Diary Entry
This year I had a late entry to the class because I managed to get me schedule changed. It was neat setting up the lighting for the shooting because previously on the London trip we had used lighting at the studio session. Many from the class had to re-shoot so after the third round of shooting we had found a great room above the theatre to take photos. One time Heather and I were shooting and right after I had finished taking my photos we had switched. Once we were situated and Heather was about to take her first shot the power went out, causing the snoot to go out and the emergency lights to turn on. Then we had hear screaming from the theater so when we opened the door they all turned up at us and asked if we had blown the fuse, but we didn’t. So we then went outside to head back to the photo lab when the emergency lights continued to flicker out in the hallways. The photo class then gathered downstairs and we proc
This year I had a late entry to the class because I managed to get me schedule changed. It was neat setting up the lighting for the shooting because previously on the London trip we had used lighting at the studio session. Many from the class had to re-shoot so after the third round of shooting we had found a great room above the theatre to take photos. One time Heather and I were shooting and right after I had finished taking my photos we had switched. Once we were situated and Heather was about to take her first shot the power went out, causing the snoot to go out and the emergency lights to turn on. Then we had hear screaming from the theater so when we opened the door they all turned up at us and asked if we had blown the fuse, but we didn’t. So we then went outside to head back to the photo lab when the emergency lights continued to flicker out in the hallways. The photo class then gathered downstairs and we proc
essed our film in the dark practically. The whole situation was quit entertaining. However it was nice to get back into the swing of things with shooting, processing, and developing.
Contact Sheets(circles: red- landscape, blue- portraits, yellow- still life)
Time: 30
Aperture: 2.8
F: 0
Time: 22 Aperture:
5.6 Filter:
0
Time: 15
Aperture: 2.8
Filter: 0
Time: 15
Aperture: 2.8
Filter: 0
Time: 10, 12
Aperture: 5.6
Aperture: 5.6
Filter: 0
CompositionsPortraitsComposition #1This was my first test strip.
CompositionsPortraitsComposition #1This was my first test strip.
As you can see from the contact sheet it looked really grey so I adde
d a filter of 3.5. Then for my second test strip I added more time. You can see that the light pointing directly at him allows his features to become more distinct.
Time: 15 20
Apertur
Time: 15 20
Apertur
e: 2.8 Filter: 3.5
Time: 14 16 18 20
Aperture: 2.8
Filt
Time: 14 16 18 20
Aperture: 2.8
Filt
er: 3.5
Here is a hard light portrait. The light is direct and is solely on the subject. Ther
Here is a hard light portrait. The light is direct and is solely on the subject. Ther
e are di
stinct shadows.
I like how the subject looks directly at the light but not at the camera.
Time: 16.5
Aperture: 2.8Filter: 3.5
Composition #2:
Time: 55, 60, 65, 70 Aperture: 11 Filter: 5
These are three of the many test strips that I had developed. The times are very high on the first on
Time: 16.5
Aperture: 2.8Filter: 3.5
Composition #2:
Time: 55, 60, 65, 70 Aperture: 11 Filter: 5
These are three of the many test strips that I had developed. The times are very high on the first on
e shown because the aperture needed to be clos
ed and the largest filter was needed. In the second test strip I had opened the aperture and therefore decreasin
g the time. (Trying to make the contrast greater.) Then for the third t
est strip I closed the aperture to 5.6 and after this test
strip I figured I needed
more time to 26
(the time of my final print).
Time: 6, 7, 8
Aperture: 4
Filter: 5
Time: 10, 12, 14, 16,Aperture: 5.6
Filter: 5
There is soft light pr
Time: 6, 7, 8
Aperture: 4
Filter: 5
Time: 10, 12, 14, 16,Aperture: 5.6
Filter: 5
There is soft light pr
esent in this image. There is a
slight back lightand the shadows aren’t as sharp even though there are shadows being casted. The pho
to woul
d
have turned out better if the background light would have been stronger, creating an outline.
Time: 26 Aperture: 5.6 Filter: 5
Composition #3This is my first and only test strip for the picture of the canal. With the times that I used on the test strip they were lighter then I had expected causing the contrast to weaken and
Time: 26 Aperture: 5.6 Filter: 5
Composition #3This is my first and only test strip for the picture of the canal. With the times that I used on the test strip they were lighter then I had expected causing the contrast to weaken and
the photo to become grey. I figu
red that if I were to add more time the contrast would become stronger.
Landscape
Time: 15, 20 ,25Aperture: 2.8 Filter: 0
Time: 29 Aperture: 2.8 Filter: 0
Landscape
Time: 15, 20 ,25Aperture: 2.8 Filter: 0
Time: 29 Aperture: 2.8 Filter: 0
This picture of the ca
nal has soft lighting. The sunlight shone through the buil
dings powerfully crea
ting a softer
shad
ow. I like how the light hits the plants and the canal.
Composition #4Time: 28, 31, 33
Aperture: 2.8 Filter 0
Time: 33, 35, 37, 39 Aperture: 2.8 Filter:0
Aperture: 2.8 Filter 0
Time: 33, 35, 37, 39 Aperture: 2.8 Filter:0
In my first test strip I had to add some more time. So for my next one I had increased t
he time, making the contrast stronger and then I realized I had to burn the spot of bright light that appears to be bleaching the sidewalk.
I like this picture of t
I like this picture of t
he si
dewalk heading off into the distance with the bright lighting. The light brings focus toward the sidewalk and the car. I like how the photo fits together. This is a photo of hard lighting. The
intense light almost bleaches the sidewalk.
Time: 32
Apterture
: 2.8
Filter: 0
Composition #5
Still Life
The first test strip was lighter then I would like it to be so I increased the time on the second test strip. On this test strip I also realized that burning was necessary in order to have the wooden fence in the background have more detail.
Time: 32, 34
Time: 32, 34
Apertu
re: 5.
6
Filter:0
Time: 36, 38, 40, 44
Aperture: 5.6
Filter: 0
I really like this image. I think that the image is hard
I really like this image. I think that the image is hard
lighting as the shadows of the lantern and the tree are clearly defined. I like how the light is coming from the side yet at the same time looks like it is coming directly at the lantern. I also like how the detail of th tree is shown clearly and how the little pi
eces of bark creat their own shadows.
Time: 47
Aperture: 2.8
Filter: 0
Composition #6
Composition #6
For this picture I didn’t use a test strip because when I looked at the contact sheet I realized that this photo
had similar contrast to the sidewalk photo but was a tad lighter so I added a few more seconds on the time. This image illustrates soft lighting, not cre
ating distinct sha
dows. I like how the focus ends up on the leaves.
Time : 35 Aperture: 2.8 Filter: 0
Theory notes
Hard lighting
· Sharp, clearly defined shadow· Can be used to
create texture
· Single source, direct, straight onto the subject or object
Soft lighting
· Shadows with soft edges
· Softness depends on 1. Distance, closer the sour
· Single source, direct, straight onto the subject or object
Soft lighting
· Shadows with soft edges
· Softness depends on 1. Distance, closer the sour
ce, the softer the light will be 2. Size, the larger the source, the softer the light
· Even area of lighting
· Tends to get limit the amount of detail shown
· Generally used for portraits
Three-point lighting
Standard lightingUsing three separate lights (photographer is in control- to cast shadows for example)
Key light- the main light. Often inside is th
· Even area of lighting
· Tends to get limit the amount of detail shown
· Generally used for portraits
Three-point lighting
Standard lightingUsing three separate lights (photographer is in control- to cast shadows for example)
Key light- the main light. Often inside is th
e flash, or outside is the sun. A high k
ey light w
ill create distinct shadows (generally making cheek bones defined) while using a low key light un eerie effect can occurFill light- us
ually used to make the image look natural by illuminating the shadows created by the key light.
Back light- a light that shines from behind. However the light isn’t always directly behind the subject. The back light can be used to separate the subject from the background.
Hard lighting Soft Lighting
Three-point lighting
Back light- a light that shines from behind. However the light isn’t always directly behind the subject. The back light can be used to separate the subject from the background.
Hard lighting Soft Lighting
Three-point lighting
Image Bank
Photo by Dan Westergren
Photo by Dan Westergren
Dan Westergren is a senior photo editor. He works on the National Geographic Traveler magazine. Westergren additionally travels to sever
al places around the world to take photos. Enjoys the cold climate so has taken photos in such extremes including photos at Mt. Kilimanjaro.
This image is of the Lincoln Memorial, in Washington D.C. at sunrise. The photo casts sharp shadows since there is a sharp light used. I like this image because in the distance you
This image is of the Lincoln Memorial, in Washington D.C. at sunrise. The photo casts sharp shadows since there is a sharp light used. I like this image because in the distance you
can se
e the Wahington D.C. monument in the background yet the pillars of the Lincoln Memorial catches the audience’s attention. In addition, I like how the W
ashington D.C. Monument has its own shadow in the water too
.
Photo by Karen Ballard
Karen Ballard is a professional photographer whose curiosity has allowed her to take several assignments worldwide. Such can include photos for major movies, travel, and news. Her first m
Karen Ballard is a professional photographer whose curiosity has allowed her to take several assignments worldwide. Such can include photos for major movies, travel, and news. Her first m
ajor film photo experience was when Stephen Spielberg asked her to join the photography unit for the movie “Munich”. She has additionally won the 2004 “Political Photo of the Year”, which is recognized by the United State’s White House.
The photo is a picture of the Smithsonian National Museum. This landscape photo has soft
The photo is a picture of the Smithsonian National Museum. This landscape photo has soft lighting due to the less sharp shadows. The trees’ shadows are cast upon the museum gently.
Photo by Thomas J. Abercrombie
Thomas J. Abercrombie
e was born in Minnesota. He studied at St. Paul’s Macalester College, where he studies art and
journalism. In 1955 Abercrombie joined the National Geographic Society’s Photography
Division. He wrote over 43 articles for National Geographic and has made major films over the 38
years with the society. His job has allowed him to travel overseas to numerous places such as the Middle East.
The photo is a still life image of a heavy antique pen. The lighting is soft since there is a gradual or light shadow casted upon the lighting. I like how depth of field is used, having the pen sharp and in focus while the man in the background
is out of focus.
Photo by Ottovelo
Ottovelo loves to travel, to bike, take photos, and to use his photos to speak. He also loves to take photos in harsh conditions. Also he feels photography is a part of him and tries to bring it out in everyday situations.
This is an image or hard lighting as a hard light is hitting the man’s face creating a prominent shadow. Also I like how the picture allows the man’s face to be detailed.
References:
http://en.wikipedia.org/wiki/Soft_light
http://www.cybercollege.com/tvp027.htm
http://photosfrommaddie.blogspot.com/2006/09/lighting-part-i-p1q1-theory-notes.html
http://www.beyondmegapixels.com/2008/11/studying-light-in-photography/
http://travel.nationalgeographic.com/places/photos/washingtondc-gallery-2.html
http://www.nationalgeographicexpeditions.com/experts/85/detail
http://www.karenballard.net/bio.php
http://travel.nationalgeographic.com/places/gallery/algeria_ornate-brooch.html
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