Jeph Ko essential skills Develop knowledge and understanding of the use of artifi cial light sources, camera • and associated equipment on location. Develop an awareness of the effect of artifi cial light in the creation and control of • lighting ratios, shade, contrast and exposure. Observe the importance of lighting in the production of photographic images. • Produce photographs demonstrating a practical knowledge of the use of light. • Compile information relevant to the technique and production of each image. • lighting on location Daniel Tückmantel 164 Studio Photography: Essential Skills On location Studio lights need not be limited to the studio. ey can be used on location in conjunction with ambient and existing daylight. With color correction of the light source or camera most light sources can produce acceptable and interesting results. Raw file images can be color corrected in post production. See ‘Light’ and ‘Image capture’. Exterior location Common examples of studio lighting used on location are the images seen in film and television. e same approach can be taken to still images. Artificial light, whether flash or tungsten, is normally used to supplement the existing light present, usually daylight. In this situation correct color is achieved by balancing to daylight (5500K) and filtering the tungsten light source/sources (3200K) with an 80A lighting gel. When using studio flash on location no filtration is required as the color temperature of the flash is equal to average daylight (5500K to 5800K). Mixed light Mixing the color temperature of the light sources can give a more ‘natural’ look. Although the human eye corrects all light sources to what appears to be white light, it is visually accepted, and in most cases to great effect; when we view images created using mixed light sources there should be a difference in the color temperature of the various sources of light within the frame. Mixed light sources – Itti Karuson 165 Lighting on location Example 1 A photographer has been commissioned to photograph the exterior of a restaurant complex situated in a vineyard. e client has requested there be equal interior and exterior detail. As the building is in constant use the client does not want any introduced lighting placed in the restaurant that may cause health and safety issues for his customers. To achieve this result the photographer decides to create the image by making two exposures, one for the exterior another for the interior. e camera is balanced to daylight. is will record the practical interior lighting, predominantly commercial tungsten (orange/red) and fluorescent lighting (green), as a different color temperature to the exterior daylight. Exterior ambient light – incident – exposure MIE less 1/2 stop Total darkness – interior lights on – reflected – exposure average highlights and shadows Combination exposure – John Hay 166 Studio Photography: Essential Skills Interior location ere can be many different light sources with varying color temperatures confronting the photographer on location. is can range from industrial lighting to the glow from a TV. e possibilities and variations are many but the problems they pose can be either corrected with filtration or white balance adjustment to render ‘correct’ color, or ignored and the differences in color temperature exploited and used to effect. Daylight balance In an exterior location all light sources are balanced to the predominance of daylight (5500K). With an interior location (for example, a furnished room with large windows) there can be a mixture of various light sources. Balancing to daylight (5500K) without filtration of the tungsten light sources (3200K) would make the image appear quite different. Daylight in the image would appear ‘correct’ but any tungsten light source whether artificially introduced (studio) or practical (normal domestic lighting, desk lamps, candles, etc.) would create a warm glow at its source and on subject matter predominantly lit by it. e overall effect would be of white light through the windows, and depending upon the lighting ratio created between the tungsten light and the ambient daylight an overall warm cast to the image. Tungsten balance If the camera is balanced to tungsten (3200K) without filtration of either the daylight (5500K) or the tungsten light sources (3200K) the result would appear different again. Daylight in the image would appear to have a blue cast and any tungsten light source would appear ‘correct’. e overall effect would be of blue light through the windows, and depending upon the lighting ratio created between the tungsten light and the ambient daylight, a balance of ‘correct’ color within the room. It should be remembered filtration of the camera to match the dominant light source would also produce similar results. However, filtration of the camera removes the possibility of selectively filtering the various light sources and color temperatures available to the photographer to create an interesting mix of colors within the frame. Commercial tungsten light and daylight – Daniel Tückmantel 167 Lighting on location Example 2 A designer commissions a photograph of a kitchen. As it is in a residential building the owner has requested the minimum amount of disturbance. e client has requested the lighting enhances the space and balances ambient interior and exterior daylight. e photographer decides upon one exposure, balancing the exterior, interior and introduced lighting. e camera is balanced to daylight. Exterior daylight will be overexposed to reduce the orange/red color cast of domestic tungsten lighting. Ambient light – daylight and tungsten – incident – one second at f8.5 Umbrella flash in hallway balanced to f8.5 Fill flash off ceiling balanced to f8 – John Hay Alan Boulton Gregson Jeph Ko Stuart Wilson composites essential skills Develop a knowledge and understanding of the methods and techniques used to • create composite images. Develop skills in controlling lighting to achieve the requirements of composite • images. Observe the use of post-production techniques in the production of composite • images. Produce composite images demonstrating a practical understanding of creative • lighting techniques. Jeph Ko . image. • lighting on location Daniel Tückmantel 164 Studio Photography: Essential Skills On location Studio lights need not be limited to the studio. ey can be used on location in conjunction. reflected – exposure average highlights and shadows Combination exposure – John Hay 166 Studio Photography: Essential Skills Interior location ere can be many different light sources with varying. in post production. See ‘Light’ and ‘Image capture’. Exterior location Common examples of studio lighting used on location are the images seen in film and television. e same approach can