The following is a direct copy and has been Pasted in for future reference from the Art of Photography coursework PDF Doc. (pasted in Maroon)
11 photographs
Once you have worked out a manageable system for diffusing a single light, you can experiment with using it from different directions. First find a suitable subject. It needs to be no larger than the diffuser in front of the lamp, rounded and with relief. A face would do, or a piece of sculpture. The important thing is that it should have a variety of planes to show the differences in shadows and light.
Keep the camera in a fixed position (on a tripod) aimed horizontally at the subject. If you are using an object (rather than someone’s face) place it on a small level surface so that there is room to move the light all around it. Place a plain background some distance behind.
Start with the light, fitted with its diffuser, at the same level as the subject and camera. Between shots, move it around the subject, so that you photograph this lit from the front (with the light next to the camera), from the side, from behind and to one side, and from directly behind. With the light directly behind, aimed forwards to the subject and camera, the effect you will have is that of a silhouette, provided that the area of the light’s diffuser is greater than that of the subject.
Then raise the light so that it points down towards the subject at an angle of about 45 degrees. Again, move the light right around the subject between shots. Finally, suspend the light overhead, pointing down, and take three pictures: directly overhead, from slightly in front, and from slightly behind.
Lay out all the photographs together. Study the differences in order to become familiar with the effect of moving the light. You should find that certain qualities of the subject are revealed better by some lighting directions. The position directly behind will show the shape fairly well.
The ‘slightly behind’ positions will highlight the edges. Which position gives the best 3-dimensional effect – that is, reveals the form of the subject best? And of all of them, which do you prefer, and why?
– – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – –
Equipment
Nikon D4
Remote Trigger
24/70 – f2.8 lens
Camera Tripod
Nikon SB-910
Softbox
Light Stand / Boom
Black Velvet – Backdrop
Method & Approach
Having decided on my subject, I then set about choosing a backdrop of contrast to fully enhance the subject. I then introduced the remaining equipment and after setting up the softbox and flash intensity, I began to shoot.
Please see pictures and captions below.
Note – all pictures have been compressed hence there might be a quality reduction when enlarging.
Picture 1 – Light coming directly from the side of the subject
Picture 1
Picture 1 – Light coming directly from the side of the subject
Camera Details
Camera Nikon D4 (camera positioned on a tripod)
Speed 1/60th sec
Aperture f20
ISO 400
White Balance Setting Temperature 6150°K
Lens 24/70 mm
Focal Length 70 mm
Comments – This picture was taken with diffused light coming from the right hand side of the subject. There is good shadow definition in this arrangement providing a nice visual depth to the subject, the light from this direction also allows the detail and texture of the wire mesh guard to be fully appreciated.
Picture 2 – Light coming from the front (directly beside camera)
Picture 2
Picture 2 – Light coming from the front (directly beside camera)
Camera Details
Camera Nikon D4 (camera positioned on a tripod)
Speed 1/60th sec
Aperture f20
ISO 400
White Balance Setting Temperature 6150°K
Lens 24/70 mm
Focal Length 70 mm
Comments – This picture was taken with diffused light coming directly from the cameras direction. There is good shadow definition on the cylindrical body and providing visual depth but this “full on” approach of light provides a very flat and somewhat uninteresting picture. Although due to the unusual shape of the microphone cradle some interest is maintained around this item in the picture.
Picture 3 – Light coming from the side at 45° (behind the subject)
Picture 3
Picture 3 – Light coming from the side at 45° (behind the subject)
Camera Details
Camera Nikon D4 (camera positioned on a tripod)
Speed 1/60th sec
Aperture f20
ISO 400
White Balance Setting Temperature 6150°K
Lens 24/70 mm
Focal Length 70 mm
Comments – This picture was taken with diffused light coming from the right hand side rear of the subject at 45 degrees. Again we have good shadow definition in this arrangement providing a nice depth to the subject and with the light coming from this direction it allows provides for good detail and texture for the wire mesh guard, we are also able to see the microphone capsule and front located pattern selector.
Picture 4 – Light from directly behind the subject (silhouette)
Picture 4
Picture 4 – Light coming from directly behind the subject (silhouette)
Camera Details
Camera Nikon D4 (camera positioned on a tripod)
Speed 1/60th sec
Aperture f20
ISO 400
White Balance Setting Temperature 6150°K
Lens 24/70 mm
Focal Length 70 mm
Comments – This picture was taken with diffused light coming from directly behind the and with this arrangement it has produced a silhouette of the subject. Although this image is strictly a profile outline, we do see the peppered like effect of the wire mesh guard and also the outline of the microphone capsule.
Picture 5 – Light coming from behind the subject at 45° (above)
Picture 5
Picture 5 – Light coming from behind the subject at 45° (above)
Camera Details
Camera Nikon D4 (camera positioned on a tripod)
Speed 1/60th sec
Aperture f20
ISO 400
White Balance Setting Temperature 6150°K
Lens 24/70 mm
Focal Length 70 mm
Comments – This picture was taken with diffused light coming from behind the subject at 45 degrees looking in a downward direction. This picture provides terrific shadow, depth and colour definition of the products nickel finish. We also see detail and texture of the double skinned wire mesh guard, the capsule and front located pattern selector.
Picture 6 – Light coming from one side of the subject at 45° (above)
Picture 6
Picture 6 – Light coming from one side of the subject at 45° (above)
Camera Details
Camera Nikon D4 (camera positioned on a tripod)
Speed 1/60th sec
Aperture f20
ISO 400
White Balance Setting Temperature 6150°K
Lens 24/70 mm
Focal Length 70 mm
Comments – This picture was taken with diffused light coming from the right hand side above the subject, looking in a downward direction at 45 degrees. This lighting effect casts a diagonal shadow across the subject and introduces us to the product in a subtle way that only provides us with half of its details. Definition in this arrangement provides good depth and some texture of the mesh guard and microphone capsule and slight detail of the front located pattern selector.
Picture 7 – Light coming from one side of the subject at 45° (below)
Picture 7
Picture 7 – Light coming from one side of the subject at 45° (below)
Camera Details
Camera Nikon D4 (camera positioned on a tripod)
Speed 1/60th sec
Aperture f20
ISO 400
White Balance Setting Temperature 6150°K
Lens 24/70 mm
Focal Length 70 mm
Comments – This picture was taken with diffused light coming from the right hand side below the subject, looking in an upward direction at 45 degrees. With the light coming from this direction it presents the subject in a more theatrical and dark way. Again we have good shadow definition biased towards the microphone cradle, we see very little detail of the mesh guard and microphone capsule although we do see something of the front located pattern selector.
Picture 8 – Light coming from directly below the subject
Picture 8
Picture 8 – Light coming from directly below the subject
Camera Details
Camera Nikon D4 (camera positioned on a tripod)
Speed 1/60th sec
Aperture f20
ISO 400
White Balance Setting Temperature 6150°K
Lens 24/70 mm
Focal Length 70 mm
Comments – This picture was taken with diffused light coming directly from directly below the subject looking up. Similar to the picture above in providing a more theatrical approach but somewhat more menacing, it reminds me of children playing with torches at night by shinning the beam under their chins. Again like the above effect we have good shadow definition of the microphone cradle but we see even less detail of the mesh guard and capsule but we do see the front located pattern selector.
Picture 9 – Light coming from directly overhead the subject at 90°
Picture 9
Picture 9 – Light coming from directly overhead the subject at 90°
Camera Details
Camera Nikon D4 (camera positioned on a tripod)
Speed 1/60th sec
Aperture f20
ISO 400
White Balance Setting Temperature 6150°K
Lens 24/70 mm
Focal Length 70 mm
Comments – This picture was taken with diffused light coming from overhead looking down at 90 degrees onto the subject. This picture provides nice shadow, depth and reasonable colour definition towards the products nickel finish. We also see good detail, texture and shape of the wire mesh guard, the front located pattern selector and a hint of the microphones capsule.
Picture 10 – Light from overhead the subject (slightly in front)
Picture 10
Picture 10 – Light coming from directly overhead the subject (slightly in front)
Camera Details
Camera Nikon D4 (camera positioned on a tripod)
Speed 1/60th sec
Aperture f20
ISO 400
White Balance Setting Temperature 6150°K
Lens 24/70 mm
Focal Length 70 mm
Comments – This picture was taken with diffused light coming from overhead looking down but slightly in front of the subject. This picture provides reasonable shadow and colour definition of the nickel finish, although the top of the subject is slightly blown out. We also see good detail, texture and shape of the wire mesh guard, the front located pattern selector and a little more of the microphones capsule detail.
Picture 11 – Light from overhead the subject (slightly behind)
Picture 11
Picture 11 – Light coming from directly overhead the subject (slightly in behind)
Camera Details
Camera Nikon D4 (camera positioned on a tripod)
Speed 1/60th sec
Aperture f20
ISO 400
White Balance Setting Temperature 6150°K
Lens 24/70 mm
Focal Length 70 mm
Comments – This picture was taken with diffused light coming from overhead looking down but slightly in behind the subject. This picture provides a nice shadow, depth and a reasonably good colour definition of the products nickel finish. We also see detail and texture of the double skinned mesh guard, the capsule and front located pattern selector.
What have I learnt from this exercise
I have really enjoyed this exercise, quite often I set up my studio mains powered lights and take portraits of friends and family and to be given opportunity to experiment like this was of true interest. As we know, photography would be nothing without lighting and the better the imagination with the available lighting normally points to better pictures, certainly pictures with more interest. With that bold statement, we do have to consider the intensity of lighting and the way that we might need to balance or even filter it in the case of several lights with differing light values and temperatures.
In relevance to what I have learnt from this exercise and more importantly …. what I must now continue to apply and improve upon, I must start to take more risk by positioning lighting in alternate ways and directions. I must not become to concrete in my ways of thinking with lighting …. I must apply a more abstract approach.
Thoughts and Reflection
After Laying out all the photographs in conjunction with the light positions, I studied the characteristics of each lighting effect and the different ways in that the light strikes the subject and tells a different story each time. I then wrote down my thoughts and comments to which I later added to the pictures above. With regards to the light positions from below and also at 45 degrees I found these shoots to be quite nondescript for this particular product, worded differently I would say that these positions did not bring out the best of this particular subject. I also found that positioning the light source directly beside the camera to be very ordinary …. akin to the on board flash effect. The overhead positions where nice but my personal favourites where the silhouette (picture 4) and the overhead at 45 degrees from above (picture 5) this effect produced the best all round picture offering a good balance of warmth and colour tone along with good depth and shadow. I also liked the light effect from the right hand side above the subject, looking in a downward direction at 45 degrees. This diagonal approach of mystery hiding part of the microphone for me produced the best three dimensional effect and in my opinion would make a great brochure picture for this particular subject (picture 6).
With regards to each effect and lighting characteristic shown above, it greatly depends on the subjects shape and size as to which lighting effect works best. With certain subjects lighting from above works well but for some items like that of nature, lighting from below is far more interesting. For example if we were to photograph a mushroom out in the field, an illuminated underside picture showing its gill like features and structure is far more interesting that that of the overhead view of its cap. Therefore caution should be given before stating which light direction and effect works best.
stingray493 