Portrait Photography Skills: Application of Ambient Light

Portrait Photography Skills: Application of Ambient Light

People often think that taking photos in a studio requires a wealth of relevant knowledge, but they don't know that shooting in natural light also requires a series of corresponding skills. We should learn to grasp the environment and judge the light. Then on this basis, learn how to adjust the position of the model according to the light, or use the correct light control equipment to decorate the natural light. The picture in Figure 8. 1 was taken in natural light, but it looks like a scene in a movie. The little model stood in a narrow alley. The light in front of the alley provided her with good facial illumination, while the light behind the alley brought intoxicating highlights to her hair. We can also find shooting scenes with such charming light, but we must first learn how to analyze natural light and how to make reasonable adjustments.

Books and video tutorials on natural light and natural light photography skills are overwhelming. Here I only talk about the basic natural light photography skills related to fashion photography, which can often bring me pleasing effects.

I like taking pictures in the studio, where I can control everything. But I also like the feeling of shooting location in natural light. When I first set foot in the photography industry, most of my works were shot in the studio. At that time, I firmly believed that expensive studio equipment and playing with these equipment were the key for a professional photographer to get ahead. This idea is all wet. Over the years, I have also found that my clients are more and more interested in shooting scenes in natural light. They like the bright light environment outside and the feeling of playing outside. Only when professional photographers have the ability to discover the beauty of scenery and arouse the sense of scenery can they really get ahead.

The art of using natural light lies in judging natural light conditions and cooperating with them.

The following are several natural light shooting techniques that I have summed up in repeated attempts.

People often think that taking photos in a studio requires a wealth of relevant knowledge, but they don't know that shooting in natural light also requires a series of corresponding skills. We should learn to grasp the environment and judge the light. Then on this basis, learn how to adjust the position of the model according to the light, or use the correct light control equipment to decorate the natural light. The picture in Figure 8. 1 was taken in natural light, but it looks like a scene in a movie. The little model stood in a narrow alley. The light in front of the alley provided her with good facial illumination, while the light behind the alley brought intoxicating highlights to her hair. We can also find shooting scenes with such charming light, but we must first learn how to analyze natural light and how to make reasonable adjustments.

Books and video tutorials on natural light and natural light photography skills are overwhelming. Here I only talk about the basic natural light photography skills related to fashion photography, which can often bring me pleasing effects.

I like taking pictures in the studio, where I can control everything. But I also like the feeling of shooting location in natural light. When I first set foot in the photography industry, most of my works were shot in the studio. At that time, I firmly believed that expensive studio equipment and playing with these equipment were the key for a professional photographer to get ahead. This idea is all wet. Over the years, I have also found that my clients are more and more interested in shooting scenes in natural light. They like the bright light environment outside and the feeling of playing outside. Only when professional photographers have the ability to discover the beauty of scenery and arouse the sense of scenery can they really get ahead.

The art of using natural light lies in judging natural light conditions and cooperating with them.

The following are several natural light shooting techniques that I have summed up in repeated attempts.

Direct sunlight

It is very dangerous to take pictures in direct sunlight. In fact, most photographers have been taught not to shoot in direct sunlight, which will bring harsh highlights and dark parts, and will also make the subject unable to open his eyes. Taking pictures in this light is not only a kind of torture, but also the effect is not satisfactory.

But if you open high-end fashion magazines, you will see many photographers' works in the sun. They broke the traditional photography norms, thus giving people a sense of avant-garde fashion. Strong light not only outlines the face and body lines of the model for the photographer, but also brings a different atmosphere to the photo.

The picture below is a photo taken under the tree in direct sunlight. I seldom use direct sunlight as a light source. They are too strong, but the sunshine really enriches the atmosphere of this work and brings many points to the picture, which makes the light on the model and the light and shadow in the background set each other off. In addition, sunlight also enriches the layering and three-dimensional sense of this work.

Direct sunlight can create dramatic lighting effects, enrich the depth of the picture and shape scenes and characters. The only problem is that you need to be careful when using it.

If you plan to shoot in direct sunlight, I have two suggestions. Firstly, observe the light and analyze the influence of light on the facial lines of the model or the shooting environment. Make the light in the photo look more like the result of careful planning than forced choice. Secondly, try not to take pictures at noon. If you want to shoot against the sun, you must choose the time when the sun is close to the horizon before or after sunrise or sunset.

When the angle is low, the contrast effect of sunlight on the characters is better and the photos taken are more lasting. The photo shown in Figure 8.3 was taken when the sun was near sunset, and the sky was full of golden sunlight, depicting beautiful characters' faces.

It is easier to shoot male subjects in the sun, and their masculine facial contours perform better in strong light. Of course, this kind of light is also suitable for shooting women.

The ether sunlight is the main light source, so it's best to shoot when the sun's altitude angle is low in the morning and evening. The light of the film can not only shape the atmosphere of the picture, but also optimize the contour expression of the face.

Backlight and reflector

Using this lighting technology, it is easy to shoot surreal effects similar to movie stills. Next time you watch an epic or romantic movie, count how many similar lighting environments you can see. This kind of lighting effect is very charming, and it can create a perfect dream scene, which is very popular with my customers. The following photo was taken in this way, and the picture is full of rich dreams and homesickness.

The backlight effect of this photo enriches the romantic artistic conception of the scene and makes the picture more dreamy.

note:

In the case of strong light, you need to be careful when using reflector. If we reflect the mirror directly to the sun on a sunny day, the reflected light is almost as dazzling as the sun, and the shooting result is not ideal. At this time, the angle of the reflector should be adjusted to reduce the intensity of reflected light. This practice is called feathering light, which can make better use of natural light by controlling the intensity and direction of reflected light.

Let the subject stand in front of the sun and reflect the light on her face with a reflector. This lighting method can not only outline the golden outline lines for the characters, but also leave clear facial details. I usually use 1.5m 3-in-1 or 5-in-1 reflector .. 5-in-1 reflector includes silver, gold and silver double-color reflector, white soft reflector and black sunshade. Among them, silver and gold and silver reflectors are my favorites, but when I want to get the warm light feeling shown in the picture below, I will also use gold reflectors.

Warm colors cast a dreamy color on the picture, and it is more appropriate to fill the light with a golden reflector.

note:

When the sun is directly behind the subject, it is easy for the sun to shine on our lens, reducing the image quality or the overall picture contrast. We can use the lens cover, palm or sun hat to block the sun's rays and prevent this from happening. The film industry also calls the shutter barrel, which can block light from all angles. Although lens glare can sometimes be used as a creative effect, it should be avoided as much as possible in most cases.

I mainly use this lighting method to shoot women, and the effect is amazing. I have also seen some successful examples of shooting men in this way. Similar to other shooting methods with ether sunlight as the main light source, it is more ideal to choose early morning or dusk shooting. At this time, the light is richer and the angle is more charming.

Suggestion:

When using a reflector to reflect light, pay attention to the position of the light and the reflector. If the position of the reflector is lower than the face or trunk of the subject, then the reflected light must be the bottom light. This kind of lighting effect is not ideal, and it is mostly used in horror movies. At this time, we'd better ask the photography assistant to help us raise the reflector to avoid low-angle light.

Scatter sunlight

As mentioned above, most photographers are taught not to take pictures in the direct sunlight at noon. But if we know how to deal with light correctly, maybe they can be the most ideal lighting conditions.

On sunny days, we can use a large astigmatism net or a necessary soft light plate in the integrated reflector to scatter the sun and soften the light emitted by the sun. Figure 8.6 shows the works created by this method under extreme lighting conditions at noon. The large astigmatism net on the model's head scatters sunlight, bringing a soft luminous effect.

The astigmatism net is a large metal frame with different types of soft light materials installed. When shooting in the sun, we can put the astigmatism net between the sun and the subject to get a bright and soft light effect.

This photo was taken in the direct sunlight at noon, but the light was softened by the astigmatism net.

Astigmatism net is the most commonly used in beach swimsuit photography, which can easily scatter the strong light on the beach and is worth buying. The astigmatism net is divided into several grades according to the different soft light ability of soft light materials. General 1 grade soft light products can already cope with most situations.

The photo is a 6-inch x 6-inch astigmatism net.

Window lamp

At the beginning of portrait photography, photographers began to use the beautiful light from the window as the main light source in their works. The light in the window is soft and directional. By adjusting the relationship between the main body and the window, we can intuitively understand this characteristic of window light. It not only has soft light characteristics, but also shows the ups and downs of facial details. Figure 8.8 shows a standard portrait taken with window light. The window is located on the right side of the screen, and the characters seem to emerge from the shadow of the background in soft light. Deep eyes, as if with a touch of sadness, convey a strong sense of beauty.

When shooting with window light, you should pay attention to avoiding windows with direct sunlight. Standing in front of such a window is no different from shooting in direct sunlight. The indirect light reflected many times outside is the window light we really need to look for.

This photo was taken with window light, and the soft light pulled the characters out of the background, creating a quiet and feminine atmosphere.

Suggestion:

Pay attention to the distribution of light and shadow falling on the subject's face. The light in the window is relatively stable, so we can spend more time adjusting the posture of the subject and looking for the most suitable light angle when shooting.

Don't let the subject stand too close to the window. If the window is large, when we let the subject stand in front of the window, the light in the window will gradually give off the smell of top light and cast a deep shadow under people's eyes. Let the subject stand away from the window, so that the light is smoother and the shooting effect is more ideal.

Sometimes, we can stand in front of the window and let the subject shoot directly at us. Although this wide light is a little flat, it can still produce unexpected results when used to shoot female portraits. Soft and symmetrical light makes shadows have nowhere to hide, and can smooth and fade skin wrinkles, scars and other defects.

Window backlight

If your studio or location has large French windows, it may bring you the same lighting effect as high-end fashion works. Let the model stand in front of the window and expose the background with reference to the face and skin color of the character. The light around the model will bring a perfect sense of fashion to the photo.

The light that lingers around the model can bring enough light to the character. In many cases, we don't even need the participation of the reflector. But sometimes, you still have to use a silver reflector to control the light and balance the exposure. The sunlight coming from the window is the only light source used in Figure 8.9, with bright picture and strong impact.

Shooting by the window, except the outdoor light reflected by the indoor white wall, did not use any equipment to fill the light from the front.

Windows and curtains

If you want to play natural light with more dramatic effects, this is a desirable scheme.

Find a window with good lighting and thick curtains. Close the curtains, leaving only a ray of sunshine, and let the model stand inside. The picture below is the work shot by this ray of light from the curtain, from which we can appreciate its powerful visual impact.

This concentrated and narrow light can be dramatic, especially suitable for shooting male objects. But it can also get good results when it is used to shoot women.

By using a window with curtains, we can control the width of the incident light and get a striking lighting effect.

note:

Only thicker curtains can achieve the lighting effect mentioned above. The curtains are thin, and light may enter the room through the curtains, and the effect is not as obvious as the example seen above. If you like the translucent effect of thinner curtains, you'd better choose neutral curtains. If the curtain is green, then the light entering the room through the curtain is also green, which will bring obvious green color cast to the picture.

Avoid yin

Taking pictures on cloudy days can be done without any light control equipment. Shooting in a shady place examines the photographer's "sightseeing" ability. The so-called shade avoidance is either a cloudy day where the sun can't be seen or a shady place where there is no direct sunlight.

Pay attention to the angle of the subject's face, so that the skylight can provide them with enough light, but it can't cause ugly shadows under their eyes. Be sure to carefully observe the distribution of shadows and highlights on your face, which is no different from shooting in the sun, except that the light in the shadows is softer.

In recent years, there is a trend in fashion photography: only choose to shoot fashion topics in cloudy or shady places. The light in this environment does not need to be adjusted by light control equipment, so the picture looks more real and natural. Many photographers of fashion magazines choose this method to enhance the authenticity of their works.

I took the following photo on a cloudy day. This photo does not use a reflector, an astigmatism net, or other types of light control equipment. Thick clouds bring a relatively soft light effect to the picture. In addition, in the post-processing, the texture effect is added to the photo.

On cloudy days, we can shoot directly with soft natural light without any light control equipment.

Shadows on porches and roofs.

This is probably one of my favorite lighting conditions when shooting portraits outdoors. Whether it is cloudy or sunny, under the shadow of buildings, you can easily shoot works with charming lighting effects.

Shadows on porches, roofs or other overhanging structures allow the subject to stand and shoot. This kind of shadow is very different from the simple architectural shadow or shading, either the area is too large or there is no obvious division of light and shade. The picture shows the photos taken by two brothers at a hole by the sea. The lighting effect of the hole is similar to that of a porch. The opening allows light to shine on the main body, while the ceiling blocks the top light of the head of the main body. This technique is sometimes called "dimming". In other words, let the subject stand in an environment where the whole person is completely surrounded by light, and then slowly block unnecessary light with the help of scenery or light control tools as needed. The dimming method is frequently used in the studio, and the black light absorption plate is used to absorb unnecessary light.

Let the subjects stand at the junction of light and dark on the porch or ceiling projection, and then let them back slowly. Take a step back and observe the light effect on their faces, at least let the shadows under their eyes disappear completely. As the subject recedes further and further, the proportion of top light is less and less, and the proportion of surface light is more and more. At this time, the light will become more concentrated, just like a point light source placed at the entrance, creating a very charming effect. Immediately after taking pictures, in order to make the lighting effect sharper, I asked the subject to take a few more steps into the cave. Standing on the porch and shooting, you can get a similar effect.

Photo: This cave blocks the direct sunlight overhead, leaving only more natural light.

Below: After my father took a step back, the light became more concentrated and dramatic, and a clear facial outline was outlined.

Whether shooting men or women, the porch lights are equally charming. More importantly, we can find similar lighting conditions in most locations.

Lampshade and reflector

Let the subject stand in the shade and use the reflector to reflect the sunlight, which may be the most commonly used lighting method when shooting in natural light. Doing so can avoid direct sunlight on the face of the subject and will not cause ugly shadows. At this time, the character's face is like a whiteboard, so let's cast a light projection on it.

The reflector is our brush. We use it to collect light and reflect it on the faces of people standing in the shadows. Sunlight, window light-any natural light whose brightness is higher than the face light of the subject can be used as our reflection object. The reflector can help us control the angle and quantity of light falling on the subject's face.

Such light is neither too strong nor too soft. Whether it is used to shoot men or women, models or ordinary people, it can play a beautification role. The picture below is a photo taken in the shade with a reflector. I asked the model to sit in the shade by the roadside, reflected the sunlight on her with a reflector, and drew clear character lines.

When the subject is placed in the shadow and photographed with a silver reflector, it is easy to obtain excellent light effect, especially on sunny days.

A bold attempt

Don't be afraid to break the rules when you have no light. Let the highlights fly away, and the background is overexposed, which may get unexpected results. It is also an idea to use unconventional light sources for lighting. Generally speaking, the bolder you use it, the more wonderful the result will be. Figure 8. 17 is a photo taken by light technology. When I was taking pictures in this alley, I noticed the bright and dazzling light at the end. I didn't use it as background light or highlight, but directly made it the focus of the picture. The characters seem to disappear in the dazzling light, and the symmetrical composition strengthens the sense of the end of the light.

Breaking the traditional light processing means can get better results, such as the model disappearing at the end of the light channel in this photo.

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