This week three for the price of one: an exchange visit with fellow WCPF club Hanham, things being helped by the clubs regular meetings being on consecutive nights. So we showed them ours at Hanham on Wednesday and they reciprocated on Thursday. This was followed by the return of former member Tony Cooney this week, who, last year, graced us with his pictures from his time serving in Iraq and this time showing his work with portraiture and a variety of models.
These three events set themselves squarely in our development as photographers of whatever level. Looking at, thinking about, talking about our and other people’s pictures is an absolute essential of developing not just appreciation but also a store of looks, effects, puzzles and things to try out.
In order to so we need to have some sort of method to regularise and make useful comparisons. This is generally known as a critique and is something we have used before (using some prints leant to us by Hanham by coincidence). It is what we have competition judges do for us, where they give is feed back from an outside perspective, and a great deal of experience.
We can use this to our advantage by rationalising our own reactions to others opinions. Nobody rational is going to like 100 percent of our output equally (nor dislike). In that we can garner likes and views and favourites on social media that has as much, if not more, to do with niche marketing than actual photography. And a lot of people seem to make it an end in itself. It, like the histogram of our last image, lies between perceptions of absolute light and dark because the image and our true opinion lie in the range in between. We critique to articulate these ranges. We learn by applying this through the viewfinder.
And we do this over time. Tony showed us a development line going back several years and made the point that the single biggest early improvement came from investing in a lighting course. Now there are good courses and there are mediocre ones and price is not really a good indicator of anything other than this is what your provider can afford to charge and still get enough people to engage.
Personally I rate these things, among others, by the number of people on the course. One where you get 20 minutes a day, if you are lucky, with a superstar of that genre is worth far far less in terms of personal development and value than one where you get an hour or two hours individual attention. You might get some excellent photographs, much time in course development is spent on making sure of that because then your customers become your champion marketeers, but unless you develop the faculty of seeing rather than looking, that is not going to teach you much.
Of course we are in a position nowadays that access to opinion and information is instantaneous and in volumes we cannot hope to handle. The self taught route can be very rewarding, of course, but the accelerating the pace needs some sort of external input. Quality not quantity and when you have grasped the basics that provide quality, consistency, was something that came across from Tony’s set and certainly this was evident across both the evenings he has done with us.
The “Studio” portrait conjures up images of large format cameras, assistants, assistants to assistants, big lighting rigs, expensive clothes on professional models and an equipment bill most of us don’t have sufficient kidneys to sell to pay for. Try scaling down expectations a little and the basics become more do-able. When learning a new skill it pays to Keep It Short and Simple (an extension of Kappa’s If-it’s-not-good-enough-you-are-not-close-enough mantra) and in something practical like this, plenty of do and review. Improvisation is part of the fun and the skills set of photography.
Of course there are the intermediate courses that you can buy on line and these range from good to bad as does anything else. In these cases finding people who have used them and have something to say about them and explain why they came to that conclusion (not testimonials) are few, far between and invaluable. In this case forewarned is fore armed. Managing our own expectations is also part of the process. It isn’t just about talent and it is also about recognising that hard work is a talent in its own right. If we have this capacity then a little direction is what we need.
Sooner or later we end up taking photographs of people. Before the days of mass photography that was almost the soul purpose of the art. OK, a bit of landscape thrown in. Today’s social media probably hasn’t done a huge amount to change that ratio, neither has it done a huge amount for the overall quality of photographs taken. Being in it counts for more than the quality of it.
There are things we can do to improve this easily enough. Last post we talked about the effect of sensor size on quality in the main part of the post. It has another impact too – depth of field or how much of the image is acceptably sharp. This is important because of the requirement to make the eyes (both eyes) the point of focus. That is the area of a face we will look to first. Not in focus? No second thought.
A camera phone has a deep depth of field. Shooting with a wide open aperture on a larger sensor means that that which we perceive as being acceptably sharp is far more limited. Both eye-focus is easier if we fill the frame with our subject, photographer Robert Capa once famously remarked, “If your photographs aren’t good enough, it’s because you aren’t close enough”. Aperture controls depth of field.
This applies to all sorts of cameras. With that in mind try replicating this video.
Our thanks to all those involved in setting up the portrait areas on Thursday night, in particular to members Steve Dyer, Gerry Painter and Myk Garton. Also thanks to our models Melisa Wright, Helen Morgan-Rogers and Bethany.
“Portrait photography or portraiture in photography is a photograph of a person or group of people that captures the personality of the subject by using effective lighting, backdrops, and poses”. Wikipedia
The key phrase there is “Effective lighting”. Yes the pose matters and yes the backdrop or background matters, but the lighting has to be effective too, it is the biggest single factor. Let us dig into this a little bit further.
All photography is about the fall of light on a subject, I know. We are here weekly (more or less) in this blog. We are here every time we push the shutter button, for good or otherwise.
Effective – having an expected or intended outcome; producing a strong emotion or response. So, we are talking about lighting that does as we designed it to do and in so doing produce a strong emotion or response in the viewer. Or as we have said (frequently) always start with the end in mind.
This is easier in the studio than outdoors and in fully candid photography a.k.a. Street. It is true that beggars can’t be choosers, but this merely underscores the importance of picking the background first then letting subjects pass through it. Obviously we have to mindful of the fall of light and, if shadows are part of the composition, the dynamic range that we are asking our cameras to deal with. What we want to avoid is the background swamping the subject to we end up with unintended under or over exposure.
Outdoors we need to be more mindful of natural reflectors and flags, that is light sources and environmental shadows rather than the ones we create for the purpose of getting an acceptable shot. Again, putting ourselves in the optimal position and waiting for the subject or scout and bring your model along on the live shoot.
With the studio, as we had in the hall, then the preparation is just as important. For those of us new to it, on a restricted budget, or just casual studio portraitists one light can be used. Grids, beauty dishes and soft boxes can be improvised. Cheap versions can also be sourced (e.g. Grids, beauty dishes and/or softboxes / diffusers) but if we are going to use them often then we are better off on paying for more robust versions.
Poses are as established as any other part of art and the symbolism and interpretations that the idea of the pose creates are based on, or at least can be based on, the assertion that body language accounts for 55% of the communication between two or more actors. A photograph takes out the verbal and the wordage, the other 45%, and in doing so makes the visual element more important, makes the subject’s form and shape the only. So far so obvious, but the human body can express so much with just a few small adjustments.
There are differences in posing men and in posing women, based in culturally based perceptions of masculinity and femininity. As ever practice makes perfect and preferably with the same subjects. Posing in itself is a big subject, but in essence it is a form of composition, or at least a branch thereof. Mastering the art is still 90% perspiration and 10% inspiration, and as ever, having the end in mind when we start can help us immeasurably.
There are any number of poses that work, but the pose itself may break an image but it is not going to make an image. The eyes have it. Engagement between the subject and the viewer make the image, the rest of the subjects body, that is that of it which is visible in the image. This goes for any pose, and any gender and age.
In putting these three essentials, light, background and pose, together meaningfully lies the art of photographing people. And here we are talking the difference between grabbing a picture and making a photograph, between reciting the alphabet of buttons on our camera body and writing with light. It doesn’t have to be complicated, though that won’t stop people trying to make it so. It is about two (or more) humans communicating to a common purpose. Even so it has its own grammar.
It is worth repeating that the image that works most effectively is the one that is the product of the photographers craft, not their camera’s algorithms. As was once said of the example of the great American Jazz player, John Coltrane, their “Must be a priority of integrity, honesty, decency, and mastery of craft” (Cornel West).
I think the same can be said of portrait photography, whatever its form.
Apologies for missing a post, IT problems. Our guest speaker was the always welcome Peter Weaver, who will be returning in a couple of weeks to judge Round 3 of the Open Competition. This was followed by a video tutorial and a table top session. Peter showed us many instances of his own photographic journey and this set me to thinking about one particular aspect which we have talked around but not directly addressed in a while, that of taking pictures of people.
There are many forms this can take from the happy snap via passport style documentary through street to high art. For all of these we are going to use the same basic formula with appropriate, or lack of appropriate, vigour, starting with the background, putting our subject in it, lighting it then recording it. We are speaking generally.
So, background. Avoiding the classic lamp post/tree branch growing out of the subject’s head takes a bit of practice. Border patrol needs to become a habit when our attention is mainly on the subject, but that is easier said than done, especially when we are starting out. Choosing the background against which we will contrast our subject helps in getting this right. Not fool proof, but it works more often than it doesn’t and that little equation can be affected positively by establishing a routine and sticking to it.
Two easy to stick to rules for backgrounds are fill the frame with your subject (goes for all single subject photographs) and blur the rest. In the first of these we can either zoom with the lens or zoom with our feet. Perspective doesn’t change the same way when we zoom with the lens as when we zoom with our feet, as different focal lengths will handle background compression in a different way (sort of, it’s the subject to distance that changes in order to keep the subject the same size in the lens).
Putting the subject into a pre-selected background minimises the chances of there being unintended distractions in frame. Basically, if it doesn’t add to the story you are trying to convey, get rid, either by moving to another location, cropping tighter or changing the angle between lens and subject.
In the studio we might generally light the scene at this stage and refine with the model in it, which is fine where control is total, but we don’t always have this option. In more public and more chaotic situations, “Running and Gunning”, we might need to see what we are lighting first but this is really a personal preference and down to the workflow we adopt – not all workflows are automatically the most efficient but we are after the most effective and that means thinking critically about them from time to time.
Where ambient light is variable it is preferable to put the model in the scene, then light. Variation is part of every point on this process as each time something changes we have a different image and opportunity. Being prepared for the opportunity is a vital step in capturing it.
Posing our model is relative to the formality of the shoot. The corporate head shot is probably the most convention bound of these as portraits of friends informal. Inflation of ego aside, it always amazes me that the item by which their audience is going to judge them most, the corporate mug shot on the annual report, on advertising, on the web, commands such little time in the executive’s “busy” day. Herd instinct aside, the corporate headshot is a very conservative market. Everything can be pre-lit because so very little changes.
Admittedly there are poses to generally avoid because body language is very specific in what it conveys. Posing is also gender specific, at least by convention, so we have the idea of male poses and female poses, which, in actuality, are merely what society expects.
Then the lighting. Lighting is as straight forward or as difficult as you want to make it. Essentially it is the interplay of light and shadow and it is something over which we have varying control over depending on the environment we are shooting in.
A home photo-studio doesn’t have to be expensive to build, and if we start out with flash, as many of us do, then we have a very versatile and portable light source that has many uses, the light from which can be usefully and quite cheaply modified for hard light (grids, snoots, beauty dishes and reflectors) or soft (soft boxes, umbrellas, diffusers and flags). What we get in the studio is control.
Light is by far the biggest factor in any photograph. It’s in the name, as we have discussed before. Its qualities are exactly what we trade in. That balance of light and dark we control has four elements: quality, position, intensity and colour and the modifiers are how we go about it when using artificial lighting or a mix. The portability of modifiers (well the smaller ones, a seven foot octobox may not weigh a lot but the slightest of breezes will turn it into a sail) doesn’t preclude them being used outside (and here).
As, more often than not, we are using a mixture of ambient and boosted light, the options for control are broad. For non-artificial lighting we have the exposure triangle, white balance and filters to affect the look of the light. We have exposure compensation, full manual too.
It is all dependent on the way things are arranged in the frame of course. Composition is no small matter. It is as important as the light, indeed it is at least half of what we do to capture our vision, that thing that grabbed our attention. It’s about making a statement, or taking that statement and making it our own, but remember : “It’s one thing to make a picture of what a person looks like, it’s another thing to make a portrait of who they are.”
— Paul Caponigro
Our thanks to Gerry Painter for a very informative evening, using his photography to show how to play light and dark using a basic home studio. Gerry showed us how to get great results using a sound grasp of how light and flash work, and the basics of posing your subjects for effect.
And it doesn’t have to demand a big budget. There are hacks you can take in order to get the look you want without, necessarily, spending a fortune. You certainly don’t need a full-time studio so you can use flash for portraiture, but a studio does present the peak of the idea of a controlled photographic space. We have touched on this before this season with club member Steve Dyer when we talked about a basic off camera flash set up, and I would suggest that post is worth a re-read from the point of view of building the hardware side. It also links back to two earlier posts, one covering hard and one covering soft light modifiers.
Photographing people is, quite possibly the major part of photography. Certainly, it makes up a large, perhaps the largest, sector of the professional market. What people are paying for is not, necessarily, a straightforward record, but a record of a connection, one that brings out their personality, a fraction of a life, something which speaks of them and of the moment. Even though we live in the age of the selfie there is still a perception that there is something else to be had from the viewpoint of another.
Even so, the motivations behind the selfie, which love it or loathe it are massively the largest by number photographs posted online, 24 billion 2016 according to Google, are not so simple. The motivations for those so bent on broadcasting their lives to the point of dying of it, more people were killed taking selfies than in shark attacks that year, are not just narcissistic.
Within this huge volume, the data for Instagram alone, and what can be derived from it, is far from trivial, there are, apparently, three categories of motivations : Communication – those who want to inititiate conversation; Autobiography – those who are recording key moments in their lives, not necessarily to bait a response, but as a record they can look back on in a handy format; and the smallest of the groups, the Self publicists – those with a personal or professional need to be “out there” and recognised. “It’s a different kind of photography than we’ve ever experienced before” (Steven Holiday, Brigham Young University) important because it is today’s social history for the future. It can also prove expensive, in more ways than one.
Even so, the basic human form hasn’t changed and that means there are more natural and flattering angles than others, and Gerry took us through some of the basics. First off there is not taking pictures square on, something you can sometimes get away with on male subjects, but almost never seem to work with female ones. And there is a big difference to be had through the simple expedient of shifting the by slightly putting one leg slightly forward, shifting your model’s weight and causing an S-curve. Shifting the weight onto the back leg Leaning forward from the waist and raising the chin smoothes lines around the neck and invites the viewer into the picture. For effect this doesn’t have to be exaggerated, indeed it can look slightly comical if it makes the model look overbalanced. This works for male and female models. As does crossing the arms, which with the other moves described, makes the body look more dynamic.
If the model is sitting then the relative height differences are going to become exaggerated and the crops tend to be much tighter. The leaning forward posture still applies otherwise the model looks like they are backing away. Elbows on knees will tilt someone forward and an accompanying tilt of the head makes things much more personable. In all cases, the eyes are the most important point of focus. If there is one other thing that is universal is the general advice that it is better to have the model angle one shoulder towards the camera.
Gerry packed a lot into one evening not least the need for a connection between the model and the photographer, especially with a model who might not be used to having his/her photograph taken. A lot of people don’t like having their photograph taken. A lot of people buy a camera to make sure they are the comfortable side of the lens. Our job is to put them at their ease. This can be easier said than done and the reasons are pretty hard-wired because the thing we as photographers are looking for is the thing we as individuals do not want to give away.
Experience in other fields leads me to believe that the single biggest factor is the attitude of the photographer towards the person being photographed. Put simply, the attitude you give dictates the attitude you get back. If you are wound up and edgy guess what your model is going to pick up on? Give out a “This is going to be a nightmare” and you get a self-fulfilling prophecy. It’s as much to do with what we do before we start shooting as it is during the shoot. It’s about time spent introducing ourselves and what we have in store for our subject. It’s about promoting the shoot as a joint project either side of the lens. It’s about making being the model on a photo-shoot as something enjoyable. You only have to get part of the way to free things up.
On a slightly different note, regular club members will know that Myk Garton last year had a successful exhibition called AS I SEE IT at the Totterdown Canteen (141 Wells Rd Totterdown Bristol BS4 2BU). Myk has got the club a return gig which will be called AS WE SEE IT and photographers within the club have opted to show in the exhibition which will be in May June this year. This is a great opportunity to get and see the club in action. Opening times are 8 a.m. till 3 p.m. seven days a week, More on it as we get closer to the date.
Taking someone’s photograph. Simple enough concept. A person, a camera, a photographer, a photograph. We might hope that the exposure is correct, the focusing correct and the person in the photograph recognisable if not by name at least as a person, as opposed to a smudge in a frame, a blur, a blot on the landscape. The technicalities don’t cover that, the story, the connection between viewer and subject. It could be the technically inept smudge, barely recognisable in some anonymous background, means the world to someone, because the person it is, or was, the world to them, or a substantial part of it. The casual observer cannot tell, for each of us, regardless of connection are pulled in or gloss over the representation of the person/s in the frame according to our own lives.
So much so passport photograph. Easy enough to gloss over the stare-into-the-lens, remove-all-distractions, flat-light-hard-lit likeness used for identification, though there are simple reasons for that style in an identification document. Its value is embedded in its function. It is a statement of who we are, where we are from, rather than an expression of it. Yet it is only an issue when we lose it or use it. The photograph on our photo-id is probably far more important to us than any other in the practical sense, but among the least regarded.
Take that self same fixed-stare, clean-background, no-distractions and Rembrandt light it. In reality we are adding, rather adjusting, the full-on photo booth glare for an unequal amount of light and shadow to construct a more pleasing aesthetic (More accurately, if not so informatively, we are subtracting light, but we will let that pass). By moving the light up and to one side we get a very different story. By doing so we immediately break the rules of passport photography, we render it bureaucratically void, but we make another, aesthetic, case for that image. The strength and appeal of that case is dependent upon the viewer, their literal and psychological perspectives.
Pull back a bit. Step backwards, zoom out which ever takes your fancy. Create a little space around your subject. Yes I know what Robert Capa said, and we are still looking at a plain background and the Rembrandt light because that is where we more or less started. What can you do with that space? Space doesn’t sound very productive, but handled in the right way adds to the overall balance. Essentially the way we use space in a frame is to give the subject a focus when not looking directly to the camera, so that there is enough space in the rest of the frame for the subject to look into. This helps form the question within the viewers mind as to what we cannot see what it is that takes the subjects attention. It is a well of curiosity and viewers will tend to look into the area the subject is looking into.
Space used in this way (usually asymmetrically) divides into two. The active space is the one described above. Negative space, apart from being the rest, and also being known as dead space, is what makes the subject stand out from the background but it needs to be handled carefully or it detracts from the overall image. As such this is all part of the rules of composition and the visual balance, which we last visited last two weeks ago.
Now comes the but …. Robert Capa was right. At least he was also right. Different crop, different picture, same image. Take a look at the pictures you took of Ashleigh, Becki and Keith last meeting (and thanks to you three for being such patient models). Some great one’s posted by club members but not a single one that couldn’t be made into one, two or three other pictures. Cropping in post is one way of doing it for sure, but changing your position, up, down, left, right, nearer, further gives you six variations of that first framing. Seven different pictures. Have a go in post. Just the cropping – at least at first, then maybe light and shadow – you will get two or three useable, different pictures out of the exercise. Then go find someone to photograph, natural lighting will do, but using those six variations to get seven pictures.
So, following the above, we have a Rembrandt lit square on image of someone in too much space. Time to move the model. Now there are posing guides and techniques – Gerry Painter did a very informative evening based on Lindsay Adler last season and Mark O’Grady and Rob Heslop did a studio lighting presentation back in November that showed a lot into a short time – aplenty on the web.
It is important to establish exactly why whoever you are taking the pictures for wants them taken. Business, fashion, blog, CV, anniversary, all have different requirements in formality and style. That really is question number one when taking portraiture – why am I taking this? Even when we are taking them on a club night for pleasure, the question is what story am I telling here? Mystery? Mirth? Sadness? Loss? Happy times? Want? Wanton? When Damien Lovegrove took a session a couple of seasons back, he was happy to show how a story colours our perception of the picture. That is what we allow others to see, no matter that their story is different.
There are certain conventions attached to certain types of portraiture which is tied up with their use. Corporate head shots is the obvious one that springs to mind. They differ from actors head shots in some small ways. Then there is the whole baby/infant/toddler/child thing. For all those expectations, indeed to meet those expectations, it is still the contact with the subject that counts.
Rule, and I do mean rule, one. Talk to your subject. Do not talk at your subject. The point is the person in the picture, not the smart-arse button operator. For sure some people have a very strong opinion of how and what should be done on both sides of the camera, however, this whole interaction is a bargain. A bargain, in the most colloquial sense, is the receipt of something that represents more than the time, effort and most frequently hard cash that we have put into something. Effort takes time and time is money if you need that squared away. It is an agreement between two or more people based around give and take and when entered into proportionally can produce something more than either party bargained for – in a good way. Good rapport is at the centre of any successful portrait session.
N E X T M E E T I N G
9th Feb 2017 19:30 – Guest Speaker: Lyn James LRPS: “People and Places”.
Round 2 of the club competition last meeting and I shall link to the club website here where the winning entries will be posted in due course. Club thanks to our returning judge Roger Mallinson who got though 21 prints and 58 Digital entries in a prompt and informative fashion.
This week we are going to return to the studio as it were, and start to investigate light modifiers as previously promised. So, starting with the obvious, just what is a light modifier? Yeah, ok, it’s something that modifies light, a true but otherwise unenlightening answer which we need to look at in a little more detail. If we take the word modify we can use it in two senses:
- To change in form or character; alter.
- To make less extreme, severe, or strong.
With light the second meaning is a consequence of the first, it is also an inescapable consequence and though a tad obvious to some the conclusion is the same as the one that Mark and Rob gave us a couple of weeks back, that if you are going to do a lot of this then it is best to buy yourself a light meter. The reasoning is thus, every time you make an adjustment in intensity or distance (one and the same thing often times) then you are going to effect the elements of the exposure triangle and using the old saying: two measures to one cut as a guide, okay two measures to one slick in this case, means a lot of time effort and battery can be spared. For the occasional user then it is a case of trial and error. Eventually you will get to know your kit well enough to be reasonably accurate in your estimations.
There are basically two kinds of light modifiers which we can divide into soft light and hard light. Flash is the most likely entry point for a hobbyist into controlled off camera lighting. With flash we tend to use more of the hard modifiers, that is we use them more of the time, but both categories need considering.
The thing to remember, that is the thing not to get carried away with, is we modify light to enhance the subject. It is always about the subject, he, she or it, not about the modifier. Unless you are writing about modifiers I suppose. Still, that false conundrum aside we choose the modifier to light the subject, not the subject to show off the mod as a general rule. The subject is the thing. Always.
So this week we will start with soft modifiers. Another term for light diffuser, because diffused light gives soft shadows, that is the differences between light and dark look more a gentle grey than a stark black. Make no mistake we are using the light to create shadow. Shadow is the form of the statement we are making and without light there is no shadow.
So a soft modifier spreads the available light over a larger surface, that is, larger than the source itself . Smoothing the transition from light to dark on your subject the main use of soft modifiers is for key lighting in portraiture. The key light is usually the primary light source, the brightest and most important.
The two most frequently used soft modifiers are softboxes and umbrellas. Softboxes are normally vaguely pyramidal and lined with a silver, highly reflective material. They come in a variety of sizes and those sizes relate to how soft the light is, not how wide spread the light is. Yes, you are right, those two things are directly related. Most softboxes and umbrellas are used at a distance of two meters or less from the subject. Though there will be differences in the areas lit between any two given sizes, at these sort of distances they are minimal and really, really not the point. The point is how diffuse the light is, how soft the shadows are.
Softboxes are a studio staple but they can be very bulky, heavy, require more than one stand and generally take up a lot of space even when not being used and can take quite a time to set up. They are good for using with other modifiers though and also good at controlling light spill (basically light coming through at unintended angles which may or may not intrude on your desired effect).
A subdivision of the softbox is known as an Octa, octabox, octadome or octa softbox/dome . Octas, as we will call them, come either as an octagonal shaped softbox or as a hybrid softbox and umbrella. The angle and amount of light fall off is different to a softbox, but they do tend to be a lot more expensive and as bulky as softboxes.
There are further modifiers than can be fitted to a softbox or and octa. You can add grids (to give direction), flags (put shadows in), filters (control colour and intensity) to give you a greater control.
In case you are thinking, “Hey, I can make my own softbox” then I have to say, yes you can. The difference is in the quality control and the length of time that it is likely to last, but there is no reason why you can’t use tin foil and a cardboard box to put over your light source (flash gun rather than bare bulb, depending on the quality and exclusions of your house insurance and fire damage claims) and a plain shower curtain works wonders (make sure it doesn’t have blue tinge if made of plastic and yes it will melt over a hot bulb). Go ask YouTube, there are many different videos covering this.
Essentially umbrellas for modifying light as, opposed to keeping the rain off, come in two varieties: Shoot through and reflective. They are a little more untidy in the way that they deal with light, it will spill round the open edges. They are also prone to having a hot spot which may or may not prove a small problem. They are usually a lot cheaper than softboxes or Octas.
A shoot through acts like a lampshade, softening the light simply by putting a semi transparent material between light source and subject. A reflective umbrella is opaque, black on the outside with a highly reflective, usually silver, sometimes gold or maybe white interior. These are pointed at the subject so that the open side of the brolly is facing the subject and the flash unit faces the inside, away from the subject, to bounce light from all round the internal reflective surface from every attainable angle.
Umbrellas come in a range of sizes from small to huge (10 feet or more) and they are a low price, effective, portable light modifier. This makes them very popular. As already mentioned their biggest disadvantage is their tendency to spill light around the sides. Not a huge problem, normally, but one which does need to be attended to. Unlike softboxes there really aren’t any effective DIY options, but they can be bought pretty cheaply and so even if there was a DIY alternative the cost advantage would probably be very low.
Next week we will be looking at hard light modifiers and it is the club social, see website and or Facebook for details and Rob is doing a Bokeh session to boot.
Two propositions to start with this week. Firstly, light travels in straight lines in a single direction until it hits a surface that changes its direction or other properties. Secondly, there are, in nature, three basic shapes: the sphere; the cube and the cylinder. Simple as that. Everything, I am reliably informed, is made up of those three shapes, and light travels in straight lines.
So to become a studio photographer: (A) Point your light at one or all of the above shapes and (B) press the shutter. And off we go. Shortest blog post ever ….
Er, no. These are three dimensional shapes and we, nearly exclusively in photography, work in a two dimensional world we spend a lot of time and more or less conscious effort to make the third dimension appear. Also this is, as was pointed out at the beginning of the evening, as much about shadow as it is light.
Surely that doesn’t apply to people, though?
Yes it does. When learning lighting it is normal to start by learning to light these three basic shapes. Cones you can make out of a sheet of paper. For cubes a box will do (doesn’t need to be particularly cuboid just represent a square in three dimensions, so a cereal box will do). A ball or even an egg will do for the sphere.
When you understand those and how light and shadow work on them thoroughly (many, many, many hours later) the rest is a mixture of experience, knowledge and imagination. And lighting, of course.
Starting as ever, with the rule of KISS (polite version: Keep It Short and Simple), members Rob Heslop and Mark O’Grady took us through a basic use of lights and reflector in the pursuit of some classic look portraits, not forgetting our model for the evening, Summer. Summer, her working name, was rescued from redundancy from a closing Ann Summer’s shop late one Sunday evening, some seven or eight years ago and who has since been kept in a trunk by Mark. Summer, I should point out, is a mannequin. We don’t say shop window dummy any more, that would just be rude. However, it is still legal to keep her in a trunk. In two parts. If Burke and Hare, sorry, Mark and Rob, are to be believed.
Yes, well, we shall move on.
This is one of those areas of photography, and there are a few, where the general mantra of practice, practice, practice, is especially pertinent. It is also one of a very few where control is total (in a studio) and thus results easily replicated. So are mistakes. It is something worth taking a little time over (and recording, see below) because there is even less excuse than usual for saying “I’ll fix it in post”. If you have ever tried it and wondered why it never came out right it could be that you haven’t had enough practice yet. Or you’re not thinking in such a way as to develop your practice. Enter the sketchbook, a pre-photography art idea that really helps individual progression. The basics are fairly straight forward and this can be a process of getting to know your kit as much as it is getting to know the techniques. I really cannot overstate how useful a sketchbook is in purposeful development.
Mark and Rob produced a set of low key portraits (members see the club Facebook Page) using first one then two lights and a reflector. The key element to remember is that an image is a balance of light and dark. Light is what we control as an input, but dark is where the story is told, rather the interplay of light and dark is where the story gets told. There is nothing in the light without shadow. No depth and without depth a flat, unflattering, uninteresting picture.
One important thing that came across was that you have to remain aware that there are two elements in the setup that are or can be mobile. The model and the equipment. Most of a shoot can be taken up just changing the lighting positions, or adding light modifiers or changing the angle the photograph is taken from and it is quite surprising how relatively minor changes can make for quite large differences. Similarly slight changes in posture can radically alter the mood of a photograph – I refer you to Gerry Painter’s session last year on posing.
Ambient light is also an important factor, especially with flash. The first thing to note is that the shutter speed you are employing isn’t anywhere near as important in producing the look of your final shot up to the synch speed of your camera. Flash is of very short duration, thousandths of a second, the shutter has to be fully open so that the curtains do not make shadows across the frame. This is the synchronisation speed and is mechanically limited to around 1/250th of a second. Most cameras have a synch speed of either 1/160th or 1/250th. Some top end models have electronic synch where the shutter itself is part of the sensor and electronic. The problem with this can be that it affects the image by being too quick and hence the subject hasn’t been sufficiently bathed in light. The same end as with the mechanical shutter but a completely different reason – the shutter being too quick rather than too slow. Synch speed is about controlling the amount of ambient light the image contains. This is true for film or digital.
It is different with constant light, of course, where the shutter speed can be whatever is compatible with the constant provided by the exposure triangle and your processor. There are other considerations with constant light v flash, especially in a studio environment, which we don’t really have space for here. Most considerations evolve around compactness, other uses and intensity of light. Layout in terms of initial cost can also be a consideration, especially for the occasional user.
All in all a very informative evening and our thanks go out to Mark and Rob.
N E X T M E E T I N G
Light painting practical.