Ex 4.2
"Light is so important that it is necessary to become an expert in every aspect of light, from its bold qualities to its subtle nuances."
- Barnbaum, 2010, The Art of Photography, p68
"Photographers choose a light source for the quality and character it brings to their work."
- Ingledew, 2005, Photography, p214
- Ingledew, 2005, Photography, p214
"Light - the photographer's constant inspiration - can do strange things."
- Hill, 1982, Approaching Photography, p143
"Most photographers equate good light with an abundance of light.
They're wrong."
- - Barnbaum, 2010, The Art of Photography, p69
- Hill, 1982, Approaching Photography, p143
"Most photographers equate good light with an abundance of light.
They're wrong."
- - Barnbaum, 2010, The Art of Photography, p69
Yet another stimulating and challenging exercise!
The brief points out that we should "observe" the light and not just photograph it. One could argue that we always do - albeit apparently unconsciously - observe the light or we wouldn't even be able to SEE the intended photograph to begin with, would we?
However, as I am sure this task expects, it really is an eye-opening thing to actually observe the sometimes subtle, sometimes brusk changes in the light that falls on and around us throughout the day; as Hill mentions (Hill, 1982): "...the discipline of stilling yourself for a length of time to look closely at an object almost certainly has a beneficial effect.", (even if he was talking about drawing!).
I am lucky to live in one of the sunniest places in Italy (we very rarely never see blue sky), so, let's say there is plenty to work with here. I decided to take a landscape shot from the top of my masionette (well, it's not my masionette, I have a flat there!). I'd been meaning to get up there to do a few shots for years so it was good to actually get around to it. The view is of a block of flats (which I have been photographing for years) and I thought it would be perfect for this exercise due to its shape, foreground textures as well as background view and sky hopefully giving me a full range of tones throughout the day.
As always with these exercises, a good deal of reading is required (in my opinion) if you really want to get closer to appreciating these tasks (as well as building up a certain amount of confidence and background knowledge with regards to basic photographic principles. Once again Ingledew's great book: Photography, and Diprose and Robins' solid:
The brief points out that we should "observe" the light and not just photograph it. One could argue that we always do - albeit apparently unconsciously - observe the light or we wouldn't even be able to SEE the intended photograph to begin with, would we?
However, as I am sure this task expects, it really is an eye-opening thing to actually observe the sometimes subtle, sometimes brusk changes in the light that falls on and around us throughout the day; as Hill mentions (Hill, 1982): "...the discipline of stilling yourself for a length of time to look closely at an object almost certainly has a beneficial effect.", (even if he was talking about drawing!).
I am lucky to live in one of the sunniest places in Italy (we very rarely never see blue sky), so, let's say there is plenty to work with here. I decided to take a landscape shot from the top of my masionette (well, it's not my masionette, I have a flat there!). I'd been meaning to get up there to do a few shots for years so it was good to actually get around to it. The view is of a block of flats (which I have been photographing for years) and I thought it would be perfect for this exercise due to its shape, foreground textures as well as background view and sky hopefully giving me a full range of tones throughout the day.
As always with these exercises, a good deal of reading is required (in my opinion) if you really want to get closer to appreciating these tasks (as well as building up a certain amount of confidence and background knowledge with regards to basic photographic principles. Once again Ingledew's great book: Photography, and Diprose and Robins' solid:
Photography: The New Basics, have shed some light (sorry!) on the tricky beauty of light.
Both books point out the way in which sunlight changes [temperature] throughout the day, starting with Diprose and Robins on page 271: "Daylight is continuously changing in colour temperature and quality, so care must be taken in its use.", and with slightly more detail with Ingledew on page 214: "Pictures taken in available light can appear more natural in mood and more atmospheric than those illuminated by flash or tungsten. The angle and colour of sunlight changes a lot throughout each day as the sun travels through the sky, giving you many choices of how to photograph a location."
Just to add to that last quote, I would say that the fact that it changes so much during the day could also restrict the amount of choices you have - especially if you "miss" that particular moment/light/shadow/mood that you were looking for. Am I being negative here? Or just careful?
Both books point out the way in which sunlight changes [temperature] throughout the day, starting with Diprose and Robins on page 271: "Daylight is continuously changing in colour temperature and quality, so care must be taken in its use.", and with slightly more detail with Ingledew on page 214: "Pictures taken in available light can appear more natural in mood and more atmospheric than those illuminated by flash or tungsten. The angle and colour of sunlight changes a lot throughout each day as the sun travels through the sky, giving you many choices of how to photograph a location."
Just to add to that last quote, I would say that the fact that it changes so much during the day could also restrict the amount of choices you have - especially if you "miss" that particular moment/light/shadow/mood that you were looking for. Am I being negative here? Or just careful?
Freeman (2007, pp134-5) highlights the importance of taking a good look around to see the best view for a shot and how: "Making a reconnaissance for a landscape shot to check possible viewpoints and the way the light falls, then returning when weather and lighting conditions seem favourable..."
I couldn't agree more, even if I just love those spontaneous, fortuitous moments that can occur, a certain amount of planning for this type of photography is simply essential.
I found some really very nice points on light in The Art of Photography (Barnbaum, 2010, pp67-79) and would highly recommend it, and not just for this exercise. There are so many good observations, as well as tips, too many to quote here, but I really liked this one:
"You're first drawn to any scene because of the objects, but once you grab the camera, you must stop thinking in terms of objects. and concentrate on light."
Er, and this one:
"You must also understand the type of light (also known as the "quality of light") available to you, and see if it is the type of light you want for the mood you're attempting to convey."
And, finally, this little beauty:
"Always consider the creative possibilities that the "wrong" lighting may produce."
Hill, P. (1982). Approaching photography. London: Focal Press.
I couldn't agree more, even if I just love those spontaneous, fortuitous moments that can occur, a certain amount of planning for this type of photography is simply essential.
I found some really very nice points on light in The Art of Photography (Barnbaum, 2010, pp67-79) and would highly recommend it, and not just for this exercise. There are so many good observations, as well as tips, too many to quote here, but I really liked this one:
"You're first drawn to any scene because of the objects, but once you grab the camera, you must stop thinking in terms of objects. and concentrate on light."
Er, and this one:
"You must also understand the type of light (also known as the "quality of light") available to you, and see if it is the type of light you want for the mood you're attempting to convey."
And, finally, this little beauty:
"Always consider the creative possibilities that the "wrong" lighting may produce."
Hill, P. (1982). Approaching photography. London: Focal Press.
Ingledew, J. (2013) Photography. 2nd ed. London: Laurence King Publishing Ltd.
Freeman, M, The Photographer's Eye - Composition and Design for Better Digital Photos, Focal Press, 2007.
Barnbaum, B. (2010). The art of photography. Santa Barbara, CA: Rocky Nook. (pp67-75)
Diprose, G. and Robins, J. (2012). Photography : the new basics. London: Thames & Hudson.
Woods, G. and Williams, J. (1980). Creative techniques in landscape photography. New York: Harper & Row.
Woods, G. and Williams, J. (1980). Creative techniques in landscape photography. New York: Harper & Row.
Flickr. (2016). Flickr. [online] Available at: https://www.flickr.com/photos/kevinbyrne1971/4522306125/ [Accessed 11 Sep. 2016].
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