Figure 5-4. Altamaha Cypress Swamp, Sunrise
Made in late afternoon under the shadow of a nearby mountain, this image captured a ballet-like feeling in the twisting corn lily leaves and a protective or warm feeling in the leaf sheltering them. No shadows broke up the graceful forms, allowing uninterrupted visibility.
Figure 5-5. Dance of the Corn Lily
It has been my observation over 35 years of teaching that most beginners—as well as many experienced photographers—look at objects, not light. Furthermore, most photographers tend to avoid soft, even light because of their belief that such light produces flat, bland photographs. This common perception is simply untrue. Soft light eliminates sudden breaks of tonality, but contrast can always be increased via a variety of photographic controls. Especially in close-up scenes, soft light is often the only usable light, for it is the only one that can be fully controlled (Figure 5-5). Soft light implies continuity of form, but it does not imply or impose blandness.
Just as the lines of branches are disrupted by strong directional lighting (such as sunlight), shapes of objects can be similarly altered. Consider an architectural subject like a modern office building. Its straight, clean, rectangular facade can be changed by the shadow of a nearby building falling diagonally across it. Instead of a rectangular array of windows, there could be two triangular areas of windows: one shaded, one sunlit. Physically, the building is still rectangular; photographically, it is a pair of triangles (Figure 5-6). As always, this is not necessarily undesirable or wrong. This effect may be your intent. Just be aware of the effect created by the light, so you can use it for your interpretive ends. As stated near the beginning of this chapter, observe how the light is distributed before looking at the physical entity of the building.
As you grow to notice the visual changes objects assume under varied lighting conditions, you will become aware of how each type of light affects your feelings about an object. It is surprising how much more deeply you will understand the essence of things by studying the light that falls upon each one. You will discover changes of meaning with every change in lighting. This will reveal ways to interpret those objects most appropriately for the message you wish to convey.
Types of Lighting/Quality of Light
You can best understand light by categorizing the infinite variety of lighting into a few distinct types. Directional and non-directional light can be the two major categories. Let’s see how to work with both of them outdoors and indoors, starting with outdoor lighting.
Outdoors, sunny weather provides directional light, as do dawn and dusk light from the east or west. Yet there is a difference between sunlight and dawn or dusk light (before sunrise or after sunset), both of which are devoid of the deep shadows associated with sunlit conditions. Overcast weather provides nondirectional light, though early morning or late afternoon hazy (shadowless) clouds may be softly directional. Directional light can be broken down into cross lighting (light directed from the side), axis lighting (light from behind the camera), and backlighting (light from behind the subject). Each of these categories merges gradually into the next, but each has its own unique character, its own quality.
For any outdoor photograph, it is worthwhile to quickly compare the current lighting situation versus other possibilities, in order to envision how the same scene may differ and perhaps improve under alternate conditions. Under partly cloudy conditions, see if spotty sunlight highlights the important areas of the scene, or if a change in the cloud positions would better highlight those areas. If so, wait for the desired situation (and hope that it will occur!). It may be worthwhile to make several exposures as conditions change, subsequently choosing the best of the lot as your photograph. On the other hand, additional thought may indicate that full sunlight or full shade would better reveal the scene. If so, save yourself some useless exposures and return when better conditions prevail.
Amidst the Dallas skyscrapers, this spiral monument was edge-lit by the sun. A diagonal shadow across the building behind the monument (which came from a building to the right, out of the frame) created compositional interest, far better than if everything had been in sunlight or shade. Note the tones of the monument against those of the buildings behind.
Figure 5-6. Thanksgiving Square, Dallas
Consider, for example, the various types of lighting on a panoramic mountain landscape. Under clouds, the mountains could be a mass of mid-gray tones with little delineation of internal structure, while the cloudy sky—the source of light—would be a nearly featureless light gray. It may prove to be a dreadfully dull photograph, despite the spectacular mountains.
With axis light and a deep blue sky, the mountains may appear brighter than the sky. But lacking shadows, the crags and crevices of the mountains would be invisible. The scene could still be photographically dull. Backlighting could make the peaks stand out in silhouette against the bright sky, but again, the slopes and buttresses below could be featureless, with no light and no life photographically. Strong cross lighting could bring out each pinnacle and buttress in bold relief, and the photograph could begin to have real excitement and vibrancy.
But consider, too, the lighting not only on the distant mountains, but on the foreground as well. Do the foreground forms relate to the mountains, and does the lighting on the foreground enhance the core of the scene photographically? Do the supportive foreground elements—the nearby trees and low hills, the farmlands, the city buildings, etc.—add to the scene or detract? Does the lighting throughout the scene blend nicely, or does it conflict? Do you want a smooth blending, or would a lighting conflict serve you better?
On a bright sunny day at the ghost town of Bodie, California, I photographed Dr. McCoy. We chose the shaded side of a building, at a wall with especially strong wood textures. Under the soft light, I was able to retain the textures of the wood, Reggie’s face, and his shirt.
Figure 5-7. Reginald McCoy
Partly cloudy conditions could produce additional possibilities as well as additional problems. Selected patches of sunlight could highlight some of the more spectacular aspects of the mountains, directing the eye to them immediately. Yet a spot of bright sunlight at the edge of the frame or on an unimportant foreground area could pull the eye away from the main body of the photograph. Under rapidly changing outdoor conditions, be aware of the effect of each change and be prepared to shoot when conditions meet your desires. This requires a combination of patience, awareness, and quickness.
Consider a portrait under the same variety of outdoor lighting conditions. Under midday overcast or in open shade, the subject’s face and body would be evenly lit. There would be a wonderful smoothness and softness. This type of light hides nothing and is a very “revealing” light for portraiture as well as close-ups of nature (Figure 5-7). Under bright midday sun, there could be deep shadows under the nose and in the hollows of the eyes. This could be either a major problem or a very effective light for the appropriate subject.
Axis lighting could be quite beautiful, with the center of the face brightest and a fall-off of brightness on either side. But there could be a harshness that makes it appear a bit chalky, unless handled deftly. Edward Weston used axis light with great success for many of his nudes. Cross lighting could pose problems, for the sunlit side of the face may be excessively bright compared to the shadowed side; or, the shadowed side could lose detail in the dark grays and blacks, while the sharp demarcation line between the sunlit and shadowed sides could be highly distracting. It could, however, have an intriguing abstract quality that may well suit your purpose. (Always consider the creative possibilities that “wrong” lighting may produce.) Soft cross lighting, perhaps just after sunset, could impart a luminosity, smoothness, and dimensionality unmatched by any other form of outdoor light. The brighter side of the face would not overwhelm the darker side with light, and there would be no sharp shadow line between the two sides.