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!

DON'T DAMAGE THE MODEL :: SAFETY ON LOCATION

"Expect the unexpected" is an over-used cliche that rarely lives up to the marketing hype to which it is attached. Yet, it is a reasonable mantra for any photographer planning to shoot on location. Once the confines of the studio have been left behind, one becomes subject to forces of nature, physics and humanity that are wholly unpredictable and, at times, quite dangerous.

Shooting on location can be quite exciting. Roaring waterfalls, crashing waves, breathtaking skies, and ebullient models are among the very reasons one picks up the camera in the first place. Unfortunately, in the fervor one often feels for getting "the shot," too often overlooked is the cardinal rule:: DON'T DAMAGE THE MODEL, which, by extension, applies to the photographer as well. One's haste and zeal to secure image to media should never, whether by intent or ignorance, create danger that might cause the next photograph to be one's last.

The days when photographers were generally stout men lugging a hundred pounds of equipment up the side of a hill are well in our past. Photographers today often gripe if their camera body weighs over five pounds. As a group, we do not generally cast as imposing a shadow as did our predecessors, while our increasingly digital equipment becomes all the more attractive to the snatch-and-grab thief. Most elements of location safety are but common sense if one takes the time to give the matter any serious thought. Yet, reviewing the basics, along with a few specific self-defense ideas, is well worth a few moments consideration.

1. AVOID GOING ALONE. Sure, there are times one wants to just grab the camera and get away from the noise and hustle. There's something peaceful about lying on the ground and waiting for the sun to hit just the right place for that perfect shot. Yet, for the majority of situations, and certainly any time a model is involved, there really is no legitimate reason to not have someone else tagging along.
   
   Having a third (or fourth) person increases the safety factor considerably. Both the photographer and the model must necessarily focus on their work, which often means blocking any external distractions that might occur just off set. While such attention is imperative to good photography, it inherently puts both the photographer and model at risk. A third, largely uninvolved, person need not be distracted and can watch for changing weather or approaching danger.
   
   In the most extreme situations involving personal assault, it may be possible for a would-be assailant to grab hold of two people, but almost certainly not three, leaving one person free to call for assistance. While one hopes to avoid such life-threatening situations, reports of such incidents have increased significantly over the past five years, giving cause for greater diligence in this matter.
   
   
2. Scout the location in advance. Chances are, any responsible photographer is going to scout a location anyway. However, in addition to considerations relating directly to the shoot, one should also consider safety factors. If shooting outdoors, consider:
   
   
   • the terrain: is the ground flat and soft, or rough and rocky?
   • Is there traffic nearby and, if so, what potential dangers might it pose, not only in terms of getting hit, but air quality that may cause breathing issues for anyone with asthma or other related conditions?
   • if shooting on a beach, what are tide conditions and when do they change?
   • is there a potential for acrid smells from nearby industrial facilities?
   • If shooting in water such as a stream or creek, what is the condition of the water and its bed?
   • what is the likelihood of encountering bees, wasps, snakes, or other potentially dangerous creatures?
     
   
   When shooting indoors at a non-studio location, consider:
   
   
   • what is the condition of the electrical facilities?
   • is running water available?
   • where are the nearest fire extinguishers?
   • are floor surfaces slick or stained with questionable material?
   • how many fire exits are available?
   
   Many of these items merely require a glance around the area and won't require much, if any, adjustment to one's shoot preparation. However, knowing this information can save considerable reaction time in the event of an emergency.
   
   
3. Maintain a first aid kit. Minor cuts and scrapes are the most common injuries experienced on location. A variety of bandage sizes, cotton balls, alcohol swabs, and anti-bacterial gel will usually address any minor problem that might arise. When shooting in the spring and summer months, one may want to add some form of mosquito repellent, skin lotions with sunblock, and possibly even a snake-bite kit. A thermal blanket is always an important item to guard against shock in the event of a fall or severe injury.
   
   Additionally, photographers should inquire of models whether they have any specific allergies or medical conditions that may be triggered by elements on location. Persons suffering with various forms of asthma, which is the most common issue, usually carry personal inhalers with them, but photographers should be aware of the disease and knowledgeable in providing assistance should an attack become severe. Diabetes and epilepsy are additional conditions that, while generally kept under control with medication, photographers should know how to address in the event of an emergency.
   
   Scented oils and lotions are the most common source of skin irritants, and unfortunately, may be allergies to which the model is not aware. Photographers are best advised to use unscented materials to avoid such unexpected reactions. Generally, there is little that can be done to offset skin irritants. Minor rashes may be reduced with zinc oxide. Calamine lotion helps with reactions to poison oak or sumac, but doesn't do much to help the shoot continue. If the source of the irritant is unknown, wash the area with warm water and seek medical attention.
   
   
4. Watch for changing weather conditions. When shooting outdoors, weather may be an obvious consideration. After all, the entire shoot is likely dependent on the weather meeting expectations. One tends to let down that guard when shooting indoors, though, which may result in unexpected excitement in the middle of the session.
   
   Lightening poses the most unexpected danger. The sun may still be shining on the model when changing conditions create lightening on the leading edge of a storm. The instant lightening is observed at a range close enough to hear the resulting thunder, photographers must make the decision to either move the shoot to an indoor location or cancel completely. During any weather event in which lightening is involved, there is no such thing as a perfectly safe outdoor location. Even indoor facilities with large windows can present unacceptable risks.
   
   No matter what time of year, atmospheric conditions can change suddenly and without much warning. Just prior to this writing, weather conditions went from an unseasonably warm 51 degrees to a chilling 20 degrees in less than three hours, spawning everything from rain, hail, tornadoes, and snow, leaving meteorologist scrambling in an attempt to keep up. While that situation might be rare, it does illustrate how rapidly conditions can move from favorable to dangerous. Photographers are responsible to maintain an awareness of environmental conditions and, when necessary, cancel a shoot to maintain everyone's safety.
   
   
5. Consider clothing dangers. What one wears on a shoot may seem unimportant to many inexperienced photographers. Yet, more than a few life-threatening conditions have been suffered simply because someone was wearing clothing inappropriate to the conditions.
   
   Over exposure to both heat and cold leave photographers and models at risk often without immediately realizing the danger. Fashion concepts are frequently shot during the opposite season for which the fashion is intended, resulting in models wearing long sleeves and heavy fabrics in warm weather, or swimwear and light fabrics in winter. Keeping everyone well hydrated and limiting the amount of time the unseasonable fashion is worn help eliminate potential problems regardless of the season.
   
   Footwear is important when shooting on or trekking through uneven terrain and/or in shallow water. Even the most sure-footed explorer is subject to injury when footwear is inadequate to provide sufficient guard against slipping or puncture.
   
   Hats and gloves may at times seem to get in the way, but are crucial both in regards to maintaining an even body temperature and avoiding sunburn.
   
   Finally, be extremely careful with clothing when using any type chemical or open flame during a shoot. Unlike fabrics in clothing designed for children, few adult fashions are made with flame retardant material and some synthetic materials may deteriorate simply from the fumes of certain chemicals such as paint solvents. Exercise extreme caution any time such potentially dangerous material is utilized.
   
   
6. Let someone else know where you are going and what time to expect your return. Both models and photographers should follow this rule no matter where they are going for a shoot. Even if the time frame for a shoot is uncertain, establish a period where everyone "checks in." In the unfortunate event that everyone involved is incapacitated, the ability of rescue officials to locate your party is critical to saving lives.
   
   
7. Keep food and water handy. Dehydration is one of the most significant, and most overlooked dangers one faces when shooting on location. Regardless of the season or temperatures, the body loses moisture with any level of physical exertion and more with any exposure to the elements. This slow, quiet loss of fluids may result in headaches and loss of coordination, and may trigger myriad otherwise dormant medical conditions. Since many models don't want to complain about what seems to be minor physical discomfort, problems seldom become evident until the situation is critical.
   
   In similar fashion, keeping some manner of food, such as fruit bars or hard candy, can help fight against anything from hypoglycemia, which is common when models haven't eaten for a while, to scratchy throats and coughs. Prepackaged food items travel easy and provide minimal sustenance in most emergency situations.
   
   
8. Hard cases are more useful than soft. Over the past few years, many photographers have taken to carrying lighter-weight soft bags for their equipment. Tear-resistant fabric and foam padding are sufficient to protect equipment from minor bumps and abrasions. However, soft cases may not be the best choice for photographers who frequently shoot on location or under any variety of challenging conditions.
   
   While any photographer does their best to protect their equipment, accidents invariably occur and the more one shoots the more likely one will fall victim to such an event. Soft cases do not protect lenses from falls greater then two or three feet. Digital camera bodies are essentially mini computers and subject to all the dangers from bumping and exposure to electrical and magnetic fields as would be a laptop. Furthermore, many soft cases are wholly inappropriate should something happen and the camera bag decide to go for a swim.
   Hard cases, whether made of rigid plastics or more sturdy titanium-based alloys, provide a much higher level of protection against both the elements and accidental mishandling. While their weight may be greater, what little inconvenience that may cause is immediately offset when the case protects against damage that would otherwise require the purchase of new equipment. In the event of extreme emergency, hard cases may also make formidable weapons as well.
   
   
9. Equipment can be weapons. No one likes to think that they will ever be placed in any degree of physical danger while on a shoot. Yet, as previously mentioned, cases of assault against both photographers and models have increased over the past five years. Most generally, such instances seem to occur in highly populated urban settings where the digital equipment is seen as being easily-pawned sources of cash (few would-be thieves have any idea how little value cameras hold at a pawn shop). While every effort should be made to avoid such situations, when confronted photographers are not without options in fending off would-be attackers.
   
   Tripods can be especially effective in extreme circumstances. Most modern tripods allow for their rubber tips to be screwed upward, revealing pointed tips designed to hold in soft soil. While the points are not sharp, their appearance can be menacing and, if necessary, may be effective in fending off attack long enough to secure additional assistance or call for help.
   
   Using the "test" mode on most flashes can also be an effective tool against assault. A flash set to full power and aimed directly into an assailants eyes causes momentary shock and blindness, giving one opportunity to run for help.
   
   No matter what the circumstances, photographers are best advised to apply only sufficient force as is necessary to escape a dangerous situation. The loss of equipment or other valuables is insignificant compared to the loss of life.
   
   
10. When in doubt, leave. Obviously, there is no way one can ever plan sufficiently to anticipate every possible danger that may occur while shooting on location. Who expects a curling iron to explode, or a flash to upset nesting hornets? Given enough time in the field, one is likely to encounter numerous circumstances which would never have been imagined while sitting quietly in the studio. The world is wild and adventurous and unpredictable, which is exactly the way we want it.
    
    One should never question their own uneasy concern, however. If a situation doesn't feel right, even if the dangers cannot be immediately identified, the more prudent move is to leave and re-schedule for another time. Neither model or photographer should ever feel compelled to shoot in an environment in which they are uncomfortable. Such photographs are not likely to be of usable quality and, at the very least, waste everyone's time. There is no shame in being safe and looking forward to shooting another day.

Hopefully, these considerations are sufficient to guard against the majority of safety concerns one might have when shooting on location. As previously stated, a little common sense goes a very long way in keeping everyone and everything safe. Our hope would be that every shoot would be incident and worry free, but for those occasions when something goes wrong, it is a relief to know that one is prepared.