Journalism 3333: Photojournalism

Let There Be Light Without light, there is no photography. The origin of the word photography comes from the Greek word phōt meaning “light,” and graphia, frequently translated as “writing", but can also refer to the process of drawing, painting, representing, recording, describing, etc. Photography is literally “painting with light!” Photographers must not only understand how light is recorded by a camera, but they also must understand the emotional and psychological effects light can have on human beings. Cameras record light in a mechanical and objective manner. However, humans see light with a subjective bias. How light is used by a photographer can have a profound effect on the perception of how a scene appears and on the emotion a photograph evokes. Choosing the type of light and which direction it comes from is one of the most important decisions a photographer can make. Good photographers use their understanding of light to enhance the viewers emotional response to their photographs. Joe McNally, the last official staff photographer for Life magazine, has this to say about light: “Look, light has every quality you associate with the written word or the verbal expression of speech. It can be angry, it can be soft, it can be harsh, slanting. I mean all those things…it has emotion and quality and character. And you have to look for it.” Light has its own language. One can often hear photographers talking about “good” light or the “right” light. To understand what's meant by the “right” light, it's important to develop the necessary vocabulary to discuss light in the context of photography. Sometimes we have to make photographs in less-than-ideal circumstances, as well, so it's important to learn how to work with existing light in order to take advantage of its properties.

Understanding and evaluating light Not all light is the same There are nuances – sometimes obvious, sometimes quite subtle – one must be aware of. There are three main components to light every photographer must understand:

1. quality 2. direction 3. color Evaluating these properties is usually the very first thing a knowledgeable photographer does when arriving at any scene. Understanding the properties of light can determine where a photographer positions him or herself. It can help determine when to schedule a photo shoot. Photographers are problem-solvers, and solving the problems that some types of light produce is one of the most basic tasks. Below is a list of the properties you should be aware of, as well as the associated characteristics – both desirable and undesirable. Memorize them and start observing them out in the real world:

1. Light Quality ◦

Hard or specular light is almost always produced by a direct light source, such as the sun, a spotlight, or a simple bare light bulb. Typically, hard light ▪

Emphasizes texture, detail, shape, and form

▪

Produces high contrast

▪

Produces deep shadows

▪

Can be difficult to work with and expose properly

▪

Hard lighting, when properly used and controlled, can result in bold, dramatic photographs. When uncontrolled and poorly exposed, the results are harsh and undesirable. !1

Journalism 3333: Photojournalism

◦

Soft or diffused light is almost always produced by a diffused or indirect light source, such as the sun on a cloudy day or light bouncing off a broad, light-colored wall, or through a curtain. Typically, soft light ▪

De-emphasizes form, texture, and detail

▪

Produces lower contrast

▪

Produces open, lighter shadows – you can see detail in the shadow areas in an image

▪

Easier to work with and expose properly

▪

Soft lighting, when used well, is often flattering for portraiture. It can produce photographs that are open and airy. While hard light produces more defined details, it only produces details in the midtones and highlights. The reduced contrast of soft light reveals more information in the shadow areas of an image. Often, photographers can be heard rooting for overcast conditions at midday. Why? This is related to …

2. Light Direction ◦

◦

Front Light is created when the light source is behind the photographer. The properties of front light: ▪

Shadows are mostly hidden from view

▪

Makes objects look flat (2-dimensional)

▪

Reveals little form, texture, or detail

▪

Hard frontal lighting is usually unattractive, giving a washed-out appearance – this is why oncamera, direct-flash photography is usually undesirable (and not allowed for this class!)

▪

Diffused frontal lighting can give a softening effect or an airy feel. This is commonly seen in highkey portraiture, wedding, and fashion photography.

Side light is a good place to start for beginning photographers who want to learn how to control and use light. By simply noticing the direction of a light source, the photographer can position him or herself so the light is striking their subject or scene from the side. Side light … ▪

is excellent for revealing texture and detail

▪

often creates long, dramatic shadows

▪

can give scenes a feeling of great depth. A 3-dimensional look for creating layers of information.

▪

Sunlight, early or late in the day, is the most common source of direct side light. A wall can be a source of reflected, diffuse side light. A window or door is an excellent source of side light indoors.

▪

“Rembrandt light” is a classic type of side lighting often used by painters that can create a pleasing, 3-D look on faces. Rembrandt lighting is characterized by these conditions: • The light source is typically from slightly above the subject, and about halfway between front and side (about 45° above and to the side). • The light creates two triangles on the the shadow side of the face: one a shadow created by the nose, the other a triangle of soft light on the cheekbone. • Rembrandt lighting is usually associated with studio lighting, but if you look around and position yourself correctly, you will find that nature can provide you with this this pleasing type of light.

!2

Journalism 3333: Photojournalism ◦

◦

◦

Back light is created when the light source is behind the subject or scene, directly in front of the photographer. It's most difficult scene to expose correctly, because the viewer is looking directly into the light source and the subject may be entirely in shadow. Characteristics of back light: ▪

emphasizes form and edge detail without revealing much texture.

▪

Usually results in high contrast scenes

▪

best for producing silhouettes

▪

when exposing for subjects, background may become washed out (not always bad)

▪

When using back light you may include the source of light, often the sun or a spotlight, for effect. Back light often requires some experimentation with exposure, but the effects can be worth the effort. Back light can be very dramatic!

Light from above is usually undesirable but often unavoidable because it is typical of midday sun and indoor fluorescent lighting. Light from above: ▪

usually creates harsh shadows in eye sockets and under the chin.

▪

is more acceptable with a broad diffused light source (overcast sky, for example).

▪

from a hard light source is usually undesirable unless a jarring effect is desired.

Light from below is usually even more undesirable than light from above, unless used for creative effect. Light from below: ▪

Looks “spooky”

▪

Can add an element of story-telling interest or a splash of color when emanating from a light source such as a fire, a computer screen, a cigarette, etc.

3. Color/Temperature ◦

It's important to distinguish between colors in a scene or objects and the color of light sources. The color cast of light may be subtle yet still evoke a psychological effect for the viewer of a photograph.

◦

Light Temperature ▪

The color of light varies according to its source and other environmental aspects such as time of day, time of year, atmospheric conditions, shade, etc. The human brain naturally compensates for color cast. What might not be perceptible to the naked eye can strongly rendered by a camera.

▪

The color of light is measured by temperature on the Kelvin scale. The higher the temperature, the more blue the color cast. The lower the temperature, the mor e yellow or red the color cast. A blue cast is referred to as “cool” light. A yellow or reddish cast is referred to as “warm” light. Warm light is usually considered to be desirable.

▪

There are other color casts that photographers should be aware of. Fluorescent lighting often has has a greenish cast. Sulfur lamps frequently seen lighting streets have a strong orange cast that is extremely difficult to compensate for because the lights cast a very narrow spectrum of color. !3

Journalism 3333: Photojournalism

White Balance Adjusting white balance (WB) is the process of removing unrealistic color casts so that objects which appear white in person are rendered white in your photographs. Most digital cameras have the WB set to “Auto” (AWB) as the default. While the “Auto” setting in most digital cameras does a good job of compensating for color casts, it does not always set the correct WB, especially when you have mixed sources of light (daylight and fluorescent for example). Knowing the color temperature (cast) of basic lighting conditions will help the photographer to know which preset WB to choose if AWB is not correct. Again, always shoot test frames, evaluate, and adjust, if necessary.

Properties of Daylight Daylight changes from hour to hour, sometimes minute to minute. Combinations of quality, direction, and color are associated with certain times and conditions. We must cover some events precisely when they are scheduled. However, when we can choose what time of day to cover an event or photograph an issue or person, we should be acutely aware of the properties of daylight. Choosing the right time of day to photograph a subject can make all of the difference between mundane photographs and a truly memorable ones.

◦

◦

◦

◦

Midday Sunshine ▪

Neutral color cast

▪

Creates harsh shadows and high contrast because of strong overhead lighting

▪

Tends to wash out colors

▪

Avoid direct midday sun, if at all possible

Late Afternoon/Early Morning, AKA “National Geographic” Light ▪

Roughly from sunrise to 9:00 a.m. and after 3:00 p.m to sunset., depending on the time of year

▪

Very warm spectrum, varying from light yellow to deep orange or red.

▪

Tends to saturate colors and really make them “pop!”

▪

Very pleasing to the eye

▪

Can be very dramatic due to the low position of the sun (see “side lighting”)

▪

Schedule photo shoots at this time, whenever possible

The Golden Hour ▪

One hour after sunrise and one hour before sunset

▪

Creates the most warm, dramatic, and directional light with richly saturated colors

Open Shade - on a sunny day ▪

Indirect light caused by buildings, structures, or a high tree canopy blocking direct sunlight

▪

Strong blue cast

▪

Creates soft shadows

▪

Control your background! Strong direct light in the background can cause distracting hot spots

!4

Journalism 3333: Photojournalism

◦

Overcast - when the direct sun is blocked by significant cloud cover ▪

Tends towards blue, but depends on the time of day and the amount of cloud cover.

▪

Usually very soft with light shadows, but bright overcast can still cause directional light

▪

Usually very desirable light

▪

Be aware of dappled, spotty sunlight. The mixture of light and shade can be difficult to expose correctly

▪

Control your background!! An overcast sky might look fine in black & white, but might be unattractive or distracting in color.

The right light! Again, how you use light can significantly effect how your photographs (and video!) emotionally and psychologically connect with your intended audience. Assessing the properties of the existing light should be one of first things– if not THE first thing – you do when you arrive at any location. You might not be able to control the properties of the available light, but but understanding them and moving around, you can take advantage of the positive properties or learn to augment the existing light with light “shapers” or by artificial lights such as flashes, strobes, or continuous studio light sources. But that’s a lesson for another class entirely. For now, learn to see and use the light that already exists. Hunt for the “right light!”

!5