UNIT 3 LIGHTING IN PHOTOGRAPHY UAL PHOTOGRAPHY LEVEL 2 Tasks 1, 2 and 3.
Lighting in Photography
Brief - To be able to explore principles, knowledge, understanding and skills necessary to use lighting for photography. Explore different lighting sources. Use studio lighting to produce photographic images.
Photographs above - showing the soft box, strobe light and background set-up for Studio photography, with a white pull-down paper-roll background.
Task 1 - White balance and Colour temperature
White Balance settings on a camera use the Kelvin Scale. The Kelvin represents the temperature of light directly correlated with the colour of the burning carbon at that temperature. When you 'shoot in kelvin' one is manually adjusting the the camera's white balance to match that of the kelvin temperature of the room.
I set my camera to the White Balance settings. I then set my camera to AUTO, however, because my camera is essentially a computer, it did not give a White Balance setting option on AUTO, so I had to use a manual setting instead, I chose Aperture priority. I took fourteen photos utilising each of the white balance settings, one photograph on each setting in white balance. Seven photographs to be taken indoors and seven outdoors. the settings to be used are: Auto, incandescent, fluorescent, flash, cloudy, shade, direct sunlight. Counteracting the inherent tones in the light is the purpose of using the White Balance. Creating a different colour cast is, in effect the compensation of the White Balance, for the different light hues, in which a photograph is being taken. Fluorescent light is a great example of this, the White balance can off-set the pea green tones of fluorescent lighting. Sodium lighting is the most difficult to adjust to, this would encompass street and motorway lighting. Some cameras have a custom white balance and it is always best to save this a 'pre-set'. I took the indoor photos in our loft room upstairs, the ambient light was bright sunshine. The outdoors photos were taken of a patch of carnations on one side of the garden, again taken in natural daylight (1.1, 2.1, 3.1, 3.2)
The White Balance Settings and Standard Kelvin Scale
White Balance exercise using the Olympus E-M10 Mark IV camera - outdoors
The White balance settings on my camera are: WB auto, sunny, shadow, cloudy, incandescent, fluorescent, WB flash.
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| Working through the WB settings |
Task 2 - Identify light metering techniques for light sources, objects and/or portraits.
The Sekonic light meter L- 308S, is an invaluable tool in the photographer's arsenal. It gives the photographer an accurate light reading and exposure with which the photographer can then play around. We experimented with using a light meter to create an optimal image with the correct exposure, aperture and shutter speed settings, ideal for a studio environment where the light is man-made and entirely malleable. There are two lighting bolt icons. The lighting bolt icons represent the strobe metering functions. The first lighting bolt indicates cordless flash mode, pressing the measure button will cause the mode indicator to blink, manually press to cause the flash to fire and give a reading, it will remain on whilst the light is blinking. The second lighting bolt icon is the Cord flash mode, this will fire when you attach a synch cable to the meter, it will automatically fire and give a reading (2.1).
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| The light meter we have used. The Sekonic Light Meter L - 308S |
Beginning to learn the mechanics of Studio Lighting - These next two studio photos were taken using a flash in conjunction with using a Sekonic light meter. With the camera set to AUTO setting. We used two soft boxes and a strobe light. There was too much shadowing in the first photograph (1.). Therefore, the aim was to remove the shadowing at the back, this was subsequently achieved by raising the height of one of the strobe lights and also angling it differently. The photo was then re-taken (2.) showing less background shadow. One must ensure the red sensor on the trigger is UP or this will produce a pink cast as shown on the test shots A and B below. The goal was to produce a correctly lit shot using a white background. (1.1, 2.1, 3.1, 3.2)
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| 1. Using a Light Meter in the studio ISO 100 SS1/125 f11 - too much shadow |
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| 2. Using a light Meter in the studio- increased strobe power, retook a reading and changed the aperture from f11 to f16 - correct exposure of subject with less shadowing but still too much shadow |
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| Auto setting on the camera - test photo for lighting |
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| Auto setting on the camera - test photo B for lighting |
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| Stage one A - lighting the background, to render a true white |
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| Stage one B - ISO 100 SS1/125 F5.6 lighting the background, ensuring there is no shadowing or colour cast |
The following five photographs ( 1 - 5) are the culmination of: lighting the white background first independently of the foreground, lighting the foreground, using a Sekonic light meter on the highlighted areas of the subject to get a reading for the camera settings on flash, to achieve the correct aperture and shutter speed. The camera was used on Manual with ISO in 100 and SS at 1/125, taking a test shot and adjusting the f and SS according to the light meter readings. Therefore, producing a correctly lit image with no shadowing or colour-cast (1.1, 2.1, 3.1)
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| 1. ISO 100 f8.0 SS1/125 0.0 |
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| 2. ISO 100 f8.0 SS1/125 0.0 |
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| 3. ISO 100 f8.0 SS1/125 0.0 |
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| 4. ISO 100 f8.0 SS1/125 0.0 |
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| 5. ISO 100 f8.0 SS1/125 0.0 |
Task 3 - Shadows - record techniques such as front, back, rim and light and shadow lighting.
The following shots are all taken in the photography Studio, Room 15 Richmond Art College. Michael Jess, my tutor, is photographed here using hard/rim lighting against a plain black paper background. In this shot I changed my angle to see if incorporating some of the whiteboard would effect the overall lighting of the shot. It did. It also made the background look unprofessional (1.1, 3.1, 3.2).
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| Hard Lighting. Rim. f3.5 SS 40 ISO 1250 0.0 |
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| Warm Lighting. Front f 3.5 SS10 -0.3 ISO 1250 |
The hard side lighting rendered Michael's skin colour a truer likeness. It was really interesting how the different types of lighting changed the colour of Michael's skin dramatically but not the whiteness of Kamilla or Brigette's skin (1.1, 3.1, 3.2).
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| Side Lighting f4.0 SS 40 ISO 1250 0.0 |
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| Side light split-shadow f4.0 SS 30 ISO 1250 0.0 |
The following shots are of Kamilla, who is five months pregnant. Here a beauty box is used, creating a very soft, diffuse rosy-coral coloured light. The lighting, along with the poses create the effect that she is calm and at peace (1.1, 3.1, 3.2).
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| Beauty Box - diffuse soft light, warm tone f4.0 SS 10 ISO 1250 |
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| Beauty Box lighting slightly over-exposed. SS 13 ISO ISO 100 f8.0 SS1/125 0.0 |
The next two shots, we used hard lighting. I set the camera to shutter speed priority and used aperture f3.5 or f 4.0. I really liked these shots as the blackness of the negative space added a mystery, depth of field and suggestion of ominosity and sorrow to the image that I did not expect (1.1, 3.1 ,3.2).
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| Hard Lighting f3.5 SS 100 ISO 250 0.0 |
Using exactly the same lighting, I achieved a diametrically opposed feeling by asking my model to pose differently, that of joviality and warmth but there is a hint of melancholy too. Here Kamilla looks as if she is a circus clown, hiding some kind of pain and simultaneously stepping in to the light to perform for a delighted and expectant audience (1.1, 3.1, 3.2).
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| Hard lighting f3.5 SS 100 ISO 250 0.0 |
The next two shots are of Brigette, also a classmate, and also using hard lighting. I really like these shots as, coupled with the expressions on her face I think Brigette looks regal and enigmatic in photograph A and powerfully beautiful in photograph B. She looks as if she is hiding a secret. What I loved about using hard lighting is how powerful the negative space around the subject becomes and how the negative space enhances the overall effect of the image (1.1, 3.1,3.2).
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| Half Shadow, hard lighting f3.5 SS 100 ISO 250 |
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| Half shadow, hard lighting f3.5 SS 100 ISO 250 |
The following shots are of a Still Life I created and which my class and I subsequently photographed. I found this Still Life exercise, a better, easier and more effective way to learn to use and manipulate lighting for photography. Using a Still Life, it was also easier to produce an optimal photograph than photographing a person. Additionally, using inanimate objects, in order to also to play around with the different lighting effects and shadows, was easier, than to photograph a human face. We did not use a light meter for this introductory session to studio lighting. The goal was to correctly light the still life with a true black background and no shadowing. Though personally I like the shadowing as it added depth of field and a three dimensional aspect , that subsequent photos lack (1.1, 3.1, 3.2).
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| Side Lighting high with left/right contrast and shadowing F3.5 SS 15 ISO 1250 0.0 |
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| Side lighting, f3.5 SS 40 ISO 1250 -0.7 lights lowered, black background |
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| Back Lighting, muted foreground f 5.6 SS 60 ISO 1250 -1.7 |
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| Using a Soft Box front on. f3.5 -0.3 SS 25 ISO 1250 |
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| Using Rim Lighting.f5.6 SS 40 ISO 1250 -1.3 |
Learning Outcome 1 - Understand lighting sources for photography
1. 1 Assess lighting sources for photography
Artificial lighting, created and used in a studio is a very different beast from photographing in natural lighting conditions. It was really interesting to see how many pieces of individual equipment are used to create studio lighting effects. I really liked the creativity of using this lighting equipment, in conjunction with the camera to be incredibly creative with the light. It is something I would love to a) master, as I feel we have only really grasped the absolute basics so far and b) be able to independently and individually have studio time to able to experiment and learn from hands-on experience. I liked all the effects that were created, as they all have different purposes and look very different. I can certainly see now why for photography as well and Film and TV, the lighting takes so long to set up and get right. We used: one/two soft boxes, a beauty box, strobe lighting and a Sekonic light meter in conjunction with a trigger and flash. This produce the effects of: Hard lighting, shadows, highlights, side lighting, rim lighting and soft diffuse light in a range of tones and hues, depending on the skin colour being photographed. Soft diffuse light produce a noticeably orange hue on black skin. Interestingly the colours of the still life compositions were unaffected by the type of lighting used The colour of the background had a great effect on the way the image needed to be lit, which I again found really interesting. Lighting of course conveys so much about an subject, it enhances it or detracts from certain areas. It is highly creative and can be used to manipulate the subject matter, send a message, convey an ideology or the viewer's viewpoint. Lighting can take off years, add years, create beauty or monsters, be used to dramatic effect, surreal effect, it can be used to manipulate shapes and colours. As a photographer, being able to manipulate studio lighting is a crucial skills-set. It is arguably one of the most technical and most creative aspect of photography.
Learning Outcome 2 - Understand light metering
2. 1 Identify light metering techniques for light sources and subjects - The purpose of using a light meter for studio photography with artificial lighting is to ensure the photographs are perfectly exposed, clear and sharp. A Sekonic light meter is an invaluable tool in the photographer's arsenal. It gives the photographer an accurate light reading and exposure with which the photographer can then play around. Incident Setting - (Bobble over the Dome).You need to hold the light meter next to the subject of the shot and it takes a reading and gives you the correct aperture to photograph at. It is best used with a Synch-cable . When using flash-mode you press the button to give a shutter speed of 1/125 and set the ISO to 100/camera setting to match your camera, you then take a shot with the flash and it will give the correct exposure. Using Sekonic light metering techniques you can also input the settings manually but you must take care to be accurate. We needed to change the aperture and use the lowest ISO, on my camera this is ISO 100. The Shutter Speed is independent so 1/15 to 1/1250 will be almost identical. You need to take careful note of the maximum speed sync for your own camera when using a light meter. You must always shoot using the manual settings on the camera. You cannot use the camera meter for professional flash photography, you need to use a separate meter. Reflective Setting - functions the same way as the camera light (Bobble off the Dome). My camera did not connect to the light metering equipment at college the first two sessions we studied this topic, which was immensely frustrating. I had to work on this independently at home. At home, for research I watched the Sekonic-Getting Started Guides 1 to 4 (3 being the main one) on You Tube in order to fully understand the theory of light metering and how to use the light meter. This in conjunction with practical practice and an additional one to one lesson, formed a solid basis of my understanding of how and why to use a light meter. Especially in terms of taking a reading from highlights, pointing the meter exactly to where the camera will be shooting and lifting the red Perspex trigger head up.
Learning Outcome 3 - Be able to use light sources for photography
3. 1 Use lighting sources to photograph subjects to meet identified goals.
We used continuous strobe lighting, and modifiers including soft boxes and beauty boxes of different sizes for our studio photography. These were placed at different angles and different heights on the ceiling rig.
The first ten or twenty shots a photographer takes should always be test shots because tweaks will always subsequently need to be made until the desired effect is achieved. Inspect the test shot photos on the camera - and ask yourself - what the camera is producing? And then check; is this correct? and Do I like it? If not, play around with the metering and lights until the desired effect is achieved.
When using a white background, the photographer should check the highlight warning is on or off because this will help take an accurate photo of 'whites', this check is also part of light metering techniques. I was unable however to find this facility on my camera, so this is something I need to work on for the future.
A Soft Box produces a gradual transition between highlights and the shadows, this transition should be unobvious and gentle. Harsh/Hard Lighting accentuates nooks and crannies, wrinkles and textures and is not used for beauty shoots. A Cone spotlights and highlights one area in particular. Grids are also used to concentrate the light on a particular aspect of the subject matter. A Beauty Box produces an in-between effect between a Soft Box and Hard lighting, it models the light and produces a sheen on the highlighted areas creating a dewy effect. The transition between shadows and light is quite delicate using a Beauty Box. Lights can harden or soften human features depending on the equipment used.
Flash Photography - Using a flash, one must always ensure the Trigger is securely in the horseshoe and tightened fully. The red Perspex screen should be flicked up for use. Then it is set on 'Cell' and tested. It should produce the flash. I was therefore able to successfully: set up the back and fore ground lighting using soft boxes and a strobe light, use a Sekonic light meter, adjust settings in accordance with readings given and subsequently take a correctly lit sharp photograph.
When I use the Sekonic light meter and flash in conjunction with a white background. It took at least three sessions to fully understood that studio lighting has to be set up in two distinct stages, back ground lighting first using the soft boxes, usually either side and in front of the subject matter to create a 'cross beam' effect. And secondly the foreground lighting, most commonly using a strobe light. It is crucial to place the Sekonic light meter on the highlights not lowlights of the subject matter being photographed in order to get the most accurate meter reading. In my first photos using a white background I placed the light meter on the lowlights of the flower jug in the still life and based on the aperture reading, shot the photo on f5.6 and at an ISO of 320, however this produced an incorrect and over-exposed image. I then dumped the lights, tested the flash and took another meter reading from the most highly lit areas on the flowers of the still life, this returned readings of f 8.0 and and ISO of 100. I re-took the photographs and the images were then correctly exposed. The background registering true white shade.
In summation, I was able to successfully use strobe lighting, a beauty box and soft boxes to create hard lighting, side and rim lighting, split lighting, shadows and commercial lighting. Creating a variety of stylistic effects from 'sinister' portrait to fine art and commercial.
3. 2 Asses lighting for photography
I was fascinated to see how much a background colour can dictate the type of lighting used and the effect created. For example shadowing techniques were best achieved with a black background using hard lighting. A black background rendered a still life photography exactly like a classical 17th Century painting. Whilst a white background produced less extreme shadowing and whilst the flowers and fruit were plastic, produced a 'fresher' more life-like image. I must admit I genuinely did not understand the technicals or the light metering until my third or fourth studio session but I feel I have a solid grasp of basic studio lighting and light metering now. I personally liked the hard lighting using a black background and the 'Still Lifes' using a black background. It is imperative to take time when setting up studio lighting to get it right, and to approach it in two stages systematically, almost with a bullet pointed list. At least in the first instance. After which you can be creative and play around with the light until you produce the exact effect you desire. I loved the 'fine art' style still lifes I was able to create with a variety of lighting techniques, the differences were noticeable but all worked well. Photographing inanimate objects is much easier than photographing humans who constantly move and change. In learning to correctly use Studio Lighting I much preferred shooting objects rather than people. I really enjoyed learning to light the fore and background separately and liked all the lighting effects that were created. Appreciating them for the different effects they produced. I think in order to become really competent in using all types of the lighting we have experienced thus far, I personally would like time on my own in a studio to experiment, reflect on what I did and make notes. I often find being given a lot of technical information whilst simultaneously having to photograph with other students but ultimately not be in control of the changes in lighting myself, difficult to remember, as I am a very visual and kinaesthetic learner. Studio lighting is more controllable and creative than shooting in natural daylight but also far more technical, limiting in terms of geography and has to be planned and booked. It is also a far less immediate and portable form of photography because of the time and equipment required to set up the lighting.
Learning Outcome 4 - Understand photographic practice and health and safety procedures
4.1 Identify and use safe working practices in lighting for photography
Always be incredibly mindful of where your head is in relation to any overhead soft boxes and lights. Several people including me, hit their heads on the soft box. Be extremely careful of where leads/cables are at all times as they are a tripping hazard. Ideally tape the lighting equipment leads down as well as the background sheeting to avoid trip hazards. When photographing using a flash, as this can affect the retina, check with your human/sentient being models if they are photo-sensitive or have epilepsy. Where possible always use a radio/infra red trigger. If you are the person being the 'model', you need to take regular eye breaks, especially when being photographed with flash photography. Ensure that you do not touch lightning equipment as it is metal and may be hot to the touch. Regularly check all equipment, especially load-bearing lighting rigs for wear and tear and loose attachments. Check batteries and cables are in good working order before use.
CREDITS
Michael Jess - UAL PHOTOGRAPHY TUTOR, Richmond Art School
Brigette Ribouleau
Kamila
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