Studio Photography Essential Skills, 4th Edition P18 pps
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Jeph Ko
essential skills
Develop knowledge and understanding of the use of artifi cial light sources, camera •
and associated equipment on location.
Develop an awareness of the effect of artifi cial light in the creation and control of •
lighting ratios, shade, contrast and exposure.
Observe the importance of lighting in the production of photographic images. •
Produce photographs demonstrating a practical knowledge of the use of light. •
Compile information relevant to the technique and production of each image. •
lighting on location
Daniel Tückmantel
164
Studio Photography: Essential Skills
On location
Studio lights need not be limited to the studio. ey can be used on location in conjunction with
ambient and existing daylight. With color correction of the light source or camera most light
sources can produce acceptable and interesting results. Raw file images can be color corrected in
post production. See ‘Light’ and ‘Image capture’.
Exterior location
Common examples of studio lighting used on location are the images seen in film and
television. e same approach can be taken to still images. Artificial light, whether flash or
tungsten, is normally used to supplement the existing light present, usually daylight. In this
situation correct color is achieved by balancing to daylight (5500K) and filtering the tungsten
light source/sources (3200K) with an 80A lighting gel. When using studio flash on location no
filtration is required as the color temperature of the flash is equal to average daylight (5500K to
5800K).
Mixed light
Mixing the color temperature of the light sources can give a more ‘natural’ look. Although the
human eye corrects all light sources to what appears to be white light, it is visually accepted, and
in most cases to great effect; when we view images created using mixed light sources there should
be a difference in the color temperature of the various sources of light within the frame.
Mixed light sources – Itti Karuson
165
Lighting on location
Example 1
A photographer has been commissioned to photograph the exterior of a restaurant complex
situated in a vineyard. e client has requested there be equal interior and exterior detail. As
the building is in constant use the client does not want any introduced lighting placed in the
restaurant that may cause health and safety issues for his customers. To achieve this result the
photographer decides to create the image by making two exposures, one for the exterior another
for the interior. e camera is balanced to daylight. is will record the practical interior
lighting, predominantly commercial tungsten (orange/red) and fluorescent lighting (green), as a
different color temperature to the exterior daylight.
Exterior ambient light – incident – exposure MIE less 1/2 stop
Total darkness – interior lights on – reflected – exposure average highlights and shadows
Combination exposure – John Hay
166
Studio Photography: Essential Skills
Interior location
ere can be many different light sources with varying color temperatures confronting the
photographer on location. is can range from industrial lighting to the glow from a TV. e
possibilities and variations are many but the problems they pose can be either corrected with
filtration or white balance adjustment to render ‘correct’ color, or ignored and the differences in
color temperature exploited and used to effect.
Daylight balance
In an exterior location all light sources are balanced to the predominance of daylight (5500K).
With an interior location (for example, a furnished room with large windows) there can be
a mixture of various light sources. Balancing to daylight (5500K) without filtration of the
tungsten light sources (3200K) would make the image appear quite different. Daylight in the
image would appear ‘correct’ but any tungsten light source whether artificially introduced
(studio) or practical (normal domestic lighting, desk lamps, candles, etc.) would create a warm
glow at its source and on subject matter predominantly lit by it. e overall effect would be of
white light through the windows, and depending upon the lighting ratio created between the
tungsten light and the ambient daylight an overall warm cast to the image.
Tungsten balance
If the camera is balanced to tungsten (3200K) without filtration of either the daylight (5500K)
or the tungsten light sources (3200K) the result would appear different again. Daylight in the
image would appear to have a blue cast and any tungsten light source would appear ‘correct’.
e overall effect would be of blue light through the windows, and depending upon the
lighting ratio created between the tungsten light and the ambient daylight, a balance of ‘correct’
color within the room. It should be remembered filtration of the camera to match the dominant
light source would also produce similar results. However, filtration of the camera removes the
possibility of selectively filtering the various light sources and color temperatures available to the
photographer to create an interesting mix of colors within the frame.
Commercial tungsten light and daylight – Daniel Tückmantel
167
Lighting on location
Example 2
A designer commissions a photograph of a kitchen. As it is in a residential building the owner
has requested the minimum amount of disturbance. e client has requested the lighting
enhances the space and balances ambient interior and exterior daylight. e photographer
decides upon one exposure, balancing the exterior, interior and introduced lighting. e camera
is balanced to daylight. Exterior daylight will be overexposed to reduce the orange/red color cast
of domestic tungsten lighting.
Ambient light – daylight and tungsten – incident – one second at f8.5
Umbrella flash in hallway balanced to f8.5
Fill flash off ceiling balanced to f8 – John Hay
Alan Boulton Gregson
Jeph Ko
Stuart Wilson
composites
essential skills
Develop a knowledge and understanding of the methods and techniques used to •
create composite images.
Develop skills in controlling lighting to achieve the requirements of composite •
images.
Observe the use of post-production techniques in the production of composite •
images.
Produce composite images demonstrating a practical understanding of creative •
lighting techniques.
Jeph Ko
