Assignment 4: Applying lighting techniques

For this assignment, we are required to take 8 photographs of the same object, using different lighting techniques to demonstrate:

• Shape;
• Form;
• Texture; and
• Colour

For 6 of these I have chosen to convert the image to black & white, as I felt that the monochrome look would convey shape, form and texture better than keeping it in colour.

Shape 1

This is a pretty traditional set-up to show shape, with the light in a softbox fired through the white backdrop.  The Speedlite was set to 1/4 power.  I am also using 2 black screens either side of the subject in order to minimise stray light.

Shape 1:  ISO 200, f/11, 1/125 sec

Shape 2

As an alternative to this approach I changed the lighting to be two snoots providing backlighting with a black velvet backdrop as in this diagram:

The result was like this:

Shape 2: ISO 200, f/11, 1/125

Here I have shown the shape of the pineapple, in particular its leaves, by using minimal light.  My greatest challenge here was to balance two dissimilar Speedlites and two different kinds of "snoot" modifiers.  On the left my Canon Speedlite was set at 1/4 power and the Nissin Speedlite on the right was set at 1/16 power.

Form 1

Here, the intention is to show the volume and depth of the subject through using shadows.  In the first case I used a traditional approach with a key light at 45 degrees to the left of the camera with a fill above the camera.  This is shown in the diagram below:

The result of this lighting arrangement was:

Form 1:  ISO 200, f/8, 1/125 sec

Form 2

For the second of this pair, I moved the key light on the left to be at 90 degrees and at the same height to the pineapple and a silver reflector brought in on the right.  This is shown in the diagram below:

I chose this time to come in close and feature just part of the pineapple.  The result is:

Form 2:  ISO 200, f/16, 1/125

Texture

Texture is concerned with showing surface detail, and there is plenty of it on a pineapple!  For both images I have come in close with the lens and discarded the fill light, but retained the silver reflector.  This is shown below:

This resulted in the following images:

Texture 1:  ISO 200, f/16, 1/125 sec

By having the light running along the surface of the leaves, the fine surface texture can be seen.

Texture 2:  ISO 200, f/16, 1/125 sec

Just as well the spikes which can be seen here are not stiff as these look decidedly lethal.

Colour

Having to change to colour for the final part, I chose 3 alternative approaches.  In the first I am using a macro approach to show the different greens in the skin and the leaves.

Colour 1:  ISO 200, f/22, 1/125 sec

In the second one of this sequence, I have used a second pineapple to show the yellow colour which is associated with pineapple.

Colour 2:  ISO 200, f/19, 1/125

Here I have given greater separation between the subject and the white backdrop to achieve this grey colour, which sets off the colours of the pineapple.  The diagram shows the lights arrangement.  This time both the fill light and the modelling, key lights are at full power.

For the third photo of this sequence, I have added a black backdrop, as I discovered this really dramatically changes the vibrance of the image and shows off the colours.  This is something that I have been playing around with, influenced by the way a black backdrop is used for photographing flowers as a still life.

The result is:

Colour 3:  ISO 200, f/19, 1/125

Final thoughts

I became rather absorbed by this part of the TAOP module and could have spent a great deal more time experimenting with different approaches.  I am particularly interested in studio photography and use of Speedlites in all situations as this gives greater control over light.  Seeing the light and how it is used to bring shape, form and most importantly character to the subject is essential in arriving at the desired result.  

Exercise: The lighting angle

The position of the light source in relation to the subject will create different effects, some of which will show the form, some the shape and some will enable the subject to be separated from the background.  The purpose of this exercise is to demonstrate this modelling effect by moving the light around the subject and also varying by varying the vertical angle between the light and the subject.  There are 3 sets:

1. the light is horizontal in relation to the subject;
2. the light is elevated and pointing down at 45 deg; and
3. the light is directly above the subject.

This is best illustrated in the lighting diagram below which shows the basic positions.

My very patient model for the this was a mannequin head, which I felt was ideal for looking at the way light is shaped around a persons face.

Light horizontal

With the exception of the light being directly behind the subject, I kept all settings the same, as I felt this would best illustrate the effect, including the amount of light falling off the face of the subject.  The Speedlite was at 1/2 power and the camera settings were ISO 100, f/11, 1/125 sec.  Where the light was directly behind the subject, because I was shooting not only through the softbox, but also through the white backdrop, I increased the power setting on the Speedlite to full power.  The camera setting stayed the same.  Focusing was set to manual and lens stabiliser was off as I was using a tripod.

Front                                                       Right 45 deg,                                           Right 90 deg

In the set above, the first image is with the softbox as close to the camera as possible in the same plane.  It still was slightly to the right of centre, as evident by the shadows visible on the left.  The ideal would be for there to be no shadows at all.  As the light moves to the right, the amount of shadow increases on the face.  At 45 degrees, this provides a good modelling light revealing the form.

Right 135 deg,                                          Back                                                    Left 225 deg

As the light source moves towards the back there is more of a rim lighting effect, separating the subject from the background.  As there is somewhat less light falling on the background, it gets darker, showing how the action of the light can usefully alter the tone of the background.  With the light at the back, a silhouette is formed showing the shape of the subject.  I did have some light spill, as I did not use black 'stoppers' either side of the subject to kill such spill.  Moving the light to the left of the camera, in the last image of the trio above, this provides an interesting lighting effect, as the face is turned to that side.  The left of the face is lit with this side light giving a good sculptural effect and some drama.

Left 270 deg,                                                Left 315 deg,                                                              Front     

The first of the images above is displaying, what is referred to as "Rembrandt" with the light on the right in the shadow.  This is not true Rembrandt light, as it should be more pronounced and the light elevated.  Again, the form of the face is well shown.  The centre image now has more light on the face, and elevated, would be a good portraiture one-light setup, if elevated.  Finally, I managed to squeeze the softbox more effectively against the camera and the flatness of the lighting can be seen.

Light elevated and pointing down at 45 degrees

For this sequence, I changed the camera settings to ISO 100, f/8, 1/125 sec., adding an extra stop exposure due to the increased distance of the light from the subject.

Front,                                                      Right 45 deg,                                              Right 90 deg

Due to the angle of the head, when the light was above the camera, in front, there are shadows developed on one side of the face, so the lighting is not as flat as it otherwise would be.  At 45 degrees to the subject, there is considerable shadow to one side of the face, but the features are well modelled.  Withe the light side on, most of the features are hidden by shadow, so this would not be a particularly useful lighting setup.

Right 135 deg,                                              Back, above                                             Left 225 deg

The first of this sequence is not really helpful at all.  from the back, there is too much light for a silhouette, but there is good separation.  Throwing some light back using a reflector would make this useful.  There is already some light being thrown up from the white background paper on which the head is standing, as can be seen from the light areas under the chin and nose in particular.  Moving to the left, this has the makings of a Rembrandt style lighting.

Left 270 deg,                                    Left 315 deg

The final two in the sequence, as I did not retake a shot from the front.  The first is very much a Rembrandt style light, with the triangular light area within the shadow on one side of the face.  The second of these, provides a good modelling light, with a butterfly shadow developing under the nose.

Light directly above the subject

The camera setting for these was ISO 100, f/11, 1/125 sec.

Above                                              Above and back                                          Above and front

Of the 3 in this sequence, the last, with the light above and slightly to the front is the most useful.. It provides good shaping and ' due to the shadows falling of the cheekbones, gives a more slender look.

In terms of choosing which lighting setup reveals the form of the subject best, then I would go for the light to the left at 315 degrees.  This is an extension of the Rembrandt light, but the face has been opened up due to less shadow, which now creates a more sculpting effect on the opposite side to the light.