The sources and effect Controlling and manipulating Natural and available light Artificial and Flash Lighting

1. Nur ‘Ain Binti Mohd Light and lighting
Shahroom
MP121287
Sumitha Malar Vasu
MP121259
Noor Syahirah Bte
Othman
MP121160

2. An image is created with LIGHTS
“light makes photography. Embrace light.
Admire it. Love it. But above all, KNOWlight.
Know it for all you are worth, and you will
know the key to photography.”
Founder of Kodak,
George Eastman

3. Sources of lights:
NATURAL AND
AVAILABLE LIGHT
• Sunlight
• Moonlight
• Storm light
ARTIFICIAL LIGHT
• Flash light
• Studio lighting
• Fresnel
• Flourescent
• Soft box

5. Effects of lighting:
• Highlight important objects by drawing our eyes to
them (guide our attention)
• Texture and shape
• Give different mood to the picture to deliver a
certain message
– Can make a character look mysterious by shading
some parts of their body
– Make the character look glamorous by using
3point lighting technique
– Highlight the emotion of the picture

6. Attached and cast shadow

7. Basic styles of lighting:
High-key
• Predominantly bright and
allows few dark areas or
shadows within the scene
• Features strong illumination
on the subject and often an
equally exposed
background
Low-key
• Enhances depth by using
contrasting tones of
highlights and shadow
• Only a few areas are lit at or
above key, resulting in more
shadow areas

10. Hard light
• Light directly from a source such
as the sun, traveling undisturbed
onto the subject being lit
• Highly directional
• Creates a relatively sharp &
straight shadow – very dramatic
Soft light
• Light which appears to “wrap
around” the contour of the
subject.
• Produces less or softer shadow
• Fills shadows and lowering
contrast

11. Soft light can be created
by:
• Bouncing the light
• Using diffusion materials
• Pulling the light away from the subject

12. Natural light: SUN

13. Substractive lighting
• in outdoor daylight shooting, we
may have too much light filling
the subject.
• Therefore, we often use a
technique called substractive
lighting where we use negative
fill to remove the extra light to
control shadows of varying
densities.

14. Key light: main light on a subject
Fill light: softens the hard edges of the key and balances
the light
Back light: light behind the subject creating separation
from the background (distance)

15. Artificial lights:

16. Artificial lights:

17. Artificial lights:

18. Portrait lighting technique:

19. Portrait lighting technique:

20. Portrait lighting technique:

21. • Mastering lighting techniques is one of the
most important part in photography. Get to
know and learn how to manipulate different
kinds of lights to your advantage.
• Always take sample shots. Adjust the lighting
based on the sample shots.
• You make the picture, not just simply take a
picture. Use lighting to create your picture.

22. NATURAL AND AVAILABLE
LIGHTAVAILABLE
LIGHT
Photography is all about light.
Our photographs are recorded light.
How we control the available light and add additional
light when needed is basis for all photography.
There are numerous controls and methods for controlling
light available to today's photographer.

23. What is a Light Meter?
A light meter is an instrument inside the
camera that indicate if the amount of light
reaching the film will be enough or too much
to properly expose the image.
The light meter takes into account on
shutter speed, film speed, and aperture
settings.

24. How To Read the Meter?
Camera's light meter shows the amount of light in aperture settings.
Each dot on the meter represents a partial "stop", or aperture
increment.
The numbers represent whole stops.
Even though your F-Stop setting controls the aperture itself, the meter
readings will also change if you change your film speed or shutter speed.

25. Aperture
The aperture is an adjustable opening inside the camera lens that
works very similar like the iris in eye.
When the aperture opens wide (like your eye dilating), more light is
allowed through the lens to expose the film.
When the aperture is narrow (like your pupil in bright light), less
light reaches the film.
 This works in conjunction with shutter speed and film speed to
determine the total amount of light that reaches the film.
 Aperture size also affects depth of field.

26. APERTURE

27. Shutter Speed
Shutter speed one of the 3 basic light control functions of a camera.
Aperture, film speed, and shutter speed work together to adjust how
much light strikes film and how that light is recorded.
Shutter speed controls the amount of time the film, or digital sensor, is
exposed to light.
shutter determines what image is captured on your film.
The shutter is a small plastic sheet that opens and closes to allow light
onto the film or prevent light from reaching the film.
The shutter is opened when you press the shutter release button on
your camera to take a picture.
 The shutter speed determines how long the shutter remains open.

28. MEASURING SHUTTER SPEED
Shutter speed is generally measured in fractions of a second.
A shutter speed of "5000" means that the shutter will open
for 1/5000th of a second.
Shutter speeds of 1 second and longer are generally marked
with a ', or other similar mark, after the number.
This means that 16' on your camera's display would stand for
16 seconds.
The letter "B" is often used to indicate the shutter will
remain open as long as you hold down the shutter release
button.

29. Slow Shutter Speed
Shutter speed is considered to be "long" or "slow" when it is slower than
1/60th of a second.
This numbers comes from the fact that most people can only hold a
standard lens (between 35mm and 70mm) steady for 1/60th of a second
or less.
This is different from the commonly used term "long exposure" which
usually refers to shutter speeds of over 1 second.
Fast Shutter Speed
Fast shutter speeds are generally considered to be those shutter speeds
faster than 1/500th of a second.
These shutter speeds are used to freeze, or stop, motion for a clear image
when shooting fast subjects.

34. ISO
The light sensitivity of a film or equivalent digital sensor
sensitivity.
The larger the number the less light is needed to capture the
image.
This sensitivity is measured by a formula developed by the
international Standard of Organization and is abbreviated as ISO.
Occasionally film speed is still designated by ASA, which is an
older measurement standard from the American National Standards
Institute.

38. Photography in Sunlight
Photography is all about light, the direction of
the light falling on your subject is most important
You need to look at your subject carefully and
watch how the shadows fall.
If you are able to choose the time of day to
shoot your pictures, try to pick a time when the
sun is low in the sky.

39. Photography in Sunlight
Shoot in the early morning or late afternoon
Shooting pictures of people with the sun too
high in the sky, tends to mean the subject's eyes
will be in shadow.
If you are photographing in sunlight, try to
position yourself so that the sun hits your subject
from the side, this will give you nice 'modelling'
and help create a 3D effect in the picture

44. Direction of Light
When looking at the lighting on a scene, you need to take into
account the direction the light is coming from and also its relation
to the camera (will the shadows be visible to the viewer?)
Three different kinds of lighting are defined as front , side and
back lighting
 Front lighting is often applied by beginners
because it is “safe” and will illuminate the scene
evenly, but this can create flat, less interesting
photographs
Side lighting can emphasize texture and adds
depth to your photographs
Back lighting can create dramatic silhouettes
against a bright background

45. An Icelandic pony, shot against a setting sun

46. A bellowing red deer stag with light from the side

47. The hair of this pony create a golden outline
when backlight by the low sun

48. A silhouette of a red deer stag is an instantly
identifiable form against a sunset sky

49. Quality of Light -The Golden Hours
Sunrise and sunset have been referred to as the “golden hours”
for photography
These two times are wonderful for photographs because of the
warm light and low angle of the light source.
Morning light is somewhat cooler than sunset, but both times
produce warmer tones than at midday
The low angle of the sun produces long shadows and creates a
feeling of depth and dimension in photographs, great for
emphasizing texture and detail
These two times give better side lighting and backlighting
opportunities, and often the light is soft enough so that the
shadows aren’t overly dark and contrast

51. Quality of Light Midday Sun
• Midday sun is harsh and contrast, and the shadows it casts fall
almost straight down creating a flatter feeling image than one
with long, fading shadows
• It can be hard in the summer, if not impossible, to get side
lighting or back lighting with a midday sun as well
• As the seasons change however, the sun is more angular even at
noon and more interesting light can be found

53. EQUIPMENTS

54. ARTIFICIAL LIGHTING
incandescent
Four kinds of artificial
light sources for
photography
fluorescent
LED
studio strob

55. Incandescent
• This lighting ranges from the common light bulb to
large tungsten “hot lights” used in the studio and on
movie sets. They are warm in colour
temperature compared with natural daylight.
• The light from a bare bulb is pretty harsh. That’s why
we use lampshades on lights in our homes. The
quality of incandescent lighting can be modified
using flags, reflectors and diffusion material. They
get hot to touch, so you need to be very careful
around children and when photographing things that
melt – like plastic or ice cream.

56. FLUORESCENT
• Most public buildings and offices are lit with fluorescent lighting tubes.
They’ve been around for decades. They aren’t common in photography, but
we sometimes get stuck with them if we’re shooting in corporate offices. One
problem is that the tubes come in different colour temperatures.
Traditionally they were greenish, and you had to have a magenta filter on
your lens to correct for it.
• Now they come in many different flavours: cool white, warm white, daylight
balanced, traditional green. As a result, it’s hard to white balance for
fluorescent lighting, as you never know which
type of bulbs are in the ballasts, or even if the
bulbs match the ones next to them. You could
have a room that has 2 or 3 different coloured
tubes. In this case I’d definitely recommend
doing a custom white balance using a grey card.

57. LED
• LED stands for light emitting diodes. Usually there are a
series of hundreds small light diodes on one of the LED
panels. These lights are really new on the photography
and video market and their use is getting more common,
especially as perimeter lighting for domestic use. You
probably also use one if you ride a bicycle.
• Depending on the brand name and quality of LEDs, they
can range from very stable in colour temperature to very
unstable. The brightness can be varied with a built in
rheostat and some models have two colour temperatures,
or slide in filter panels. The quality of the light from LED’s
tends to be a bit harsh and doesn’t spread out much, so
you might need to soften this light with a spun diffusion
material, or bounce it off a wall.

58. studio strob
• Strobe lighting is probably the most common used artificial
lighting in photography. Strobe lighting is not suitable for
video, as the duration of the flash is too short.
• The light from your camera flash is very harsh as well. Most
people like to modify the light by bouncing it off a small card
or by putting plastic diffusers
in front of the flash head.
• Photographers have been using
studio strobe lighting for many years,
and it’s not going out of style any
time soon. There are many manufacturers
of strobe lighting systems and many
light modifying accessories to go with
them such as umbrellas and softboxes.

59. Advantages of using
artificial light
Using
flashes in
low light will
freeze the
action
Colour the
light.
You can
achieve near
perfect
lighting
anywhere,
anytime.
Photographs
taken using
artificial
light has a
“fashion
look”.

60. Disadvantages of using
artificial light
Photographs
are generally
more
staged/posed
and does not
allow for many
candid
moments
It can cost a lot
more in terms
of equipment
Working with
equipment is
more
cumbersome.

61. FLASH SET

63. BOUNCE

64. FLAG IT

65. Make It Bigger.

66. ADVANTAGES OF AN EXTERNAL FLASH
A cleaner look to the diffusers you use to
soften your lighting.
Reflectors can change the angles and
intensity of bounced light
A flexibility to the ways you can angle
and turn it
Red eye reduction in portraits.
Better illumination of subjects who are
farther away.

67. ADVANTAGES OF AN EXTERNAL FLASH
More control of your lighting.
Added creativity with your lighting.
More options with positioning, tripods,
and remotes
Lighting looks more natural.
Varied possibilities to bounce light off
walls or ceilings