A short course in photography: Chapter 7

Chapter 7: Lighting

• direct light:
• high in contrast, bright lights, dark darks
• sharp shadows
• may lose some detail in the darks
• allow you to use fast shutter speeds and shallow depths of field
• try adding fill light to retain details
• directional/ diffused light
• intermediate in contrast
• shadows still present, just softer
• occurs on hazy/ foggy days or in shade
• indoors lit by window or skylight
• using a flash that is reflected off another source
• diffused light
• low in contrast
• colors/ tones appear less vibrant and more muted/ pastely
• light hits subject on all sides
• very overcast day
• does not allow you to use small aperture or fast shutter speed
• use what's available
• if you find a good picture, you can figure out a way to expose it correctly
• high ISO is helpful when light is dim (inside)
• front lighting
• flattens subject
• is similar to flash connected to camera
• fewer shadows
• pointed directly at the subject
• light is usually most pleasing when it resembles daylight and consists on one strong light source
• shadows reveal lighting
• high 45 lighting
• placed high and to the side of the camera
• commercial portraits
• creates roundness
• shows more texture
• side light
• 90 degree angle to the camera
• mimiks sunlight at sunrise or sunset
• sometimes used to dramatize portraits
• backlighting
• also referred to as edge rim lighting
• used in multiple light set ups to bring out texture
• also used to separate subject from background
• top lighting
• when light comes from directly above
• not desired, but not uncommon
• lighting outdoors at noon 
• indoors underneath light
• use fill light to lighten up shadows
• bottom lighting
• looks odd in portrait because light almost never naturally comes from below
• often creates menacing effect
• sometimes seen in ads
• color and b/w negatives are less sensitive to contrast than digital cameras
• when shadows are 3+ stops different than lights, fill light is useful
• better to use fill light than compensate in printing
• outdoors
• use fill light so subject doesn't have to look directly into the sun
• use when photographing small objects up close such as detail in a flower
• a reflector is a good source of fill light
• white sheet
• white card
• aluminized space blanket
• to keep from overpowering subject, fill light is usually farther away than the main light source
• the more simple the set up, the more relaxed your subject will be
• less is more
• indoors a small window will create harder shadows than a large one
• main light plus reflector fill is simplest set up
• main source pointed at umbrella reflector
• another reflector on other side
• continuously burning (incandescent) lamps
• plus into outlet
• excellent for portraits/ still life/ stationary object that allow time to adjust
• exposure determined normally
• flash bulbs
• portable/ battery powered
• each produces one brief powerful flash, then replaced
• older, not used as much
• used by press photographers
• electronic flash
• "strobe"
• most popular portable light
• use to shoot fast moving/ unposed photos
• battery or electrical plug
• come in camera unit, more powerful separate
• cameras with leaf shutters synchronise with flash at any speed
• others can usually synchronise only up to 1/300
• automatic flash
• has sensor that detects amount of light reflected during flash
• flash terminates when exposure is adequate
• may give less accurate reading if too close, too far
• most accurate when subject is centered in frame
• the farther the subject is from flash unit
• the dimmer the light
• the more you need to open the lens aperture
• to calc flash exposure:
• distance light travels to subject
• guide number (rating of flash with specific film speed)
• divide distance by guide number to get f stop
• bounce flash travels extra distance
• same calculation as above, except use distance to reflective surface plus reflective surface to subject
• changing shutter speed does not affect flash exposure
• first time calculating f-stop  use test roll of film with different calculations to see what yields best result
• scene lit by flash may not be evenly lit
• flash bounce from the side gives soft flattering light when taking a portrait
• bounced light from above creates more natural light that mimics daylight
• 
  

Ansel Adams: 400 Photographs

During my trip to Hannon library, the photography book that attracted my interest most was Ansel Adams. I'm really drawn to landscape photography and like that so much of his work showcases the beauty of America's different landscapes. I also love that the work is in black and white. It was really inspiring to look at these photos while in a photo 1 class because it gave me so many more ideas on how to play with texture and contrast.  His work just seemed to combine two things I find incredibly beautiful, the diverse climates of America along with beautiful black and white photography. My favorite collection of photos were the ones taken in Yosemite. I've often camped there with my family and have always been disappointed that the photos I take there never truly reflect the beauty of the national park. However, Adams prints gave me the same feelings of awe that I feel when I'm actually among the nature of Yosemite.

A Short course in photography: chapter 9

Chapter 9: Seeing like a camera

• no photograph is the same thing as the original subject, every photo is a comment
• black and white is more of an abstraction than color
• photographs can be assembled in a series to tell a larger story
• decide what you want before you shoot
• the eye tends to look to the middle of the frame
• most of the time its better not to put your subject in the middle of the frame
• your camera and your eye always crop the scene
• pay attention to the impact the background will have on your image
• use focus
• dim light or slow film may require shallow depth of field
• chose to blur the background or subject but not both
• photographs traslate three dimensions into two
• what kind of experience do you wish to communicate?
• style hinges on 
• understanding of available tools
• sense of what it is important to use these tools for
• meaning can be reinforced by the way you arrange the subject
• supermarket stretching its mouth
• tiny print: intimacy
• large print: power
• a good portrait captures mood, expression, tells something about a person
• take lots of warm up pictures to get your subject warmed up
• don't ask your subject to smile automatically
• pay attention to the effect light has on your subject
• landscapes:
• what do you want to remember most?
• what's your favorite aspect?
• love horsetail falls, oregon photograph
• return to a place when the light is best
• don't be in a rush to take pictures, take time to look and absorb, thats how you will find the best pictures
• time of day effects more than just light but subject content as well
• indoor spaces always reflect those who dwell within them
• watch for unwanted shadows and lookout for excessive contrast from strong side or top light
• the closer you are to a subject, the less depth of field  you will get
• pay attention to depth of field while you're inside because of proximity to subject
• if you have to close down the shutter speed to compensate for light, use a tripod
• pay attention to all different aspects of a photo
• does the technical side take or detract from the photo
• what is the emphasis 
• where does your eye go
• what kind of photograph is it? what is it trying to convey
• what is the emotional/ physical impact