Photographic Lighting Essential Skills

Page 134

lighting on location

Flash as a key light The main light in studio photography is often referred to as the ‘key light’. Using studio techniques on location is popular in advertising and corporate photography where mood is created rather than accepted. In this instance flash becomes the dominant light source and the ambient light serves only as the fill light. When the ambient light is flat, directional light can be provided by off-camera flash. This enables the photographer to create alternative moods. The use of off-camera flash requires either the use of a ‘sync lead’ or an infrared transmitting device on the camera.

Slave units Professional quality flash units come equipped with a light-sensitive trigger (optical slave) so that as soon as another flash is fired by the camera the unconnected flash or ‘slave’ unit responds. On location the slave unit can be fired by the use of a low powered on-camera flash (optical slave), by radio communication (wireless) or infrared. Wireless offfers the most flexibility as line-ofsight is not required between the trigger and the slave unit.

Accessories A tripod or assistant is required to either secure or direct the flash. An umbrella or alternative means of diffusion for the flash may be considered. Color compensating filters may also be considered for using over the flash head. A warming filter from the 81 series may be useful to create the warming effect of low sunlight.

Technique ~ ~ ~ ~ ~ ~ ~

Check the maximum working distance of the flash. Ensure the key light is concealed within the image or out of frame. Diffuse or bounce the key light where possible. Consider the effects of fall-off. Avoid positioning the key light too close. Establish a lighting ratio between the key light and ambient light. Consider the direction of shadows being cast from the key light.

When working at night the photographer may have the option of approaching the subject and firing a number of flashes manually during an extended exposure (recharging the unit each time). The photographer or assistant must take care not to illuminate themselves during this process.

121


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Introduction

25min
pages 197-214

Changing the weather in post-production

4min
pages 187-189

Composite lighting

3min
pages 190-196

Creative post-production

2min
pages 185-186

Illusion of movement

1min
page 184

Lighting ratios

8min
pages 170-173

Introduction

3min
pages 181-183

On location

4min
pages 174-180

Working with studio lights

7min
pages 166-169

Mixed light sources

1min
page 165

Light sources

4min
pages 162-164

Health and safety

1min
page 161

Studio lighting

1min
page 160

A black and white digital workfl ow

5min
pages 154-158

Perfecting the system

1min
page 153

Calibration tests

1min
pages 151-152

Introduction

1min
page 159

Operating the system

5min
pages 148-150

The zones

2min
pages 146-147

Contrast control

1min
page 145

Zone placement

2min
page 144

Double exposures

1min
page 137

High dynamic range

5min
pages 138-142

Slow-sync fl ash

1min
page 136

Introduction

1min
page 143

Fill fl ash

2min
page 133

Flash as a key light

2min
pages 134-135

Diffusion and bounce

1min
page 132

Flash as the primary light source

2min
page 131

Fill

1min
page 124

Refl ectors

1min
page 125

Flash

1min
page 126

Filter factors

3min
pages 117-122

Guide numbers

3min
pages 129-130

Introduction

1min
page 123

Filters for lenses

9min
pages 111-116

Color accuracy in camera

4min
pages 106-110

Color accuracy on screen

1min
page 104

Introduction

2min
page 103

Cross-processing effect

1min
page 99

Color profi les

1min
page 105

Latitude

1min
page 97

Pushing and pulling fi lm

1min
page 98

Limitations of fi lm capture

2min
page 96

Noise

2min
pages 94-95

Image characteristics

2min
page 93

Introduction

3min
pages 89-90

Choosing a capture medium

2min
page 91

Summary of exposure compensation

2min
pages 85-88

Raw format exposure considerations

13min
pages 64-74

Contrast

6min
pages 75-79

Exposure compensation

6min
pages 80-84

Interpreting the meter reading

8min
pages 59-63

Intensity and duration

6min
pages 49-52

Color

16min
pages 34-46

Hand-held light meters

2min
page 53

Taking a hand-held meter reading

5min
pages 54-56

Introduction

3min
pages 47-48

TTL light meters

3min
pages 57-58

Contrast

2min
pages 32-33

Direction

1min
page 31

Quality

2min
pages 29-30

Research and resources

1min
page 17

Introduction

2min
pages 23-24

Independent learning

2min
page 16

Visual Diary

0
page 18

Source

3min
pages 25-26

Intensity

2min
pages 27-28

Research, presentation and storage

1min
pages 20-22

Process and progress

1min
page 15
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