PRO LIGHTING TECHNIQUE
This article first appeared in issue 162. For back issues please visit professionalphoto.online
Making Use of
Window Light WORDS SARAH PLATER / IMAGES PAUL WILKINSON
Window light can be the perfect source for the professional. Learn how to position your subject, why it matters which direction your windows face and how to deal with direct and indirect sunlight.
O
ur architecturally quirky studio has windows facing all four aspects. Some are full-length, some are standard sizes and others are tiny apertures tucked up near the ceilings. At certain times of the day, in certain spots and under certain weather conditions, a shaft or two of sunlight will pour through one of the smallest, highest windows like the aura of an angel. If I notice this light during a shoot I pause whatever I had planned and usher my subject under this spotlight. It doesn’t
work every time, but it’s always worth a punt. When it does pay off it’s usually my favourite image of the whole session. That’s partly because of the quality that glass will add to direct sunlight. It could be the imperfect surface of the glazing, but somehow this type of light is magical. It’s also due to the high position of these small windows. One of the challenges of working with window light is getting the angle right. A high window generally produces a more flattering angle to the light than a low one. In fact, with a
or the other. And of course, it can make your subject squint. However, the sun’s light is softer and more flattering at the start and end of its arc through the sky each day. So a southfacing window that is difficult to work with at midday could offer beautiful light in the morning or evening. If you can’t change the time of your shoot you can always change the quality of the light through some DIY or
ABOVE: 50mm, f/4, 1/180sec, ISO 1100 The softest light is from a north-facing window (in the northern hemisphere) or a diffused window if direct sun is hitting it. This is Lucy, a world-famous portrait painter. The indirect sunlight from her windows is softened further by the white walls of the room, which bounce light around and help to reduce the density of any shadows.
SOFT, INDIRECT WINDOW LIGHT Studios in the northern hemisphere that use natural light often rely on a northfacing window. The sun rises in the east, sets in the west and shines over southernfacing aspects throughout the day. Therefore, having a north-facing window enables those studios to avoid direct sunlight coming through. As we’ve shown in a previous feature (Professional Photo, issue 159), direct sunlight can be an incredibly effective and dramatic lighting source. However, it also presents additional challenges for the photographer. For example, the quality of the light is harsher, so it can be a lot less flattering. It causes higher contrast between areas of light and shade, which means the photographer may have to come to terms with losing detail at one extreme
16 // PROFESSIONAL ANNIVERSARY EDITION 30 PROFESSIONALPHOTO PHOTOFREE ISSUE 162
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