Front or backlight?

I'm always reminding my students about the different properties of the direction of light and how important it is to understand what's going on. Frontlight (light behind the camera and front-on to the subject), I tell them, takes always the shadows and can make the subject look flat and two-dimensional. However, I am quick to point out, frontlight does have a trick up its sleeve: there may be colour hiding in the shadows, and by removing them by using front light you will of course see more colour. So a colourful subject often looks even more colourful when lit by frontlight.

 

Well, as always, there are exceptions to the rule, and photographing flowers and leaves is one of them. Depending on the thickness and translucence of the flower or leaf the thinner and more translucent the better - you can often increase the intensity of its colour by placing the light behind the subject and letting it shine through the leaf.

 

The photograph above is a good example. This is a very simple picture which relies on its colour for its visual appeal. The sunlight is almost directly behind the leaf and is shining through it; and so illuminating the green like a projector lamp.

 

In this case, the backlight has shown up the veins of inside the leaf and brought more detail and interest. Frontlight would have shown the colour of the surface of the leaf, but none of the depth of colour and shapes inside it.

 

Give this technique a try next time you are photographing flowers. Sometimes you can get the best of both worlds by having the light source behind the subject and using a reflector under or beside the lens to bounce some light back onto the surface of the flower.

How to take flash photographs - part 3

When I said that sidelight was the ‘star of the show’ I meant it. It is not always ideal for making attractive women look more glamorous, but when you want to bring out the character in your subject, it can work extremely well. For portraits, it is really very easy to create with a flash attached to the hot shoe of your camera. The soft sidelight in the picture of the girl in period costume was done simply by pointing the flash at a large reflector positioned out of shot on the left. I have used a fairly fast shutter speed 1/160sec to cut out most of the ambient light in the background, which has gone quite dark - just the effect I was looking for. What could be easier?

Remember, flash is an instant burst of light. If you are shooting in a room that is also brightly lit by daylight coming in through the windows or strong artificial light, and the shutter remains open after the flash has fired (slow shutter speed), you will ‘gather’ more light in the camera. This can be a very effective technique for certain subjects. It can ruin others.

Now take another look at the portrait posted in part 2 of the chap kippering his lungs with the roll-up cigarette. This time I have bounced the flash off a light-coloured wall off to the left and used a slow shutter speed, 1/15sec. This has ADDED some ambient light which has helped fill the shadows on the right side of his face. The slight blurring of the smoke is evidence of that slow shutter speed. The flash has gone off and lit his face on the left of the picture, but the shutter has remained open long enough to gather some available light on the right. A very different effect from that picture of the girl in costume, but it has worked in this situation.

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I have bounced the flash off a light-coloured surface to my right. This creates good sidelight which has lit the model’s hair nicely and given shape and form to her face. The nearer the flash is to the reflective wall, the stronger the shadows will be. The effect was done by using the set-up in 2

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If you want to soften those shadows, simply put another reflector opposite the flash. This lovely, soft, flattering light is created by pointing a flash at a wall to the right of the model while placing another white reflector to the left. This reflector helps fill any shadows created by the sidelight

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Some flash guns do not articulate to the sides – they will only point dead ahead and upwards. Don’t forget you can reflect these flash guns off a wall to create sidelight if you turn the camera on its side and shoot in portrait format. The most versatile flash guns have a light head that can be swivelled both upwards 90 degrees, and also to either side and directly backwards – away from the subject. Almost any angle of light reflection can be achieved with this type of flash gun.

Flash is the most portable, convenient and versatile light source you can use, but a moveable flash head that can be aimed in all directions is essential if you are to achieve the most from a flash unit when it is attached to your camera

The quality of light - Part 4

As a final demonstration of the effects of being able to manipulate the light in order to improve its quality, just take a look at my photograph of the Indian tin whistle player. Now I’d say that light was pretty high quality stuff.

But when I first spotted this chap sat on an old oil drum and playing his tin whistle in front of a temple, the light was so awful that I did not even bother to take a photograph at all. He was sat in direct sunlight. The sun was high in an empty blue sky and the shadows across the man’s face were hard and black. Even worse, he was sat in front of the white marble wall of a temple. The background was far too bright.

So, I had hard, low-quality toppy-front light, a glaring white background, but a wonderful subject. What did I do?

The first thing I did was to drop a couple of rupees into his tin – come on, he’s a street performer, so pay the man! I then gently turned him right round on his seat so that he was facing the wall. He was now maybe around 15 feet away from that wall. Now I positioned myself with my back to the wall and used it as a reflector.

Notice that the direct sun, which is now behind the subject, has lit up his silver hair with attractive rim lighting while the reflective wall has pushed all that soft light back onto his face. The added bonus effect is that the background is now darker and further away. So it has fallen out of focus and is far more attractive and less distracting.

So, you see, often you don’t even need to carry a reflector with you – they are there all around you if you look.

If you’d like to know more about light – its direction, quality and colour, - and how to use reflectors effectively, my DVD Light and Composition covers the subject and shows you how you can improve your pictures once you really understand what’s going on. It is available on my website www.photoactive.co.uk and costs just £9.99 plus postage.

The quality of light - Part 3

Top Photograph: Shooting straight into a light source like this window can create very hard, empty shadows. But here a large white reflector has been place below the camera to the right of the picture. You can see its effect on the brickwork underneath the dusty shelf – there is lovely soft light there bringing out the detail in the wall and brick

You can often create good quality light, even in hard sunlight, by using reflectors to re-direct light into deep shadows. Reflectors are all around you in many everyday situations: white walls, snow, sand, water – your own white shirt. Even the wretched white van, the ruination of so many good photographs, can be used as a reflector if it is behind, or at the side, of the photographer and not in the picture. Expensive, purpose-made reflectors are wonderful, but not essential. I always have at least an A4 sheet of paper in my back pocket for those impromptu portrait shots. Just an ordinary sheet of paper, it weighs nothing, costs nothing and can reflect light back into the shadows under eyes and chin – creating beautiful, high quality light. This piece of paper was used fo the photograph of the sea shells below.

In the demonstration portrait session, Picture 1 shows the set-up using the hard frontlight with the wall behind the subject and the sun behind the camera. The result (2) is unpleasant with hard, empty black shadows in the lady’s eyes and under her nose.

By turning my subject right around, putting the wall behind me and shooting into the light (3) the effects on the model’s portrait is fantastic. Now her face is lit by soft, high quality, reflected light from the wall. Just look how it has lit up her eyes and softened her features (4)

Yes, there are downsides – be wary of flare in the lens when photographing into the light, and don’t use light green or brightly-coloured walls as reflectors – they will give a nasty colour cast. This wall was slightly off-white and has added a natural ‘warm’ effect.