Lighting Observations, Lighting Terms
There are commonly used terms that describe lighting conditions and how they relate to both photographic "seeing" and camera technique. The aim here is not to categorize the miraculous, but to suggest ways in which you can capture the subtlety and nuance of light in a wide variety of conditions.
There are some terms that will be abbreviated throughout this entry: WB=white balance settings on your camera. ISO=Light sensitivity settings. CWA=center-weighted averaging metering pattern setting. Biasing refers to the area of brightness that should be taken into most consideration when making light readings. Bracketing refers to adding +/- exposure to the read light.
In photography, light is often defined by its source
Natural Light: Primarily from the sun. The intensity, color temperature and contrast is infinitely variable, as are the influences of reflection, transmission, and diffusion: all can change the perspective and mood within the scene.
The middle afternoon sky was clear, thus no influence of the color cast of light is evident. An exposure reading was made from the upper right corner of the frame and then locked for this composition. Copyright: George Schaub
Ambient Light: Also referred to as "available" light", this term generally applies to low light scenes that usually require a higher ISO setting and/or slow shutter speed (depending on widest lens aperture).
Here, this store display was photographed at night through the display window using the interior lighting as the sole source. The circular lens shade was placed very gently against the pane to eliminate reflections and help steady the camera. ISO was set at 800 to capture a wide range of illumination.
Copyright: George Schaub
Artificial Light: Illumination provided by filament or fluorescent bulbs, strobe (flash) or any other battery or mains powered lights. On-camera flash generally provide automatic output, though testing is encouraged. WB should be set on Auto, although for more refined results consider a "custom" white balance tailored to the light source (see your instruction book for more). For pro or studio strobe a handheld light meter comes in very handy.
Auto white balance setting held record a "natural" look of the lights of New York's Times Square. ISO was set at 800 as the widest aperture on this fisheye lens was f/5.6. Copyright: George Schaub
Light is also defined by its character, where mood and sense of time and place are defined.
Hard Light: Hard light creates high contrast and deep shadows. While challenging in some ways it is an exciting light to work in, given you know how to control contrast. It can be directional, meaning it comes to the scene from an oblique angle. It can also be ambient, especially at high altitudes or when the sun shines brightly on a snow covered landscape. Knowing what information to "feed" the metering system is important, as biasing the exposure toward the highlight means rich values with less danger of overexposure. Exposure bracketing is good practice, with spot or CWA on the brighter area.
There is a lot of graphic potential within "hard light" scenes, especially when the reading is specific to the highlight area. Here, a spot reading was locked on the yellow hull in the background. Note how the red brace in the foreground stands out as counterpoint within the frame. Copyright: George Schaub
The "afterglow" effect occurs for about 20 minutes after the sun sets below the horizon and provides a wonderful soft light for any subject or scene. Often thought of as primarily an effect for nature scenes it also works well for city skylines. These scene was bracketing -1EV. Copyright: George Schaub
Warm Light: Warm light generally refers to a color cast in the yellow/amber side of the spectrum. It can emanate from the low angled setting sun or even from a tungsten bulb in a room. While the instinct or even the right choice may be to switch to Auto WB to eliminate the cast, photographing warm light scenes using the Daylight WB settings maintains the perceived light in the scene.
Daylight WB setting maintains the warmth of the setting sun on these redwoods; using Auto may have "balanced" the cast but for me would have sacrificed the mood. Warm balance images tell the viewer about not only the subject but the time of day in which the picture was made. Copyright: George Schaub
Mixed Light: Choosing Auto or Daylight WB, or even setting a Custom WB, can have a major affect on scene rendition. Auto will tend to find a solution that may or may not appeal; warm will create the above-mentioned amber cast, while a Custom WB, will allow for a wide range of rendition options.
Here's an example of mixed color casts, warm and cool (or bluish). The setting sun was sending golden rays flat across the horizon while an approaching mountain storm (untouched by the rays of the sun) recorded in the blue range. Both recorded correctly as the way I saw the scene at the time. When I want to record color casts as I saw them I use Daylight, not Auto, WB. Copyright: George Schaub
Light's Direction: Light can also be defined and exposed according to the direction from which it originates and, of course, the point of view of the photographer.
Backlight: This is when subjects fall within their own shadow. You can also use backlight to create a bright background for an object or subject, then use flash to illuminate the foreground.
Taken at sunset with the lighthouse between my camera and the sun, a perfect silhouette is formed, with the lantern passing the light between its structural ribs. Copyright: George Schaub
Side Lighting: Side light occurs when you place yourself at somewhere between a 90 and 45 degree angle from the light source. Sidelight can occur right after dawn or near dusk when the light travels across the surface of the earth. When exposing, concentrate on the brighter areas using CWA or even spot metering pattern and if the light's challenging don't hesitate to bracket.
Side lighting presents both challenges and great rewards when done right. Here I made two exposures, one using CWA metering and the other spot reading, and then exposure lock after each reading. One exposure (CWA) incorporated the sky but included some of the ground, while the other (spot) reading was made off the golden light on the field. The CWA image worked best, as it averaged out the brighter sky area and created nice shadows. The spot reading was great for the field and barns, but overexposed the sky somewhat. Remember, with digital you have to control the highlights, as you can "dig" into the shadows during processing later. Copyright: George Schaub
