LIGHT BASICS :: ACHIEVING CONSISTENCY OUTDOORS
Shooting in the controlled atmosphere of a studio can spoil a photographer. The ability to determine exactly where lighting is going to be, at what power and temperature, and know that it is going to be stationary, allows one to create an ideal environment for whatever type photograph is being taken.
Outdoor photography is quite a different matter. One is dependent on the sun as a primary light source, and therefore subject to changes in conditions as the planet rotates. Not only does the light keep moving, it changes in intensity and temperature as the day progresses. Add the incalculable variations of atmospheric weather conditions, and one loses any ability to predict when might be a good day for taking pictures. The late Ansel Adams,whose work has inspired multiple generations of landscape photographers, was known to wait days for just the right lighting conditions. When one takes a camera out of the studio, light control is no longer in the photographer's hands.
Landscape photographers tend to not worry about consistent lighting in a series of photographs. When shooting a stationary object on a fixed plane, one has to expect some variation between an image taken at 8:46 AM and 9:10 AM, especially if shooting in the winter when available daylight moves quickly across the skies. Indeed, it is that movement of shadow and light that makes such a series worthwhile.
When people are the subject of outdoor photographs, however, there is often an unrealistic expectation that lighting for those pictures will be just as controlled and consistent as those taken in a studio. Such expectations are born in naivety founded on a fascination with glossy, polished magazine photos. Of course, with sufficient budget many lighting challenges can be overcome; but doing so requires considerable staff and resources to which many photographers lack access.
On one level, even with outdoor portraits, it seems a bit silly to talk about lighting consistency. If one is shooting outdoors, one has to expect that the sun is going to move and, even on a cloudy day, light conditions are going to change. Only in wedding photography is one faced with needing multiple images from a single set. Other applications generally select only a single image, rendering the argument for absolute consistency moot.
Nonetheless, for those circumstances where lighting consistency is desired, there are steps one can take toward achieving that goal. Understand, the ideal is having grips carrying lights, battery packs, scrims and reflectors, so that one can accurately balance whatever the sun is, or isn't, providing. These tips are intended for situations where those options are not available.
One should note that processing can also aid, or detract, in the consistency of a series of images. That, however, is a topic for another time.
Enjoy!
Outdoor photography is quite a different matter. One is dependent on the sun as a primary light source, and therefore subject to changes in conditions as the planet rotates. Not only does the light keep moving, it changes in intensity and temperature as the day progresses. Add the incalculable variations of atmospheric weather conditions, and one loses any ability to predict when might be a good day for taking pictures. The late Ansel Adams,whose work has inspired multiple generations of landscape photographers, was known to wait days for just the right lighting conditions. When one takes a camera out of the studio, light control is no longer in the photographer's hands.
Landscape photographers tend to not worry about consistent lighting in a series of photographs. When shooting a stationary object on a fixed plane, one has to expect some variation between an image taken at 8:46 AM and 9:10 AM, especially if shooting in the winter when available daylight moves quickly across the skies. Indeed, it is that movement of shadow and light that makes such a series worthwhile.
When people are the subject of outdoor photographs, however, there is often an unrealistic expectation that lighting for those pictures will be just as controlled and consistent as those taken in a studio. Such expectations are born in naivety founded on a fascination with glossy, polished magazine photos. Of course, with sufficient budget many lighting challenges can be overcome; but doing so requires considerable staff and resources to which many photographers lack access.
On one level, even with outdoor portraits, it seems a bit silly to talk about lighting consistency. If one is shooting outdoors, one has to expect that the sun is going to move and, even on a cloudy day, light conditions are going to change. Only in wedding photography is one faced with needing multiple images from a single set. Other applications generally select only a single image, rendering the argument for absolute consistency moot.
Nonetheless, for those circumstances where lighting consistency is desired, there are steps one can take toward achieving that goal. Understand, the ideal is having grips carrying lights, battery packs, scrims and reflectors, so that one can accurately balance whatever the sun is, or isn't, providing. These tips are intended for situations where those options are not available.
- Shoot as early as available light allows. Most photographers are aware that it is in the early morning, generally within an hour of sunrise, that the temperature of sunlight is most appropriate for any type portrait work. Unfortunately, many clients are less than anxious about getting up and being ready at that hour, especially when detailed hair and make-up are involved. Summer light provides a little more flexibility as the sun moves more slowly across the horizon, giving one a few extra minutes and better tone. Photographers do neither themselves nor the clients any favors when failing to insist upon morning shoot times. Photographers are well justified in billing surcharges for additional staff and equipment to facilitate midday shoots.
- Check and adjust white balance often. This applies primarily to digital cameras. Shooting film requires changing the type film to respond to variations in light temperature, and the options are limited. When shooting digital, however, especially with newer digital SLRs, it is possible to set the exact temperature sensitivity for the camera. Generally speaking, such settings are workable within a 500 degree range in either direction without any discernible difference. During the summer months, that means adjusting the settings approximately every 30 minutes. Winter months, however, may require adjustments more frequently. A chart of approximate outdoor temperatures is available in the article LIGHT BASICS :: IS IT TOO HOT IN HERE? If shooting closer to the equator or either pole, note that light temperatures may be considerably more intense year-round.
- Look for and utilize reflective surfaces. Being surrounded by concrete is not necessarily a bad thing when shooting outdoors. Many concrete mixtures contain high quantities of limestone, which is highly reflective. As a result, shooting in front of or around such structures can provide a more even, diffused light than one might achieve out in the open. Consider these two images:
Notice in the first picture that, in direct sunlight, the model is forced to squint, shadows are harsh and deep. The second picture is taken in front of cut limestone bricks which provided diffused, reflective light, softening the shadows and giving a more smooth tone. Reflective light is less sensitive to the sun's movement and gives the photographer more time for multiple images. - Where fill is necessary, use a reflector rather than flash. Daylight often requires some manner of fill to prevent the subject's eyes from being lost in shadow. Flash provides an easy solution to the problem, but without diffusion often creates "hot" spots on the skin where highlights are over exposed. Flash illumination is also at a different temperature than sunlight, altering the white balance and color of the photograph. Using a reflector diffuses the sunlight without altering the temperature of the illumination, providing a more balanced and accurate fill so that illumination remains consistent.
[NOTE: Obviously, this rule does not apply to overcast skies.] - Utilize shade at a 90-degree angle or less from the sun. All shade is not created equal. After all, what we refer to as shade is actually shadow from some plant or structure. The greater the angle of the shadow away from the sun, the deeper the shade, and therefore, less usable light is available. For example, when shooting within a median latitude of the northern hemisphere, a rectangular-shaped building provides shade and diffusion on the West and North-facing sides in morning light. Shooting on the West-facing side, however, almost certainly requires additional illumination which may add just as severe a shadow as the sunlight. Shooting on the North-facing side provides better light alternatives as shadows do not eliminate as much light intensity. As the day progresses, moving clockwise around the building, trailing the sun, allows the photographer to more closely maintain the same light intensity, so that only the temperature is changing.
One should note that processing can also aid, or detract, in the consistency of a series of images. That, however, is a topic for another time.
Enjoy!
posted by Charles at
10:26 AM
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