fluorescent overhead lights What is that small daylight window in the corner doing Understand your scene and you ll be able to approach the problem with confidence If you are having difficulty analyzing the mixed light in the scene con sider snapping a photograph and analyzing the image This may make it easier to see Once you know what you re up against you can choose an approach for handling mixed lighting situations TAKEAWAY ACTION For each scene you approach take the time to analyze the light including the number of light sources color temperature and direction of light 74 CHAPTER FOUR Mixed Color Temperatures Eliminate Conflicting Light Sources Right off the bat you may be able to eliminate one or more of the conflicting light sources In the room with daylight and fluorescent light mixed for example you may be able to close the curtains over the windows to eliminate the daylight For a portrait with
17. affecting your subject Figure 4 5 FIGURE 4 5 An ExpoDisc captures incidental light on subject s face and therefore provides a more accurate reading of white balance Add Gelled Flash When you move your subject to reduce the number of light sources you may have moved her into poor lighting situation Back at the record store suppose you determine the ideal location of the model and the dominant source of light is tungsten Yet this light is still quite unflattering even after setting good white balance Because the room features overhead tungsten lights you decide to add a flash to the scene to improve the direction of the light on the subject Fundamentally you follow the same steps as you learned in Chapter 3 Set your white balance for the tungsten scene using gray card or an ExpoDisc then add flash with matching tungsten gel sometimes called or color temperature orange gel Tungsten light is orange Notice the difference in the image before Figure 4 6 and after adding the flash Figures 4 7 and 4 8 The flash adds contrast and a better direction of light to the image 80 CHAPTER FOUR Mixed Color Temperatures If you do not gel the flash in this scene you will be creating your own mixed light scenario While the scene is tungsten your flash is daylight balanced If you leave your flash ungelled then you will have tungsten environment with daylight flash on the face and body
18. d white or desaturating them Black and white is a strong medium to help focus the image on emotion and human interaction but often it is used as a crutch to deal with bad white balance What do you do if the client prefers images in color Well shoot it correctly in camera 86 CHAPTER FOUR Mixed Color Temperatures Don t forget the importance of white balance You can use gray card seen here to create a point of refer ence for correcting white balance in post processing shoot with an ExpoDisc or use built in white balance presets INDEX Adobe Lightroom 60 61 115 AF Assist Illuminator 90 198 ambient light augmenting with flash 151 155 194 195 defined 198 effect of diffuser on 149 overpowering with flash 84 shadows on overcast day in 187 analyzing light conditions 5 13 scenes before shooting 74 visual elements for exposure 140 141 142 angle of light on overcast days 178 180 of reflectors 46 50 147 aperture backlit leaves with wide 26 27 f stops of fast glass 199 lens with wide 113 117 opening up for night shots 90 softening backgrounds with wide 12 13 Aperture Priority Av mode capturing tonal range with 140 defined 198 setting exposure aperture in 165 auto focus with backlighting 161 162 163 Auto White Balance settings 54 55 Av Aperture Priority mode See Aperture Priority mode 212 INDEX B back button focus 162 backgrounds backlit leaves with wide aperture 26 27
19. e is one predominant light source on the face You move the model to the front of the store and turn her toward the window lighting her entire face with daylight and using only a bit of tungsten light to illuminate the background Finally you switch your camera s white balance to Daylight to ensure accu rate skin tones Figure 4 2 Yes the background stays orange in tone but the subject is lit in flattering light ELIMINATE CONFLICTING LIGHT SOURCES 75 FIGURE 4 1 The subject is half lit by tungsten light half lit by daylight through window This creates an unflatter ing mixed light on her face The left side of the face is orange in tone while the right side of the face is cooler blue shade 76 CHAPTER FOUR Mixed Color Temperatures FIGURE 4 2 moving the subject toward the window you reduce the effect of the tungsten light on the face While the background is still tungsten lit the face is completely lit by daylight What if you don t want the subject near the front of the store you can t move her into daylight for some reason Your next option is to move her as far from the daylight as possible Moving her toward the back of the store reduces the daylight balanced light on her face and switches the predominant light source to the overhead tungsten Change your white balance to tungsten using white balance presets a gray card or an ExpoDisc as discussed in Chapter 3 and you have correctl
20. f some think they are and most are not visual artists Chances are they don t understand light but you do You are the expert Too often we are so eager to please our clients we let them select every element of the shoot the location the clothing and the time of day This is a guaranteed recipe for Introduction sh tty light You are the expert and know what it takes to make a great shoot you need to share this knowledge from the start Understanding light is both an art and science and it s also your job as photographer A lot of clients will schedule their portrait sessions or wedding ceremonies in the middle of the day or in direct sunlight because they don t know any better It s your responsibility to educate them Let them know what time of day location or clothing will help make the best photograph Show them your expertise and help make the shoot the most successful it can be wedding client approaches you for advice recommend that they not hold the ceremony at high noon or perhaps recommend that they situate the alter beneath the shade of a tree Chances are they never even thought about light when planning their big day Speak up Let them know A bride will certainly pay attention to you if you let her know that light can be the difference between her looking like Snookie and Kim Kardashian Feel free to exaggerate Recommend good locations Recommend lighting conditions Show your clients you care ab
21. inue to grow and succeed A big thank you to the Peachpit team for pushing through this first project together You embraced my outlandish title and allowed me to be me I wasn t always easy to work with but I m excited for this book and to work together on future projects Thank you to Ted Linda and Valerie for helping to bring this book to fruition Also I continue to be blessed with so many people who support and follow my career Thank you to the thousands of you who keep in touch through social media at confer ences and in person Your support allows me to write books like this and travel the world doing what I love Thank you for allowing me to share and for sharing with I sincerely hope this book helps you as you embrace your passion and perfect your craft Finally a huge thank you to Erik Valind It was fate that we met and I m glad we have been able to build personal and professional relationship I ve enjoyed the late night book nights filled with ice cream mac and cheese and bonding I love our book baby and I look forward to seeing our continued success Lindsay A huge thank you to my friends and family for your support over the years as pursued a career in the creative arts rather than the cubicle Most of you have stood in front of my camera countless times helping me hone my craft You all made it possible and I m happy to be able to share in this book some of what I ve learned along the way To m
22. k them Other crappy light situations are just well crappy and leave you with very few options This book will not provide every solution or every elaborate lighting formula possible Instead it focuses on educating you on efficient and proven techniques for overcoming the lighting challenges you face Our goal is to share with you the most common most efficient and most effective solutions You don t need to Know every single trick in the book just the solutions that fit your style First let s start with five foundation tips If you take this advice to heart though you may be able to stop reading right now Tip 1 Don t Shoot in Sh tty Light Light is so important to a good image that you must consider it as a major element of the shoot Without it you don t have a shot Don t schedule your shoots in the middle of the day or in a room lit solely by fluorescent light It s your image and the light will make or break it The best way to deal with sh tty lighting is to avoid it at all costs In photography it s okay to be a control freak Your job is to control every element of the photo that you can While in other parts of your life people may torment you for being anal detail oriented or OCD photography is one of those fields that embrace these traits So be a control freak Take control of your light Don t shoot in sh tty lighting Tip 2 Educate Your Clients Most of your clients aren t photographers even i
23. modifiers 207 208 flashlight 91 fluorescent light 53 71 adding white balance in post processing 60 61 color temperature of 54 55 57 customizing white balance for 62 65 finding white balance with gray card 58 59 green cast of 53 55 setting white balance for 54 57 using flash in 66 71 Fluorescent setting 54 55 56 focus achieving in low light 114 Challenges for night shots 90 92 difficulties for backlight shots 161 162 image stabilized lens for improved 110 201 framing 79 G gelled flash managing mixed color temperatures with 80 83 options for 68 69 70 170 overpowering conflicting light source with 84 using CTO gel in tungsten light 83 glossary 198 201 gold reflectors 182 Golden Hour 170 INDEX 215 216 INDEX gray card finding white balance with 58 59 60 61 86 87 taking multiple shots of 62 groups blocking direct light over 32 tripods for shooting 111 using diffuser over 35 hair light blocking overhead light to create 34 dealing with overexposed 44 45 46 working with backlit sun and 50 highlights adding with dappled light 143 blocking off 147 148 direct sunlight s effect on 32 33 evening out 144 147 placement of 5 preventing unwanted 5 7 reflector angle for best 46 50 setting exposure to specific 140 softening 149 image noise See noise image stabilized lens 110 201 images See also post production software analyzing exposure of
24. n manual mode 140 setting for direct sunlight 142 varying background look with flash and 194 197 exposure compensation 140 165 199 extremely low light no flash 107 117 circumstances for 107 combining tools in 116 117 dragging shutter 108 109 image stabilized lens in 110 201 increasing ISO settings 114 115 117 minimizing camera shake 113 moving subjects or re enacting scenes 116 shooting with fast glass 113 117 tripods for 111 112 eyes See also catchlights bouncing light into 39 43 raccoon 39 40 41 F facing subjects away from sun 44 50 fast glass 113 117 199 feather 200 feathering light 166 defined 200 using reflectors 18 19 40 fill flash for dappled light 151 155 5 in 1 reflectors 180 208 209 flags creating 147 defined 147 200 effect of diffusers vs 149 eliminating overhead light with 147 148 187 188 neutral tones for 191 flash See also gelled flash low light with flash speedlight adjusting color temperature of 170 augmenting fluorescent light with 66 71 combining with diffuser 154 155 gel options for 68 69 70 170 off camera 133 137 on camera 120 128 overpowering conflicting light source with 84 softening light of 129 132 syncing with shutter speed 170 172 174 used in book 205 206 using gelled 80 83 using in direct sunlight 46 51 using on overcast days 194 197 Wide Area AF Assist Illuminator for 91 201 working in dappled light 151 155 flash
25. out how they look We promise your images will improve markedly Consider showing clients comparative samples of portraits or weddings Show them the difference between images shot at different times of day or at different locations Most times showing is a lot better than telling Another approach is to have your clients look at your work to determine which images they are most attracted to Be sure to emphasize the importance of light to the success of these shots and let them know what they can do to help be part of that success Educating your clients will enagage them as active partners in helping you create successful images Tip 3 Read This Book When all else fails read this book You will face times when you have no choice but to shoot in sh tty lighting Maybe the venue cannot be changed or the time of day is set in stone or you simply cannot sway your client Sometimes the light is going to be a massive challenge This book was written for such times You don t have to dread terrible light Instead approach it confidently and knowing you can bend it to your will It s not magic We will discuss light techniques and other tips and tricks Everything from shooting in direct sunlight to shooting in mixed light to shooting in low light with no flash we cover it all By understanding how to conquer 3 READ THIS BOOK xiii xiv sh tty lighting you re on your way to becoming the miracle worker your clients expect yo
26. peedlight adding softbox to 133 134 137 bouncing light with 120 128 syncing shutter speed with 170 172 174 spot metering 140 141 Spot Metering mode 166 stylistic night lighting 101 105 subjects adding sparkle to catchlights 14 15 analyzing light on 5 13 avoiding harsh shadows on 28 bouncing light onto 125 128 diffusing and reflecting light on face 150 distance of reflector from 185 effect of natural reflectors on 20 25 facing away from sun 44 50 illuminating evenly 18 metering face in backlit shots 164 167 mixed temperature effects on 76 moving 2 4 75 79 116 overhead shots of 39 46 193 posing with face to sky 191 193 rotating 178 180 seeking covered shade for shooting 5 7 8 shadows cast by open shade on 5 6 shooting at night 91 softening overhead light on 9 13 white reflectors close to 181 183 Sun Swatter 35 36 42 sunlight See direct sunlight synchronizing white balance in Lightroom 60 61 INDEX 219 tints 20 tonal range capturing 140 defined 40 201 tools See equipment Topaz DeNoise 115 tripod used by authors 204 205 using 111 112 TTL cables 133 135 205 207 tungsten light adding CTO gel for flash in 83 using flash as source of 85 working with ambient and 76 77 78 U umbrellas night shots with 100 101 parabolic 209 210 used by authors 207 208 using 36 37 169 195 196 Vanguard Carbon Fiber Tripod with Head 204 205 VR Vibration Reduc
27. poDisc You could also use gray card or use the Tungsten white balance preset on your camera This way you are set up to capture the existing color temperature plus the light you are about to add to the scene Gel your flash Use an off camera flash and gel your flash with CTO gel to turn the flash to tungsten white balance Now your flash white balance will match the white balance of the ambient light Under other lighting conditions you may need to use different gels to match the ambient light Position your flash Place your flash near the light source that you are mimicking At the record store you re mimicking window light and therefore need to place the flash high and outside the window like the sun Power your flash Be sure your flash overpowers the ambient light in this case the daylight from window Due to the contrasty nature of the scene manually set ting your flash s power will give you the most reliable results You will also need lot of light to overpower the daylight so you may want to look at small flash options beyond the standard speedlights The Qflash from Quantum www qtm com has higher power output with many of the same features If you are comfortable with studio flash on location try portable studio strobe Shoot We think you will be pleased with the results Figure 4 9 84 CHAPTER FOUR Mixed Color Temperatures Wi By turning the flash to tungsten light so
28. r entity with respect to any loss or damage caused or alleged to be caused directly or indirectly by the instructions contained in this book or by the computer software and hardware products described in it Trademarks Many of the designations used by manufacturers and sellers to distinguish their products are claimed as trademarks Where those designations appear in this book and Peachpit was aware of a trademark claim the designations appear as requested by the owner of the trademark All other product names and services identified throughout this book are used in editorial fashion only and for the benefit of such companies with no intention of infringement of the trademark No such use or the use of any trade name is intended to convey endorsement or other affiliation with this book ISBN 13 978 0 321 86269 3 ISBN 10 0 321 86269 4 987654321 Printed and bound in the United States of America To everyone who knows it s not the camera that makes the photo It s the photographer everyone who wants to be a master of their craft To all those people who know it s the camera that makes photo great Just kidding Acknowledgements Thank you to all my friends and family who stick by my side through ups and downs Having great people like you in my life provides the stability to know that I can take on anything that comes my way People like Mom Dad Alicia Lila Brooke and more give me the foundation need to cont
29. the mixed lighting that you ll find in many cool locations Any room with a lightbulb and a window suddenly thrusts you into a juggling match of mixed color temperatures Consider the challenges you may face You walk into a room and find nasty fluorescent light You read Chapter 3 you know what to do but wait Besides that overhead fluorescent light there s a big bank of windows letting in daylight Now what Your subject is half illuminated by light with a green tone fluorescent and half illuminated by light with a blue tone daylight Needless to say the combination is not flattering for any portrait or event What if a tungsten table lamp kicks some light into the scene Now you are contending with blue green and orange light creating a big mess of your photo So what do you do How can you take charge of the light and make great images Survey the Scene The very first thing you need to do when approaching mixed lighting situation is to determine how many light sources you are contending with and where those light sources are located Each type of light has different color cast or color temperature Our eyes like to automatically white balance what we see so look closely In other words when you walk into fluorescent lit room you don t just see everything all in bright green your eye auto corrects for you This normally helpful biological feature makes it more difficult for you to analyze mixed lighting situations
30. tion lens 110 201 W wall bouncing light off 122 180 132 positioning subject near 125 128 white balance See also ExpoDisc adjusting shifts in 62 augmenting fluorescent light with flash for 66 71 customizing 62 65 defined 201 overpowering conflicting light source with 84 86 87 synchronizing for multiple images 60 61 tools used by authors to find 210 211 white foam core blocking off overhead light with 32 33 creating overhang with 9 11 12 lightening subject on overcast day with 188 189 white reflectors 181 183 Wide Area AF Assist Illuminator 91 201 wireless trigger 92 133 137 168 205 206 X Rite 58
31. tungsten lights and window light you can turn off the tungsten lamp and focus on using only the daylight Your first step is to figure out what you can do to reduce the number of conflict ing light sources The fewer color temperatures you have to contend with the better After you analyze the light in the room you will be able to analyze which light sources you can eliminate Also if you identify the dominant light source in the scene you can use that to your advantage by trying to eliminate any secondary sources of light Move Your Subject If you cannot eliminate any conflicting color temperatures the next thing for you to con sider is moving your subject Try to move her into a part of the scene that reduces the mixed light At minimum ensure her face is illuminated by only one type of light Take a look at a practical example You ve been hired to photograph a model in a record store as a PR shot for the store As you can see in Figure 4 1 very orange yellow overhead tungsten lights illuminate the entire store A large window however allows in daylight at the front of the store This creates undesirable mixed light on the subject when posing her in most areas of the room You can t turn off the overhead tungsten lights because you re shooting during the store s operating hours and you can t eliminate win dow light because there are no curtains You must find another solution By moving the subject you can ensure that ther
32. u to be The good part is it s no miracle It s just about understanding the light We ve added a few features that we hope you find useful in understanding how to conquer light As a quick reference a red X next toa photo means the shot failed to conquer the light and needs bit of improvement By studying these you ll learn to quickly identify some of the pitfalls of unflattering light We ve also added green check marks next to the lighting results we prefer comparing the two you ll be able to quickly reference problems and solutions Next if you need help understanding some of the more technical terminology we use watch for words that are color coded You ll find these words and their definitions Appendix A s glossary Tip 4 Equipment Doesn t Make the Shot but It Can Help We photographers do like our toys huge telephoto lenses fancy flash modifiers light meters the list goes on but we sometimes tend to forget these toys are really just tools You don t need a ton of equipment to solve many of the most challenging lighting situations You just need the right equipment When you read this book we hope you will realize that buying more equipment is usually not the solution Typically you need just a few simple tools a reflector and a flash to conquer nearly every situation In fact even more important than equipment is seeing the light You must see and analyze the light to help you determine which
33. urce you can match the ambient light indoors and overpower the daylight The result is an even color balance OVERPOWER ONE LIGHT SOURCE 85 Another option for lighting this record store scene is to allow the daylight from the window to illuminate the subject and use daylight balanced flash to bounce off the ceiling or light the background overpowering the tungsten light source Now all lighting elements in the frame are daylight balanced Ideally you would turn off the tungsten lights in the room and use the daylight flashes to be the sole source of illumination Remember the importance of white balance no matter which solution you choose Stick gray card in the scene to use as reference in your post processing as seen in Figure 4 10 Don t Wait for Post Processing be honest fixing mixed light scenes in post processing is time consuming painful and less efficient than fixing mixed light in the field You could process the same RAW file multiple times and combine the different color versions of the image together in Photoshop The various versions of the image will have different white balance adjust ments however and combining them will involve a lot of masking and attention to detail If possible why not just shoot it correctly in camera When you don t shoot it correctly in camera and then find it too difficult to fix in post production what can you do Many photographers resort to converting the images to black an
34. y grandfather whose career began in WWII while hanging out of an aircraft s bomb bay doors to get the shot then transitioned into a successful commercial photography career which enabled him to raise a family Thank you for showing me that it can be done and the amount of passion that is required to do so no matter what genre To my mom for encouraging creativity in the home and for always sharing yours with the world Without your love of sharing photography and letting me borrow your old cameras who knows where be today To my dad a voracious reader Seeing you with a book in hand every evening must have left an impression There was never a shortage of reading material in the house or want for a recommendation on what to pick up next To Alicia my biggest fan We ve been friends forever but I m most thankful for your love and tireless support over the last three years You ve pushed me to be better in life and photography Your sunshine and positive influence can be seen in both To Lindsay Adler a great friend and incredible photographer It has been a blast working together with you on this book building adventure Here s to many more years of being photo friends other new and exciting projects weathering creative challenges together and the fun photos that they will all produce Finally thank you to everyone who helped in creating the countless images for this book the entire crew at Peachpit Press and
35. y white balanced image The quality of light may not yet be ideal but the color in the image is much improved Figure 4 3 After you have moved your subject so there is only one dominant light source on the face or body you can reduce the appearance of the mixed light source in the background by changing your frame Instead of including the window in the background or including parts of the scene illuminated by window light as in Figure 4 4 for example try cam era angle that shows predominantly tungsten balanced background elements FIGURE 4 3 If move the subject away from the window the tungsten light the scene becomes dominant 78 CHAPTER FOUR Mixed Color Temperatures FIGURE 4 4 Your framing can help to eliminate conflicting light sources and white balances Notice the conflicting light sources here the light com ing through the window is a different white balance than the light illuminating the subject s face MOVE YOUR SUBJECT 79 WATCH IT Remember your white balance In dealing with mixed lighting situations the correct white balance is essential For mixed lighting solutions we highly recommended that you find way to custom set your white balance Use a color checker a gray card or an ExpoDisc as recommended in Chapter 3 An ExpoDisc will give you the most accurate custom white balance in mixed lighting situa tions because it accounts for all light sources and color temperatures
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