LIGHT BASICS :: WHEN ALL YOU HAVE IS ALL OUTDOORS (pt. 2 of 2)

Quality outdoor photography is never as easy as simply stepping outside and pointing a camera at a subject. Taking consistently good pictures in sunlight requires thought and planning to handle the hottest, and sometimes most disagreeable light available. While there are three basic elements to outdoor photography, light, subject and background, there are ten basic steps for bringing those three elements together to create stunning outdoor photography.

The first part of this article, below, covered the first five steps:

1. Know the gear
2. Know the space
3. Time the light
4. Pay attention to shadow
5. Look for diffusion and reflection

Continuing on, the following items are worthy of equal consideration.

6. Distance is good. The frequent temptation when shooting outdoors is to place the subject(s) right next to a tree, a wall, a statue, or some other object, then take the shot nice and close. Such photographs are limited both in terms of light and imagination. The distance between the subject and the nearest object, and the subject and the photographer, is a balance that is critical to achieving a well-lit and well-composed photograph.
   
   Generally speaking, the closer the subject is to a large object the further the camera should be from the subject, and vice versa. Note that this rule applies to physical distance and not necessarily focal length.
   
   Distance is necessary to allow for the natural diffusion of light. This is perhaps the primary example of where cameras differ dramatically from what the human eye sees. When we look across an expanse of space, our eyes balance for us the light level between sunlight and shade and various levels of intensity. The brain makes the adjustment so automatically that we would instantly think something was wrong if it didn't happen. Cameras, however, don't make that adjustment. Therefore, distance is necessary to bring the diffusion that our eyes naturally see.
   
   For this reason, some photographers choose to only use large scale zoom lenses with focal lengths such as 70-200 or greater when shooting outdoors. The limits of the lens force the photographer to maintain distance from the subject, giving plenty of space for light. Such extreme focal lengths are not necessary to achieve the desired light quality, however, and in some circumstances may even sacrifice quality due to lens distortion. For most purposes, a focal length range of 35-90 is sufficient.
   
   
7. Depth of field is your friend. Directly related to distance is the matter of depth of field (DOF). DOF is controlled by the camera's aperture and should almost never be left to the questionable whim of an automatic control. However, since the aperture also impacts light, a little bit of practice and experimentation should be performed before unleashing this tool on a subject looking forward to really great pictures.
   
   For the sake of those not 100% sure about the terms being tossed around here, let's take time for a couple of definitions.
   
   Aperture refers to the opening in the lens that allows light through to the media. In most cameras, this opening is adjustable and acts very much like the iris does in the human eye, increasing and decreasing in size to best accommodate the amount of light. f/stop is the measure of the aperture's opening, a larger number corresponding to a smaller or tighter opening.
   
   Depth of field refers to the range of the photograph that is sharp and in focus. The larger the depth of field, the more objects both in front and behind the primary focal point are in focus. A shallow depth of field holds the primary object in focus, while distant and forward elements appear blurred. Larger f/stops, such as f/2.8, result in a shallow depth of field while smaller f/stops, such as f/20, provide a larger depth of field.
   
   Utilizing the full scope of f/stop available on most cameras provides the photographer with a large creative range when shooting outdoors. Exactly how sharp the focus may depend on the number of subjects in the shot, or the nature of objects outside the primary focal point, or the specific effect desired. Consider the following three samples:
   
   
   
   The three images shown here are examples of a gradually closing aperture, moving from shallow to large depth of field. In the first picture, all the focus needs to be on Rachael and her hat. The fruit-like ornamentation on the hat needs to stand out sharply from the background. An aperture setting of f/2.8 keeps the focus where it needs to be. For the second picture, the f/stop is set at 6.0, giving modest definition to the background while keeping the eye focused on D and her bright red dress. An f/stop of 16 is used in the final image to insure that Anneliese and all the elements of the waterfall are kept sharp and brilliant.
   
   Notice, also, the distance relationship in each image between the subject and the camera as well as the subject and the background as the two factors of distance and depth of field work closely together.
   
   
8. Fill with light of the same temperature. Overhanging brows, protruding foreheads, and other facial features often cast shadows that need to be eliminated, requiring additional light sources. Fill may be obtained by means of reflectors, flash, or battery-powered light systems. Any of these can be effective in certain circumstances, but no one source provides a universal solution for every lighting situation.
   
   Give primary consideration to matching the temperature of the fill light with the temperature of the main light, which is the sun. As such, reflectors are the most versatile and accurate source of fill. Since they are reflecting light directly from the sun, the temperature of the reflected light is inherently within a few degrees of the source. Reflectors of different size and color can be used to adjust intensity and direct fill with relatively accurate precision, making sure just the right amount of light is getting exactly where the photographer wishes it to be. Reflected fill is unquestionably the more desirable source of fill when the sun is within the desired range less than 45 degrees above horizon.
   
   Most commercial flash units have a default temperature somewhere around 5,000 degrees. That is fine in sunlit conditions when the sun is more than 45 degrees above horizon, but less than 85 degrees, and within the limited effective range of the flash, which is usually no more than 100 feet. Note that the temperature of the light is the same whether one is using a single flash, or multiple flash units active as slaves. Additional flash effects the brightness of the combined light, but not the temperature. Filters can be added to some flash models, moderately warming or cooling the light, but these can also have the effect of further limiting the range of the flash. As flash units tend to have a relatively broad spread, obtaining accuracy in exactly where fill light hits can be challenging.
   
   When forced to take pictures while the sun is at its hottest, fill becomes a most significant challenge. Light intensity and temperature during the highest point of the sun's arch dramatically exceed the temperature of most artificial light systems. Finely-tuned UV filters are required to achieve any quality results in this light at all. When required to shoot in these undesirable conditions, a combination of reflection and battery-powered tungsten lamps are most likely to generate the best results.
   
   Knowing exactly which type fill to use under any particular condition is a matter that comes with experience and experimentation. Using flash for fill early in the morning often produces undesirable results as the higher temperature of the flash alters color in the areas it illuminates. Using reflected fill often requires more than one reflector panel from multiple angles, requiring a photographer to employ additional staff or multiple reflector stands. There simply is no fool-proof system that is 100% effective all the time.
   
   
9. Don't forget the tripod. For many inexperienced photographers, a tripod is an optional accessory of limited value, especially given the compact nature and light weight of many digital cameras. However, tripods can be the photographer's best friend not only in low light situations, but any time light presents a challenge to taking pictures outdoors.
   
   Perhaps the most common use of a tripod comes in circumstances where shutter speeds are lower than .80/sec. Even though many cameras come with anti-shake features, careful photographers will not rely on such arbitrary adjustments. As apertures become smaller, shutter speeds necessarily grow slower, making use of a tripod necessary even in bright sunlight. Below .80/sec, film and digital media perceptibly capture even the slightest motion, which can ruin a critical image.
   
   Tripods are also helpful when shooting on uneven terrain, or in any situation where footing may be questionable. It is much more safe to adjust the legs of a tripod to a firm position than to risk falling or dropping the camera.
   
   Often overlooked, however, is that tripods provide the ability to hold the camera at angles and perspectives that would be most uncomfortable, if not physically impossible, for the photographer. Shorter photographers may find benefit in the extended reach provided by the upper ranges of a tripod, while taller photographers appreciate the ability to set a camera at a lower angle and release the shutter via remote rather than having to stay on or near the ground in an awkward position.
   
   Finally, using a tripod frees the photographer to pay more attention to the placement of reflective and fill light. This is especially valuable to the photographer forced to work alone. With the camera set on the tripod, reflectors can be held close to the camera if need be without risking shaking or loss of balance. Combined with a remote shutter release, the tripod gives the single photographer almost as much flexibility in controlling light as might be achieved working with an assistant.
   
   
10. Wardrobe, or lack thereof. When shooting outdoors, especially in sunlight, wardrobe plays as strong a role in lighting issues as any other factor. Both colors and materials can dramatically effect a photograph as light is absorbed or reflected, sometimes in completely uncontrollable directions.
    
    At the most fundamental level, a very basic law of physics applies: white reflects all light, black absorbs all light. To the degree that a subject's wardrobe is lighter and more reflective, the more appropriate the wardrobe becomes for conditions where light is indirect, whether diffused by shade or some other element. Deeper hues, which contain more black pigment, are more appropriate for pictures in direct sunlight because they don't reflect light in strange directions.
    
    Wedding photographers know all too well the challenges of shooting white dresses in direct sunlight. If shooting in the early morning, the cooler light may cause the dress to reflect an amber glow, distorting the color of the dress. Taking pictures later in the day, when light not only becomes hotter but also more intense, risks the loss of detail as the reflected light overpowers the subtle shadows created by intricate bead and thread work. To some degree, the reflection can be moderately controlled by using the tightest aperture possible reducing the amount of reflected light allowed through the iris. However, utilizing a black reflector may be necessary to absorb light in situations where the combined white of the bride and other party members becomes too overwhelming.
    
    Where challenges most often arise are those situations where the subject's top is significantly lighter or darker than what one is wearing on the bottom. Most common are pairings of light colored shirts with dark colored jeans or trousers. This creates a difficult dichotomy in that the tight aperture most appropriate for the shirt is too dark for the trousers. In such situations, using fill on the darker wardrobe may be appropriate provided one is able to do so without changing the light intensity and/or temperature within the fill area.
    
    Equally challenging are circumstances where the difference between the clothing covering the body is dramatically darker or lighter than areas of exposed skin. Here, primary colors are the photographer's best friend as the light refraction creating these colors is the easiest with which the camera can work. Light-colored clothing on light skin as well as dark-colored clothing next to darker skin creates severe challenges in defining contrast. While fill light and aperture adjustments address roughly 80% of such issues, extreme conditions may leave the photographer with few options.
    
    Light and translucent-appearing skin benefit often from the use of a gold reflector, cooling the temperature of the light and, thereby, the reflection of light from the skin. This is especially effective when the sun is within a range of 30-45 degrees above the horizon.
    
    When using shadow to diffuse light, pastel colored clothing is most appropriate. As shadow diminishes the brightness but not temperature of available light, pure whites may still create considerable reflective glare while primary tones and darker often appear dull, especially with light-absorbing cotton material. Lighter, but not white, color hues provide enough vibrancy to the picture without overwhelming skin tones.
    
    Generally speaking, natural fibers such as cotton and wool tend to absorb more light, the exception being tightly threaded silk. Poly mixtures and artificial fibers are generally more reflective and their colors may not hold true under the brightest sunlight.
    
    Photography nude subjects outdoors is a wholly expansive subject on its own and is best addressed in a separate article.

Without question, there remain myriad detail issues which have not been covered in these two articles. However, keeping these basics in mind should provide one with sufficient foundation to begin experimenting with all the various factors impacting light and how it applies to outdoor photography. Now, pick up your camera and shoot!