A MOMENT IN THE SUN :: TONE AND SHADOW
Spring is a wonderful time for shooting outdoors. The warmer weather encourages exploration, wandering through nature, and free expression. With spring comes bright colors, the full spectrum of greens, blossoming flowers, deep azure skies. The photographic opportunities of spring are so great as to send any shutterbug, amateur or professional, rushing out into nature at every opportunity.
When doing so, however, we do well to follow the lead of the late Ansel Adams and exercise some patience and sensibility regarding when and from what angle and perspective we photograph a subject outdoors. Not all outdoor light is the same, and the sun represents a constantly transient source of illumination that changes not only in direction but in intensity and heat. While Adams is credited as having said, "Sometimes I do get to places just when God's ready to have somebody click the shutter," he also said, "A good photograph is knowing where to stand," and "A photograph is not an accident – it is a concept." Those familiar with his work know how often he waited for hours, and sometimes days, for just the right light. Such discipline is responsible for his reputation as one of the greatest photographers to date.
Unfortunately, in a society bent on instant gratification and following one's impulsive desires, too many photographers pick up a camera, rush outside, and start shooting without regard to the elements nature is providing. The result, far more often than not, is totally inferior photography of under developed concepts. Again, to quote Adams, "There is nothing worse than a brilliant image of a fuzzy concept."
The challenge here is that sunlight is never going to be exactly the same from one day to the next. Atmospheric conditions, clouds, air temperature and the earth's natural rotation all factor into how sunlight illuminates a specific object in a specific position at a particular time of day. To observe light at 7:10 AM today is an insufficient indicator of where and how light falls at the same time next week. One must be part astronomer, part mathematician, and part meteorologist to accurately predict sunlight on any given day.
Fortunately, for most photographic work, one does not need exact measurements. There is generally a range of a few minutes that is reasonably acceptable for quality photography. Even then, however, one must be keenly aware of what changes occur as the sun moves across the sky. As the sun rises higher in the sky, the increasing temperature of the light (not the air) effects the reflective tone, while the angle and position of the sun effects the direction and intensity of shadows.
To illustrate, consider the following images of an antique ceramic wash basin and pitcher. The white ceramic does a wonderful job of reflecting the tonal temperature of the sunlight in the early morning.
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The three images, taken approximately thirty minutes apart, demonstrate a distinct change in tonality resulting from the increasing temperature of the sunlight. In the first image, taken at 7:21 AM EDT (-6:00 GMT), there is a distinct and recognizable amber hue reflected by the bowl and basin. The second image, taken thirty minutes later, still shows a hit of amber reflection, but one can see that the effect is considerably diminished from the earlier photograph. By the time of the third image, taken just over an hour from the first, there is only the slightest hint of amber left, the sunlight having changed considerably.
Which image is best? When is the better time to shoot?
The answer lies in defining the concept of the photograph. If the purpose is to accurately portray the colors of the bowl, then the third image is better. In fact, one might want to wait another fifteen to thirty minutes to completely remove any trace of amber reflection. However, if one's purpose is more artistic, leaning toward capturing the hue of an early spring morning, then perhaps the first image is more suitable to that end.
When working with people, often the earlier light is preferable, depending on the person's skin tone. Especially when working with individuals who have very fair, almost translucent skin, the amber tone of the early morning or late evening brings much needed color to the image and helps prevent over exposing some of the natural trouble spots. However, if the subject has been spending countless hours in the tanning bed getting ready for summer, the amber tone may cause the skin to reflect a ghastly orange, making a warmer light preferable.
The second factor one has to consider when shooting outdoors is shadow, not merely in terms of position, but intensity as well. Angle of the sun and of the camera in relation to the subject both play tremendous roles in determining where and how shadowing effects a photograph. Generally speaking, shadows are longer, and softer, when the sun is less than thirty degrees above the horizon. However, unless one is shooting in the middle of a desert or on an ocean beach, the sun is likely to be obscured by trees, buildings, and other obstacles that eliminate much of that period from exhibiting usable light. If the concept requires capturing the softest shadows, one may struggle to find a location with clear access to the horizon. Workable shadows may be present, depending on conditions, up to a 45 degree angle of the sun above horizon, but beyond that shadows become quite short and very harsh.
Just how quickly shadow changes is illustrated in the following set of images, converted to black and white to emphasize the shadow gradient.
Again, the most distinct difference is observed between the first image, taken at 7:22 AM EDT, and the last, taken at 8:20 AM. The red marks provide points of reference for marking noticeable changes in the location and spread of the shadows. One can see how with the time progression the shadows shorten and become more intense toward the back of the bowl, the side furthest from the sun. The gradient that is soft and gradual in the first two images, becomes much more hard and defined within a relatively short period of time.
Softer shadow gradients are generally preferable when one is photographing people. Long shadow gradients soften facial features and, in some cases, can even be useful in hiding problem areas. Short, intense gradients may cause a person to appear more stern, chiseled, and hard by comparison. Shorter gradients benefit architectural images, providing sharp definitions to lines and intricate features that might otherwise be missed.
Shooting outdoors is something of a paradox. One one hand, photographers need to know what manner of light is going to be best suited to the subject and schedule their work around the optimum time for achieving that light. At the same time, however, one can scarcely predict with accuracy whether the weather and other atmospheric conditions will actually provide the light desired. Spring weather can be surprising in how quickly it changes, requiring tremendous flexibility on the part of the photographer and anyone else involved. Certainly, there are those times when nature seems to hand one the perfect setting, just add camera and click. But the professional photographer knows knows that such luck comes partly from knowing what time of day nature is likely to deliver such an opportunity and having the skill to best take advantage of the gift.
Nonetheless, Spring offers one a delightful opportunity to break free of the constraints of artificial light, breathe a bit of fresh air, and enjoy the natural world. Setting one's alarm early and going out with camera in one hand and coffee in the other can be an exhilarating start to the day and create an opportunity for truly amazing images. There is a little of Ansel Adams in all of us. Take a moment in the sun and enjoy!
When doing so, however, we do well to follow the lead of the late Ansel Adams and exercise some patience and sensibility regarding when and from what angle and perspective we photograph a subject outdoors. Not all outdoor light is the same, and the sun represents a constantly transient source of illumination that changes not only in direction but in intensity and heat. While Adams is credited as having said, "Sometimes I do get to places just when God's ready to have somebody click the shutter," he also said, "A good photograph is knowing where to stand," and "A photograph is not an accident – it is a concept." Those familiar with his work know how often he waited for hours, and sometimes days, for just the right light. Such discipline is responsible for his reputation as one of the greatest photographers to date.
Unfortunately, in a society bent on instant gratification and following one's impulsive desires, too many photographers pick up a camera, rush outside, and start shooting without regard to the elements nature is providing. The result, far more often than not, is totally inferior photography of under developed concepts. Again, to quote Adams, "There is nothing worse than a brilliant image of a fuzzy concept."
The challenge here is that sunlight is never going to be exactly the same from one day to the next. Atmospheric conditions, clouds, air temperature and the earth's natural rotation all factor into how sunlight illuminates a specific object in a specific position at a particular time of day. To observe light at 7:10 AM today is an insufficient indicator of where and how light falls at the same time next week. One must be part astronomer, part mathematician, and part meteorologist to accurately predict sunlight on any given day.
Fortunately, for most photographic work, one does not need exact measurements. There is generally a range of a few minutes that is reasonably acceptable for quality photography. Even then, however, one must be keenly aware of what changes occur as the sun moves across the sky. As the sun rises higher in the sky, the increasing temperature of the light (not the air) effects the reflective tone, while the angle and position of the sun effects the direction and intensity of shadows.
To illustrate, consider the following images of an antique ceramic wash basin and pitcher. The white ceramic does a wonderful job of reflecting the tonal temperature of the sunlight in the early morning.
TThe three images, taken approximately thirty minutes apart, demonstrate a distinct change in tonality resulting from the increasing temperature of the sunlight. In the first image, taken at 7:21 AM EDT (-6:00 GMT), there is a distinct and recognizable amber hue reflected by the bowl and basin. The second image, taken thirty minutes later, still shows a hit of amber reflection, but one can see that the effect is considerably diminished from the earlier photograph. By the time of the third image, taken just over an hour from the first, there is only the slightest hint of amber left, the sunlight having changed considerably.
Which image is best? When is the better time to shoot?
The answer lies in defining the concept of the photograph. If the purpose is to accurately portray the colors of the bowl, then the third image is better. In fact, one might want to wait another fifteen to thirty minutes to completely remove any trace of amber reflection. However, if one's purpose is more artistic, leaning toward capturing the hue of an early spring morning, then perhaps the first image is more suitable to that end.
When working with people, often the earlier light is preferable, depending on the person's skin tone. Especially when working with individuals who have very fair, almost translucent skin, the amber tone of the early morning or late evening brings much needed color to the image and helps prevent over exposing some of the natural trouble spots. However, if the subject has been spending countless hours in the tanning bed getting ready for summer, the amber tone may cause the skin to reflect a ghastly orange, making a warmer light preferable.
The second factor one has to consider when shooting outdoors is shadow, not merely in terms of position, but intensity as well. Angle of the sun and of the camera in relation to the subject both play tremendous roles in determining where and how shadowing effects a photograph. Generally speaking, shadows are longer, and softer, when the sun is less than thirty degrees above the horizon. However, unless one is shooting in the middle of a desert or on an ocean beach, the sun is likely to be obscured by trees, buildings, and other obstacles that eliminate much of that period from exhibiting usable light. If the concept requires capturing the softest shadows, one may struggle to find a location with clear access to the horizon. Workable shadows may be present, depending on conditions, up to a 45 degree angle of the sun above horizon, but beyond that shadows become quite short and very harsh.
Just how quickly shadow changes is illustrated in the following set of images, converted to black and white to emphasize the shadow gradient.
Again, the most distinct difference is observed between the first image, taken at 7:22 AM EDT, and the last, taken at 8:20 AM. The red marks provide points of reference for marking noticeable changes in the location and spread of the shadows. One can see how with the time progression the shadows shorten and become more intense toward the back of the bowl, the side furthest from the sun. The gradient that is soft and gradual in the first two images, becomes much more hard and defined within a relatively short period of time.
Softer shadow gradients are generally preferable when one is photographing people. Long shadow gradients soften facial features and, in some cases, can even be useful in hiding problem areas. Short, intense gradients may cause a person to appear more stern, chiseled, and hard by comparison. Shorter gradients benefit architectural images, providing sharp definitions to lines and intricate features that might otherwise be missed.
Shooting outdoors is something of a paradox. One one hand, photographers need to know what manner of light is going to be best suited to the subject and schedule their work around the optimum time for achieving that light. At the same time, however, one can scarcely predict with accuracy whether the weather and other atmospheric conditions will actually provide the light desired. Spring weather can be surprising in how quickly it changes, requiring tremendous flexibility on the part of the photographer and anyone else involved. Certainly, there are those times when nature seems to hand one the perfect setting, just add camera and click. But the professional photographer knows knows that such luck comes partly from knowing what time of day nature is likely to deliver such an opportunity and having the skill to best take advantage of the gift.
Nonetheless, Spring offers one a delightful opportunity to break free of the constraints of artificial light, breathe a bit of fresh air, and enjoy the natural world. Setting one's alarm early and going out with camera in one hand and coffee in the other can be an exhilarating start to the day and create an opportunity for truly amazing images. There is a little of Ansel Adams in all of us. Take a moment in the sun and enjoy!
Labels: instruction, light, nature, outdoors, photography
posted by Charles at
10:53 AM
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