LIGHTING FOR EFFECT

Since light is the medium that makes photography possible, it will be clear that manipulation of light will have a very great effect on the results produced.   Light is a radiation of energy having various wavelengths or colours, which together produce the effect of white light.   Light can be manipulated in various ways and the effect can be accurately predicted.

Since most photographs make use of light reflected from objects to produce the image, we shall deal with various types of lighting and their effect on solid objects.   A solid object will reflect light from a source towards the camera but will impose on the reflected light various shades and colours depending on its own shape and colour.   The source of light may be directional, that is behave as if coming from a point source, or it may be diffuse.   Directional light creates sharp shadows and we must see that the angle of such a source is carefully controlled for the desired effect.   Sunlight is highly directional while light coming from the sky or through cloud is diffuse.   We can imitate nature by using either direct sources or light diffused from a large surface to illuminate our subject or a combination of both.

Directional light creates strong shadows and emphasises texture.   So its position relative to the subject must be carefully studied to produce the required modelling effect of its shadows.   Virtually any position of this key light can be tested and the effects noted visually.   With artificial light such experiments are easier and there can be more scope for creativity.   Direct frontal lighting lowers contrast and reduces shadows while directly behind the subject it renders the outline only.   Other more usual positions are about 45 degrees either side of and slightly above the subject.   Such positions give good tonal gradation on solid subjects and are suitable for simple portraits.   Lighting from above or below tends to produce dramatic effects and can create the mood of the picture.   Do not neglect the effect of the inclusion of large shadows in your composition.

If it is found that the single source of directional light has created too strong shadows a second source of diffused light may be added to control the contrast.   The position of this fill-in light is not critical and can come from the camera direction.   The relative brightness of the two sources can be adjusted by varying the distance to the subject of any of them.

Of course the above lighting effects can be achieved easily only when full control of the light is possible, that is with artificial light using photoflood or electronic flash.   Natural light, however, has much the same characteristics, with the sun itself providing directional light and the sky diffused light.   Of course less control is possible here and patience must be used to get the desired effects.   Remember that a white reflector can sometimes be used as a source of diffuse fill-in light both in natural and artificial lighting conditions.

Once the basic lighting is provided, other details can be added.   With certain subjects, including portraits of people, a spark of life can be put in the picture by means of small catch-lights reflected from, for example, the eyes.   These can be created by using the key-light or an additional small source strategically placed.   Such small highlights can be the focus of attention and they must not be neglected.   Another light source might be used to illuminate backgrounds and remove unwanted shadows from them.   For special effects additional lights can be used for rim-lighting the subject or to emphasise certain areas.   In the last three examples the light source can be a highly directional one such as a spotlight.

Finally, remember that highlights attract attention while shadows can be used for modelling shape and producing a solid effect.   Light is an extremely powerful tool for the photographer and when mastered will be the most important single factor leading to creative work.

RL 28/4/85