Page 18 - Amateur Photographer - August 5, 2017

Technique

Direction of light
With such wide discrepancies dependent on our location when
planning a shoot we need to know when the sun is due to come The exception to the rule: front
and go, and where in the sky it will rise and set. I have to admit lighting on Llyn Dinas at dawn,
I rely on experience, but it pays to be precise. Apps such as Snowdonia, Wales
The Photographer’s Ephemeris and PhotoPills are handy, but Canon EOS 5DS R, 24-70mm,
1/125sec at f/8, ISO 200
I’m cautious of relying on them. We still need to ascertain
which direction we want the light to be coming from to paint
the landscape best – front, back, side or above. Front lighting shadow thrown in, but the
Full frontal light from directly harsh fl attening effect and lack
behind the photographer of shadow/highlight contrast
Side lighting leaves little to the imagination; rarely shows a landscape or
Side lighting is my favoured all is revealed with maximum indeed any subject off to its
default for landscape work. stark illumination, usually best; it’s an unappealing light
The low rays of a rising or with the photographer’s that I avoid like the plague.
setting sun slanting across
a scene reveal every shape,
texture and contour in the Diffuse top lighting is
landscape. Shadows perfect for shooting
provide strong shapes and woodland and water
every detail from the Canon EOS 5D Mark III,
poppies in the foreground 24-70mm, 1.6sec at f/16, ISO 100
to the distant mountains
beyond is apparent.

Late-afternoon cross lighting
reveals all of the detail and
form in the landscape at
Malham in the Yorkshire Dales
Canon EOS-1DS Mark III, 70-200mm,
1/6sec at f/11, ISO 100

Sun rising behind
Salisbury Cathedral, Top lighting woodland and canyons. When
Wiltshire When the clouds coalesce into the clouds close in there’s also
Canon EOS-1DS Mark II, 24-70mm, an oppressive grey ceiling the the option of turning the
1/100sec at f/11, ISO 100 low-contrast diffuse top camera on faces; it’s the perfect
lighting can be just the job for light for portraiture.

Backlighting the rocky vegetation and the
Backlighting can often be the bright sky; softer light allows Durdle Door and St Oswald’s Bay,
Jurassic Coast, Dorset
route to graphic impact. us to retain more foreground Canon EOS 5D Mark IV, 100-400mm, 13secs at f/32, ISO 100
Shooting into the light is beset detail, whilst stronger more
with problems – fl are, dramatic light renders
exposure and contrast to name silhouettes and foregrounds Light on my local patch and setting over the land to the
a few, but strong shapes backlit black. We have stratagems for Dorset’s Jurassic Coast is my north, which casts its shadow
and silhouetted against a tackling that immense home patch where I have the across the cliffs and beaches.
dramatic sky often have a bold contrast range; namely luxury of being able to choose In the short days of winter
simplicity that can be very graduated fi lters or exposure precisely the best time of year though, when the sun is rising
powerful. The big drawback merging, but there is a limit to to shoot a specifi c location. The to the southeast and setting in
though is any tantalising detail what can be achieved without east-west aspect of the the southwest, tantalising side
in the shadowy foreground the loss of all credibility. In my coastline makes shooting most lighting bathes the white cliffs
will be lost. How much detail book any such wizardry needs locations between the spring and coves. It’s a view I never
is sacrifi ced depends entirely to be done with subtlety if and autumn equinoxes tire of, and one that provides
on the contrast range between believability is to be retained. unfeasible; the sun is rising endless inspiration.

18 5 August 2017 I www.amateurphotographer.co.uk I subscribe 0330 333 1113