LOCATION LIGHTING - SNOW

These were taken in Germany before Christmas, when it was minus 20 degrees. The lake had frozen. This was at Magic Hour and I think the light is really special giving a soft glow to the pictures, and avoiding any over exposure issues which you can get with snow being so reflective.

I particularly like the tree the way it is all bent over and twisted, leading the eye to the sunset.

LOCATION LIGHTING - SNOW

This was taken in my village at 5am one morning after it had first snowed. I feel that it is really interesting as it shows all different types of lighting, tungsten, sodium, halogen, and reflected light from the white snow.

FRUIT - LOW KEY LIGHTING

This is the exact opposite to High Key, better known as Low Key Lighting. The settings are the same, except that I closed the aperture down to f16, which lets less light into the camera. This effect causes the edges of the image to disappear in to the darker shadowy side, but highlights create perfectly crisp sharp outlines and edges. This is good for masculine or male photography, whereas High key works better with women and babies since it is softer.

PRACTICAL SESSIONS - Light Sources

This image was taken by placing a black card or book in front of the soft box, which cuts down any odd reflections on your highly reflective glass object.

PRACTICAL SESSIONS - Light Sources

By adding a reflector above your object you cast the light down again, until you get the desired effect.

PRACTICAL SESSIONS - Light Sources

Different types of light creating different effects.

PRACTICAL SESSIONS - Light Sources

This effect was created by blocking light that would reflect and making the light bounce downwards.

PRACTICAL SESSIONS - Light Sources

Careful positioning of lights with diffusers creates subtle effects.

PRACTICAL SESSIONS - Available Light

These two images show the effect of using a daylight balanced light tube, left underneath the subject, giving a spooky under lighting effect; and right, using the same tube overhead, or above, giving a more flattering effect, and casting shadows under the face.

Daylight is balanced at 5500 degrees Kelvin.

PRACTICAL SESSIONS - Available Light

These 3 images show, far left, straight daylight when the background is a white wall, and no shadow issues; middle, the effect when the light is coming from one side, casting a shadow to one side of the face; and right, the effect of setting your white balance to tungsten in daylight which gives a blue cast.

PRACTICAL SESSIONS - Available Light

This is the use of daylight from the window behind, but using a reflector behind the cameraman to bounce the light back, similar to fill in flash, which lights up the detail of the face.

PRACTICAL SESSIONS - Available Light

This is an example of using available light where the subject is set against a window where the light is coming in, without using a reflector, so there is light around the edges but the face is under exposed.

PRACTICAL SESSIONS - Lighting Techniques

By putting a large board in front of the light on the left, you can see that it has cast a shadow on the subjects face which adds interest to the picture. This also uses a soft box diffuser at a 45 degree angle overhead, casting shadows under the chin.

PRACTICAL SESSIONS - Lighting Techniques

By changing the direction of your studio lights you can alter the look of your work. On the right the lighting is lower than the subject making a moody shot, but on the right it is placed at a 45 degree angle making the look more flattering.