Seeing the Light
Light Photography Photo = Light Graphis = Write Photographer = “Light-writer”
Light Creates mood Enhances or describes surfaces Creates dimension See the Light!
Light Source Direction Quality
Light Sources Natural light Sun Ambient or available light Artificial light Flash Strobes Incandescent Neon Mercury Vapor
Light Sources Natural light Sun Ambient or available light Sun Ansel Adams
Light Sources Natural light Sun Ambient or available light Sun Cindy Sherman
Light Sources Natural light Sun Ambient or available light Sam Abell Ambient or available light
Light Sources Natural light Sun Ambient or available light Richard Avedon Ambient or available light
Light Sources Artificial light Flash Strobes Incandescent Neon Mercury Vapor Flash Diane Arbus
Light Sources Artificial light Flash Strobes Incandescent Neon Mercury Vapor Flash David Bailey
Light Sources Artificial light Flash Strobes Incandescent Neon Mercury Vapor Strobes Irving Penn
Light Sources Artificial light Flash Strobes Incandescent Neon Mercury Vapor Strobes Edward Steichen
Light Sources Artificial light Flash Strobes Incandescent Neon Mercury Vapor Strobes Max Waldman
Light Source Direction Quality
Light Direction of Light From the point of view of the camera Look at the Shadows Darkest side faces away from the light Brightest side faces the light source
Direction of Light Axis Backlight Rim/Edge Silhouette Contour A B C
Axis Light Comes at the front of the scene from the direction of the camera Sources: flash, or light behind camera Tends to flatten subject Not very flattering
Harry Callahan Axis Light Comes at the front of the scene from the direction of the camera
Paul Strand Axis Light Comes at the front of the scene from the direction of the camera
Diane Arbus Axis Light Comes at the front of the scene from the direction of the camera
Walker Evans Axis Light Comes at the front of the scene from the direction of the camera
Direction of Light Axis Backlight Rim/Edge Silhouette Contour A B C
Backlight Rim or Edge Light Lands on back edge of the subject Edge separates subject from the background Comes from behind subject, toward the camera Silhouette Doesn’t land on subject Subject is black and two-dimensional
W. Eugene Smith Comes from behind the subject Light lands on the edge of the subject Backlight -- RIM or EDGE
Adam Jahiel Comes from behind the subject Light lands on the edge of the subject Backlight -- RIM or EDGE
Neil Leifer Backlight -- RIM or EDGE Comes from behind the subject Light lands on the edge of the subject
Imogen Cunningham Backlight -- RIM or EDGE Comes from behind the subject Light lands on the edge of the subject
Backlight Rim or Edge Light Lands on back edge of the subject Edge separates subject from the background Comes from behind subject, toward the camera Silhouette Doesn’t land on subject Subject is black and two-dimensional
Michael Kenna Backlight -- SILHOUETTE Comes from behind the subject Light DOES NOT land on the edge of the subject
Michael Kenna Comes from behind the subject Light DOES NOT land on the edge of the subject Backlight -- SILHOUETTE
James Nachtwey Comes from behind the subject Light DOES NOT land on the edge of the subject Backlight -- SILHOUETTE
Henri Cartier-Bresson Comes from behind the subject Light DOES NOT land on the edge of the subject Backlight -- SILHOUETTE
Direction of Light Axis Backlight Rim/Edge Silhouette Contour A B C
Contour Light Comes across the side of the scene from the left or right of the camera Surface texture is more noticeable Makes objects more three-dimensional Adds drama
Neil Leifer Contour Light Comes from the left or right side of the camera
Neil Leifer Contour Light Comes from the left or right side of the camera
David Bailey Contour Light Comes from the left or right side of the camera
Clarence John Laughlin Contour Light Comes from the left or right side of the camera
Susan Walsh Contour Light Comes from the left or right side of the camera
Light Source Direction Quality
Make the photograph interesting Watch for Light Quality Harsh or Strong Diffuse or Soft Directional Diffuse Harsh
Harry Callahan Harsh or Strong Light Very sharp, crisp edges to the shadow & light areas Extremely contrasty
Edward Weston Harsh or Strong Light Very sharp, crisp edges to the shadow & light areas Extremely contrasty
Gordon Parks Harsh or Strong Light Very sharp, crisp edges to the shadow & light areas Extremely contrasty
Watch for Light Quality Harsh or Strong Diffuse or Soft Directional Diffuse Make the photograph interesting Diffuse
Edward Weston Diffuse or Soft Light No shadows Light has no direction Can’t tell light source
Paul Strand Diffuse or Soft Light No shadows Light has no direction Can’t tell light source
Watch for Light Quality Harsh or Strong Diffuse or Soft Directional Diffuse Make the photograph interesting Directional Diffuse
Steve McCurry Directional Diffuse Light Very soft edges to shadows Extremely flattering
Elliott Erwitt Directional Diffuse Light Very soft edges to shadows Extremely flattering
Light Creates mood Enhances or describes surfaces Creates dimension See the Light!
Seeing the Light