I am obsessed with lighting.
I believe a lot of beginner photographers overlook the importance of how to light a subject and the overall impact proper lighting can have on an image. I do not blame them, though. When anyone starts out on their journey in photography, it is so easy to get lost in the myriad of technicalities, which often progresses into obsessing over gear. Often times when I find myself thinking about which piece of gear to purchase next, I have to pull back and think about what photography really is.
The word "photography" derives from the Greek word phōs ("light") and graphé (representation by means of light or "drawing"). So by definition, photographers are "light painters." To me, it is important to create something beyond a simple two-dimensional image and there are multiple ways of adding that extra level of complexity, that extra "Umph!" One of method is through lighting.
There are two main ways to light a subject. The first is through available light or utilizing the light present in our environment. Luckily, there is an abundance of it everyday (to a lesser extent in Seattle...). But the best part about it is that it is FREE! The challenge with available light is that it is often unpredictable due to things like changing weather or an unexpected shadow cast by a tree. But as photographers, when we have a scheduled shoot, we do not have a choice. We have to take what we have and run with it. This is where understanding how to properly light a subject can have a large impact. But there are times where available light can be so crummy that even having the greatest lighting knowledge can lead to a stale image.
Enter strobe lighting or "artificial" lighting, the second way to light a subject. The best example is on-camera direct flash, which most people have experience with on their digital point-and-shoots. As a note, by "best" I mean most common. I personally do not endorse direct on-camera flash, as this still yields a flat and (often times) unflattering image (see below).
Strobe lighting is most often utilized in the studio setting to create images seen in popular fashion magazines such as Vogue or GQ (see my headshot portfolio for more examples). Similar to the flash on simple point-and-shoot cameras, strobe lights release a quick burst of light when the shutter button is pressed supplying the extra bit of light in the areas that would normally be dark. The main differences are that these flash units are typically off-camera and, depending on the needs of the photographer, are in various locations in relation to the subject to create a more dynamic look. The number of flash units can vary from one to five or even twenty, although I could never see someone using twenty flash units (I would ask that photographer to reevaluate...everything). Purists will state using available light is the only true way of photographing, to which I respond "pfft...No!".
Do not get me wrong, though. I do not side with either cult of available-only or artificial-only lighting. Again, I think it is important to understand the fundamentals of lighting and choose which tool is best for your needs. I am currently experimenting with one of the more extreme situations: utilizing strobe lighting outdoors while in mid-day sun. As a note, mid-day is the worst time to be photographing a subject since the sunlight is the harshest at this time of day and the direction of light casts downward shadows, which all add up to a poorly lit image. But when applying the basic principals of proper lighting and utilizing both available and strobe lighting, a well lit image can still be made. This past Saturday was a great opportunity to experiment. Unfortunately, having a bright sunny day in Seattle is a double-edged sword. No one was available to be my test model! So I called in my most reliable, high-profile model: soccer ball on a box. Keep in mind these images are straight out of the camera (no photoshop manipulation).
On-Camera, Direct Flash (yuck!)
