Cloudy Autumn Photos
Oct 21, 2020 14:21:08 #
amfoto1
Loc: San Jose, Calif. USA
BB4A wrote:
....I’ve come to the conclusion that there is no such thing as bad natural light, just a variety of challenges for the photographer to resolve.
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I fully agree!
You get what you get and just gotta figure out how to make it work...
I love clouds, storms, and overcast and blue skies... sunlight, sunsets/sunrises and midday sun... fog and blizzards... twilight, starlight and light pollution...and everything else in between!
Sometimes you don't get the light you hoped for... So figure out what you can shoot to take advantage of whatever you've got.
Oct 21, 2020 15:19:32 #
Think of it this way:
When we work in the studio on commercial shoots and portraits, we call on our large inventories of lighting gear and accessories- spotlights, parabolics, snoots, barn doors, grids, diffusers, umbrellas, softboxes, all kinds of modifiers, and more. We employ giant-sized soft-lights on a big heavy boom stands JUST to simulate hazy or overcast skylight. We create FOG with machines. I once had a Braun Hazylight- the thing took up half my camera room- just to simulate, you guessed it- HAZY LIGHT! All I had to do is wait for a hazy day and run out on the street I suppose the clients would not have been patient enough!
Point is, nature provides an infante variety of LIGHT in volume, intensity, quality, direction, and intrinsic mood. All we need to do is FIND, recognize it, appreciate it and be surprised when it is unique of different.
There was a time when the instructions that came with you camera said "make sure the bright sun is over your shoulder shining on the (squinting) subject, aim, and press the button"! Ever since then, the eingeneers, scientists and all the folks that have designde and made cameras, lenses and film have strived ahead so we can take pictures from almost total darkness to intense desert sunlight and in every knid of weahter and atmospheric conditions in between.
One of my teachers (a kinda fine-art" guy) used to admosnich the class..."y'all are too busy producing PICTURE POSTCARDS", blue skies, pfuuy clouds, smooth water...cut it out and get real" he would scream!
I'm big on dusty and musty interiors and inclement weather.
When we work in the studio on commercial shoots and portraits, we call on our large inventories of lighting gear and accessories- spotlights, parabolics, snoots, barn doors, grids, diffusers, umbrellas, softboxes, all kinds of modifiers, and more. We employ giant-sized soft-lights on a big heavy boom stands JUST to simulate hazy or overcast skylight. We create FOG with machines. I once had a Braun Hazylight- the thing took up half my camera room- just to simulate, you guessed it- HAZY LIGHT! All I had to do is wait for a hazy day and run out on the street
I suppose the clients would not have been patient enough!Point is, nature provides an infante variety of LIGHT in volume, intensity, quality, direction, and intrinsic mood. All we need to do is FIND, recognize it, appreciate it and be surprised when it is unique of different.
There was a time when the instructions that came with you camera said "make sure the bright sun is over your shoulder shining on the (squinting) subject, aim, and press the button"! Ever since then, the eingeneers, scientists and all the folks that have designde and made cameras, lenses and film have strived ahead so we can take pictures from almost total darkness to intense desert sunlight and in every knid of weahter and atmospheric conditions in between.
One of my teachers (a kinda fine-art" guy) used to admosnich the class..."y'all are too busy producing PICTURE POSTCARDS", blue skies, pfuuy clouds, smooth water...cut it out and get real" he would scream!
I'm big on dusty and musty interiors and inclement weather.
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