How to control light quality; size and distance.
Dec 3, 2013 06:38:44 #
There is a thread here on the 'hog discussing shadow darkness in an apple image.
The question was: "how do I get a darker shadow in camera"?
So I took a few images and thought I'd illustrate.
The basic idea in light/shadow quality is distance and apparent size. Not ACTUAL size of the light but the size that the light is AS IF VIEWED BY THE SUBJECT.
That's a very important concept, that the light size is as viewed by the subject.
I have 3 shots; the first is just lit by my ambient kitchen light about 30 feet away. The light is bouncing all over the room so you get a fairly defined shadow edge, but the shadow is "washed out". The light is "wrapping around" the apple.
This would be analogous to using a very large window for light with a small subject.
The second is a bare flash about 10 feet away, with a snoot on the front to concentrate the beam and not let it spread out.
This is a VERY small light source with no room spill. Notice the sharp edged shadows.
The third shot is an umbrella about 8 feet away. The shadows aren't as clearly defined as in the flash shot, and there is less room spill than in the kitchen light shot. In this case the light is HUGE in comparison to the subject and the shadow transitions are very soft in comparison.
I included set up shots also.
This should give you an idea of how to light your subjects or how to use the existing light to your advantage; i.e. soft portraits need close up BIG light for soft shadow transitions and harsh "street/gritty/sports" shots need smaller light sources farther away for harsher shadow transitions.
The question was: "how do I get a darker shadow in camera"?
So I took a few images and thought I'd illustrate.
The basic idea in light/shadow quality is distance and apparent size. Not ACTUAL size of the light but the size that the light is AS IF VIEWED BY THE SUBJECT.
That's a very important concept, that the light size is as viewed by the subject.
I have 3 shots; the first is just lit by my ambient kitchen light about 30 feet away. The light is bouncing all over the room so you get a fairly defined shadow edge, but the shadow is "washed out". The light is "wrapping around" the apple.
This would be analogous to using a very large window for light with a small subject.
The second is a bare flash about 10 feet away, with a snoot on the front to concentrate the beam and not let it spread out.
This is a VERY small light source with no room spill. Notice the sharp edged shadows.
The third shot is an umbrella about 8 feet away. The shadows aren't as clearly defined as in the flash shot, and there is less room spill than in the kitchen light shot. In this case the light is HUGE in comparison to the subject and the shadow transitions are very soft in comparison.
I included set up shots also.
This should give you an idea of how to light your subjects or how to use the existing light to your advantage; i.e. soft portraits need close up BIG light for soft shadow transitions and harsh "street/gritty/sports" shots need smaller light sources farther away for harsher shadow transitions.
Dec 3, 2013 06:57:41 #
Dec 3, 2013 07:23:06 #
Shutter Bugger wrote:
Thanks RP, very enlightening :-)
Indeed. Rpavich once again. ;)
Dec 3, 2013 07:27:59 #
Dec 3, 2013 11:58:00 #
Dec 3, 2013 13:34:38 #
Dec 3, 2013 13:40:48 #
Dec 3, 2013 13:46:56 #
Dec 4, 2013 05:40:29 #
Dec 4, 2013 06:26:01 #
Bobbee wrote:
you guys are bad, making light of this persons subject.
Oh...that's a groaner for sure....lol.
Dec 4, 2013 07:02:57 #
I've always tried to wrap my head around why my subjects still have such harsh shadows behind them when I'm firing my direct flash from far away. This puts it into perspective for me, thx.
Dec 4, 2013 07:11:56 #
redpepper wrote:
I've always tried to wrap my head around why my subjects still have such harsh shadows behind them when I'm firing my direct flash from far away. This puts it into perspective for me, thx.
Yep...that's exactly right...from their perspective (6' tall adults) your flash is TINY.
Here is an easy way to fix that...turn the flash head around sideways and let it blast into the nearest wall.
Wall 15' x 15' + subjects same size as before = HUGE SOFTBOX.
Here is a portrait that I did just that way:
Dec 4, 2013 07:43:08 #
rpavich - thanks
Your thumbnails are enlightening and I look forward to them
Your thumbnails are enlightening and I look forward to them
Dec 4, 2013 07:59:42 #
Dec 4, 2013 08:10:29 #
redpepper wrote:
I'll try it!
Excellent!
When you get a shot you like using this bounce flash technique..start a thread on it!
If you want to reply, then register here. Registration is free and your account is created instantly, so you can post right away.