Lighting Filters Flash

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• Light / Lighting
• Form
• Filters

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• Light
• natural artificial

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NATURAL
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Florescent Neon
Incandescent
ARTIFICIAL
Flash
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• Qualities of Light
• intensity
• direction

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Intensity can be described using terms
Direct / Hard / Harsh
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Intensity can be described using terms
Direct / Hard / Harsh
Strong / Deep Shadows. Strong contrast between
shadows and highlights.
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Point Source
Intensity can be described using terms
Direct / Hard / Harsh
Strong / Deep Shadows. Strong contrast between
shadows and highlights.
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Intensity can be described using terms
Diffuse / Soft
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Intensity can be described using terms
Diffuse / Soft
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shadows
shadows
Diffuse / Soft
shadows
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shadows
shadows
Dont confuse this with natural contrasts!
shadows
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natural contrasts
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contrasts created by the play of light on the
subject.
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soft shadows
contrasts created by the play of light on the
subject.
no shadows
strong shadows
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soft shadows soft light
contrasts created by the play of light on the
subject.
no shadows very soft light
strong shadows strong light
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Direction
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Direction
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The direction of light alters the perception of
volume, form, texture.
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Form is the three dimensional shape of an object.
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Lighting reveals form.
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More specifically, lighting reveals
form by creating a gradation ...
the varying degrees of shadow and highlights.
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no form - just shape
the varying degrees of shadow and highlights.
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Texture
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intensity direction
are manipulated to reach the
Lighting Objectives
Obtain proper exposure ( true tones colors
) Reveal form and texture Create a mood
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Roach
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Callahan
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Brandt
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Winogrand
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Contrast Range
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Contrast Range
Histogram
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Histogram
low key - mostly low tones
high key - mostly high tones
Barak A. Yedidia
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Histogram
low key - mostly low tones
high key - mostly high tones
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Histogram
Low Contrast
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Histogram
Overexposure
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Histogram
Overexposure
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Histogram
Underexposure
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Histogram
Underexposure
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• Available Light

Making the best of what light there is.
Use a reflector Wait for the light to
change Move your position / change your
perspective
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Using a Reflector
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Using a Reflector
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Wait for the light to change
heavy clouds, predawn
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Change of perspective
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FLASH!!
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Red Eye
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Red Eye

• In low light the pupil is dilated. The flash
  reflects off the blood vessels at the back of the
  eye.

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Flash Fall-Off
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Fill in Flash
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Flash used creatively
O. Winston Link
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Flash used creatively
O. Winston Link
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O. Winston Link
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White Balance

• Color adjustment made within the camera to
• ensure that white looks truly white.

TungstenIncandescent
Fluorescent
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White Balance

• Color adjustment made within the camera to
• ensure that white looks truly white.

TungstenIncandescent
Fluorescent
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White Balance

• Color adjustment made within the camera to
• ensure that white looks truly white.

TungstenIncandescent
Fluorescent
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White Balance

• Auto - camera makes its best guess on the
  lighting conditions (daylight, fluorescent,
  incandescent).
• Pre-set to match lighting.
• Some cameras have custom white balance.

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Filters
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Filters modify light.

1. Reduce intensity
2. Change tonal range
3. Color the light
4. Special Effects
5. Polarize the light

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1/3 2/3 3/3 stop
A neutral density filter reduces the intensity of
light. ND filters are calibrated in fractions of
f/stops. f/16 0.6ND f/32 (effectively)
( 2 stop ND filter )
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Black White
Certain solid color filters change the tonal
balance of black white film.
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no filter
filter
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Red filter
Green filter
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Photoshop bw from color
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A colored filter will produce a color cast over
an image.
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Special Effects
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A polarizer reduces reflections from glass, metal
and water.
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A polarizer reduces reflections from glass, metal
and water.
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Filters are also used to modify light from the
source.
Gels
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Some gaffers equipment
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Umbrellas
Softboxes Barndoors Snoots Cookies
Gobos Scrims Diffusers Reflectors
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Some gaffers equipment
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Some gaffers equipment
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Lighting Objectives
Obtain proper exposure Reveal form and
texture Create a mood
Qualities of Light intensity direction

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Direction Intensity Texture Mood Form
Gertrude Kasebier, 1899
Alinari Brothers, 1895
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Direction Intensity Texture Mood Form
Grand Duchesses of Russia - early 20th century
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Direction Intensity Texture Mood Form
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Direction Intensity Texture Mood Form
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Direction Intensity Texture Mood Form
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Direction Intensity Texture Mood Form
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Direction Intensity Texture Mood Form
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Direction Intensity Texture Mood Form
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Shadows 2 prints
Assignment
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Shadows 2 prints
Not quite
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Shadows 2 prints
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The object of this assignment is to become
sensitive to ways in which light can transform a
common object or scene. As an example, imagine
you are standing in the woods with your camera.
Its 12 noon on a bright July day. As you turn
around in a circle to find something to
photograph you will notice that the light is
pretty much the same in all directions. Being
that the light is coming from directly above
there are no dramatic shadows in fact, they are
below the object creating them. Now, if you
return at 8pm (or you stand and wait until then
its your choice) you will find that as you turn
around you see a wide variety of light. Facing
into the setting sun everything is in silhouette,
the colors are gone. Turn around 180 and you have
a mosaic of deep shadows and bright colors
created by the sunlight filtering through the
trees behind you. To either side you might
photograph distinct shafts of light. Light is
the photographic medium par excellence it is to
the photographer what words are to the writer
color and paint to the painter wood, metal,
stone, or clay to the sculptor. - Andreas
Feininger
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Red eye
Solutions Have subject look away from the
camera Bounce the flash Red-Eye Reduction
setting - triggers pre-flash which closes the
subjects pupils Photoshop
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Bounced Light
Adjustable flash unit can bounce light.
Off wall
Off ceiling
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External Flash
Requires a Hot Shoe on the camera.

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Intensity strength