Studio Photography

Essential Skills
Fourth Edition

John Child

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Focal Press is an imprint of Elsevier
Focal Press is an imprint of Elsevier
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First published 1999

Reprinted 2000
Second edition 2001
Reprinted 2003 (twice)
Third edition 2005
Fourth edition 2008

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08 09 10 11 11 10 9 8 7 6 5 4 3 2 1
 Contents

Acknowledgements
Among the many people who have helped make this book possible, I wish to express my
thanks to the following:

• Mark Galer, Les Horvat and Michael Wennrich for their help and advice.
• The students of RMIT University, Melbourne, for their illustrative input,
enthusiasm and friendship.
• And to Gloria and my family for their continuing encouragement and
understanding throughout my photographic career, thank you.

iii
Studio Photography: Essential Skills

Contents
1. Introduction 1
Process and progress 2
Independent learning 3
Research and resources 4
Visual Diary 5
Record Book 6
Presentation 7
History 8
Advancements in technology 9
Current commercial practice 10
Methodology 11

2. Genres 13
Introduction 14
Advertising illustration 15
Still life 16
Portraiture 17
Commercial portraiture 18
Fashion 19
Fashion since 1950 20

3. Communication and design 23

Introduction 24
Context 25
Format 26
Content 27
Balance 28
Composition 29
Point of view 30
Line 31
Depth 33
Perspective 34

4. Art direction 37
Introduction 38
Layouts 39
Framing the image 40

iv
 Contents

5. The studio 45
Introduction 46
Health and safety 47
Equipment 48
Camera 49
Lenses 50
Light sources 52
Equipment detail 53
Organisation 55

6. Light 59
Introduction 60
Artificial light 61
Characteristics of light 63

7. Exposure 73
Introduction 74
Aperture and time 75
Light meter 77
Using the light meter 78
Lighting ratios 80
Interpreting the meter reading 82
Exposure compensation 84
Digital exposure 86

8. Image capture 93
Introduction 94
Choosing a capture medium 95
Digital capture 96
Latitude 97
Limitations of film capture 98
Push and pull 99
Cross processing 100
Image preview 101

v
Studio Photography: Essential Skills

9. Creative controls 103

Introduction 104
Focus 105
Depth of field 106
Selective focus 108
Preview 109
Duration of exposure 110
Creative exposure compensation 111
Perspective 112

10. Using light 115

Introduction 116
Working with studio lights 117
Flash 118
Tungsten 120
Diffusion 122
Reflection 123
Filtration 124
Mixed light sources 125
Illusion of movement 126

11. Lighting still life 129

Introduction 130
Assignment 1 ‘Box’ 132
Assignment 2 ‘Ball’ 134
Assignment 3 ‘Texture’ 136
Assignment 4 ‘Flowers’ 138
Assignment 5 ‘Metal’ 140
Assignment 6 ‘Desk’ 142
Assignment 7 ‘Rust’ 144
Assignment 8 ‘Black and white’ 146
Assignment 9 ‘Cutlery’ 148

12. Lighting people 151

Introduction 152
Assignment 1 ‘High key’­ 154
Assignment 2 ‘Low key’ 156
Assignment 3 ‘Mid key’ 158
Pose 160

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 Contents

13. Lighting on location 163

On location 164
Interior location 166

14. Composites 171

Composite images 172
Composite lighting 173
Comosite techniques 174
Composite solutions 178

15. Assignments 181

Introduction 182

Revision exercises 187

Glossary 199

Resources 209

Index 211

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Introduction
Studio photography covers a wide range of disciplines. In its simplest form it is part of the
documentation process for a driver’s licence, ID, passport, etc.; at its most complex, cinematography
and its role in the creation of films. Within this spectrum fall portraiture, fashion, still life, film library,
product, advertising illustration, industrial, corporate and architectural. It may seem industrial, corporate
and architectural are not studio photography but in most situations there is inadequate or non-existent
illumination which must be supplemented or totally lit with artificial light. As lighting is the essential
element in photography it is important to understand and improve this skill, along with the many others
that contribute to the successful creation of studio images. This book deals with working in the studio
using artificial light sources and on location using combinations of existing light sources and introduced
lighting. The activities, assignments, basic photographic theory and useful practical advice provide the
essential techniques for creative and competent photography.

Rodrick Bond
Acquisition of technique
This book concentrates on the acquisition and application of skills necessary for studio photography.
The emphasis is on technique, communication and design within the genres of still life, advertising
illustration, portraiture, fashion and lighting on location. Terminology is kept as simple as possible using
common usage and avoiding complicated theoretical explanations.

Application of technique
The book concludes with several chapters devoted to the practical application of the skills acquired.
Assignments can be undertaken allowing the photographer to express their ideas through the appropriate
application of design and technique. This book offers a structured learning approach that will give the
photographer a framework and solid foundation for working independently and confidently in a studio
or on location.

The essential skills

The essential skills required to become a competent photographer take time and motivation. Skills should
be practised repeatedly so they become practical working knowledge. Practise the skills obtained in one
chapter and apply them to the next. Eventually these skills can be applied intuitively or instinctively and
you will be able to communicate with clarity and creativity.
Studio Photography: Essential Skills

Process and progress

This book is intended as an introduction to studio photography. The emphasis has been placed
upon a practical approach to the application of essential skills. The activities and assignments
cover a broad range and it is possible to achieve acceptable results without the need for large
amounts of expensive equipment.

A structured learning approach

The study guides contained in this book offer a structured learning approach forming the
framework for working on photographic assignments and the essential skills for personal
creativity and communication. They are intended as an independent learning source to help
build design skills, including the ability to research, plan and execute work in a systematic
manner. Adopting a thematic approach is encouraged, recording all research and activities in
the form of a Visual Diary and Record Book.

Flexibility and motivation

The assignments contain a degree of flexibility, and allow for the choice of subject matter. This
encourages the pursuit of individual interests whilst still directing work towards answering
specific criteria. This approach allows the maximum opportunity to develop self-motivation.
Emphasis is placed on image design, communication of content and the essential techniques
required for competent and consistent image capture and creation. The practical problems of
contrast are discussed and lighting in the form of flash and tungsten are introduced. Activities
and assignments should be undertaken to encourage expression of ideas through the appropriate
application of design and technique. Demonstration of skills learnt in preceding study guides is
a desirable criterion whenever appropriate.

Implementation of the curriculum

This book provides a suitable adjunct to Photographic Lighting: Essential Skills and Photoshop
CS3 or CS4: Essential Skills.

Web site
A dedicated web site exists to assist with the use of this book. Revision exercises are included
on the site as are numerous links and up-to-date advice and references. The revision exercises
should be viewed as another activity which the user resources and completes independently.
This will encourage the demonstration of the skills and knowledge acquired in the process
of working through the activities and revision exercises by completion of a self-directed series
of projects and assignments in the books Photographic Lighting: Essential Skills and
Digital Photography: Essential Skills. The address for the web site is: [Link]
[Link]

2
 Introduction

Independent learning
The study guides are designed to help you learn both the technical and creative aspects of
photography. You will be asked to complete various tasks including research activities, revision
exercises and practical assignments. The information and experience you gain will provide you
with a framework for all your future photographic work.

Activities and assignments

By completing all the activities, assignments and revision exercises you will learn how other
images were created, how to create your own and how to communicate visually. The images you
produce will be a means of expressing your ideas and recording your observations. Photography
is a process best learnt in a series of steps. Once you apply these steps you will learn how to
be creative and produce effective images. The study guides also explain many of the key issues
which are confusing and often misunderstood – an understanding of which will reinforce and
facilitate creative expression.

Using the study guides

The study guides have been designed to give you support during your photographic learning.
On the first page of each study guide is a list of aims and objectives identifying the skills
covered and how they can be achieved. The activities are to be started only after you have first
read and understood the supporting section on the preceding pages. At the end of each chapter
the relevant revision exercise from the supporting web site should be undertaken to determine
the extent to which the information has been assimilated. After completion of the activities and
revision exercises the ‘Assignments’ should be undertaken.

Equipment needed
The course has been designed to teach you studio photography with the minimum amount
of equipment. You will need a camera with manual controls or manual override. Ideally you
will need access to artificial light sources and a darkened work area. However, large amounts
of expensive equipment are not necessary to gain an understanding of the use of light.
Observation of daylight, ambient light, normal household light globes, desk lamps, outdoor
lighting, torches and small flash units can be adapted and utilised to produce acceptable results.
Supplemented with various reflectors (mirrors, foil, white card) and assorted diffusion material
(netting, cheesecloth, tracing paper, Perspex) a degree of lighting control can be achieved. Many
of the best photographs have been taken with very simple equipment. Photography is more
about understanding and observing light, and then recreating lighting situations to achieve
form, perspective and contrast when working with a two-dimensional medium.

Gallery
At the end of each study guide is a collection of work produced with varying combinations of
daylight, ambient light, flash and tungsten light sources.

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Studio Photography: Essential Skills

Research and resources

For maximum benefit use the activities as a starting point for your research. You will only realise
your full creative potential by looking at a variety of images from different sources. Artists
and designers find inspiration for their work in many different ways. Further, it is essential
that the student of any creative endeavour has some understanding of the context of their art.
Researching relevant artists and practitioners is an essential element of this process.

Getting started
Collect images relevant to the activity you have been asked to complete. This collection will act
as a valuable resource for your future work. Do not limit your search to photographs. Explore
all forms of the visual arts. By using elements of different images you are using the information
as inspiration for your own creative output. Talking through ideas with friends, family, or
anyone willing to listen will help you clarify your thinking and develop your ideas.

Daniel Tückmantel

Choosing resources
When looking for images, be selective. Use only high quality sources. Not all photographs
printed are well designed or appropriate. Good sources include high quality magazines and
journals, photographic books, exhibitions and the web.

4
 Introduction

Visual Diary
An important role in the development of the creative mind is discovering individual perspective
by recognising that accepted rules and opinions are just the beginning of this process. A Visual
Diary supports this process and becomes a record of visual and written stimulus influencing
or forming the basis of ideas for the photographic assignments and practical work to be
completed. In its most basic form this could be a scrapbook of tear sheets (examples) and
personal scribbles. It would, however, be of far more value if your Visual Diary contained more
detail relating to personal opinion and an increasing awareness of your visual development
in discriminating between good and bad examples of lighting, design, composition and form
applicable to any visual art form.

Joanne Gamvros

The Visual Diary should contain:

• A collection of work by photographers, artists, writers, filmmakers.
• Web site addresses and links.
• Sketches of ideas for photographs.
• A collection of images illustrating specific lighting and camera techniques.
• Brief written notes supporting each entry in the diary.
• Personal opinion and interpretation of collected images.

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Studio Photography: Essential Skills

Record Book
The Record Book forms the documented evidence of the practical considerations and
outcomes associated with the completion of each activity and assignment. It should contain
comprehensive information enabling another photographer, not present at the original time of
production, to reproduce the photograph. This is common professional practice.

Ball 26/04/08
Camera Nikon D70
ISO 100
Lighting ratio Spotlight f64
Floodlight f45
Reflector f32
Meter reading Incident 2 seconds f45
Color balance Tungsten
Exposure 3 seconds f45

Spotlight from back

to cr
Floodlight from left,
centr
where front of ball
falls into shadow.
Creates gradual
decrease in light
across front. White
reflector to right
side of ball.

The Record Book should contain:

• An information sheet for each activity and assignment.
• Technical requirements and equipment used.
• Lighting diagram, camera to subject diagram, camera angle and height (measurements and
specifications).
• Meter readings of light ratios and exposure.
• ISO and color balance.
• All digital files used to reach the final result.
• Props (use and source) and any other information relevant to each photograph.

6
 Introduction

Presentation
Research
With each assignment you should provide evidence of how you have developed your ideas
and perfected the techniques you have been using. This should be presented in an organised
way showing the creative and technical development of the finished piece of work. Make brief
comments about images influencing your work. Photocopy these images and include them with
your research.

Presentation
• Presentation can have a major influence on how your work is viewed.
• When presenting on-screen make sure the software and computer are compatible.
• Ensure all digital images are cropped and do not display edge pixels.
• Mount all printed work and label appropriately.
• Ensure horizontal and/or vertical elements are corrected (sloping horizon lines are visually
disturbing).

Shivani Tyagi

Storage
• It is best to standardise your portfolio so that it has an overall ‘look’ and style.
• Assignments should be kept in a folder slightly larger than your mounted work.
• Analog material should be stored in a dust- and moisture-free environment.
• Digital files should be burned to CD or saved to a portable disk or hard drive and stored
away from magnetic devices that could corrupt the data.

7
Studio Photography: Essential Skills

History
The camera in its most basic form, the camera obscura, has existed since the time of Aristotle.
As photographic emulsions became available in the mid 19th century, photographers began to
build or adapt artists’ studios to create photographic portraits. The camera and film took the
place of the painter’s canvas, brushes and paint. The primary source of light used by painters
was, and in most cases still is, a large window or skylight facing away from direct sunlight, and
usually above and to one side of the subject. Amongst many others this is best illustrated in
paintings by Rembrandt, Michelangelo and Caravaggio.

Julia Margaret Cameron, Kata Bayer

Julia Jackson, Mrs. Herbert Duckworth/1867/
The Royal Photographic Society, Bath, England

Early portrait and still life photographs show photographers took a similar approach to lighting
their subject. By the 1840s commercial portraiture, advertised as ‘sun-drawn miniatures’, had
practically eliminated hand painted miniature portraits, and by 1854 the production of cartes-
de-visite, or what we call today business cards, was thriving. Photography’s major disadvantage
compared to a painting was that it was black and white. Attempts were made to hand color
these black and white images with limited success and early color film and processes in the
late 19th and early 20th centuries were impractical. It was not until the 1930s that color film
became capable of producing color at a consistent and reliable level.

Activity 1
Research examples of the use of similar light sources in paintings, early photographic portraits
and contemporary photography.

8
 Introduction

Advancements in technology
Flash powder in its various forms was popular as a source of artificial light, but as electricity
became readily available use was made of any new invention (vacuum tungsten lamp)
giving a more controllable, safer, continuous source of light. Coupled with advances in
lens and emulsion technology shorter exposure times were achieved. The availability of this
controlled continuous light source made the use of photography in portraiture commonplace.
Photography in commercial advertising took longer. The first use of photography appearing
in newsprint using the newly invented halftone process was in the New York Daily Graphic in
the 1880s. The first magazine entirely illustrated by photographs, the Illustrated American, was
introduced in 1890. By 1915 most mainstream newspapers were using photography as their
major source of illustration. Advances in camera and lens design, the development of film
emulsions with faster film speed (its ability to record an image with a short exposure time) and
the advent of digital capture, transmission and presentation are part of the continuing evolution
of photography.

Fabio Sarraff

Light sensitive emulsion is no longer coated onto a glass plate prior to exposure. Since
1891 it could be purchased coated onto celluloid film. The ISO (film speed) has increased
dramatically since the 1830s and color film, although first used in the late 19th century, has
been commercially available since 1932. Early cameras were large and cumbersome as the ‘print’
(called a contact due to the negative being placed in direct contact with the photographic paper
and exposed to light) rarely exceeded the size of the ‘negative’. From cameras having a film
format as large as 36 x 44 (the camera was mounted on wheels and drawn by a horse, c.1860)
film technology advanced to the point where images of superior quality were recorded on a film
format 24mm x 36mm (35mm) which in the case of motion pictures are projected to the size
of the cinema screen without any apparent loss of definition. With digital imaging, where the
image does not exist in any physical medium, enlargement is only limited by the number of
pixels captured by the image sensor and the amount of memory available.

9
Studio Photography: Essential Skills

Current commercial practice

Although there has been a resurgence in the use of natural available light for portraiture brought
about by capture media with greater latitude and dynamic range (increase in susceptibility to
light and contrast), the majority of studio photographs are lit using artificial light. These light
sources fall into four main categories.

Type Color temperature Output

Tungsten-halogen 3200K to 20kW
Photoflood 3400K to 1kW
AC discharge 5600K to 18kW
Flash 5800K to 10kW

Samantha Everton

Do not be confused by color temperature. If you choose to use film it is enough to know that
you would achieve ‘correct color’ by using tungsten film with tungsten light and daylight
film with AC discharge and flash. Black and white film is relatively unaffected by color
temperature. When using digital capture set to auto white balance or choose from the menu
the corresponding white balance to the known light source. See ‘Light’. To best understand the
output of these lights it should be taken into consideration that the average household light
globe has an output of 100W. This means a 10kW (10,000W) tungsten lamp will have an
output 100 times greater.

10
 Introduction

Methodology
The difference separating studio photography from all other forms is that the photographer has
to create everything appearing in front of the camera. In most cases the photographer’s starting
point is an empty studio. With other forms of photography there is usually an environment,
subject or distinct mood already in existence. Even if a subject does exist (person, product, etc.)
what is the environment or context into which you are going to place that subject? In some
cases it could be a simple white background, at other times something more complex. Whatever
the solution, the photographer has to previsualise, pre-produce and create an environment
using not only selected equipment, subject matter, props and maybe wardrobe but, far more
importantly, light.

Tracey Hayes

Activity 2
Research examples where the subject matter is accentuated by the use of a plain background
and where the subject is separated from a complicated background by the use of light and
contrast. Having established this difference, find examples where the image is confusing
because of a lack of attention to this basic concept.

11
Daniel Tückmantel
 genres

Rodrick Bond

essential skills
• An understanding of the history and development of the various genres of
studio photography.
• An awareness of how photography changed our everyday life and how
attitudes changed styles of photography.
• Producing research information related to the various genres of studio
photography.
• Documenting the progress and development of your ideas.
Studio Photography: Essential Skills

Introduction
The limitations of the photographic medium determined the first photographs were of still
life subjects. Within a short period portraits of people capable of keeping still during the long
exposures required were possible. As photographic technology advanced diversification took
place. The physical and financial restrictions placed upon family portraiture diminished as film
and lens speed increased. As printing and reproduction processes developed, photography was
used more and more as the primary source of visual reference. Today studio photography covers
many genres. Within these fall advertising illustration, portraiture, corporate, architectural,
film library and product photography. Advertising surrounds us in an urban environment, but
within advertising illustration there are many other genres. Fashion, food, product, still life, car
photography, etc. Each is a specialised area, but all have a common outcome. Communication.
The style and power of visual communication have evolved in parallel with photography to
the point where they are inseparable within the current concept of mass media. By definition,
commercial practice means that as a photographer you become part of the marketing
mechanism by which manufacturers advertise their product. It becomes your responsibility to
communicate its visual merits and advantages. The fashion photographer on the other hand is
trying to create an overall effect by communicating ‘lifestyle’ as a product merit. The catalogue
photographer is more concerned with producing large volumes of work without sacrificing
product detail. The main street portrait photographer is expected to make ‘little Johnny’ look
like ‘little Johnny’ and the studio wedding and baby photographer is being paid to ensure a
faithful record is kept of family members and sometimes to glamorise the ordinary.

Rodrick Bond

14
 Genres

Advertising illustration
Advertising illustration covers many photographic genres, the most often seen being still
life (product) and fashion. The greatest commercial user of photography is the mass media.
In newspapers, magazines and the www the majority of images are advertisements for one
product or another. Photographic advertising illustration began when there was the capability
to produce reproductions in large numbers. It has since become an effective tool of the
advertising industry. The use of photography for advertising illustration started in the 1850s
but was restricted to actual prints handed out to customers. Halftone printing processes saw the
introduction of photographs for advertising during the 1880s. Black and white photographs
were widely used by the 1920s and reliable color reproduction became the dominant medium
for advertising illustration from the 1950s.

1930 Samantha Everton

During the 1970s and early 1980s advertising photography became synonymous with
expensive high quality imagery and reproduction. This created the environment where the
skills photographers applied to lighting their photographs were used in the production and
lighting of TV commercials. Prior to this the inherited limitations of television technology had
meant that the approach to lighting was generally to turn on all the lights, flood the subject
with sufficient light and keep contrast to a minimum. In advertising the primary purpose of
the photographic image is to communicate information and attract attention. This is achieved
by an image being used to support the headline and body copy or as the basis of the whole
concept. See ‘Art direction’.

Activity 1
Research old magazines and newspapers to trace the changes in styles of advertising over the
last thirty years. Collate with publication dates and place in your Visual Diary.

15
Studio Photography: Essential Skills

Still life
The first photograph taken using light sensitive emulsion was a still life of the view from
Niepce’s workroom window (1826). This was due more to the length of the exposure (about
eight hours in bright sunlight) than a creative decision to photograph something that didn’t
move. Early photography copied the approach of painters to their subject matter. This led to
most examples of photographic images being centred on the stylised still life so popular with
artists. The still life not only suited the long exposure times required by the film emulsions
of the day but also provided a subject with which the photographer and the limited viewing
public were familiar. Since then extensive use of still life has been used in advertising and
commercial illustration. This can range from sophisticated photographs of perfume in expensive
international magazines, visually and technically precise shots for the latest online car brochure
to product catalogues that turn up in your mail box. In its current commercial form, still life
photography falls into two categories. Large and small. Small is called table top, but size is only
limited by the size of the table. This could be anything from a watch, a can of beans, a TV, to a
sumptuous banquet. Large is everything else. Room sets, cars, trucks, right up to a Boeing 747.

Pauline Tanuwidjaja

Activity 2
Find examples of still life photography. Your research should cover national and international
magazines, newspapers, car brochures and junk mail.
Compile your examples, in your Visual Diary, into a comprehensive presentation exploring
the relationship between the quality of the photography and its purpose.

16
 Genres

Portraiture
The first commercial use of photography was in the reproduction of portraits. Until
photography became commercially viable painters had been the main source of portraiture. The
process involved was long and painstaking for both the painter and the subject and the result
was always only one picture. The photographic process was much shorter, almost immediate
by the standards of the day. With the introduction of Calotypes in 1840 the production of
a negative enabled the photographer to print as many copies as the customer required. In
the 1850s small portraits called Ambrotypes were being produced with exposure times of
between two and twenty seconds. These relatively short exposures made family portraits easier
to co-ordinate and photograph. Photography became the primary visual history for families.
Photographic portraiture remained, however, the privilege of the affluent.
In 1854 the French photographer Disdéri made a major technical advancement. His process
of exposing multiple images onto one negative (similar to multiple image passport cameras)
substantially reduced the cost of portrait photography. He was one of the first photographers
to promote photographs to the level of consumer desirables. He began the business of
photographing celebrities, producing large numbers of prints and selling them to the public
as a purely profit-making exercise. The celebrity pin-up, family portrait, wedding or new baby
photographs were no longer the domain of the wealthy. This affordability was the beginning of
the photographic industry as we know it today. By the 20th century photographic portraiture
was available to everyone. The Kodak Camera released in 1888, followed by the Box Brownie
in 1900, created a worldwide market for amateur photography. Although not photographed
in a studio the average snapshot has people as its dominant subject. Millions of photographic
portraits are now taken every day.

Tracey Hayes

Activity 3
Through the use of family albums trace the development of photography from black and
white to digital color. Compile in chronological order in your Visual Diary.

17
Studio Photography: Essential Skills

Commercial portraiture
Portraiture began to appear regularly in magazines such as Vanity Fair and Vogue, the
forerunners of the pin-up and glamour magazines, after WW1. The content of the portrait
was usually a celebrity of the time. The glamour portrait was to remain a benchmark until
the 1960s when photographers such as Diane Arbus started to challenge the normal attitudes
to portraiture with photographs of the less fortunate and society fringe dwellers. Between
the wars, with the availability of high quality small format cameras, a genre known as
‘environmental portraiture’ became popular, with photographers such as Arnold Newman
being one of the main exponents. The major difference between the two genres, studio and
environmental, is that, as the name implies, the subject is photographed in their environment
(home, workplace, etc.) and not in a formalised studio situation. At a commercial level the
local photographer, found in the main street of most towns and cities around the world, has
enough skill and technology available to produce a more than acceptable image. However,
the role of the commercial portrait photographer has been seriously challenged since the
introduction of fully automatic cameras and the constantly developing digital technology.
The great portrait photographers, amongst them Yousuf Karsh and Richard Avedon,
commanded large fees, and limited prints of their work are sold at a comparative level to
works of art. They and others made photographic portraiture equal in stature to the painted
images photography had tried to replace. The whole process has gone full circle leaving a
legacy of thousands of practising portrait photographers.

Kata Bayer

18
 Genres

Fashion
The first halftone reproductions direct from a photograph were appearing on a regular basis
by the 1880s in magazines such as Les Modes and Vogue. Until then a photograph was used as
source material to create a woodcut or lithograph as part of the printing process. The images
were rigid portraits. An inanimate person in a very structured environment. This was due
not only to an inherited approach to the painted portrait but also to the limits placed upon
the photographer and subject by long exposures. The requirement of the image was to show
the design and quality of the garment as clearly as the processes of the time allowed. This was
the start of what is now one of the most lucrative and sophisticated genres of photographic
illustration. From about 1911 onwards the use of soft focus and romanticism changed the look
of fashion images appearing in Vanity Fair and Vogue. This was not a unique approach. The
work of Julia Margaret Cameron had preceded this by over sixty years, but it was the first use
at a commercial level in what we now call the mass media. It was not until the second decade
of the 20th century that photographers such as Edward Steichen took fashion photography
away from so-called high fashion into the arena of ‘style’ with which it is associated today.
As the attitude of women began to change in the 1920s so did the approach to how they
were photographed. They were no longer objects on which to hang clothes but independent
personalities who happened to be wearing clothes. Fashion photography of the 1930s and
1940s reflected the feelings and limitations of the time. Fashion and design were determined by
the materials available leading to an austere but natural approach to its imagery.

Tomas Friml

19
Studio Photography: Essential Skills

Fashion since 1950

Gradual change took place in the post-war 1950s. By the 1960s and 1970s gender equality and
the use of color with its ability to create mood and excitement began to dominate fashion images.
Youth culture became fashion and fashion became youth culture. A controversial change came
in the late 1980s when a strong sense of independence, non-gender specific sexuality, eroticism
and voyeurism became a dominant theme in fashion magazines and magazines featuring fashion.
A style developed with great success by Helmut Newton and Guy Bourdin. The antithesis to
this was the dream-like work of Sarah Moon where the image had a lyrical sense of imagination
and unreal but desirable perfection. The garment was no longer the important object in the
photograph. What wearing the garment could do for you was now the message. Throughout the
development of fashion photography there was a distinction between advertising (design and
quality) and editorial (lifestyle). The difference is now hard to distinguish. Fashion photography
has reached the stage where lifestyle and image are so important that at times the design and
quality of the clothes being worn by the model become obscure.

Alison Saunders

Activity 4
Compile a pictorial history in your Visual Diary, using magazines and books as reference, of
the changes in the style of fashion and fashion photography over the last twenty years.

20
Jeph Ko
Rodrick Bond
communication and design

Marten Ryner

essential skills
• An understanding of how a photograph is a two-dimensional composition of
lines, patterns and shapes.
• An understanding of how photographic technique can influence the emphasis
and communication of the image.
• Produce research showing an understanding of composition and design in the
creation of images.
• Complete a series of activities exploring the importance of communication and design
in photographic imagery.
Studio Photography: Essential Skills

Introduction
In the context of communication and design there is no right or wrong, only good and
bad relative to the styles and tastes of the day. Unlike most other genres of photography
the inspiration for a studio photograph has to be preconceived. Studio photographers
cannot observe, compose and interpret by pointing the camera at the world around them.
In a darkened studio there is no world around them. The studio photographer has to
create or obtain everything appearing in front of the camera. Compared to other forms
of photographic illustration this could be seen as a disadvantage. In actual fact it is a
major advantage as the photographer has total control over all aspects of the photographic
process. Studio photography is not a random process. It should be highly pre-produced and
previsualised. Studio photographers, especially in the area of still life, do not capture images.
They construct images. This enables the photographer to compose and design a photograph
almost without restriction. The studio photographer can change perspective, contrast, point
of view and lighting at will. When coupled with astute observation of the subject there are
few limitations inhibiting the design and composition of a photograph. Every element can
be changed or moved to improve the image. It is the photographer’s skill that can turn a
mundane subject into a remarkable image.

Jacqui Melville

24
 Communication and design

Context
In reality the context of a studio photograph is the studio environment. The photographer
can, however, create a different environment in which to place the subject. The context of the
subject is therefore determined by the photographer and not by the subject. This enables a
studio photographer to control, to varying degrees, the amount of information and thereby
communication within each image. The image can be made obvious or ambiguous. Advertising
illustration often excels at making the message obvious. Abstract images are by their very nature
ambiguous. It is the viewer’s interpretation of the photograph the photographer is attempting
to influence. A viewer can be guided towards an objective opinion by placing the subject on
a plain background (e.g. an egg on a white background). The information is singular and
indisputable. However, if the egg is placed in a box of straw and lit and composed in such a
way as to imply the egg is no longer in a studio, the viewer will be inclined to form a subjective
opinion about the image. Imagination will create an environment ‘existing’ outside the frame of
the photograph.

Tracey Hayes

Activity 1
Research (other than product and catalogue photography) and compile examples in your
Visual Diary where you feel the viewer is being guided to make an objective opinion.
Discuss what could have been changed in the photograph to encourage the viewer to make a
subjective opinion.

25
Studio Photography: Essential Skills

Format
Format describes the size and proportions of an image. It applies to both ‘image format’ and
‘camera format’. The difference need not be confusing as the outcome is the same.

Image format
A vertical image is described as ‘portrait format’ even though the dominant composition may
be horizontal. A horizontal image is described as ‘landscape format’ even though the dominant
composition may be vertical. The terminology dates to when artists first started to turn a
rectangular canvas one way or the other to suit their subject matter. When working with an art
director or designer the image format will be determined by the layout and final medium. In
editorial work photographers must often ensure images are composed using both formats. This
enables greater flexibility with page design.

35mm &
35mm and full frame full-frame sensors
DSLR image sensor
645 & 43 sensors

5" x 4"
645
67
67

Relative size of formats Relative shape of formats

Camera format
Format also describes the size of camera being used (small, medium or large). Each of these
cameras produces a different size image. The decision to use a particular format may lie with
the client’s requirements for reproduction (image quality) or the practicalities of one camera
over another. Small format cameras frame images narrower than the proportions of a single
page. The 6 x 4.5 and 6 x 9cm medium format cameras frame images in proportion to the
size of this page. That is to say, if the size of the image was increased to the size of this page
the image would fit exactly. The 6 x 6, 6 x 7, 6 x 8cm medium format and 5 x 4" large format
cameras frame images shorter than the proportions of a single page. In these cases some of the
visible image in the viewfinder will be lost when reproducing a full page image. This is easily
monitored when using a digital back or camera with a computer interface and can therefore be
taken into account when composing an image required to fit a specific layout format. See ‘Art
direction’.

26
 Communication and design

Content
Viewing the subject in relation to its background is essential to forming an understanding of
compositional framing. By definition a background is something secondary to the main subject.
It should be at the back of the image and of relatively less importance. This does not mean it
should be ignored, but should be controlled. It is a common fault to position the camera too
far away from the subject. This is compounded by the problem of filling in the empty space
(background) created by this point of view. Too much information can lead to confusing
photographs. Keep it simple is often the best rule. Move closer, reduce the background to a
minimum. Move even closer until the subject fills the whole frame and becomes the dominant
part of the composition. A truck full of props is no substitute for a strong visual awareness of
the virtues and merits of your subject, a preconceived idea of its context and the purpose of the
communication.

Daniel Tückmantel

Activity 2
Research contemporary sources (other than product and catalogue photography) to find
examples of photographs where the photographer has reduced the visual importance of the
background to enhance composition and focus attention on the main subject.
Compile in your Visual Diary.

27
Studio Photography: Essential Skills

Balance
In nature there is a natural balance or harmony of texture, shape, form and color. Many
objects upset this balance and impair the visual relationship between one object and another.
It is this control of balance by the photographer, whether to achieve harmony or discord, that
determines the level of acceptance of an image by the viewer. As humans we naturally gravitate
towards a balanced image (symmetrical). When there is symmetry between the elements within
the frame the image is said to have a sense of balance. A balanced image although pleasing to
the eye can sometimes appear bland and conservative. Knowing this a photographer can change
the balance of an image to achieve a different result. A dominant element of balance is visual
weight created by the distribution of light and dark tones within the frame. To frame a large
dark tone on one side of the image and place tones of equal visual weight on the other side
will create an imbalance. An unbalanced image (asymmetrical) will often create visual tension,
interest and a sense of things not being as they should be. The communication of harmony or
tension is the deciding factor when composing an image intended to convey a specific message.

Fabio Sarraff

Activity 3
Research examples where the photographer has used imbalance to create tension and
examples where the photographer has used visual balance to create visual harmony.

28
 Communication and design

Composition
Composition is not a question of getting all the relevant information in the frame. Although
information is necessary it is more important to attract and keep the viewer’s attention. This
calls for composition where the subject matter receives prominence without distraction from
other elements within the frame. In this way composition complements communication.
The image should encourage the viewer to explore without complicating the communication
and decreasing the importance of the subject matter. The subject should be viewed as a two-
dimensional object. This will help the photographer become aware of distractions to the
composition that could confuse the communication. Avoid placing the main subject matter in
the centre of the image. Use the whole frame in which to compose your image. You are paying
for every part of the image, so use it.

Rule of thirds
Rules of composition have been formulated over the centuries to help artists create harmonious
images. The most common of these rules are the ‘golden section’ and the ‘rule of thirds’. The
golden section, dating back to the time of Ancient Greece, is the name given to the traditional
system of dividing the frame into unequal parts.

The rule of thirds

The rule of thirds is the simplified modern equivalent. Visualise the viewfinder as having a
grid which divides the frame into three equal segments, both vertically and horizontally. Use
these lines and their intersecting points as key positions to place significant elements within
the image.

Activity 4
Research examples of photographs that follow the rule of thirds and examples that do not.
Discuss whether the same subject matter could be made to work with a different approach to
composition and design. Could breaking the rules improve the communication?

29
Studio Photography: Essential Skills

Point of view
Working in the studio a photographer has ample time in which to explore the subject in
great detail. With the exception of fashion and portraiture the studio photographer is not
limited to capturing the precise moment in history that will never occur again. This creates the
opportunity to view the subject from all possible angles without the risk of ‘losing the shot’.
Start with, but do not immediately dismiss, the ‘normal’ viewpoint. Then look for something
different and unusual but still capable of communicating with the viewer. Try different focal
length lenses. Try climbing a ladder or lying on the floor. Forget how you would see the subject
from a normal vertical position and try to visualise how the camera, which is not subject to any
normal viewpoint, might be used to interpret the subject.

Tomas Friml

30
 Communication and design

Line
Western visual culture has determined the way we look at images. From the moment of our first
visual encounter with images and the written word our eye has been conditioned to viewing
what is in front of us following certain patterns of perception. We instinctively scan images
from top left to bottom right. The same way we read. This element of design is a major factor
in the success of the communication. Lines, whether horizontal, vertical or diagonal, lead the
viewer around an image. If the flow of the image is easy to follow, and therefore unnoticeable,
the intended communication is more likely to succeed. If the flow is interrupted by poor use
of line the viewer will lack visual guidance, not understand the communication and possibly
disregard the image.

Horizontal lines
The horizontal line is often the dominant line in an image. Everyone is aware that the horizon
is level to their normal viewpoint. Horizontal lines within the image will give the viewer a sense
of stability and balance when correctly aligned with the edge of the frame. Incorrect alignment
may upset this static perception and the image could appear unbalanced.

Vertical lines
Our perception of the vertical line is as strong as that of the horizontal. Its use in composition
and design is similar. The horizontal line divides an image from top to bottom, vertical lines
divide an image left to right. The horizontal line guides the viewer left to right, the vertical
line guides the viewer top to bottom. When correctly aligned to the edge of the frame vertical
lines will give a static composition with a sense of strength, power and dominance. When
vertical lines are tilted within the frame this perception is reduced and replaced with a sense of
imbalance. However, converging vertical lines create perspective and can lead the viewer to an
implied horizon and visual stability.

Diagonal lines
Horizontal and vertical lines when correctly aligned to the frame create a sense of stability
relative to a normal viewpoint. Diagonal lines are not relative to the normal perception of
stability and are therefore viewed as unstable and precarious. Whether actual or perceived the
visual tension created by the use of diagonal lines can lead to dynamic composition and a sense
of movement within the image.

Curves
Images are viewed from top left to bottom right. A curved line achieves this progression in
an unobtrusive and orderly way. Curved lines are soothing to the eye and depending on their
degree of curvature unlikely to create visual tension and discord. When placed close to the edge
of frame the effect of the curve is greatly enhanced.

31
Studio Photography: Essential Skills

Rodrick Bond

Activity 5
In the example above discuss which elements of design have been used to the best effect. Is
one design element stronger than another?
Find examples where the photographer has used horizontal line to create stability and
examples where the photographer has used vertical line to create visual dominance.

32
 Communication and design

Depth
A photograph is usually a two-dimensional representation of a three-dimensional subject. To
imply a sense of depth within an image a studio photographer can artificially create dimension
by placing objects in front of (foreground) and behind (background) the main subject matter.
The foreground objects will appear larger than the subject and the background objects will
appear smaller. This illusion of depth can be increased by careful use of line, tonality, contrast,
color, depth of field and framing. When these elements work successfully the viewer will create
the third dimension in their mind.

Natarsha Gleeson

33
Studio Photography: Essential Skills

Perspective
Visual perspective is achieved by the creation of depth and distance within a two-dimensional
medium. Our perception is that parallel lines converge as they recede towards the horizon
and objects diminish in size as the distance between them and the viewer increases. Because
the human eye has a fixed focal length this perspective cannot change. Most cameras,
however, can be used with lenses of differing focal lengths. This means the photographer can
alter perspective by changing the focal length of the lens. A normal lens has a perspective
similar to the human eye. A long lens will compress perspective and create the illusion that
elements within the frame are close together. A wide angle lens will exaggerate perspective,
distort the perception of distance and scale and create the illusion that elements within the
frame are further apart. See ‘The studio’.

Shannon Pawsey

34
Martin Reftel
Rodrick Bond
 art direction

Rodrick Bond

essential skills
• An understanding of the process of working with an art director, art direction
terminology and outcomes.
• An awareness of how photography is influenced by the demands of a layout and
the requirements of a client.
• Produce research containing references and visual information relating to the role of
art direction.
• Complete a series of activities relevant to the process, terminology and outcomes of
photographic illustration and art direction.
Studio Photography: Essential Skills

Introduction
Unless working exclusively as a portrait photographer, most commercial photographic projects,
whether editorial or advertising, still life or fashion, will involve working with art direction.
This involves working to a specific set of guidelines set by the art director or designer and for
most of the time having that person ‘looking over your shoulder’. The art director is responsible
for more than just ensuring you take a good photograph.

Working with art direction

Most commercial assignments are at the request of someone else – the client. It is this
commissioning process that makes it the photographer’s role to supply the client with the
photograph they are prepared to pay for. Because they are paying they have a say in how you
photograph the subject, whether it be a car, themselves or someone’s dog. It is important to take
note of their requests and supply a photograph complying with their requirements. The process
should be a combination of the skills of all the parties involved.
Editorial assignments have less contrived and predetermined guidelines within which a
photographer has to compose and produce a photograph. The brief is usually governed by the
number of photographs per page and an outline of the general content of the subject matter in
relation to the text.
With an advertising agency or designer, where the role of the art director is very much an
integral part of the production of the final photograph, the requirements are far more precise
and demanding.

Art directors and designers

Before a photographer is commissioned to illustrate an advertisement, the art director/
designer would have submitted countless ideas at numerous creative meetings. These
meetings involve the creative team (art director and copywriter), the creative director (leader
of all creative teams within an advertising agency) and in the initial and final stages, the
client. This process can be long and arduous. Many ideas will be submitted but only one
will be accepted by all parties. By the time the surviving idea reaches the photographer the
idea and layout have become very refined and precise. It is imperative therefore that the
photographer produces exactly what is wanted. In these circumstances photographer and art
director/designer work as a team so a result acceptable to a third party (the agency’s client) is
achieved. Working to an agreed plan, known as a layout, is the blueprint all concerned follow
in order to produce an end result acceptable to all.

Activity 1
Using magazines, newspapers and direct mail advertising collect a series of advertisements
having varying amounts of art direction and copywriting. A direct mail catalogue will have
less art direction per image than an advertisement for an international perfume.
Compile in your Visual Diary advertisements you consider more effective than others.

38
 Art direction

Layouts
A layout is the format decided by an art director/designer into which the photograph, headline
and body copy (text) have to combine to form an integrated whole. It is a guide to ensure that
all the elements visually fit together and become a piece of art work that serves, in the case of
advertising, the purpose of attracting attention to the product. Rarely does the photographer
have the opportunity to take photographs and have the art director incorporate headline and
body copy later. It is nearly always the other way around.
The graphic designer and art director’s role is to take all the components (photograph,
headline, body copy, client logo) and assemble them in a cohesive form. The finished piece of
art work must be acceptable to the client and capable of being produced and released to the
media on budget.
After the initial briefing at which the photographer is informed of all the requirements of the
photograph, most clients will request an estimate of costs to produce the photograph. Upon
acceptance of this estimate a period of time (pre-production) is allowed in which to prepare
for the shoot. This involves the complete organisation of all the elements required to be in the
final photograph. It is at this stage that the photographer should offer information and advice
regarding the practicalities of the layout. If it is obvious to the photographer that elements
of the layout are not achievable at a practical or financial level it should be mentioned at
the briefing or during the pre-production period. Do not leave it until the day of the shoot.
Throughout this process it is important to constantly relate back to the layout and the brief. It
is better to oversupply equipment and props than to be short on the day when your reputation
as a photographer and organiser is on display. Leave nothing to chance. Organise.

Organisation
Do not assume all the equipment will work. Check everything first. Do not limit your choice
of lenses and associated equipment. Assume art directors may change their mind or request an
adaptation to the original idea as the photograph takes shape. If you suggest changes ensure you
can fulfil your idea. If the brief asks for a plate and a water melon make sure there are at least six
different plates and a selection of water melons available to choose from. If the brief asks for a
black and white image be prepared to adapt when a request is made for color and their inherent
larger file sizes. Oversupply and overcompensate. See ‘The studio’.

Activity 2
Using current magazines, newspapers and direct mail advertising collect and photocopy a
series of advertisements. Cut out each element, headline, body copy, logo and photograph
and collate separately in your Visual Diary.
With other students mix and match elements from various advertisements.
Is there a general pattern to photographic illustration when used for advertising?
Does the product sometimes determine the aesthetic photographic approach?

39
Studio Photography: Essential Skills

Framing the image

Photographs used in completed pieces of art work are rarely random images. They are images
relating to the message the art director is attempting to get across to the public. It is essential
to understand fully what the art director is trying to say with this combination of words and
pictures. Suggestions by the photographer are usually welcome if there is a genuine attempt
to improve on the outcome and communication. To suggest radical changes will meet with
resistance. This may not necessarily be because the art director disagrees with you but because
any major change would require a resubmission to the agency of any new idea differing from
what the client has agreed to pay for. This is valid in any form of commissioned photography. If
someone is paying you to photograph their dog in his favourite kennel suggest variations upon
this theme but do not be surprised if you meet resistance when you suggest the idea of maybe
photographing the dog in a bath full of bubbles. It may seem like a great idea to you but the
client may hate how the dog looks when it is wet. Do not feel obliged to make any suggestions
if it is obvious that the client has a firm opinion of what they expect from you. Judge each job
on its merits.

Format
As well as creative constraints there are physical restrictions to composition. If the layout is a
single full page advertisement the camera should be orientated to a portrait format (vertical).
A double page spread would see the camera set to landscape (horizontal) and allowance made
for the inclusion of a gutter (where the staples go) when composing the photograph. A double
page spread should look as if it is one photograph although made up of two separate but
connected images. A billboard would be horizontal format, an in-store poster could be either.
This is a guide where the rules can change. Once the orientation and format have been decided
allowance for areas within the composition must be left for the headline, body copy and the
printing process.

Billboard – Mick Downes

40
 Art direction

Text and bleed

In a single full page advertisement where the photograph is printed to the edge of the page the
text (words) will be printed over the image. The choice of typeface used to print this text is
chosen by the art director. The positioning of these various pieces of text (headline, body copy)
is known as typography. In a single page advertisement where the photograph is contained
within the page the typography will appear on the page and not over the image. These rules
also apply to double page spreads, 24 sheet posters (billboard), point of sale (usually close to the
product), in-store posters, catalogues and any form of finished art where there is a combination
of photography and words.
Bleed is the term that refers to the amount of excess image area allowed around the edges of a
photograph that will disappear in the printing process. This is done to eliminate the possibility
of white edges appearing when the finished piece of art work is printed. If the art work is
slightly greater in size than the paper it is being printed on any chance of the edges of the paper
not being printed has been reduced. This is especially important with very large print runs.

In-store poster – Rodrick Bond

Activity 3
Find examples of the various photographic formats used in magazine and newspaper
advertising and examples where different formats have been used for the same advertisement
(e.g. single page and billboard).
Discuss, compare and compile in your Visual Diary.

41
Rodrick Bond
Daniel Tückmantel
Tracey Hayes
 the studio

Abhijit Chattaraj

essential skills
• An understanding of the use of artificial light sources, camera and associated
equipment in a studio environment.
• An awareness of the equipment and organisation required for the photographic
control of lighting ratios, contrast and exposure.
• The study and observation of the importance of the studio in the production of
photographic images.
• The compilation of reference and visual information influencing the approach taken
to produce the photographs for each activity.
• To produce photographic images and collate information relevant to the technique
and production of each photograph.
Studio Photography: Essential Skills

Introduction
Studios range in size from small areas surrounded by black curtains to large film stages in
Hollywood. The instant photographic booths found in many public areas are miniature studios.
They are an area devoid of external light in which there is a controlled light source. This is the
basis of any photographic studio. Size is not as important as efficiency. To set up a studio that
will function within the requirements of this book need not be a complex or unachievable task.

Size
A floor area for each photographer working with camera, lights and table-top set-up should
be approximately 6m x 6m, with a working height of 4 metres. This is an ideal minimum. The
reality is sometimes different. Whatever size can be achieved it is important to ensure the area
is uncluttered and free of anything that could cause injury. Bear in mind that other than the lit
subject the studio area will be in almost total darkness.

Power
After determining size the most important criterion is the supply of power. Ensure it is safe.
Have a qualified electrician install sufficient power (amount of current-amps, and number of
outlets) for the equipment to be used. An imperative safety factor is the installation of circuit
breakers (breaks power circuit at the instant of any electrical fault). Distribution boards (the
supply is divided into multiple outlets) with overload switching facilities (breaks delivery of
current to the equipment being used) is also recommended as an extra precaution. Also make
sure the normal lights within the studio can only be turned on or off from within the studio
and there is adequate ventilation.

Darkness
The only light in a studio should be created by the photographer. To achieve this blacken out
the entire work area. This can be done with dark heavy curtains over windows and painting
the walls and ceiling a dark matte gray. Where possible the floor color should also be dark. The
result should be an area with no external light entering and surfaces of minimum reflectance.
Work areas within a large studio should be separated from each other by non-reflective curtains
so more than one photographer can be working at a time.

Stuart Wilson

46
 The studio

Health and safety

Power supply
It cannot be stressed strongly enough that the lighting equipment and studio power supply be
either installed, or checked in the case of existing supply, by a qualified and licensed electrician.
Without question working with powered light sources is dangerous. As a photographer it
is inevitable that light sources are taken for granted and unfortunately familiarity leads to
complacency and poor safety practices. Always observe a few simple rules.

• Electricity is dangerous. It can kill you.

• Never attempt to repair lights or wiring unless you are absolutely confident you know
what you are doing.
• Always be cautious when moving or connecting lights.
• Always turn off the power to the flash pack when changing flash head outlets.
• Use heat resistant gloves when handling tungsten lights.
• Always turn off the power and disconnect the cable before changing a globe.
• Never touch any part of a light or cable with wet hands.
• Exercise extreme care when photographing liquids.
• Never use liquids near electricity.
• Wear shoes with rubber soles.
• Ensure you know where and how to use the first aid kit.
• Ensure you know where and how to use the fire extinguisher.
• Ensure you are aware of emergency procedures related to work area.
• Ensure adequate ventilation of the studio area.

Thomas Berstadht

47
Studio Photography: Essential Skills

Equipment
Essentials
• An area devoid of external light sources, preferably a room with no windows or one
capable of being darkened by the use of heavy curtains or blinds.
• An AC power supply with circuit breakers, distribution boards and extension cables.
• Camera, lenses, accessories.
• Compatible computer interface.
• AC power adaptor.
• Supply of fully charged Ni-MH batteries.
• Artificial light source (flash or tungsten) and associated stands.
• Heavy duty tripod, preferably with rising central column or arm.
• Hand-held light meter capable of measuring flash and ambient light.
• Memory card.
• 18% gray card.
• First aid kit.
• Appropriate fire extinguisher.
• A system of stands and poles from which to hang background material.
• Stands (‘C-stands’) to support reflectors, diffusion material, color filtration.
• Table top.
• Preparation or work bench.
• Gaffer tape, tracing paper, reflectors, Stanley knife, heat resistant gloves.

Other essentials
This is equipment you accumulate as you start to take photographs.

• Battery charger.
• Power distribution board with overload switching.
• Viewing/focusing loupe.
• Diffusion material (cheesecloth, netting, etc.).
• Clamps (various sizes).
• Sand or shot bags.
• Make-up mirror with lights.
• Assorted tools.

Darkroom
If choosing to use film a lightproof area is needed for the loading of large format film into
double dark slides. A requirement for darkroom facilities in commercial practice is not
required as processing and printing is usually contracted ex-studio. Digital image capture, post
production, transmission and printing is now commonly accepted as the industry standard and
darkroom and processing facilities have been replaced with digital hardware and software.

48
 The studio

Camera
Most studio imaging is undertaken using small, medium and to a lesser extent large format
cameras. Apart from image size, small and medium format cameras differ little in their use and
capabilities. Most have through the lens (TTL) metering with manual over-ride, a preview
system for viewing the subject at the exposure aperture, the ability to store image data in
transferable memory and a facility to connect to a computer interface. The main difference
between small and medium format cameras is the shutter mechanism. In most small and some
medium format cameras a focal plane shutter is used. To expose the image two blinds follow
each other across the focal plane in a horizontal or vertical movement. However, with fast
shutter speeds the second blind begins to close before the first has cleared the frame. This limits
the use of synchronised flash and is the reason for the relatively slow shutter speeds used for
flash exposures with focal plane cameras. In most medium format and all large format cameras
the shutter is between the lens elements. This means as the size of the aperture is all that has
to be opened and closed (at f64 this could be the size of a pin head), light and synchronised
flash can be instantly transmitted at any shutter speed. Digital camera shutter systems vary.
Exposure time is controlled either by switching the image sensors on and off (allowing flash
synchronisation at high shutter speeds) or in some cameras by a hybrid system using a focal
plane shutter combined with activated image sensors.

Jeph Ko

Large format cameras, although old in design and technology (except for lens design they have
changed little since first used in the 19th century), have many distinct advantages. Their main
difference is that the lens (front) and focal plane (back) can be moved independently of each
other. In its simplest form this means any magnification of subject size can be obtained, using
any lens, by moving the front and back panels away from each other. By changing the front and
back of the camera from parallel to non-parallel and at varying angles to each other, distortion
can be corrected or created at any subject to camera angle. Maximum depth of field (nearest
and furthest points in focus) is obtainable at maximum aperture (lens wide open), and creative
use of selective focus can be achieved.

49
Studio Photography: Essential Skills

Lenses
Modern cameras have detachable compound lenses enabling photographers to use one camera
body with a wide range of lenses. A compound lens is made up of many lens elements which in
combination determine its focal length and maximum aperture. The minimum requirement for
a student would be a normal, wide and long lens.

Format Normal Wide Long

Small 50mm 24mm 100mm

Medium 80mm 50mm 180mm
Large 150mm 90mm 360mm

A normal lens is the term applied to a lens with a focal length equal to the measurement of the
diagonal of the sensor format with which it is being used. This is approximately equivalent to
the normal perspective of the human eye. A wide angle lens will give a field of view wider than
normal and a long lens will give a field of view narrower than normal. A wide angle lens will
appear to increase and distort perspective, a long lens will appear to compress perspective due to
closer and further viewpoints respectively.

Wide Long – Jana Liebenstein

Activity 1
Light a subject on a neutral background with a diffuse light source (floodlight/soft box).
Photograph the subject with a normal lens.
Without moving the subject or camera position repeat the process with as many lenses as are
available (minimum of wide and long).
Keep a record of exposure and the focal length of each lens for each frame exposed.
Correlate the images with the written record.

50
 The studio

Focus
With through the lens viewing an understanding of focus is best explained at a practical level.
The closer the lens to the subject the greater the distance from the lens elements to the focal
plane. The further the lens from the subject the shorter the distance from the lens elements to
the focal plane. This means that as the size of the image increases in the viewfinder the distance
from the lens elements to the focal plane increases.

Aperture
Within the lens is an adjustable diaphragm used to control the intensity of light entering the
camera. This is known as aperture. The numerical measurement of aperture is known as f-stop.
F-stops can range from f1.2 to f90 and beyond. When moving from one f-stop to another a
series of clicks can be felt. Each stop and half stop has a click. Each full f-stop will halve the
amount of light entering the camera when changing from a lower to a higher number. Each
full f-stop will double the amount of light entering the camera when changing from a higher to
a lower number. With some digital cameras aperture is controlled via the menu; however, the
theory and effect are the same. See ‘Exposure’.

Time
On most medium and all large format cameras exposure time is controlled by a shutter
mechanism fitted between the elements that make up a compound lens. These shutter speeds
vary from fractions of a second to any length of time the photographer determines. These
periods of exposure time are equally applicable to small format cameras, but the shutter
mechanism is at the focal plane and not inside the lens. With some digital cameras time is
controlled via the menu; however, the theory and effect are the same. See ‘Exposure’.

Accessories
With all cameras it is important to have at least a standard lens hood. Large format cameras
require a dark-cloth, a double dark slide and a cable release, digital cameras an AC power
adaptor and/or rechargeable batteries. The lens hood will reduce lens flare (direct light from the
source entering the lens) and the cable release will eliminate camera vibration during exposure.
This is essential when using long exposures. A dark-cloth is required to view the image on the
ground glass plate at the back of a large format camera and a double dark slide (cut film holder)
is used to place film at the focal plane.

Activity 2
Focus a camera, mounted on a tripod, on a light source. Turn on the light.
Without looking through the camera make an exposure at various angles to the light as you
gradually move the camera away from the light source until it is at 90 degrees to the start.
Repeat the procedure using a lens hood on the camera.
Observe the difference (when light flare appears and disappears) between the angle of the
camera to the light when using and not using a lens hood.
Correlate the images with the written record.

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Studio Photography: Essential Skills

Light sources
Flash
There are numerous flash equivalents of the two standard artificial light sources, floodlight and
spotlight. They have a color temperature of 5500K to 5800K and are balanced to daylight.
Despite the names, swimming pool, soft box, fish fryer, honeycomb, etc., they are really only
larger or smaller versions of a diffuse light source. The use of an open flash (direct light to
subject without diffusion) will give the same effect as a spotlight. Most brands have focusing
capabilities and the range of attachments available used to control intensity, quality and shape
exist in one form or another for use with either flash or tungsten. The majority of studio flash
systems consist of a power pack, flash head and flash head attachments. Tungsten modelling
lights built into the flash heads are used to determine the direction and quality of the light
prior to exposure. An average flash system with an output of 5000 joules would be suitable for
the purposes of this study guide. Compared to tungsten, flash equipment is lightweight and
versatile. However, buy the most robust equipment you can afford. Keep a stock of modelling
globes and exercise caution when handling the flash heads, power pack and power supply. Never
touch the flash head or disconnect the leads unless the power pack is fully discharged and the
power supply switched off. See ‘Using light’.

Tungsten
There are many variations of the two basic tungsten light sources, floodlight and spotlight.
The majority have a color temperature of 3200K to 3400K and are balanced to tungsten. The
minimum requirement to teach and learn the use of tungsten light would be a single floodlight
and a single spotlight. A simple floodlight would have an output of 500 watts and a spotlight
suitable for the purposes of this study guide an output of 650 watts. Purchase the most robust
lights and stands you can afford within the output range mentioned above. Keep a stock of
spare globes and exercise caution when handling the lights and the power supply. If possible
all light stands should have wheels to ensure ease of movement and to reduce vibration when
moving a light. Professional spotlights come with barn doors and nets. Barn doors are metal
flaps used to control the shape and amount of light falling on the subject. Nets are pieces of
wire gauze of varying densities that reduce the output of the light by diffusing the light at its
source without greatly affecting the shadows.

Tungsten floodlight Tungsten spotlight

52
 The studio

Equipment detail
Tripod
A large format camera should always be on a tripod. With a small or medium format camera
with exposures longer than 1/60 second, it is advisable to use a tripod. It is not necessary to
buy an expensive studio tripod. A heavy duty tripod that can be used in the studio as well as
on location is sufficient. Avoid the many lightweight tripods on the market as they will not
be stable enough for long exposures. If the tripod is heavy and awkward to carry then it will
probably be the right one for studio use. As well as adjustable legs, the tripod should have a
head that locks firmly into position at any angle, a rising central column and spirit levels for
vertical and horizontal alignment.

Light meter
Working in a studio where all light created is from an artificial source it is very important to
have a reliable light meter. Next to a camera the light meter is the most important piece of
photographic equipment you will own. To understand fully the effect of artificial light and
lighting ratios a hand-held meter, capable of measuring both flash and tungsten, with an
invercone and reflected light reading attachment is essential. See ‘Exposure’.

Digital
Digital images are stored either directly to a computer hard drive or as transferable data on
memory cards. There are many different types manufactured but all are defined by their memory
size. The greater the memory the more images the card contains. Memory cards are not specific
to any color temperature as this can be controlled by adjustment of the white balance to the
dominant light source at the time of capture or in post production when capturing Raw images.

Film
The range of film material available to the studio photographer is gradually diminishing as
digital capture increases. Film can be divided into two types, negative and reversal (positive).
Tungsten film (3200K) should be used with tungsten light. Daylight film (5500K) should be
used with flash. Black and white film can be used with either light source. All film should be
stored at a constant temperature, as specified by the manufacturer, preferably in a refrigerator. A
special back manufactured to fit most cameras has to be attached to the camera in order to use
instant film (Polaroid, Fuji). The advantage of this back is that the photograph is taken through
the same lens as the final exposure onto film. Using a separate instant film camera may not give
the same perspective or focal length.

18% gray card

An 18% gray card is an exposure and color standard introduced by Kodak. It is important
to remember all light meters assume the subject to be photographed, in order to give correct
exposure, is 18% gray. This is referred to as a mid-tone or reflecting 18% of the light falling on
it. See ‘Exposure’.

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Studio Photography: Essential Skills

First aid kit

All workplaces must comply with local health and safety regulations. The studio environment is
no exception. Ensure you know where the first aid kit is kept and how to use it, especially with
relation to burns. It is imperative the kit is accessible at all times.

Fire extinguisher
Fire regulations may vary from state to state and country to country. Ideally a studio should
have a heat activated sprinkler system installed. At the very least fire extinguishers should be
installed and regularly serviced and maintained. Make sure the extinguisher is appropriate to
the risk involved. Ensure you know where it is kept and how to use it.

Support
A system of reliable support mechanisms is essential for the safe operation of a studio. They
can be permanent or made from components of the various systems available. These stands are
commonly referred to as C-stands and come in varying sizes and stability. They can be used for
almost any conceivable purpose to support any kind of material. In combination with gaffer
tape and clamps an entire support mechanism can be created.

Daniel Tückmantel

Table top work bench

A ideal surface on which to place most smaller subjects is a table top. Do not interpret this too
literally. Any flat, elevated, mobile surface will do.

Tool box
A photographer will acquire so much ‘junk’ in the process of producing images that some type
of storage facility will be required. Personal choice will determine what is used but a tool box
is ideally suited to carry around gaffer tape, clamps, Stanley knife, scissors, Blu-tac, stop watch,
heat resistant gloves, etc.

54
 The studio

Organisation
The key word to efficient studio photography is organisation. Not only does organisation save
time but in commercial practice money. Most people at some stage in their photographic career
attempt to make money out of photography. To be paid for doing something you enjoy is most
people’s dream. That dream can become hard work through lack of organisation. Organisation
in a studio situation covers everything from the simplest task to the most complex. A well-
organised studio will operate more efficiently. A place for everything and everything in its place.
Look after and maintain your own equipment. Ensure it works when you most want it to. A
tidy, clean studio is also a safer studio. In a studio situation where more than one photographer
is working the unexpected will always occur, so be prepared. When working with lights be
aware of your position in the studio in relation to others.

Pre-shoot checklist
Prior to any photographic assignment a photographer should carry out a simple checking
procedure to ensure everything required to produce the photograph is available.

√ Check availability of studio.

√ Check availability of power to studio.
√ Check camera equipment, lenses, lens hood.
√ Check tripod.
√ Check digital back/camera.
√ Check digital back/camera power source.
√ Check digital memory.
√ Check computer interface and cabling.
√ Check light meter.
√ Check lighting equipment, spare lamps, cabling, distribution boards.
√ Check availability of diffusion material, reflectors, cutters.
√ Check availability of support mechanisms, table, C-stands, clamps, gaffer tape, etc.
√ Check work area safety, fire extinguisher, first aid kit.
√ Check contents of tool box.
√ Check subject matter will be in the right place at the right time.

Activity 3
Compile a list of the requirements you would need to photograph a dog in a studio
environment.
Itemise each piece of equipment, the quantity required, its source and availability.
Compare and discuss until a comprehensive checklist has been achieved.

55
James Newman
Andrew Boyle
Jeph Ko
 light

Rodrick Bond

essential skills
• Knowledge and understanding of how the use of light can create form, dimension
and contrast in a studio environment.
• Develop an understanding of the relationship between artificially created lighting
situations and the photographic medium.
• The study and observation of the importance of light in the production of
photographic images.
• Through research study different studio photographs and the technique employed
to achieve the result.
• To produce photographic images through the use of technique, observation and
selection demonstrating how the direction, quality and type of light affect the way
we view the subject matter.
Studio Photography: Essential Skills

Introduction
Light is the essence of photography. Without light there is no photography. The major
difference between studio photography and any other form is that the studio itself has no
ambient or inherent light. This means unlike photography undertaken in daylight, studio light
cannot be observed and interpreted because it does not exist. The photographer starts with no
light at all and has to previsualise how to light the subject matter and what affect the light will
have upon the subject. It is a fact that studio photographers have to previsualise the lighting of
the subject rather than observe what already exists that separates this genre from all others. This
requires knowledge, craft, observation, organisation and discipline. Good studio photography
takes time, lots of time, and patience.

Seeing light
In order to best utilise an artificial light source, we must first be aware of how light acts and
reacts in nature. Observation of direct sunlight, diffuse sunlight through cloud and its many
variations will develop an understanding of the two main artificial light sources available. A
spotlight/open flash imitates the type of light we see from direct sunlight, a hard light with
strong shadows and extreme contrast. A floodlight/soft box imitates the type of light we see on
an overcast day, a soft diffuse light with minor variations in contrast and few shadows. Light
falling on a subject creates a range of tones. These fall into three main categories: highlights,
mid-tones and shadows. Each can be described by its level of illumination (how bright, how
dark) and their position and distribution within the frame.

Janette Smith

Activity 1
Describe the image above in terms of highlights, mid-tones and shadows.
Draw a diagram indicating the relative position of the subject, light source and camera.

60
 Light

Artificial light
In a studio situation all forms of light are artificial. All light has to be created by the
photographer. An artificial light source can be anything from the largest flash system to a single
candle. Artificial studio lighting was originally measured in candle power. Today tungsten light
output is measured in watts, flash output is measured in joules. A normal household light bulb
is 100 watts. A 20kW tungsten-halogen lamp is 20,000 watts.
Although natural available light is often used for fashion and portraiture, the majority of studio
photographs are lit using artificial light sources. These are:

• Flash
• AC discharge
• Tungsten-halogen
• Photoflood

Flash (5500K-5800K)
Flash is a generic term referring to an artificial light source of high intensity and short duration.
It will render correct color when balanced to daylight. If using film balanced to tungsten an
85B filter will be required to correct the blue cast these lights emit. There is minimal heat
output, and it maintains constant color balance and intensity. Flash is not a continuous light
source. It has to recycle (recharge) between flashes and has no light output other than at the
instant of exposure. To assess the direction and quality of the light flash heads have built-in
modelling lamps. These are tungsten lamps and not color balanced to flash. As the output and
intensity of the flash are far greater than that of the modelling lamps, exposure times will be too
short for any tungsten exposure to register.

AC discharge (5600K)
Referred to as HMIs, AC discharge lamps have a very high output but emit less heat than
tungsten when operating. The design of the light is very similar to the tungsten-halogen
spotlight. They are not a continuous light source as the light flickers at very high frequency
during operation. This is of no consequence to the stills photographer but must be taken into
consideration when exposing moving film. They will maintain correct color balance throughout
the life of the globe and will render correct color when balanced to daylight. If using film
balanced to tungsten an 85B filter will be required to correct the blue cast these lights emit. AC
discharge lamps are used predominantly in the film and TV industry.

Tungsten-halogen (3200K)
Next to flash this is the most commonly used artificial light. Light is emitted when the element
inside the glass envelope is heated providing a continuous light source. All tungsten light
sources emit heat when operating. Unlike the photoflood lamp the glass will not discolor with
age, will maintain correct color balance and will give correct color when balanced to tungsten.
If using film balanced to daylight an 80A filter will be required to correct the orange cast these
lights emit. These lamps are used predominantly in spotlights.

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Studio Photography: Essential Skills

Photoflood (3400K)
The photoflood is similar in design to the normal domestic lamp. As the name implies this type
of lamp is used to create a broad soft light source. It is balanced to tungsten and normally used
without correction. As the age of the lamp increases a shift in color balance can occur. This
is due to the discoloration of the glass surrounding the element. If the camera is balanced to
daylight an orange color cast will be evident. This can be corrected with the use of a blue (80B)
filter or capturing as a Raw file and correcting in post production.

Daniel Tückmantel

62
 Light

Characteristics of light
To understand light it is essential to examine its individual characteristics.
• Intensity, reflectance and distance
• Quality, diffusion and reflection
• Color
• Direction
• Contrast

Intensity
In a studio environment the greater the impedance to the light (diffusion, reflection, filtration)
the less intense the light falling on the subject. Direct light (no diffusion, reflection, filtration)
the more intense the light falling on the subject. A hand-held light meter with a diffuser
attachment will give an incident reading of the light falling upon a subject when pointed at
the light source from the subject. In this way by separately measuring each light source the
lighting ratio (the difference between the intensity of light from each source) can be calculated.
This enables the photographer to control image contrast and the tonal range recorded. When
referring to lighting ratios the photographer is also referring to lighting contrast. See ‘Exposure’.

Reflectance
Regardless of the intensity of the light falling on the subject different levels of light will be
reflected from the subject. The amount of light reflecting from a surface is called ‘subject
reflectance’. The levels of reflectance vary according to the color, texture and angle of the light
to the subject. A white shirt will reflect more light than a black dress. A sheet of rusty metal
will reflect less light than a mirror. In all cases the level of reflectance is directly proportional
to the viewpoint of the camera. If the viewpoint of the camera is equal to the angle of the
light to the subject the reflectance level will be greater. The level of reflected light is therefore
determined by:
• Reflectance of the subject
• Intensity of the light source
• Angle of viewpoint and light to subject
• Distance of the light source from the subject

Distance
When either the subject or the light increase their relative distance to each other the intensity
of the light is reduced. The amount of light falling on a subject decreases to a quarter of its
original intensity when the light to subject distance is doubled. This change in illumination
is called ‘fall-off’, and is quantified by the ‘inverse square law’. For example, if a light meter
reading of f16 is obtained when the light to subject distance is one metre, at two metres
the reading would be f8, at four metres the reading would be f4. These rules do not change
regardless of the light source.

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Studio Photography: Essential Skills

Quality
Light from a point light source such as a tungsten-halogen spotlight is described as having a
‘hard quality’. The light will be directional with well-defined edges and strong dark shadows.
Light coming from a diffuse light source such as a softbox is described as having a ‘soft quality’.
The light will appear to be coming from an indiscriminate source with no edges and soft ill-
defined shadows of limited density (detail can be seen in them).
The quality of light, whether hard or soft, can be changed by diffusion and reflection.

Diffusion
Any light source can be diffused by placing certain translucent materials between the light
source and the subject. This has the affect of diffusing and spreading the light over a greater
area by artificially increasing the size of the source. Relative to its size, the further the diffusion
material from the light source the larger the light appears to be. This softens the shadows,
increases shadow detail and decreases the measured amount of light falling on the subject. The
amount of diffusion is also determined by where the diffusion material is placed in relation to
the light source and the subject. The closer the diffusing material to the light source the less
diffuse the light. The closer the diffusing material to the subject the more diffuse the light, the
softer the edges of the shadows and the greater the shadow detail. There are many diffusion
products manufactured specifically for the photographic market. See ‘Using light’.

Reflection
Light is reflected off surfaces to varying degrees. More light will be reflected off silver than off
black. Reflection is a simple way of changing the quality of light. The amount of light reflected
off a surface is directly related to subject contrast. A point source of light (spotlight/open flash)
will give hard shadows to the left side of a subject when lit from the right. This is called high
contrast as there are only highlights and shadows. To obtain detail in the shadow area light has
to be reflected into the shadows. This is called fill light and is achieved by collecting direct light
from the light source and redirecting it with a reflector. This will reduce the contrast by raising
the detail in the shadows to a level closer to the highlights enabling the photographer to control
image contrast and the tonal range recorded. There are many reflective products available
manufactured specifically for the photographic market. See ‘Using light’.

Activity 2
Photograph a subject with average tones (another person) under many varied light sources.
Set the camera to one color balance (do not auto balance and do not alter color balance).
Include daylight, domestic, street, commercial, industrial and studio lighting.
Record exposure, light source type and where known color temperature.
Observe how the color and quality of the light varies from light source to light source.

64
 Light

Color
The visible spectrum of light consists of a range of wavelengths from 400 nanometres (nm)
to 700nm. Below 400nm is UV light and X-rays, and above 700nm is infrared (all capable
of being recorded). When the visible spectrum is viewed simultaneously we see ‘white light’.
This broad spectrum of colors creating white light can be divided into the three primary
colors: blue, green and red. The precise mixture of primary colors in white light may vary from
different sources. The light is described as cool when predominantly blue, and warm when
predominantly red. Human vision adapts to different mixtures of white light and will not pick
up the fact that a light source may be cool or warm unless it is compared directly with another
in the same location.

White balance and color correction

The light from tungsten-halogen (3200K) and photoflood lamps (3400K) consists
predominantly of light towards the red end of the spectrum. The light from AC discharge
(5600K) and studio flash (5800K) consists predominantly of light towards the blue end of the
spectrum. The color of light is measured by color temperature. Color temperature is described
in terms of degrees kelvin (K). This refers to a temperature scale expressed as visual appearance,
red is warm, blue is cold. To create images that have correct color most digital cameras use an
auto or manual white balance and exposure compensation to correct the color temperature
of any light source. For correct color if using film, filtration of lights or camera plus exposure
compensation can be used to balance to any lighting situation.

Light source Color temperature Balance Filter Exposure

Average shade 8000K Daylight 81EF +0.65
Tungsten 85B +0.65

Flash 5800K Daylight None

Tungsten 85B +0.65

AC discharge 5600K Daylight None
Tungsten 85B +0.65

Daylight 5500K Daylight None

Tungsten 85B +0.65

Photoflood 3400K Daylight 80B +1.65
Tungsten None +0.35

Tungsten-halogen 3200K Daylight 80A +2.00
Tungsten None

Domestic lamps 2800K Daylight 80A +2.00

Tungsten 82C +0.6

65
Studio Photography: Essential Skills

Direction
Shadows determine the direction of light. They create texture, shape, form and perspective.
Without shadows photographs can appear flat and visually dull. A light placed to one side
or behind a subject will not only separate the subject from its background but also give it
dimension. A front lit subject will disappear into the background and lack form or texture. In
nature the most interesting and dramatic lighting occurs early and late in the day. Observing
and adapting this approach is a starting point to understanding the basics of studio lighting. In
some situations front lighting is the only solution to a particular set of requirements, but time
should be spent trying to add side or back lighting to any subject.

Tracey Hayes

Activity 3
Visit the same location at dawn, midday and sunset.
Photograph the effect of the light from the same viewpoint each time.
Using a simple object and trying various lighting combinations attempt to reproduce in the
studio the different lighting effects appearing on your images.
Compare the quality of the light and the mood communicated.

66
 Light

Contrast
The human eye registers a wide range of light intensities simultaneously. The difference in
the level of light falling on or being reflected by a subject is called contrast. Without contrast
photographic images would appear dull and flat. It is contrast within the image that gives
dimension, shape and form. Awareness and the ability to understand and control contrast
is essential to work successfully in the varied and complex situations arising in studio
photography. Contrast can be subdivided into four areas:
• Subject contrast
• Lighting contrast
• Lighting ratios
• Brightness range

Subject contrast
Different surfaces reflect different amounts of light. A white shirt reflects more light than black
jeans. The greater the difference in the amount of light reflected the greater the subject contrast.
Subject contrast can only be measured when the subject is evenly lit. The difference between
the lightest and darkest tones can be measured in f-stops. If the difference between the white
shirt and the black jeans is three stops then eight times more light is being reflected by the shirt
than by the jeans. A ‘high contrast’ image is where the ratio between the lightest and darkest
elements exceeds 32:1. A ‘low contrast’ image is where the ratio between the lightest and
darkest elements is less than 2:1.
One stop = 2:1, two stops = 4:1, three stops = 8:1, four stops = 16:1.

Rebecca Coghlan

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Studio Photography: Essential Skills

Lighting contrast
Subject contrast or reflectance range only exists once the studio photographer has turned a
light on the subject. Prior to this the subject has no contrast. It is therefore possible to control
the subject contrast by controlling the amount of light falling on the subject. If a single point
source of light is used to light a subject the difference between the highlights and the shadows
will be determined by the amount of light they reflect. Overall image contrast is therefore
determined by a combination of subject contrast and ‘lighting contrast’. If we continue with
the example of the white shirt and the black jeans an understanding of the difference between
subject contrast and lighting contrast can be achieved. A person wearing these clothes when
lit with a large soft diffuse light from the front will have a subject contrast range equal to the
reflectance level of the clothes. If you now turn off the front light and light the subject with a
point source from the right each item of clothing now reflects different levels of light. The right
side of the person is highlighted, the left side of the person is in shadow. When measured this
would have a subject contrast range between the lit side of the shirt and the shadow side of the
jeans in excess of 32:1 (high contrast). To control these contrast levels a balance of different
light sources is used. This balance is called ‘lighting ratio’.

Lighting ratio
To reduce the lighting contrast levels in the above example the first diffuse light could be
moved to the left side of the subject. This has the effect of reducing the contrast between the
left and right sides of the subject. This change in the subject contrast can be measured by the
difference in the amount of light falling on each side of the subject. The right light measures
f32, the left light f16. This is a difference of two stops. Working on the same scale used to
measure subject contrast, this is a lighting ratio of 4:1. Metering for lighting ratios is covered
in greater detail in ‘Exposure’.

Tim Barker

68
 Light

Brightness range
Subject brightness range is the combined result of subject and lighting contrast. If a subject
with a high reflectance range of 32:1 is lit by a combination of light sources creating a lighting
ratio of 4:1 the overall subject brightness range (SBR) is 128:1.
Subject Brightness Range (SBR) = Reflectance Range x Lighting Ratio.
Digital image sensors and film are only capable of recording a limited brightness range. The
ability to accommodate a brightness range is referred to as ‘latitude’. Digital image sensors can
accommodate a brightness range of 32:1 or five stops latitude when images are processed in
camera and saved as JPEG or TIFF. When saved as Raw a brightness range of 128:1 or seven stops
latitude can be achieved. Combined with post production and printing techniques it is possible to
extend this range even further. With this knowledge the photographer working in digital capture
will understand any highlight three stops brighter or shadow more than three stops darker than a
mid-tone will register little detail. The limit of digital image sensor latitude, referred to as ‘noise’,
is evident as poor pixel definition in the shadows and/or highlights. Color transparency film can
accommodate a brightness range of 32:1 or five stops latitude. Black and white and color negative
film can accommodate a brightness range of 128:1 or seven stops latitude.

Shadow tones Mid-tones Highlights

High SBR in flat light

Extreme SBR in harsh directional light

Latitude of JPEG and TIFF

Latitude of Raw files

Increased exposure to capture shadow detail

Decreased exposure to capture highlight detail

A subject with a high or extreme brightness range can exceed the latitude of the sensor or film

Being aware of subject brightness range and latitude allows the photographer to previsualise
the outcome of the final image. When the brightness range exceeds the film/image sensor’s
latitude the photographer has the option to compensate by varying the lighting ratio and/or by
increasing or decreasing exposure to ensure shadow or highlight detail. A subject with a high
SBR is said to have ‘extreme contrast’.

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Studio Photography: Essential Skills

Extreme contrast
In a studio situation where the subject reflectance, lighting contrast and lighting ratio are all
under the control of the photographer, extreme contrast is usually by design rather than by
error of judgement. Being aware of image sensor latitude and the photographer’s ability to
alter lighting ratios, images with extreme contrast can be avoided. However, as the elements
causing extreme contrast are controlled by the photographer it can be created and used to
great effect. Placing highlights in shadow areas and deep shadows through mid-tones can
create interesting images. Exposure is critical. Experience and trial and error are the best ways
to achieve reliable results.

Rodrick Bond

70
Alison Saunders
Tracey Hayes
 exposure

James Newman

essential skills
• A knowledge and understanding of exposure and its relationship to light sensitive
surfaces, depth of field and selective focus.
• An understanding of the use of a light meter, the difference between reflected and
incident meter readings, and their relationship to lighting ratios and exposure.
• Through research an understanding of the effect of exposure in the creation of
photographic images.
• Production of photographic images through close observation and selection that
show an understanding of metering techniques and their relationship to exposure,
lighting ratios, depth of field and selective focus.
Studio Photography: Essential Skills

Introduction
Exposure is the amount of light required to correctly expose an image. Exposure is a
combination of intensity (the quantity of light determined by the size of the aperture) and
duration (the quantity of light determined by the length of the shutter speed). Correct exposure
is the interpretation of light meter measurements related to the desired effect and the subject
being photographed. Too much light will result in overexposure. Too little light will result
in underexposure. It makes no difference whether there is a large or a small amount of light,
the same amount of light is still required for correct exposure. Exposure has to be adjusted to
compensate for these variations. This is achieved by adjusting either the intensity (aperture)
or duration of light (time). An increase in the size of the aperture will give more exposure, a
decrease will give less exposure. A decrease in the duration of the shutter speed will reduce
exposure, an increase will give more exposure.

Overexposure Correct exposure Underexposure

– Line Mollerhaug

In order to calculate correct exposure the light has to be measured. The device that measures
light is called a light meter. All light meters give the photographer information about the
amount of light available to obtain correct exposure in f-stops and shutter speeds. These two
pieces of information can be used in any combination, for example an exposure of f11 at 1/125
second = f8 at 1/250 second = f16 at 1/60 second, etc. However, working in a creative medium
correct exposure can sometimes be a very subjective opinion.
Exposure is a combination of f-stops and shutter speed – aperture and time.

Activity 1
Find photographs you think are over-, under- and correctly exposed. Why has this occurred?
What lighting/exposure situations have you found yourself in where the result has been
different to what you expected?

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 Exposure

Aperture and time

Aperture
Actual aperture is the size of the diameter of the diaphragm built into the camera lens. The
iris is a mechanical copy of the iris existing in the human eye. Aperture controls the intensity
of the light entering the camera. In the dark the iris of the eye opens to maximum aperture in
order to increase the amount of light reaching the retina. In bright light the iris closes down
to minimum aperture in order to reduce the amount of light reaching the retina. In the same
way the aperture of the camera lens must also be opened and closed to control the amount of
light entering the camera. The right amount of light is required for correct exposure. Too much
light and the image will be overexposed, not enough light and the image will be underexposed.
As the aperture on a manually operated lens is opened or closed a series of clicks can be felt.
These clicks are called f-stops and are numbered. When the value of the f-stop decreases by one
stop exactly twice as much light enters the camera as the previous number. When the value of
the f-stop increases by one stop half as much light enters the camera as the previous number.
The only confusing part is that maximum aperture is the f-stop with the smallest value and
minimum aperture is the f-stop with the largest value. The larger the f-stop the smaller the
aperture. Easy! With most digital cameras aperture can be controlled via the menu but the
theory, effect and result are the same.

f16 f8 f4

Activity 2
Carefully remove the lens from either a small or medium format camera.
Hold the lens in front of a diffuse light source of low intensity.
Whilst looking through the lens notice how the size of the aperture changes as you alter the
f-stop.
Record the relationship between the size of the aperture and the corresponding f-stop number
displayed on the lens or in the LCD panel.

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Studio Photography: Essential Skills

Time
The amount of light required to correctly expose an image is controlled by a combination of
aperture (f-stop) and time (shutter speed).
Aperture controls intensity, time controls duration.
Until the invention of the focal plane shutter exposure time had been controlled by devices
either attached to or within the lens itself. These shutters regulated the length of exposure of
the film to light. Early cameras had no shutter and relied upon the photographer removing
and replacing a lens cap to facilitate correct exposure times. Other rudimentary shutters, very
similar in appearance to miniature roller blinds, were tried but it was not until the invention
of a reliable mechanical shutter that exposure times could be relied upon. As film emulsions
became faster so did the opportunity to make shorter exposures. Most digital cameras control
the duration of the exposure by switching on and off the image sensor for a determined period
of time. Others use a hybrid system of digital and focal plane shutters. In a studio situation
exposure time related to still life is not a major consideration. Using exposure times of between
1/1000 second and 30 seconds is normal.

1 second 1/8 second 1/60 second

When photographing people, or anything likely to move, an exposure of 1/60 second is usually
adequate. Shutter speeds slower than this will cause subject movement blur and/or vibration if
the camera is hand held and not on a tripod. With the use of flash, exposure times have little
effect upon exposure as the flash is of such high intensity and extremely short duration that
camera vibration or subject movement is eliminated.

Activity 3
Light an inanimate subject with a diffuse light source.
Set the shutter speed on your camera to 1/125 second and the aperture to what is required for
correct exposure.
Hand hold the camera, make two exposures at each shutter speed between 1/125 second and
1 second. Adjust aperture accordingly.
Record and compare the results to see which shutter speed has the least image blur.

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 Exposure

Light meter
Working in a studio where all light created is from an artificial source it is important to
have a reliable light meter. Unfortunately for photographers the ability of the human eye
to compensate for variations in light, shade and contrast is far greater than any of the film
emulsions and image sensors at present on the market. It is therefore difficult to understand
lighting ratios and their relationship to exposure without the use of a meter. Next to a
camera the light meter is the most important piece of photographic equipment you will own.
Other than large format, most cameras have built-in metering systems, but these all work
on measuring light reflected from the subject back to the camera. In most cases this will give
adequate metering for correct exposure of a subject with average tonal range. It will not tell
you the difference in the light falling on different areas of the subject. Without a meter only
experience would tell you if there is going to be detail in the shadows or highlights when the
image is correctly exposed. The human eye would mislead you.

Thuy Vy

To understand fully the effect of artificial lights and lighting ratios a hand-held meter, capable
of flash and tungsten readings, is essential. Measuring light for the purpose of exposure can be
achieved by taking a reflected or an incident reading of the subject.

A reflected reading is when the meter is pointed at the subject from the camera and the
light reflected from the subject is measured.
An incident reading is when the meter, with diffuser (invercone) attached, is pointed at
the camera from the subject and the light falling on the subject is measured.

This exposure reading is known as ‘meter-indicated exposure’ or ‘MIE’. The meter is calibrated
to assume that everything it is pointed at is a mid-tone (gray) regardless of the level of
illumination. A meter will therefore give correct exposure for a man in a medium gray flannel
suit whether he is in a cellar or sunlight. The mid-tone to which all meters are calibrated is
called an ‘18% gray card’ because it reflects 18% of the light falling upon it.

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Studio Photography: Essential Skills

Using the light meter

There are many ways of understanding the information a light meter is giving in relation to
exposure. The meter read-out system itself can be confusing. Some photographers refer to EV
(exposure value) readings, others t-stops (transmission) and others in zones. All have their
merits and it is better to understand one system well than a little about all. In reality they all
mean the same. An understanding of exposure is without doubt the most critical part of the
photographic process. Of all the variations the most common usage is f-stops. All meters usually
default to f-stops and all camera lens apertures are calibrated in f-stops. It is not important to
understand what f-stops are, just how they relate to exposure and depth of field.
It is important to understand that if the exposure is increased by one stop, either by time or
aperture, the amount of light entering the camera has doubled (2x). If increased by two stops
the amount of light has doubled again (4x). If increased by three stops the light doubles again
(8x) and so on. This simple law applies with the opposite result to decrease in exposure. It is
also important to remember to set the meter to the correct ISO rating (measure of sensitivity to
light). See ‘Image capture’.

Incident light reading

An incident reading is when the meter, with invercone attached, is pointed at the camera from
the subject and the light falling on the subject is measured. The invercone is a white plastic
dome that fits over the meter’s light sensitive cell. The invercone accepts the light from a wide
field of vision (180°) falling on the subject and transmits 18% of that light to the meter’s light
sensitive cell. The information the meter gives you must then be interpreted into an aperture/
time combination.
The meter reading should only be viewed as a guide to exposure. Due to the broad range of
tones visible to the human eye it is often necessary to take more than one reading to decide on
the most appropriate exposure. If a reading is taken in a highlight area the resulting exposure
may underexpose the shadows. If a reading is taken in the shadows the resulting exposure
may overexpose the highlights. The photographer must therefore decide whether highlight or
shadow detail is the priority or reach a compromise.

Activity 4
Take an incident light reading of a subject in a constant light source.
Note the f-stop at an exposure time of 1 second. Increase the number of the aperture by three
f-stops.
Note the change in exposure time.
What would the result be if the duration of time had been increased by a factor of three
instead of the aperture?
Which method would be the most appropriate to achieve minimum depth of field?
Collate results in your Record Book.

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 Exposure

Reflected light reading

A reflected reading is when the meter is pointed at the subject from the camera and the light
reflected from the subject is measured. This is undertaken with the invercone removed. The
meter’s light sensitive cell has an angle of acceptance approximately equivalent to a normal lens.
With a spot meter attachment this angle can be reduced to 5 degrees for precise measurements
within the subject. The exposure the meter recommends is an average of the reflected light from
the light and dark tones present. When light and dark tones are of equal distribution within the
frame this average reading is suitable for exposure. It must be remembered the meter assumes
that everything reflects light at the same level as an 18% gray card. If the subject is wearing a
medium gray flannel suit a reflected reading from the camera would give an average for correct
exposure. However, if the subject is wearing a white shirt and black jeans a reflected reading of
the shirt would give an exposure that would make the shirt appear gray. A reflected reading of
the jeans would make them appear gray. When light or dark tones dominate the photographer
must increase or decrease exposure accordingly.

18% gray card

An 18% gray card is an exposure and color standard introduced by Kodak. It is a tone and color
image sensors are meant to truly render at correct exposure. It is important to remember all
light meters assume the subject you are about to photograph, in order to give correct exposure,
is 18% gray. This is referred to as a mid-tone or reflecting 18% of the light falling on it. If a
reflected meter reading is taken of a black card it will assume the card is 18% gray and give an
exposure reading rendering the black card gray. This applies equally to a white card. The light
meter reading will make the white card gray. This is one reason why snow comes out gray in
many snapshots.

Activity 5
Using a diffuse light source take individual reflected light meter readings of three pieces of
card, one white, one black and one mid-gray.
The black card should give a reading different by four stops to the reading off the white card.
The mid-gray card should be between the two. If the mid-gray card is two stops apart from
each, you have a mid-tone the meter sees as the average tone (18% gray).
Make one exposure of each of the three cards using their meter-indicated exposure (MIE).
Photograph the white and black cards again using the meter-indicated exposure of the gray
card.
Label the results with the meter indicated exposure, the actual exposure and the tone of the
card being photographed.
Collate results in your Record Book.

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Studio Photography: Essential Skills

Lighting ratios
A light meter is often incorrectly called an exposure meter. Exposure is only one part of its
function. It can also be used for measuring lighting ratios and lighting balance. This is achieved
by taking an incident reading of the light source from the subject. The meter is pointed at the
light source to measure the amount of light falling on the subject from that specific light. If
there is more than one light source each light can be measured independently by ensuring only
one light source is on at any one time. In this way the ratios between the light sources can be
measured. Understanding and controlling lighting ratios will help ensure the SBR is within the
image sensor’s latitude. See ‘Light’ and ‘Image capture’. Lighting ratios and their relationship
to latitude are best demonstrated and understood at a practical level. Take, for example, a
photographer using an image sensor known to have a latitude of five stops. To make use of this
information the photographer should try to light the subject to within this range. A five stop
latitude would allow a photographer to use a maximum lighting ratio of 32:1 (five stops). This
ratio would retain detail in the highlights and the shadows.

Example 1
In a darkened studio a person is lit with a single light source from the right-hand side at 90
degrees to the subject. An incident light meter reading is taken from the right-hand side of the
person’s face directly towards the light source. The aperture is f45 at 1 second. An incident light
meter reading is taken from the left-hand side of the person’s face directly towards the opposite
side of the studio to where the light is placed. The aperture is f4 at 1 second. This is a lighting
ratio of 128:1 (seven stops). To reduce this ratio another light or a reflector (fill) is placed on
the left-hand side of the subject. The fill is moved towards or away from the subject until an
aperture reading no more than three stops lower (f16) than the main light source is obtained.
This is now a lighting ratio of 8:1.

128:1 8:1

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 Exposure

Example 2
A photographer has to light three sides of a single colored box with a one stop ratio between
each of the sides. Pointing a light meter in the general direction of the subject would give an
average reading for ‘correct’ exposure but would not indicate the difference in the light falling
on each of the three sides. This would be achieved by taking either a reflected reading of
each side or for a more precise measurement taking an incident reading of each of the three
light sources. This would give a measure of the actual amount of light falling on the subject.
This information can then be used to adjust the balance of the lights to achieve the required
lighting ratio.

1. Spotlight 2. Spotlight + floodlight 3. Spotlight + floodlight

+ reflector

1. A point source (spotlight) is aimed at the top of a neutral gray box from behind the subject.
The shadow falls forward of the subject. An incident reading is taken of the light source by
pointing the invercone directly at the spotlight. The reading is f16.

2. A diffuse source (floodlight) is aimed at the left side of the box, ensuring no light affects the
top or right side of the box. An incident reading is taken of the floodlight (shield the invercone
with your hand to prevent light from the spotlight affecting the reading) by pointing the
invercone directly at the floodlight. The reading is f11. This is a lighting ratio between the top
and left-hand sides of 2:1 (one stop).

3. A piece of white card is used to reflect light back into the right-hand side of the box. The
light reflected is gathered from the spotlight and floodlight. With both lights on, an incident
reading is taken of the reflected light by pointing the invercone directly at the piece of white
card. The reading is f8. This is a lighting ratio between the left and right sides of 2:1 (one stop),
and an overall lighting ratio between the top and left-hand side of 4:1 (two stops).
To measure exposure an incident reading is taken by pointing the invercone from the box back
towards the camera. It should be f11. This is an average of the lighting ratio.

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Studio Photography: Essential Skills

Interpreting the meter reading

The information given by the light meter after taking a reading is referred to as the ‘meter-
indicated exposure’ (MIE). This is a guide to exposure only. As stated before, all meters assume
everything a photographer is about to photograph is a mid-tone and reflects 18% gray. This is
hardly ever the case. If you consider interest and visual impact within a photograph are created
by the use of lighting and subject contrast (amongst many other things) the chances of all the
elements within the frame being a mid-tone are remote. How boring photographs would be
if they were. It is up to the photographer to decide the most appropriate exposure to achieve
the result required. A photographer with a different idea and outcome may choose to vary the
exposure. It is the photographer’s ability to interpret and vary the meter-indicated exposure to suit
the mood and communication of the image that separates their creative abilities from others.

Average tones
A subject of average reflectance (mid-tone) is placed with equal dark and light tones. All three
tones are lit equally by the same diffuse light source.
A reflected reading of the mid-tones will give correct exposure. A reflected reading of the dark
tone will make it gray and overexpose the mid and light tones. A reflected reading of the light
tone will make it gray and underexpose the mid and dark tones.
An incident reading will give correct exposure regardless of which tone it is held in front of
because it measures the light falling on the subject (in this case the light is equal on all three
tones) not the light reflected from it.

Dominant dark tones

A subject of average reflectance (mid-tone) is placed with dominant dark tones. All three tones
are lit equally by the same diffuse light source. A reflected light meter reading is taken from the
camera. The meter will give what it thinks is correct exposure because it has assumed the subject
is reflecting 18% gray. This is not the case, however, because dark tones dominate. This ‘correct’
exposure will result in the dark tones becoming a mid-tone and the mid-tone overexposing. If the
subject is to be recorded accurately the exposure must be reduced (less time or less light) from that
indicated. The amount of reduction is dictated by the level of dominance of the dark tones.
An incident reading will give correct exposure regardless of which tone it is held in front of
because it measures the light falling on the subject (in this case the light is equal on both tones)
not the light reflected from it.

Activity 6
In a constant light source take a reflected light reading with a hand-held meter positioned
30cm from an 18% gray card. Note the exposure reading.
Now take an incident reading from the gray card with the invercone pointing back towards
where you were standing when you took the reflected reading. Note the exposure reading.
The incident reading will be the same as the reflected. Why?
Collate results in your Record Book.

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 Exposure

Dominant light tones

A subject of average reflectance (mid-tone) is placed with dominant light tones. All three tones
are lit equally by the same diffuse light source. A reflected light meter reading is taken from the
camera. The meter will give what it thinks is correct exposure because it has assumed the subject
is reflecting 18% gray. This is not the case, however, because light tones dominate. This ‘correct’
exposure will result in the light tones becoming a mid-tone and the mid-tone underexposing.
If the subject is to be recorded accurately the exposure must be increased (more time or more
light) from that indicated. The amount of increase is dictated by the level of dominance of the
light tones.
An incident reading will give correct exposure regardless of which tone it is held in front of
because it measures the light falling on the subject (in this case the light is equal on both tones)
not the light reflected from it.

Shivani Tyagi

Average exposure
In most situations where tones are evenly distributed the most appropriate exposure is often the
one indicated by the light meter. When the light or dark tones dominate, however, under- or
overexposure may occur. It is essential that the photographer understands how the light meter
reads light to have full control over exposure.

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Studio Photography: Essential Skills

Exposure compensation
Working in a studio, high or low contrast lighting situations are controlled by the photographer.
Exposure compensation would negate the effect the photographer is trying to achieve. When
working on location (exterior) the lighting (sunlight) already exists and there is little the
photographer can do about it other than exposure compensation. It is this difference that makes
high and low contrast situations infinitely more controllable in a studio. Exposure compensation
would only be used if the photographer found it impossible to alter either the lighting ratios or
subject reflectance range. The amount of compensation necessary will vary depending on the level of
contrast present and what the photographer is trying to achieve. Compensation is usually made in
half and one stop increments. This is called ‘bracketing’. When working with a computer interface
‘correct’ exposure can be judged subjectively by assessing the monitor image or objectively by
interpretation of the histogram.

James Newman

Activity 7
Place a white object next to a black object.
Light with a single light source so the light falling on both is equal.
Take a reflected reading and expose one frame at meter-indicated exposure (MIE).
Bracket in half stop increments for three stops either side of normal.
Repeat process using an incident reading as MIE.
Keep a record of the exposures in your Record Book.
Compare the results with your record of exposures.
What does the meter ‘see’, and how does the photographer allow for its limitations?

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 Exposure

Assessing the degree of compensation

Photographers calculate the amount of compensation from MIE in different ways. The method
chosen is one of personal choice. As accuracy is the primary consideration the method chosen is
usually the one with which the photographer is confident and has proved from past experience
to be the most reliable.

18% gray card Photographers can use a mid-tone of known value from which to take a
reflected light meter reading. A mid-tone of 18% reflectance is known as a ‘gray card’. The gray
card must be at the same distance from the light source as the subject. Care must be taken to
ensure the shadow of neither the photographer nor the light meter is cast on the gray card when
taking the reading.
The indicated exposure is suitable for an SBR not exceeding 32:1. If highlight or shadow detail
is required the exposure must be adjusted accordingly. If saving as Raw files the indicated
exposure is suitable for an SBR not exceeding 128:1. If the SBR exceeds 128:1 the exposure can
be increased and subsequently optimised in post production.

Caucasian skin A commonly used mid-tone is Caucasian skin. A reflected reading of

Caucasian skin placed in the main light source (key light) is approximately one stop lighter
than a mid-tone of 18% reflectance. Using this knowledge a photographer can take a reflected
reading from their hand and increase the exposure (opening the aperture one stop) to give an
exposure equivalent to a reflected reading from an 18% gray card. Further adjustment would be
necessary for an SBR exceeding the sensor’s latitude.

Bracketing To ensure correct exposure a photographer can bracket the exposures. An incident
or reflected reading of a mid-tone is taken. Either side of MIE a photographer can vary the
exposure, either by time or aperture, in half stop or one stop increments. The degree of variance
does not need to cover the entire SBR.

Digital Correct exposure with digital capture is achieved by interpretation of the histogram,
visual assessment of the monitor image, subsequent compensation of exposure and/or lighting
ratios where necessary and the use of appropriate post-production software for final output.

Polaroid Although no longer the primary medium by which to assess exposure and
composition Polaroid has a similar ISO and comparative contrast range to most films available.
To best understand the relationship between Polaroid and film, testing of both is recommended.
This will give you the best correlation between how the correct exposure for film would appear
on an equivalent Polaroid. Polaroid film holders (backs) fit most medium and large format
cameras. Polaroid backs suitable for small format cameras are limited.

Judgement The best technique for exposure compensation is judgement, gained from
experience and knowledge. This requires previsualisation of the image and the degree of
compensation required to produce the desired effect. This comes with practice and time.

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Studio Photography: Essential Skills

Digital exposure
A 24-bit RGB digital image file is separated into three color ‘channels’ (8 bits per channel).
Each channel can store 256 levels of brightness between black (level 0) and white (level 255).
When viewing channels simultaneously each pixel is rendered in any one of 16.7 million
colors (256 x 256 x 256). These brightness levels can be displayed as a graph or histogram. The
horizontal axis displays the brightness values from left (darkest) to right (lightest). The vertical
axis shows how much of the image is found at any particular brightness level. If the subject
brightness level exceeds either the latitude of the image sensors or there is either under- or
overexposure shadow or highlight detail will be lost.

Thomas Berstadht

Mid-tone
adjustment
A B C
Shadow
Highlight
adjustment
adjustment

Histograms
With digital capture it is possible to check the image sensor’s ability to record the tonality and
color of the subject. This information can be displayed as a ‘histogram’ on the LCD screen of
high quality digital cameras immediately after capture, or in the scanning software during the
scanning process. The histogram displayed shows the brightness range of the subject in relation
to the latitude or ‘dynamic range’ of the image sensor. Most digital cameras claim their sensors
have a dynamic range between five and seven stops.
Note > You should attempt to modify the brightness, contrast and color balance at the
capture stage to obtain the best possible histogram prior to post production.

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 Exposure

Optimising tonality
In a good histogram, where a broad tonal range with full detail in the shadows and highlights
is present, the information will extend right across the horizontal axis. The histogram below
indicates missing information in the highlights (right) and some loss of information in the
shadows (left).

Histograms indicating image is either too light or too dark

Brightness
With overexposure the graph will peak on the right side (level 255) of the histogram. With
underexposure the graph will peak on the left side (level 0) of the histogram.
Solution: Decrease or increase the exposure/lighting ratio.

Histograms indicating image has either too much contrast or not enough

Contrast
If image contrast is too low the histogram will not extend to either end on the horizontal axis.
If image contrast is too high a peak will be evident at either end of the histogram.
Solution: Increase or decrease the contrast of the light source or the contrast setting of the capture
device. Use diffuse lighting or direct light with reflectors and/or fill for an image with full detail.

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Studio Photography: Essential Skills

Optimising a histogram after capture

The final histogram should show pixels allocated to most, if not all, of the 256 levels. If the
histogram indicates large gaps between the ends of the histogram and the sliders (indicating
either a low contrast scan or low contrast subject lit with flat lighting) the subject should be
re-photographed, if possible.

Small gaps at either end of the histogram can be corrected by moving the sliders to the start of
the tonal information. Holding down the Alt/Option whilst moving the sliders will indicate
if any information is being clipped. Note how the sliders have been moved beyond the thin
horizontal line at both ends of the histogram. These low levels of pixel data are often not
representative of the broader areas of shadows and highlights within the image and can usually
be clipped (moved to 0 or 255).
Moving the ‘Gamma’ slider can modify
the brightness of the mid-tones. If you
select a Red, Green or Blue channel (from
the channel’s pull-down menu) prior to
moving the gamma slider you can remove
a color cast present in the image. For
those unfamiliar with color correction the
adjustment feature ‘Variations’ (Image >
Adjustments > Variations) in Photoshop
gives a quick and easy solution to the
problem. After correcting the tonal range
using the sliders click ‘OK’ in the top right-
hand corner of the Levels dialog box.
Note > Variations is not available for Photoshop users working in 16 bits/channel.

Color
Neutral tones in the image should appear desaturated on the monitor. If a color cast is present
try to remove it at the time of capture or scanning if possible. Correct color casts by using either
the white balance in the camera menu or a color conversion filter if using film. See ‘Light’.

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 Exposure

Summary of exposure compensation

A reflected light meter measures the level of light reflected from the subject. The resulting
exposure is an average between the light and dark tones present. When light and dark tones are
of equal distribution this average is suitable for exposure. When light or dark tones dominate
the photographer must either take a reflected meter reading of a known mid-tone and
compensate, or take an incident reading of the light falling on the subject.

Dominant tones
A reflected light meter reading measures the level of light reflected from the subject. An
incident light meter reading measures the amount of light falling on the subject. The resulting
exposure is an average between the light and dark tones present. When light and dark tones are
of equal distribution this average light reading is suitable for exposure. When light or dark tones
dominate the photographer must increase or decrease exposure.

Dominant light tones increase exposure + Open up

Dominant dark tones decrease exposure - Stop down

Extreme contrast
Increase highlight detail decrease exposure - Stop down
Increase shadow detail increase exposure + Open up

Orien Harvey

89
Amelia Soegijono
Daniel Tückmantel
Jeph Ko
 image capture

Jeph Ko

essential skills
• A knowledge and understanding of light sensitive surfaces available to the studio
photographer.
• An understanding of these materials and devices, their advantages, limitations,
processing and output.
• To research several various studio photographs and the image capture techniques
used to achieve the result.
• To produce photographic images using technique, observation and selection
demonstrating a practical understanding of light sensitive surfaces.
Studio Photography: Essential Skills

Introduction
There is a wide range of image capture mediums available. These range from an increasing
choice of digital image sensors to a decreasing choice of color and black and white films.
Choosing the appropriate medium is an essential skill for every photographer.

Capture mediums
Light sensitive surfaces can be divided into four main types:
• Digital image sensors
• Color positive (transparency or slide film)
• Color negative
• Black and white negative

ISO
Film has an ISO (International Standards Organisation) or ASA (American Standards Association)
rating. Digital image sensors’ degree of sensitivity to light can be altered by changing the ISO in the
camera’s menu. This rating is a measure of its effective speed (susceptibility to light and contrast).

Tungsten and daylight

Tungsten film (3200K) has limited availability. Daylight film (5500K) is more available. Color
film achieves correct color balance when used with the appropriate light source. Correct color
for digital images is achieved by choosing auto white balance or matching the light source to
the corresponding white balance in the camera’s menu or saving as Raw and correcting in post
production. Some of the color film still available to the photographer is listed below. However,
this choice is becoming more and more limited as the demand for film products decreases.

Tungsten

ISO FORMAT PROCESS

64 small, medium, large E-6
160 small, medium E-6

Daylight

ISO FORMAT PROCESS

100 small, medium, large E-6
200 small E-6
400 small, medium E-6
[Link]

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 Image capture

Choosing a capture medium

There has been a progressive move towards digital image capture due to its ability to produce
an image requiring no processing. Instead it creates image files, downloaded to a computer,
suitable for printing and desktop publishing. A limiting factor has been the high cost of digital
cameras capable of providing the image quality suitable for commercial illustration, but for
those photographers who require lower resolution images coupled with quick turnaround and
output digital offers an economically viable alternative (see Digital Photography: Essential Skills).
Commercial photography reproduced in magazines has traditionally been produced using
positive or reversal (transparency) film because it is a one-step process to achieve a positive
image. However, this is changing rapidly as digital technology creates sensors with more and
more pixels recording more image data. Used commercially to a lesser extent negative film
creates, within its limitations, an image the opposite of what is viewed through the camera.
Only when it is printed does it become a positive image. The advantage of using negative film is
its greater ‘latitude’ and ability to handle higher subject contrast levels.

Image processing
When capturing images as JPEG or TIFF image processing is carried out in the camera. This
removes most of the flexibility that post production offers. To maintain control of the final
outcome capturing a digital negative or Raw file gives the photographer maximum opportunity
to post produce the image. The commercial illustration industry favours Apple Macintosh
computers using Adobe Photoshop. Using this software unprocessed Raw data can be converted
into a usable image file where white balance, brightness, saturation and sharpness can be
manipulated. Using these image editing facilities enables the photographer to achieve a higher
quality outcome (see Photoshop CS3 or CS4: Essential Skills).
If choosing to use film it is recommended color processing be undertaken by a professional
laboratory. Although it is still possible to purchase chemicals to process color film the money
saved may well be a false economy when considering the experience and equipment required to
produce consistent and accurate color. The number of black and white processing systems is as
varied as the number of films available. Although not covered in this book it is recommended
that all photographers develop a thorough understanding of black and white processing. It is
relatively simple technology (it has changed little since its introduction) and easy to learn.

Appropriate exposure
Assessing correct image exposure can be achieved by examining a histogram of the digital image
file or by viewing the film on a light box. It takes practice to be precise about the subtleties
of underexposure and overexposure but there is a simple starting point. If there is little or no
image detail something is wrong.
If when viewing a digital image a large peak is apparent at one or both ends of the histogram then
detail (recorded data) due to incorrect exposure or excessive subject contrast may be missing.
If negative film appears ‘dense’ (transmits very little light) with no visible detail it is probably
overexposed. If positive film appears ‘dense’ it is probably underexposed.
If negative film appears ‘thin’ (transmits nearly all light) with no visible detail it is probably
underexposed. If positive film appears ‘thin’ it is probably overexposed.

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Digital capture
The image sensor of a digital camera turns the image viewed into 12 bits of memory dedicated
to each of the three color channels (RGB). Most digital cameras save in the following file
formats: JPEG, TIFF and Raw (see Photoshop CS3 or CS4: Essential Skills).

JPEG files are created when the image data is processed in-camera. This data, at 8 bits
per channel (256 levels per channel), is the smallest file size of the three formats and by
compression enables many images to be stored on the camera’s memory card. This format is
suitable if minimum post production is anticipated, the output is to monitor display, the print
size no greater than A4 and a large number of images are required. Its limitation is that the
higher the compression rate, the greater the loss of quality of the final image.

TIFF format uses ‘lossless’ compression to process the data to 8 bits per channel (256 levels per
channel) and is the accepted standard for high quality images and desktop publication (dtp). At
present this format creates the largest processed file size the camera is able to output. However,
fewer images can be stored on the memory card.

Raw format is the unprocessed image data (usually 12 bits per channel) recorded by the
camera’s image sensor. This is referred to as a ‘digital negative’ and offers the potential for the
highest quality image when processed using designated imaging software. In many ways a
Raw file contains similar information to an exposed but unprocessed frame of film. It not only
enables the photographer to save an unprocessed version of the image but unlike film can be
processed and manipulated as many times and in as many ways as the software allows.

Jeph Ko

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 Image capture

Latitude
Latitude is a measure of the ability or inability to record detail in subjects with extreme contrast
and variation from correct exposure. It is accepted that most image sensors have an approximately
five to seven stops latitude, although this will increase as manufacturers develop technology.
This means if you underexposed an 18% gray card by three stops it would appear black on the
processed file. If you overexposed it by three stops it would appear white. The human eye has
almost limitless latitude because of its ability to compensate for changes in contrast and light
levels. Film or image sensors are incapable of doing this due to their limited latitude. Raw files,
black and white and color negative film have a latitude of seven stops and can handle a contrast
ratio of 128:1. JPEG, TIFF and color transparency have five stops latitude and can handle a
contrast ratio of 32:1. The human eye is capable of adjusting to a ratio in excess of 1000:1.

Daniel Willmott

Activity 1
Light a gray card with a diffuse light source.
Make sure the card fills the frame.
Defocus the camera.
Take a reflected or incident meter reading.
Either side of correct exposure, over- and underexpose in sequence one to five stops.
Evaluate the results and determine the point at which detail above and below correct exposure
(latitude) is missing.

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Studio Photography: Essential Skills

Limitations of film capture

Expiry date
All film products have an expiry date printed on their packaging. Do not use film past this
date as the manufacturer will not guarantee correct color. Store unexposed film at a constant
temperature, preferably in a refrigerator, but do not freeze.

Color temperature
It is not important to understand fully the theory of color temperature other than to know that
capturing color images requires the correct match between capture medium and light source
to avoid excessive color casts. Black and white film is relatively unaffected by color temperature
although a small increase in exposure (as indicated by the MIE reading) is often required when
using tungsten lights.
Tungsten film is rated at 3200K and used with tungsten lighting.
Daylight film is rated at 5500K and used with flash and daylight.
To render correct color, the use of ‘white balance’ when using digital capture or filtration of the
camera and/or lights when using film can be used to color balance any lighting situation. The
filtration required for film is listed in the specifications packaged with the film. See ‘Light'.

Kata Bayer

Reciprocity
Reciprocity, more correctly referred to as reciprocity failure, is a measure of the film’s ability
or inability to handle extreme exposure times. Reciprocity takes effect when shutter speeds
are greater than 1 second when using daylight color film, greater than 30 seconds when using
tungsten color film and 1 second when using black and white. Without going into the causes of
reciprocity the remedy is to reduce shutter speed (time) and compensate by increasing aperture
(intensity). Increasing exposure by increasing time will only compound the problem. The results
of not compensating for reciprocity is an underexposed image, varying shifts in color rendition
and unpredictable results.

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 Image capture

Push and pull

In the unlikely event of digital meltdown and film is the only capture medium available, a safety
net photographers can use is the manipulation of film processing after exposure. Despite the
precision of the camera and metering systems used, human and equipment error can still occur
when taking a photograph. If the situation allows, bracketing (exposure one and two stops
either side of and including normal) is a way of ensuring correct exposure. When there is not
the opportunity to bracket and all exposures are meter-indicated exposure (MIE) it is advisable
to clip test the film.

Clip test
Clip testing is a method of removing the first few frames from an exposed roll of film
and processing as normal (i.e. to manufacturer’s specifications). If these frames appear
underexposed, a push process (overprocessing the film) may improve or compensate for any
error in exposure. If overexposure is evident a pull process (underprocessing) may correct the
result. The amount of pushing or pulling required to produce an acceptable result is generally
quantified in stops. If an image appears underexposed by one stop push the film one stop. If an
image appears overexposed one stop pull the film one stop.
Push processing color transparency having correct exposure is also an option. It has the affect of
cleaning up the highlights and giving an appearance of a slight increase in contrast. Pushing in
excess of what would be required to achieve this can be an interesting exercise. The results can
be unpredictably dramatic. Most professional film processing laboratories offer this service.

Normal process One stop push

– Fabio Sarraff

Activity 2
Deliberately underexpose by one and two stops subjects with average contrast.
If possible save the images in the formats JPEG, TIFF and Raw.
Assess the results.
Process in post production to achieve a consistent result with all formats.

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Cross processing
Cross processing in post production is based upon a similar effect achieved when processing
film in chemicals different to that suggested by the manufacturer. If a transparency film
normally processed E-6 is instead processed C-41 (color negative) the result is a transparency
with negative colors and tones and unpredictable detail in the highlights and shadows. Using
the adjustment layers in Adobe Photoshop it is possible to create a visual equivalent of cross
processing using digital editing techniques. The images below were created using a Curves
adjustment layer, shifting the color values and then increasing the color saturation using a hue/
saturation adjustment layer (see Photoshop CS3 or CS4: Essential Skills).
If the choice is made to cross process using film it is important to note film speed will change.
As a general rule transparency film should be underexposed by one stop when processing in
C-41, and negative film overexposed by one stop. This is only a guide and variations in film
speed and processing should be tested to obtain the result you want. Matching a film to an
incorrect process can be done in any combination but the results can vary from amazing to very
disappointing, but well worth the experimentation.

Normal process Cross process

– Michael Wennrich

Activity 3
Photograph subjects of varying SBR.
Bracket the exposures and keep a record of aperture and time.
Use Adobe Photoshop to create the cross processing effect.
Label the results for reference, comparison and discussion.

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Image preview
Since its introduction in 1946 instant film has become a common tool in the assessment of
exposure, contrast, composition and design. To most people, whether it be you, a lecturer, an
art director or someone wanting a family portrait, it is the first evidence of the photographic
process and an indicator of where improvements can be made. Instant film images are ‘the
rough drawings’ on the way to the final photograph. All instant film, color or black and white,
will give a positive image. In some cases a negative, as well as a positive, will be produced that
can be printed at a later date.
When using this type of film closely follow the instructions relating to film speed (ISO or
ASA) and observe the processing times relating to room temperature. It is important that
processing times are followed carefully. When assessing an image for exposure relative to
another film type it should be realised that more detail will be seen in a correctly exposed
color transparency than will be seen in the instant film’s positive reflective print. This is
because transparencies are viewed by transmitted light and prints by reflective light. The
instant image will appear ‘thin’ if it is overexposed and ‘dense’ if it is underexposed. Types of
instant film available at present are listed below.

Tungsten

TYPE ISO FORMAT

54 (b/w) 100 Large
55 (b/w-negative) 50 Large
59 (color) 80 Large
64 (color-tungsten) 64 Large

664 (b/w) 100 Medium

665 (b/w-negative) 80 Medium
690 (color) 100 Medium

[Link]

Digital display
Digital capture supersedes the use of instant film as the image can be seen immediately on
the camera’s LCD screen or downloaded to a suitable computer. The computer must have a
monitor and software capable of displaying the digital file at high resolution together with a
histogram of the image levels.

Activity 4
Using a diffuse light source light a person’s hand.
Preview the image using an appropriate camera to computer interface or correctly expose by
incident reading onto Polaroid.
Using either medium determine ‘correct’ exposure and composition.

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Rodrick Bond
 creative controls

Daniel Tückmantel

essential skills
• Increase knowledge and understanding of aperture, shutter speed and focal length
and their combined effect on visual communication.
• Increase familiarity and fluency of operating camera equipment.
• Through research study and observe the use of creative controls in the creation of
photographic images.
• Produce photographic images demonstrating a practical knowledge of depth of
field, timed exposures and perspective.
Studio Photography: Essential Skills

Introduction
The choice, arrangement and design of a subject within the frame determines the effectiveness
of its communication. Communication can be increased by having a better understanding
of the camera and its controls. Careful consideration is advised when using technical effects,
so the resulting images are about communication and content and not predominantly about
technique. Technique should never dominate the image. Some of the main techniques (other
than lighting) employed by photographers to increase the communication of an image are:

• Focus
• Duration of exposure
• Perspective

James Newman

Familiarity
Owning the latest equipment will not necessarily make you a better photographer. Familiarity
with a simple camera used over a period of time can be of far more value. Using the camera
must become second nature to the point where it can be operated with the minimum of
fuss. The equipment must not interfere with the function of seeing. The camera is the tool
used to communicate the photographer’s vision. Creative photography is about observation,
interpretation and communication of this preconceived vision.

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Focus
‘Focus’ is the point at which an image is sharp or is the ‘centre of interest’. When framing an
image the lens is focused on the point of interest to the photographer. The viewer of an image is
instinctively drawn to this point of sharp focus. This is the ‘point of focus’ of the image. In this
way the photographer ‘guides’ the viewer to the same point of focus and thereby the same point
of interest visualised in the original composition.

Jo Harkin
Limitations
Everything at the same distance as the focal point of the image will be equally sharp. Subjects
nearer or further away are progressively less sharp. Focus on most small and medium format
cameras can be graduated between two points to achieve focus. As the camera moves closer to
the subject a point is reached where the subject can no longer be focused. This is the ‘closest'
point of focus, and the lens will be at its greatest physical length. As the camera moves away
from the subject the focal point of the image will change until it reaches a point where almost
everything within the frame will be in focus. At this point the limit of the lens’s ability to
focus will have been reached and it will be at its shortest physical length. This distance is called
‘infinity’ and is marked on most lenses by the symbol ∞ . The closest point of focus and
infinity varies between lenses.

Activity 1
Using the closest focusing distance of each of your lenses photograph the same object from
the same viewpoint. Record the closest focusing distances. If using a zoom lens record the
closest focusing distance at the shortest and longest focal length.

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Depth of field
Aperture not only controls exposure, it also controls depth of field. Depth of field is the
distance between the nearest and furthest points in focus at a chosen aperture. At maximum
aperture the depth of field is said to be narrow (shallow focus). At minimum aperture the depth
of field is said to be wide (deep focus). The greatest depth of field is achieved at minimum
aperture. If exposure time has to remain constant due to subject limitations then aperture has
to be altered to achieve correct exposure. Changing aperture will increase or decrease depth of
field depending upon the f-stop used. The larger the number of the f-stop the greater the depth
of field. The smaller the number of the f-stop the smaller the depth of field. Depth of field is,
however, relevant to the point of focus. A general rule of thumb is depth of field increases 1/3
forward and 2/3 behind the point of focus as you decrease the size of the aperture (increase the
f-number).

f4

f8
Shallow focus – Amber Gooding

f16

Deep focus – Rodrick Bond

Activity 2
Find examples of photographs where depth of field has been used as a creative tool in the
composition of the image.
Retain copies for future reference in your Visual Diary.

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 Creative controls

Factors
Depth of field is determined by the distance from the camera to the subject, the focal length of
the lens and the size of the aperture.

Distance
As the camera moves closer to the subject the depth of field decreases (shallow focus). As the
camera moves away from the subject the depth of field increases (deep focus).

Focal length
As the focal length of the lens increases (long lens) the depth of field becomes narrower. As the
focal length of the lens decreases (wide angle lens) the depth of field becomes wider.

The least depth of field is achieved using the minimum focusing distance at
maximum aperture on a long lens. The greatest depth of field is achieved using
the maximum focusing distance at minimum aperture on a wide angle lens.

Point of focus
In most cases depth of field extends unequally in front of and behind the point of focus. Focus
increases in the proportion of ⅓ forward of the point of focus and ⅔ behind.

Depth of field

Practical application
All factors affecting depth of field are working simultaneously. Aperture is the main control
over depth of field. In combination with framing, composition, lens choice and the distance
of the camera from the subject the focal point of the image can be precisely controlled. Using
any combination of these techniques can isolate or integrate that part of the subject within the
frame determined to be the focal point of the image.

Activity 3
Compile in your Record Book the depth of field distances as indicated on your lenses.
Correlate distances with f-stops from the depth of field scale and retain for future reference.
On which lens does depth of field increase at the greatest rate?

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Studio Photography: Essential Skills

Selective focus
Aperture places limitations upon a photographer that can become a creative advantage with
the use of selective focus. This does not mean the camera is focused at a single point. When
aperture is increased or decreased the depth of field changes. This changes the area of sharp
focus to a greater or lesser extent. It is the conscious decision made by a photographer to use a
combination of focus and aperture to create a selective field of focus that draws the observers’
viewpoint to one area or selected areas of the image.

Tracey Hayes

Shallow focus is obtained at maximum aperture (iris wide open) and deep focus is obtained at
minimum aperture (iris closed down). Having this information enables the photographer to use
this technique to create well-defined areas of focus and attention. See ‘Exposure’.
In practical terms, this means if a point of focus is chosen and maximum aperture is used for
exposure, all areas other than the point in focus will remain out of focus when the camera
makes that exposure. As depth of field increases selective focus decreases. The effect of aperture
on depth of field and its use in deciding upon an area of selective focus can be seen prior to
exposure by the use of the camera’s preview mechanism.

Activity 4
Place two objects one behind the other approximately one metre apart.
Focus with a normal lens on the front object at maximum aperture and make an exposure at
every f-stop until you reach minimum aperture.
Focus on the rear object and repeat the sequence.
Compare results and retain for future reference in your Record Book.

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 Creative controls

Preview
Most cameras or their associated lenses have the facility to preview an image at the chosen
aperture prior to exposure. In one form or another this is achieved by closing down the lens
(reducing the size of the iris) in order to preview the image using the exposure aperture. Most
cameras view images at maximum aperture. Even though the f-stop setting on the lens may
not be at maximum aperture the viewing system overrides this. This allows the photographer
to compose the photograph with the brightest image available. This can only be obtained by
having the lens at maximum aperture whilst viewing and automatically stopping down to
chosen aperture at the instant of exposure. This gives the advantage of bright viewfinder images
but does not give a true picture of what will be in or out of focus other than the point at which
the camera is focused. Previewing depth of field and its effect upon selective focus is a skill
photographers often use. If the image has been previewed then there can be no surprises when
the results are viewed.

Stuart Wilson

On most cameras it is possible to change aperture, and see the effect upon depth of field,
during preview. With large format cameras there is no preview button. Viewing the effect
of aperture upon depth of field is undertaken by progressively closing down the f-stop
from maximum to minimum aperture whilst looking through the back of the camera. In
all cameras as you close down the aperture in preview mode the image will become darker,
halving in intensity every f-stop.

Activity 5
Practise using the preview mode on your camera.
Take note of how the image becomes darker as you move through maximum to minimum
aperture and the effect it has upon an area of selective focus.
Observe the difference between depth of field and selective focus.

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Duration of exposure
All photographs are time exposures of either shorter or longer duration. In a studio situation the
majority of subjects being photographed will be relatively inanimate. The longer exposure times
required for tungsten lighting compared to exterior daylight or flash are usually not a problem.
If the photograph is a studied portrait or recreation of a ‘period look’ the use of an aperture at or
close to maximum will give acceptable results and complement the overall design. By choosing
long exposures moving objects will record as blurs. This effect is used to convey the impression
or feeling of motion. However, much of the subject information is sacrificed to effect. See ‘Using
light’.

Fast shutter speed

In a studio fast shutter speeds would be required when photographing moving subjects or
subjects likely to move. Animals and children, for example. A shutter speed faster than 1/125
second would be required to freeze their action in order to obtain a sharp image. This does not
refer to focus but to image blur. Exposures this fast are most easily achieved using a flash light
source of high intensity and short duration. See ‘Using light’.

Slow shutter speed

When using tungsten light and a shutter speed slower than 1/30 second movement is recorded
as a streak of light. This is called movement blur (when using flash the subject is frozen at any
shutter speed). With the camera on a tripod the moving subject will blur but the background
will remain sharp. If the camera is panned (camera follows the subject) the subject blur will be
reduced and the background will blur in the direction of the pan.

Camera shake
Image blur caused by camera movement can be eliminated by mounting the camera on a tripod
and using a cable release to activate the shutter. This is imperative with the longer exposure
times required for tungsten light. When using flash, camera vibration is not an issue as the
duration of the flash is shorter than the fastest shutter speed on the camera.

Tim Barker

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 Creative controls

Creative exposure compensation

Exposure compensation is primarily used to achieve correct exposure. However, the creative
process of photography sometimes requires an exposure that is not correct to produce the
desired result. The degree of compensation is only limited by the photographer’s imagination.
Interesting results can be achieved by purposely under- or overexposing regardless of SBR.

Color saturation
Decreasing exposure by 1/3 or 2/3 of a stop will increase color saturation. This works especially
well if using color transparency film as the image is viewed by transmitted light. Care should be
taken when recording tones of known value.

Back lighting
A subject is back lit when the dominant light is from behind the subject. To take a reflected
reading of the area viewed by the camera would give an incorrect exposure. A reflected reading
of the subject only or an incident reading from the subject to the camera would give correct
exposure. In this way the dominance of the back light can be controlled.

Halos
With subjects having extreme contrast either as a result of SBR or lighting ratios, exposing for
the shadow areas will create the effect of massively overexposing the highlights. On its own, or
combined with lens filtration (soft filter) or post production techniques, the result especially
when using a strong back light is a halo effect around the subject.

Silhouettes
A silhouette is the shadow or outline of the subject against a lighter background. It can be
created by back lighting and reducing the exposure to remove detail from the subject. Reducing
the subject exposure by three stops is sufficient to record the subject as black.

Daniel Tückmantel

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Studio Photography: Essential Skills

Perspective
Visual perspective is the relationship between objects within the frame and their place within
the composition. It is this relationship that gives a sense of depth in a two-dimensional
photograph. ‘Diminishing perspective’ is when objects reduce in size as the distance from
the camera to that object increases. ‘Converging perspective’ is when lines that in real life are
parallel appear to converge as they recede towards the horizon. The human eye has a fixed focal
length and a perspective determined by viewpoint. Photographic perspective can be altered by
changing the distance of the camera from the subject.

Steep perspective
A wide angle lens apparently distorts distance and scale, creating ‘steep perspective’. A subject
close to the lens will look disproportionately large compared to its surroundings. Objects
behind and to the side of the main subject will appear much further away from the camera due
to the closer viewpoint often associated with a wide angle lens.

Steep perspective – Stuart Wilson

Compressed perspective
The distant viewpoint of a long lens condenses distance and scale, creating ‘compressed
perspective’. A subject close to the lens will look similar in size to other subject matter. Objects
behind and to the side of the main subject will appear closer together than reality.

Compressed perspective – Stuart Wilson

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Tim Stammers
Jeph Ko
 using light

Rodrick Bond

essential skills
• A knowledge and understanding of the use of artificial light sources, camera and
associated equipment in a studio environment.
• An awareness of the effect of artificial light in the creation and control of lighting
ratios, tonal range, contrast and exposure.
• Through research the study and observation of the use of light in the production of
photographic images.
• The production of photographic images demonstrating a practical knowledge of the
use of light.
• Record information relevant to the technique and production of each photograph.
Studio Photography: Essential Skills

Introduction
This study guide should be used as a practical source of information to understanding the use of
artificial light sources in a studio environment. The explanation of how to use the light sources
(diffuse and direct) is directly related to providing practical lighting solutions to the assignments
in ‘Lighting still life’ and ‘Assignments’. Completion of the activities will provide a basis for an
understanding of the recommended approach to each assignment. It is advisable the technique and
lighting approach suggested in each activity be initially followed and then adapted to individual
subject matter.

Shaun Guest
Approach
The sun, the dominant light source in the world outside the studio, is the starting point
to understanding studio lighting. As you progress through your photographic career other
approaches will inevitably influence you but an understanding of how to use a single light
source to achieve many varied results is a discipline worth mastering. Try not to attempt too
much too soon. Set yourself goals you know you can achieve within your limitations. Aspiring
photographers may never have enough time or money but admirably they are exploding with
ideas. It is making these ideas work within these constraints and abilities that will give successful
results. Set out to achieve what you know is possible, take as much time as is available and
exercise patience. If you allow three hours to produce an image use the full three hours. When
you have completed the photograph experiment with variations. Every time you move a light
or alter its quality you will learn something. You will never take the perfect photograph. If you
ever think you have, change careers because photographically the learning process has ceased.

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 Using light

Working with studio lights

Common rules
Common rules of physics apply to the use of artificial light sources. When sunlight passes
through greater amounts of particles in the atmosphere at dawn or sunset, exposure times increase
compared to a reading taken at noon. This applies to clear and overcast days. Exposure times
will obviously be shorter on a clear day. Applying these rules to a studio situation, the greater
the impedance to the light (diffusion, reflection, filtration) the longer the exposure. The less
impedance to the light (no diffusion, reflection, filtration) the shorter the exposure.
Another simple rule. The amount of light falling on a subject decreases to 1/4 of its original
intensity when the light to subject distance is doubled, and increases by four times when the
light to subject distance is halved. For example, if a reading of f16 is obtained when the light to
subject distance is one metre, at two metres the reading would be f8, at four metres f4. These
rules do not change regardless of the light source. It is also important to remember contrast in a
studio situation is created not only by the reflectance level of the subject matter (SBR) but also
by lighting ratios. When referring to lighting ratios the photographer is also referring to lighting
contrast. See ‘Light’.

Key light
one metre from subject Key light two metres from subject – Fabio Sarraff

Activity 1
In a darkened studio place a light one metre from the studio wall and take an incident
reading, with the light on, of the light falling upon the wall. Note the reading and move the
light on the same axis another one metre, making a total of two metres, away from the wall.
Note the reading. Double the distance once more, making a total of four metres. The final
reading will be four stops less than the first. What will the distance of the light from the wall
have to be to achieve a meter reading of three stops less than the first?

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Studio Photography: Essential Skills

Flash
Flash is a generic term referring to an artificial light source of high intensity and short duration.
It has a color temperature of 5500K to 5800K and is balanced to daylight. Unlike tungsten it
is not a continuous source of light. Between flashes it has to recycle (recharge) to maximum
output before it can be used. A large tungsten lamp has an output 100 times greater than
the average household light bulb. With a film or image sensor rated at ISO 100 this will give
exposures of around 1/60 second at f4. A modest studio flash with an output of 5000 joules
(measurement of output) at the same distance from the subject will give exposures of around
1/500 second at f11. This is six stops faster or a ratio of 64:1. Its advantage with subject matter
that moves becomes obvious.

Tracey Hayes
The advantage of modern flash is its lightweight construction and versatility. Most studio
flash systems consist of the power pack, flash heads and flash head attachments. The power
pack is usually a separate unit where the power output is stored until the instant of exposure.
After exposure the power pack recharges ready for the next exposure. Recycling times vary
from seconds to fractions of a second. The faster the recharge to full power the more expensive
the unit. The flash heads are the actual light source. The basis of their design is to produce
a light quality similar to that produced by floodlights and spotlights. The way in which this
is achieved ranges from varying sizes of reflector bowls similar in design to a floodlight, to a
focusing spotlight equivalent to its tungsten counterpart. The choice of flash head attachments
manufactured to achieve this is extensive and varied. A large percentage of the images in this
book were lit using studio flash. This is not to underestimate the importance of tungsten in a
studio situation. Flash, being a non-continuous light source, is confined to ‘still’ photography
whereas tungsten lighting is used almost exclusively in ‘moving’ photography (film, video and
TV). However, the lessons learned with one light source apply equally to any other.

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 Using light

Floodlight
Despite the manufacturers’ names, swimming pool, soft box, fish fryer, honeycomb and many
others, these are really only larger or smaller variations of a floodlight. In some the light source
is placed inside and to the rear of a collapsible tent with direct light transmitted through a
diffuse front surface. In others the light is reflected off a white or silver surface before it is
transmitted through a diffuse front surface. These types of light sources give a very soft diffuse
light with minimum shadows. Another source of soft diffuse light is created when flash is used
in conjunction with a collapsible umbrella. With umbrellas having a white or silver (inside)
surface, diffuse light with no shadows can be directed into the umbrella and reflected back onto
the subject. With umbrellas having a semi-transparent surface, diffuse light with soft shadows
can be directed at the subject through the umbrella.

Soft box Reflected umbrella Diffuse umbrella

Spotlight
The use of an open flash (direct light to subject without diffusion or reflection) will give the
same effect as a spotlight. Some brands have focusing capabilities closely imitating Fresnel
spotlights. The light will be hard with no shadow detail. Barn doors, nets and filtration of the
light is approached in the same way with either artificial light source.

Stuart Wilson

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Tungsten
Vacuum tungsten lamps and their derivatives are widely used forms of artificial photographic
lighting in photography, film and television. They have a color temperature between 3200K and
3400K and are compatible with correctly balanced image sensors, tungsten color film and black
and white film. See ‘Image capture’. Despite the extensive use of flash in a commercial studio,
prior to any flash exposure the way a subject is lit is usually determined by the use of tungsten
modelling lamps built into the flash heads. Flash gives a much shorter exposure time with a
similar quality of light to the same subject having been lit by an appropriate tungsten light
source. However, compared to flash, tungsten is relatively simple technology. It should be taken
into account when learning the use of tungsten lighting that all film and television lighting is
tungsten based. There are many variations to the lighting sources available but in general terms
they all fall into the two major categories, floodlight and spotlight.

Floodlight
A floodlight produces a wide flood of light across a subject. The light from the lamp bounces
off the reflector in which it sits and travels forward as a broad light source. This diffuse light
gives ‘soft’ edges to the shadows and some shadow detail. The quality of the light is similar to
sunlight through light cloud.

Floodlight

Activity 2
In a darkened studio place a diffuse flash or tungsten floodlight four metres in front of a
person standing against the wall. Turn on the light. Note the lack of shadow detail.
Without moving the light get the person to move one metre away from the wall. Note the
increase in shadow detail and softening of the shadows’ edges.
Repeat in one metre increments until the subject is almost in front of the light.
What is happening to the shadows and why?
Compile results in your Record Book.

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 Using light

Spotlight
A spotlight, by use of a focusing (Fresnel) lens, can concentrate light at a certain point. The
light from the lamp is directed forward by a spherical reflector and focused to a point by the
glass Fresnel lens. The light will have ‘hard’ edges to the shadows and no detail in the shadow
areas. The quality of the light is similar to direct sunlight. Spotlights can be ‘flooded’ to give a
more diffuse quality comparable to the spread of a floodlight but with less shadow detail. This
change from spot to flood is achieved by moving the lamp and the reflector inside the lamp
housing away from (spot) or closer to (flood) the lens at the front of the light. On ‘full spot’
shadows are harsh with no detail, on ‘full flood’ shadows are softer with some detail.

Spherical Filament Spherical Filament

reflector reflector
Fresnel
Flood Spot
lens
beam beam
Specular Specular
finish finish

Full flood/full spot

Most spotlights are supplied with barn doors and nets. Barn doors are four metal flaps
attached to the front of the light and used to control the shape and amount of light falling on
the subject. Narrowing the doors will not only reduce the amount of light but also control
the shape of the light falling on the subject. Once shaped the barn doors can be rotated
independently of the main light housing. Nets are pieces of wire gauze of varying densities that
reduce the output of the light by diffusing the light at its source without greatly affecting the
shadows. They are manufactured in half, one and two stop increments.

Activity 3
In a darkened studio light a subject (a person) with a diffuse flash or tungsten floodlight from
the right-hand side.
Record with correct exposure for the lit side of the face.
Turn off the light and relight the same subject from the same direction with an open flash or
tungsten spotlight on ‘full spot’.
Record with correct exposure for the lit side of the face.
Observe the results and determine the difference in the intensity and detail in the shadows.
Which light would you use for no shadow detail and which light for limited shadow detail?
Compile results in your Record Book.

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Studio Photography: Essential Skills

Diffusion
Long before the invention of photography painters had been diffusing light. Light passing through
certain materials created a light with soft shadows sympathetic to their subjects. Early writings and
drawings of Michelangelo show his studio had a type of cheesecloth hung over the windows. This
diffused the harsh sunlight and filled the studio with a soft light more suitable to painting. Any
light source can be diffused by placing certain translucent materials between the light source and
the subject. This has the effect of diffusing and spreading the light over a greater area by altering
the direction of the light waves. Diffusion softens the edges of the shadows and increases shadow
detail. At the same time the measured amount of light falling on the subject is decreased. The
amount of diffusion is also determined by where the diffusion material is placed in relation to the
light source and the subject. The closer the diffusing material to the light source the less diffuse
the light. The closer the diffusing material to the subject the more diffuse the light, the softer
the edges of the shadows and the greater the shadow detail. There are many diffusion products
manufactured specifically for the photographic market. These are products such as scrim, nets and
silks. Other suitable materials are tracing paper, cheesecloth and window netting provided they are
non-flammable or heatproof.

Diffuse light – Itti Karuson

Activity 4
In a darkened studio light a semi-reflective object (e.g. a tomato) with an open flash or
tungsten spotlight. Place the light approximately 1.5 metres from the subject.
Observe the source of light reflected in the object and lack of shadow detail.
Diffuse the light source with tracing paper (60cm x 60cm) 50cm from the light.
Observe the apparent increase in the size and diffusion of the light source as reflected in the
subject, diffusion of the shadows and increase in shadow detail.
Without moving the light place the tracing paper as close to the subject as possible.
The light source has now become the size of the piece of tracing paper. There will be a soft
spread of light over most of the subject with the shadow being almost nonexistent.

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 Using light

Reflection
Reflected light is most often used as a way of lighting areas the dominant light source (key light)
cannot reach. An example is the strong shadow created by a spotlight when it is to one side of
the subject. To obtain detail in the shadow area light has to be reflected into the shadows. This
is called fill light and is achieved by collecting direct light from the light source and redirecting
it with a reflector. Reflectors can be any size, from a very small mirror to large polystyrene sheets
measuring 3m x 1.5m. Reflected light can also be used as the key light. When photographing
a reflective object, or a very diffuse (soft) lighting effect is required, the light source can be
directed into a reflector. The reflector becomes the light source and no direct light from the
light source is directed at or reflected in the subject. When photographing cars in an exterior
situation the car is usually positioned so sunrise or sunset is behind the car. With the sun
below the horizon, the sky above and in front of the car is acting as a giant reflector. This is one
approach to lighting cars and reflective objects in a studio. There are many reflective products
manufactured specifically for the photographic market. More readily available materials are,
white card, gray card, colored card, silver foil, aluminium foil and mirrors.

Reflector as light source – Daniel Tückmantel

Activity 5
Light a person’s face with open flash or tungsten spotlight from behind and to one side.
Observe the deep shadows falling across most of the face.
Using a reflector (white card 1m x 1m) redirect the light into the shadow areas.
Observe how the intensity of the light changes as the reflector is moved closer to and further
away from the face.
Expose image at the desired intensity of fill.
Cover the reflector with aluminium foil and repeat the above activity.
Label and keep results for future reference.
Compile results in your Record Book.

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Studio Photography: Essential Skills

Filtration
Filters alter the quality of light by selectively transmitting certain colors or by changing the
way light is transmitted. A red filter only transmits red light. A blue filter only transmits blue
light and so on. A soft focus filter changes the direction of the light waves in the same way
as diffusion material softens a light source. Correction filters alter the color temperature of
the light. Neutral density filters reduce the amount of light, and therefore exposure, from a
light source without affecting its color temperature. Glass, plastic and gelatin filters are used
for filtration of the camera lens but gelatin filters are used more often in the filtration of the
light source. The advantage of filtering the light source is that different filters can be used on
each of the lights whereas with filtering the camera all light entering the lens will be subjected
to a common filter. Filters used upon a light source are made of heat resistant colored gels
manufactured to specific safety requirements and color balance. The effect of filtration is
obvious and immediate. When working with correctly color balanced gels, appropriately
balanced camera and correct exposure ‘what you see is what you get’. Filtration of the camera
is normally used for color correction or enhancement of the entire image. This may be caused
by the light source not being balanced to the camera or the removal of an excess of one
color inherent in the light source. However, when capturing Raw file images it is possible to
undertake color correction in post production. See ‘Image capture’.

Polarising filters are valuable in the control of unwanted reflections and increased color
saturation. This is because of their ability to selectively transmit certain wavelengths as they
are rotated in front of the camera lens or light source. A wide range of ‘effect filters’ such as
graduated and star burst are also available for on-camera use and post-production software.
They can produce some interesting results but should not be used as a substitute for the lack of
an original idea or solution to a photographic problem. Camera filtration will require a degree
of exposure compensation.

Post-produced filtration – Stuart Wilson

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 Using light

Mixed light sources

Any source of light can be combined with another to create interesting lighting effects and
shifts in color balance. In a studio situation this can go beyond mixing tungsten with flash and
is limited only by one’s imagination. Normal domestic lamps are often used as supplementary
and practical sources of light. Candles give a warm glow and very soft shadows. Torch light
can be used to great effect when painting with light. When working in color do not be afraid
to change the color of the light by the use of colored gels on the lights or on the camera, or
incorrect white balance. If it gives off light, try using it!

Mixed flash and tungsten – Amelia Soegijono

Activity 6
Place a camera on a tripod. Focus on a coin placed on a dark background. Set the shutter
speed to T (the aperture opens when activated and will not close until activated for the second
time). Set the aperture to maximum aperture. Darken the studio and open the lens. Using a
small torch move its light over the coin as if painting with a brush (large broad strokes) for
approximately 10 seconds. This should be done from the camera position.
Bracket your exposures by one stop either side of normal (5 seconds and 20 seconds).
Repeat this procedure at every f-stop. Record results and observations.

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Illusion of movement
Closely associated with an understanding of the use of light is the use of the camera to create
the illusion of movement. By combining the movement of either the camera, subject, or lights
the illusion of movement within a still frame can be created. Using tungsten light in a darkened
studio and with the camera lens open, walking slowly through frame (the camera’s field of
view) will result in a blurred image where you were moving and still image where you stopped.
Another way to create movement is to increase exposure time to the longest possible with the
light source you are using and move the camera during all or part of the exposure. This is easily
achieved with a zoom lens, but also achievable by panning or tilting the camera mounted on a
tripod. There are other advantages to using a slow shutter speed when using a combination of
flash and tungsten. If the output of the modelling lamps, or supplementary tungsten lighting,
is high enough to equal the exposure aperture of the flash output a slower exposure time can be
used for the tungsten light than required for the flash. This would allow correct exposure of the
flash (which is regulated by aperture and not time) and correct exposure of the tungsten (which
is regulated by a combination of aperture and time). This would give the effect when balanced
to daylight of a warm after-glow to any object moving before or after the flash exposure.

Studio camera movement – Itti Karuson

Activity 7
From the camera position light a person with a broad diffuse tungsten light source.
Set the camera shutter to the longest exposure possible relative to the aperture.
In a darkened studio with the lens open get the subject to walk around in frame.
Vary the speed and rhythm of the movement.
Process and compile results and observations in your Record Book.

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Tim Stammers
Amelia Soegijono
 lighting still life

Rodrick Bond

essential skills
• A knowledge and understanding of the application of studio lighting to still life
subjects.
• An understanding of the practical use of light to create contrast, dimension and
mood.
• Through study, observation and pre-production an understanding of the resources
and skills required to produce photographic images.
• To develop ideas and produce references containing visual information gathered in
completing the assignments.
• To produce color images to the highest standard.
Studio Photography: Essential Skills

Introduction
The assignments are written with the assumption that the aspiring photographer has a limited
knowledge of the practical application of studio lighting. It is important the assignments are
completed in the order in which they are written. Each lesson learnt from one applies to the
assignment that follows. To attempt to produce the assignments out of sequence will mean
certain information relating to lighting development and metering techniques will be missed.
The criteria set out in each assignment should be followed as closely as possible as it forms a
major part of the practical learning process. Where possible it is advisable that each assignment
be workshopped at a group level with guidance and direction. Individuals should then attempt
to complete their own interpretation of the brief within a specified period. The assignment
brief is itemised into specific requirements. These requirements must be successfully completed
as a basis for any assessment of the completed image. Interpretation of the brief beyond these
requirements is encouraged but not at the expense of the basic criteria. All information relevant
to the completion of each assignment should be compiled in the Record Book.

Criteria
Lighting This is a description of the minimum lighting requirements to complete the
assignment. The recommended light source is indicated (floodlight, spotlight,
fill, etc.) along with its purpose and effect (e.g. to create tonal difference). If
using studio flash substitute open flash for spotlight and diffuse flash (soft box,
umbrella, etc.) for floodlight.
Props This is a recommendation of other objects that could be used within the image
area to enhance the composition and design of the photograph. The use of
props is a personal choice dependent upon previsualisation of the image.
Background In the first two assignments the background color is specifically related to the
criteria of the brief. It is difficult to create a foreground shadow of the box
on a black background. With the ball assignment it is difficult at this stage of
the learning process to control strong backlighting on a white background.
In the other assignments the choice of background is limited only by your
imagination.
Exposure To develop an understanding of metering techniques follow the method
specified in the brief. In the earlier assignments lighting ratios between lights
will be asked for (ratio of 2:1 between key light and fill). Lighting ratios are
measured with your light meter. See ‘Exposure’.
Technique Technique is the use of all the elements the photographer controls in order to
produce the specific requirements laid down in the assignments. This covers
the use of the camera, lighting, exposure and composition to create an image
that fulfils the brief and complements the photographer’s previsualisation.

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 Lighting still life

Lighting diagrams
A lighting diagram is a graphic means of illustrating the lighting and camera position in relation
to the subject. Measurements are not shown as these will vary according to the output of the
lights being used and the size of your subject. It is important, however, to attempt to reproduce
the direction and quality of the light. The diagrams are therefore a starting point from which to
experiment and build your knowledge. Lighting diagrams should form a major component of
your Record Book.

Spotlight

Floodlight

Ball

Camera
Reflector

Progress
A series of progressive images will show the way in which an answer to the individual lighting
solutions posed by each assignment is solved. Cost is always a factor in photography, no more
so than when learning, so the choice of whether to shoot progressive images as a way of judging
exposure and composition is left to the individual. The cost can, however, be far less than having
to reshoot the assignment due to an error that may have been obvious on a progress image.

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Studio Photography: Essential Skills

Assignment 1 ‘Box’
Criteria
Lighting Direct spotlight and floodlight, plus reflector to create tonal difference
between the three sides of the box.
Props Optional.
Background White.
Exposure Incident light meter reading. Lighting ratio of 2:1 between spotlight and
floodlight and 2:1 between floodlight and reflector.
Technique Create an image of a single colored box with a foreground shadow and
three sides with separate tonal ranges.

Image 1
Place a single colored box on a white background.
Place the camera on a tripod in front of and 30
degrees above the subject. Fit a lens hood to the
camera. Using a normal lens at maximum aperture
focus 1/3 of the way into the top of the box. From
behind the subject aim a spotlight on full spot into
the centre of the top of the box. With the light
correctly centred turn the spotlight to full flood and
move the light so the shadow falls directly in front of
the subject. Ensure only the top of the box is lit by
the spotlight. Check for lens flare (direct light into
the lens). Take an incident reading of the light source
from the subject. Set ISO and note the aperture.

Image 2
Turn off the spotlight. As viewed from the camera,
place a floodlight on the left of the box and at the
same distance from the box as the spotlight. Turn
on the light and ensure light from the floodlight
only lights the camera left side of the box. Take an
incident reading of the light from the subject. Note
the aperture and adjust the floodlight by moving
it closer to or further away from the subject until
an aperture of exactly one stop less light than the
spotlight is achieved. This will be a lighting ratio of
2:1 between the spotlight and the floodlight.

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 Lighting still life

Image 3
Turn on both lights. As viewed from the camera
place a reflector (piece of white card) on the
right-hand side of the box approximately half the
distance of the floodlight from the subject. Whilst
shielding the invercone with your hand take an
incident reading from the subject of the light being
reflected from the white card. Move the card closer
to or further away from the subject until a reading
one stop less than the floodlight is achieved. This
will be a lighting ratio of 2:1 between the left and
right sides of the box. After checking the lighting
ratios take an incident reading from the front of
the box directly back to the camera. This will be an
average of all the readings and ‘correct’ exposure.
Check focus and select an f-stop (using preview
Michael Wennrich mechanism) giving sharp focus from the front to
the back of the box (depth of field). Make a final
check for lens flare before making an exposure.

Lighting diagram

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Studio Photography: Essential Skills

Assignment 2 ‘Ball’
Criteria
Lighting Direct spotlight and floodlight, plus fill.
Props Optional.
Background Black.
Exposure Incident light meter reading. Measured lighting ratio of 3:1 between
backlight and fill light and 2:1 between fill light and reflector.
Technique Using light to create dimension and ‘roundness’ across the surface
of the ball.

Image 1
Place a non-reflective ball on a black background. Place
the camera on a tripod in front of and slightly above the
ball. Fit a lens hood to the camera. Using a long lens at
maximum aperture focus 1/3 of the way into the ball.
From behind and above the subject aim a spotlight on
full spot at the centre of the back of the ball. This will
give a rim of back light around the edge of the ball.
Move the spotlight so the shadow falls forward of the
ball. Ensure only the edges of the ball are lit by the
backlight. Reposition the light if lens flare becomes a
problem. Take an incident reading of the light source
from the subject. Set ISO and note the aperture.

Image 2
Observe the left side of the ball where the front of the
ball falls into shadow. Leave the back light on. Place a
floodlight on the left of the ball at the same distance
from the ball as the back light. Turn on the light and aim
the centre of the light at the line that denotes the change
from light to shadow. Pan the light to the right. Observe
how the light begins to creep across the front of the ball
creating visual curvature. Turn off the backlight. Take
an incident reading of the fill light. Move the light until
an aperture one and a half stops less light than the back
light is achieved. This will be a lighting ratio of 3:1.

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 Lighting still life

Image 3
Turn on both lights. As viewed from the camera
place a reflector (piece of white card) on the right-
hand side of the ball approximately half the distance
of the fill light from the subject. Whilst shielding the
invercone with your hand take an incident reading
from the subject of the light being reflected from the
white card. Move the card closer to or further away
from the subject until a reading one stop less than
the floodlight is achieved. This will be a lighting ratio
of 2:1 between the left and right sides of the ball.
After checking the lighting ratios take an incident
reading from the front of the ball directly back to
the camera. This will be an average of all the readings
and ‘correct’ exposure. Check focus and select an
Michael Wennrich f-stop (using preview mechanism) giving sharp focus
from the front to the back of the ball. Make a final
check for lens flare before making an exposure.

Lighting diagram

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Studio Photography: Essential Skills

Assignment 3 ‘Texture’
Criteria
Lighting Direct spotlight at low angle to subject, plus fill. Diffused back light.
Props Minimal.
Background Predominantly the subject or an unobtrusive color or tone.
Exposure Incident light meter reading. Subjective choice of lighting ratio.
Technique Using lighting contrast to emphasise subject texture and to retain detail
in the shadows.

Image 1
Support corrugated cardboard in front of a dark
background to form multiple ‘S’ shapes. Place a
spotlight above, behind and to the right side of the
cardboard with the centre of the light at the centre
of the ‘S’ shapes to create strong shadows falling
forward from the top to the bottom of the image.
Place an amber heat resistant gel in front of the
light. Position suitable support material to form
an acceptable composition. Take an incident light
meter reading of the light falling on the corrugated
cardboard. Note this exposure.

Image 2
From the camera position place a diffuse light above
and to the left of the subject. Aim the light at the
corrugated cardboard to fill the shadows created
by the spotlight. Vary the amount of diffusion and
distance of the light from the subject to achieve the
desired effect. Turn off the backlight (spotlight) and
take an incident reading of the diffuse light falling
on the subject. Adjust the light to achieve a lighting
intensity one stop less than the exposure calculated
for the backlight. This will give a ratio of 2:1
between the back light and the front light.

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 Lighting still life

Image 3
Turn off both front and back lights. Aim a second
spotlight from left of frame at the background.
Position the light to achieve a circle of light directly
behind the cardboard. Place a blue heat resistant gel
in front of the light. Alternate between full spot and
full flood to achieve the desired degree of graduation.
Take an incident light meter reading of the light
falling on the background. Adjust light to match
the calculated exposure for the front light. Turn on
the front and back lights. Make final adjustments
to composition, lighting and exposure. Reduce any
extreme highlights. To maintain maximum density
in the shadows this is best achieved by repositioning
Michael Wennrich the subject and not by diffusing the light. Check for
lens flare.

Lighting diagram

Paper background
Blue gel
Spotlight
Spotlight

Amber gel

Floodlight

Camera

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Studio Photography: Essential Skills

Assignment 4 ‘Flowers’
Criteria
Lighting Diffuse key light plus back light to separate subject from
background.
Props Minimal and complementary to subject matter.
Background Unobtrusive color or tone, lit separately to subject.
Exposure Incident light meter reading. Lighting ratio sympathetic to subject.
Technique Subject in focus. Background out of focus and back lit separately
to foreground subject matter.

Image 1
Place one flower behind a sheet of white tracing paper.
Place two flowers in front of the tracing paper (these remain
unlit). Using a spotlight light the single flower from behind
to cast a shadow onto the front surface of the tracing
paper. Centre the light behind the head of the flower. Place
overlapped green and yellow heat resistant gels in front of
the light. Adjust the light until the desired spread of light
around the flower is achieved. The background will appear
white at the centre graduating to various shades of green
and yellow towards the edges. Take a reflected reading of
the centre of the light. Increase this exposure by two stops
to give a tone that is almost white (e.g. f22 to f11).

Image 2
Turn off the background light. As viewed from the camera
place a spotlight slightly above and to the left of the two
front flowers. Between the spotlight and the flower hang a
large sheet of tracing paper. Move the tracing paper closer
to or further away from the flower until the desired effect
is achieved (the light on the subject will be more diffuse
the further the tracing paper is from light source). Take an
incident reading from the flower of the light falling on the
subject. Move the spotlight until a reading the same as the
calculated exposure for the background is achieved. This
will render the flower as an average mid-tone and the centre
of the background almost white.

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 Lighting still life

Image 3
Turn on the background light. Check the lighting
ratio between the background and subject has
not changed. Take an incident reading from the
flower, back to the camera, of the light falling on
the subject. If the flower is of an average mid-
tone this will be correct exposure. If the flower is
lighter or darker adjust the exposure accordingly,
but remember to retain the same lighting ratio
between subject and background, two stops or 4:1.
Choose an exposure aperture with sufficient depth
of field to retain focus on the flower but not on the
background.

Michael Wennrich

Lighting diagram

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Studio Photography: Essential Skills

Assignment 5 ‘Metal’
Criteria
Lighting Diffuse/reflected lighting, plus selective fill.
Props Subject related.
Background Coarse and heavily textured.
Exposure Adjusted incident or reflected meter reading of the highlights.
Technique Using light and contrast to enforce the harshness of the subject,
whilst retaining maximum detail in the highlights and some
detail in the shadows.

Image 1
Suspend various cogs and chains approximately
two metres in front of a tracing paper background.
From behind aim a spotlight on full spot into the
tracing paper. Position the centre of the spot directly
behind the cogs and chains to achieve the desired
composition and effect. Turn the light to full flood.
This will graduate the light over the background.
Place a blue heat resistant gel in front of the light.

Image 2
Turn off the back light. As viewed from the camera
position aim a second spotlight, on full spot,
from the left side towards the metal cogs. Adjust
the direction of the light until the maximum
reflectance of the light appears as extreme highlights
on the metal surfaces. Ensure no light falls on the
background. Place a sheet of tracing paper between
this light and the subject. Adjust the angle to and
distance between the light and the trace to the
subject until the desired reflectance level in the cogs
and chains is achieved. Place an orange heat resistant
gel in front of the light.

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 Lighting still life

Image 3
As viewed from the camera position aim a third
spotlight from the right side at the teeth of the
cogs. Place a sheet of tracing paper or other
suitable diffusion material close to the light.
Move the tracing paper closer to or further
away from the subject to reduce the extreme
highlights on the metal surfaces. Place a pink
heat resistant gel in front of the light. Experiment
until the desired effect is achieved. Turn on the
back light. To check the subject brightness range
take a reflected reading of the highlights and the
shadows. If the ratio is less than 32:1 (five stops)
some detail will be recorded in both. For exposure
take either an incident reading of an area of
Michael Wennrich
average illumination or take a reflected reading of
an area reflecting approximately 18% gray. Adjust
this reading within the 32:1 ratio to achieve the
desired result (expose for either the shadows or
the highlights).
Lighting diagram

Reflector
Blue gel
Tracing paper

Cogs
Tracing paper
Tracing paper

Orange gel Pink gel

Spotlight Spotlight
Camera

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Studio Photography: Essential Skills

Assignment 6 ‘Desk’
Criteria
Lighting Interpretive use of light as observed in ‘real life’, e.g. late afternoon
sunlight mixed with ambient room light.
Props Self-explanatory.
Background The subject matter itself.
Exposure Incident light meter reading of keylight area.
Technique Related to your vision of your desk ‘correct’ subjective exposure of the
keylight and detail in the ambient areas. The selective use of aperture and
focus together with filtration of the light source or camera to complement
image composition and quality of light.

Image 1
Place subject on an appropriate surface. Position
the camera to achieve an approximate composition.
As viewed from the camera, position a spotlight in
front, above and to the right of the subject. Turn on
the light and centre the light on full spot on the focal
point of the composition (e.g. bridge of the violin).
Flood and move the light until the desired shadow
effect and direction are obtained. Record an incident
reading of the light from the subject.

Image 2
Turn off spotlight. As viewed from the camera,
position a floodlight to the left of the subject. Place a
large sheet of tracing paper between the light source
and the subject. Make vertical cuts in the tracing
paper so small highlights of direct light appear
across the surface of the subject. The intensity of the
highlights can be controlled by moving the tracing
paper closer to or further away from the light source
or increasing the width of the cuts. Experiment until
the desired effect is achieved.

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 Lighting still life

Image 3
Turn on the right-hand spotlight. Observe
the difference in the intensity of the light
falling on the subject between the diffuse
(traced) and direct (non-traced) areas.
Adjust camera and subject matter for final
composition. Take an incident meter reading
of the direct and diffuse areas. Adjust the
exposure dependent upon how the highlights
and shadows would best enhance the design
and balance of the image. Exposure for
the direct light will produce underexposed
shadows. Exposure of the diffuse light will
produce overexposed highlights. Start with
an average of the two readings and bracket
the exposure. Choose an exposure aperture
Felicity O'Mara that will concentrate the viewers’ interest on
the focal point of the image. Interpret results
to gain a better understanding of exposure
and latitude.

Lighting diagram

Tracing paper

Small
vertical
cuts

Floodlight
Camera Spotlight

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Studio Photography: Essential Skills

Assignment 7 ‘Rust’
Criteria
Lighting Direct spotlights, plus selective fill.
Props Weathered, well worn and textured.
Background Use of light to create interest and separation of the subject from the
background.
Exposure Adjusted reflected light meter reading of key light area.
Technique To enhance the degradation and degeneration of the subject by the use of
sharp focus and lighting/subject contrast to create texture and age.

Image 1
Place weathered and rusty textured items next to a
sheet of old corrugated iron. From behind and to
the right side aim a spotlight at low angle across
the surface of the rusty items. Adjust the angle and
intensity of the light to achieve maximum texture.
Ensure light falls only on the back edges of the
subject matter and not across the surface of the
corrugated iron. Take a reflected light meter reading
of the light falling on an area reflecting almost the
same amount of light as an 18% gray card.

Image 2
Turn off the first spotlight. Using a second spotlight
from the front left side, also at a low angle, light
the surface of the corrugated iron and the rusty
items in such a way as to create long shadows and
detailed texture. Adjust the angle, direction and
intensity to achieve the most effective design and
composition. Take a reflected light meter reading
from an area reflecting approximately the same
amount of light as an 18% gray card. Compare this
reading with Image 1.

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 Lighting still life

Image 3
Turn on the first spotlight. To increase the
illusion of contrast and depth within the image
adjust the amount of light from the back light to
approximately half to one stop more light than the
front light. Making ‘correct’ exposure for the front
light will record the backlit areas as highlights with
minimal detail in the shadows and a full range of
tones in the areas lit by the front light.

Emily Abay

Lighting diagram

Spotlight

Corrugated iron

Spotlight

Camera

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Studio Photography: Essential Skills

Assignment 8 ‘Black and white’

Criteria
Lighting Diffuse or reflected light with minimal shadows. Direct spotlight with some
degree of diffusion for detail in black subject matter.
Props Black and white.
Background Black and/or white, possibly created by the use of light.
Exposure Interpretation of reflected meter reading from black and white subject.
Technique To render true black and white on color emulsion, with maximum
detail in both.

Image 1
Place selected props on a flat table top surface.
Position to form an acceptable composition. As
viewed from the camera place a spotlight behind
and to the right of the subject. Centre the light on
full spot on the top surface of the iron. Adjust the
direction and intensity (flood or spot) to achieve
maximum texture across the surface of the shirt and
shadows with almost no detail forward of the iron.
This will give detail across the top surface of the iron
but make the shirt look very coarse.

Image 2
Support a piece of tracing paper or other suitable
diffusion material between the spotlight and the
subject from just above the camera to the back edge
of the framed area as seen in the viewfinder. This will
reduce the intensity of the shadow forward of the
iron and create a ‘softer’ look to the shirt material.
Experiment with moving the tracing paper closer
to or further away from the subject to achieve the
desired degree of texture and shadow detail. This will
have the effect of creating the quality of light suitable
for the shirt but at the cost of losing some detail
across the top of the iron. Turn off the first spotlight.

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 Lighting still life

Image 3
Place a second spotlight slightly forward and directly
above the iron. Position as close as possible to the
tracing paper, switch on and turn to full spot.
Reduce the amount of light spreading across the shirt
by closing the barn doors until the concentration of
light is falling on the top surface and leading side
of the iron. This increases detail in the iron without
greatly affecting the shirt. Take and note an incident
reading, from the subject, of the second spotlight.
Turn off the second light and turn on the first. Take
an incident reading, from the subject, of the first
light. Adjust so the first light is one stop less than the
second. Turn on the second light and take a reflected
reading of the shirt. Depending on the actual shade
Sophie Takach of white increase the exposure by two stops to render
the shirt white.

Lighting diagram

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Assignment 9 ‘Cutlery’
Criteria
Lighting Graduated diffuse lighting.
Props Reflective and metallic.
Background Complementary tonal range.
Exposure Incident or reflected light meter reading of 18% gray card.
Technique To reflect graduated light into the subject to form shape, and to
reduce imperfections in reflective metal surfaces.

Image 1
Place cutlery on a piece of translucent white Perspex.
Position subject and camera to obtain a satisfactory
composition. Attach a large piece of tracing paper
to the back edge of the Perspex and to a C-stand
above the front of the camera. This will create a ‘tent’
of tracing paper completely covering the subject.
Place a spotlight from behind and above the tracing
paper. Centre the light on full spot in the centre of
the paper. Moving the centre of the spot towards
the front of the trace will create a graduation of
light reflecting in the subject from white in the
foreground through gray to almost black in the
background. Moving the centre of the spot towards
the back of the trace will achieve the opposite effect.
Experiment with position and intensity (full spot
through to full flood) until the desired effect is
achieved.

Image 2
Turn off the top light. Place a floodlight underneath
the Perspex. Position the light so the Perspex is
evenly lit. Take a reflected meter reading of the
surface and increase the aperture by three stops (e.g.
f22 to f8) to render the surface white. Record this
calculated exposure.

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 Lighting still life

Image 3
Turn on the top light. Place a strip of black paper
approximately 3cm wide by the length of the tracing
paper on top of the tracing paper from front to
back. Position the black paper to create a reflective
black edge along one side of the cutlery. Place an
18% gray card on top of the cutlery and take a
reflected reading of its surface. Depending upon the
reflective values of the subject adjust your exposure
accordingly. Choose an aperture giving sharp
focus over the cutlery and ensure the lighting ratio
between the top light and the back light remains at
8:1. This can be achieved by increasing the lights in
relation to each other or by the separate exposure of
each light source at different exposure times.

Rachel Dere

Lighting diagram

Spotlight

Camer
Camera
Cutter
Tracing paper

Perspex

Floodlight

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Rodrick Bond
 lighting people

Tracey Hayes

essential skills
• A knowledge and understanding of the application of studio lighting when
photographing people.
• An understanding of the practical use of light to create tonality, dimension and
mood.
• Through study, observation and pre-production an understanding of the resources
and skills required to produce photographic images.
• To develop ideas and produce references containing visual information gathered in
completing the assignments.
• To produce photographic images to the highest standard fulfilling the criteria in the
assignment information.
Studio Photography: Essential Skills

Introduction
Many different styles of portraiture lighting have evolved since the invention of photography.
The approach taken to portraiture, in fact to any genre of photography, is limited only by
your imagination. The technical boundaries to photography are at the point of being almost
nonexistent. When learning portraiture lighting it is important to understand people and how
to light the human form, particularly the face. Portraiture relies heavily on the rapport built up,
sometimes in a very short period of time, between the photographer and the subject. Whether
the photograph is successful or not depends entirely on the photographer being able to capture
the essence of the person in front of the camera. It is therefore essential that the photographer
has a thorough understanding of technique and lighting to make it seem to the subject that the
actual photographic process is a very minor part of the whole experience. Nothing will alienate
the subject more than being confronted with equipment they are not used to and a photographer
who appears not to have the situation under control. Confidence in your abilities and a thorough
understanding of your technique are ways to inspire and relax the subject of your portrait.

High Key – Daniel Tückmantel

There are three ‘classical’ approaches to portraiture, high key, low key and mid key. Portraiture
in these categories is recognised by the difference in the variation and extremes of the tonal
range throughout the image. In its simplest form the difference between the three categories
is best understood by comparing the style of portraiture to exposure. In a subject with average
reflectance ratios, a mid key could be compared to correct exposure, low key to underexposure
and high key to overexposure. It is important to remember this is not how the result is achieved.
With this visual in mind it is easier to create the lighting required using lighting ratios and
exposure interpretation.

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 Lighting people

High key
In high key images light tones dominate. Dark tones are eliminated or reduced by careful
selection of the tonal and subject brightness range of the subject matter. Soft diffused lighting
from broad light sources is used to reduce all shadows. Backgrounds should be flooded with
light and overexposed to reduce detail. Increasing exposure beyond ‘correct’ by up to two stops
will ensure all tones are predominantly light. Hard edges and fine detail can be reduced by the
use of a soft focus filter. If using black and white film skin imperfections can be reduced by
using an orange or red filter. A bright background placed close to the subject will also soften
their outline. Even though the quantity of light used to create high key is large the actual
lighting ratio is small (1:1).

Low key
In a low key image dark tones dominate. Bright highlights punctuate the shadow areas creating
the characteristic mood of a low key image. The position of the key light source for a typical
low key image is behind the subject (or behind and to one side). This creates deep shadows.
The strong back light creates specular highlights around the rim of the subject. Selective fill
light is then used to increase the subject brightness range to a level giving average exposure. The
decision concerning appropriate exposure usually centres around how far the exposure can be
reduced before the highlights appear dull (underexposed). The shadow areas are usually devoid
of detail when this action is taken unless a certain amount of fill is provided. The lighting ratio
is relatively high compared to high key (8:1).

Mid key
In a mid key image there is no dominant tone. They are all relatively equal. There are no deep
shadows and no extreme highlights. The lighting used is a mixture of both high key and low key
(direct and diffuse). Back lighting can be used to create rim light around the subject and fill light
to reduce and control shadow areas. An increase in ‘correct’ exposure of one stop more light would
usually be required to achieve a mid key result. The lighting ratio is less than low key (4:1).

Activity 1
Through research of personal, library and www. resources locate the following images.

‘E. Gordon Craig’. 1913. Eduard J. Steichen.

‘Portrait of Mother’. 1924. Alexander Rodchenko.
‘Churchill’. 1941. Yousuf Karsh.
‘Piet Mondrian’. 1942. Arnold Newman.
‘Mother and Daughter, Cuzco, Peru’. 1948. Irving Penn.
Categorise these portraits into low and mid key.
Find an example from these sources of a high key portrait.
Study the images and draw a considered lighting diagram for each.
Photocopy these and other examples and compile in your Visual Diary.

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Studio Photography: Essential Skills

Assignment 1 ‘High key’

Image with a predominance of light tones. The result is achieved using a combination of diffuse
even lighting, overexposure, selective filtration and some diffusion. This technique is artificially
created and is often used in glamour, fashion and child portraiture. The lighting technique
creates a shadowless, soft rendering of the face. The final image will primarily consist of
dominant whites, some defining grays and a few deep shadows. Make-up is used to retain detail
in the lips and eyes and filtration to reduce skin imperfections.

Image 1
Place the subject approximately two metres
from a white background. Soft diffuse light
sources (reflective flash umbrellas) are placed
on either side of the subject. Place large white
reflectors next to each light at 90 degrees to
the subject. This will reflect all light from the
two front light sources back onto the subject.
Take and record an incident meter reading
from the subject of each light source ensuring
there is a half stop difference between them.
Viewed from camera the left light should
read f11, the right f8.5 at 1/250 second.

Image 2
Place two soft diffuse light sources (reflective
flash umbrellas) in front of the white
background, behind and to the side of the
subject. Angle the lights at 45 degrees to the
background. Place black cutters between the
lights and the subject to reduce lens flare and
to eliminate any direct light falling on the
subject. Take and record an incident light
meter reading of each light source from the
white background ensuring that they are
equal. The reading should be f11 at 1/250
second. This gives a lighting ratio of 1:1
between the foreground and the background.

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 Lighting people

Image 3
Place a white reflector underneath the face
of the subject. This will reduce any shadows
under the chin, nose and eyebrows. Apply
make-up to the eyes (eye liner), lips (dark
red lipstick) and foundation to the face.
Attach a diffusion filter to the lens. Take an
incident meter reading from the subject to
the camera and overexpose by two stops. This
will give an exposure of f5.6 at 1/250 second.
A red filter (plus appropriate exposure
compensation) can be added at this stage if
using black and white film.

Lighting diagram

White background

Flash umbrella Flash umbrella

Black cutter Black cutter

Model

Reflector

Flash Flash
umbrella umbrella

Camera

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Studio Photography: Essential Skills

Assignment 2 ‘Low key’

Image with a predominance of rich dark tones with selected specular highlight areas. The result
is achieved by a progressive build-up of light across the face to maximise texture, tonality and
drama. This requires predominantly direct specular light sources. The nature and quality of this
light must be precisely set and varies for each subject, dependent on face shape and form. The
spotlights must be placed in relation to camera and subject position so the angle of incidence
equals the angle of reflection in order to achieve specular highlights across areas of the face.

Image 1
Place the subject approximately two metres
from a black background. As viewed from
the camera, position a spotlight behind
and to the left side of the subject. Adjust
the spotlight to achieve an incident meter
reading of the light from the subject of f8 at
1/30 second. Position a floodlight in front
of and to the left side of the subject. Adjust
the floodlight to achieve an incident meter
reading of the light from the subject to equal
that of the spotlight. Place a black cutter
between the two lights to reduce lens flare.
Record incident light meter readings.

Image 2
Place a second floodlight in front of and
to the right side of the subject. Adjust the
floodlight until an incident light meter
reading of the light from the subject of f5.6
at 1/30 second is obtained. This will provide
fill light to the camera right side of the face
and reduce nose and chin shadows. This will
be a lighting ratio of 2:1 between the left and
right sides of the face. Record incident light
meter reading.

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 Lighting people

Image 3
Position a second spotlight behind and to the
camera right side of the subject. Adjust the
light to achieve maximum specular reflection
to the camera right side of the face. Take an
incident light meter reading of the spotlight
from the subject to achieve a reading of f8
at 1/30 second. Place a black cutter between
the lights on the right side of the subject to
reduce lens flare. Take a reflected light meter
reading of the camera left side of the face
ensuring that no light from the rear spot
lights affects the reading. This reading will be
‘correct’ for exposure.

Lighting diagram

Spotlight Spotlight

Black cutter Model Black cutter

Floodlight Floodlight

Camera

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Studio Photography: Essential Skills

Assignment 3 ‘Mid key’

Image with a predominance of average tones, with no extreme of highlights or shadows.
The result is achieved using large, soft, very diffuse even lighting, selective fill and over exposure
by one stop to obtain correct skin tones. This is by far the most commonly used form of
portraiture lighting. It is relatively simple to set up compared to high and low key lighting
and will produce good results with most subjects. It does, however, lack drama and mood and
would not enhance subjects with great physical character or delicacy of form.

Image 1
Place the subject approximately two metres
from a large diffusion screen (background).
As viewed from the camera place a soft
diffuse light source (flash soft box) in front
of and to the left of the subject. Place a
diffusion screen larger than the light source
between the light source and the subject.
The screen should be approximately one-
third of the distance from the light to the
subject. Take an incident light meter reading
from the subject to the camera. A typical
reading would be f11 at 1/250 second. The
background remains unlit.

Image 2
Place a large (2m x 3m) white reflector in
front of and to the camera right side of the
subject. This will reflect light from the key
light source back onto the right side of the
subject. Adjust the distance of the reflector
from the subject until an incident light meter
reading from the subject to the reflector is
one stop less than the key light. This should
be f8 at 1/250 second. This is a lighting
ratio of 2:1 between the left and right sides
of the face and when used for exposure will
overexpose the left side of the face to reduce
any skin imperfections.

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 Lighting people

Image 3
Place behind the large diffusion screen in
the background a large diffuse light source
(flash soft box). Direct the light through the
diffusion screen straight back at the camera.
Adjust the light source so an incident light
meter reading taken from the subject to the
diffusion screen in the background is two
stops more than the incident reading of the
subject to camera (f8 at 1/250 second). This
background reading should be f16 at 1/250
second. If the subject exposure is set to f8 at
1/250 second the background will appear
white.

Lighting diagram

Flash softbox

Diffusion screen

Model

Diffusion screen

White reflector
Flash softbox

Camera

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Studio Photography: Essential Skills

Pose

Jo Harkin

Making people look at ease in front of the camera is as much a skill to be learnt as the skill
required to light and correctly expose. For some photographers the skill is acquired easily. For
most it will take time and patience. It is important not only to make the subject feel at ease but
also to be relaxed and confident. There are defined and classical approaches to ‘compositional
pose’ that have evolved throughout the history of painting and photography. These are well
documented and not difficult to reproduce. It is much harder to make people look ‘real’. The
best equipment and lighting will not make the subject come alive. Only the rapport between
the photographer and their subject can make that happen. If the subject looks awkward or ill
at ease, wait. Walk away from the camera but continue to talk to your subject. Attach a remote
firing device to the camera. This will enable you to make exposures away from the camera
and in mid conversation. The camera is often intimidating enough without the photographer
standing behind it. Being relaxed can be infectious. Start with photographing people you know.
As your confidence grows photograph people you don’t know. Professional ‘models’ perform
easily for the camera. Subjects with little or no experience will have greater difficulty.

160
 Fabio Sarraff
Jeph Ko
 lighting on location

Daniel Tückmantel

essential skills
• Develop knowledge and understanding of the use of artificial light sources, camera
and associated equipment on location.
• Develop an awareness of the effect of artificial light in the creation and control of
lighting ratios, shade, contrast and exposure.
• Observe the importance of lighting in the production of photographic images.
• Produce photographs demonstrating a practical knowledge of the use of light.
• Compile information relevant to the technique and production of each image.
Studio Photography: Essential Skills

On location
Studio lights need not be limited to the studio. They can be used on location in conjunction with
ambient and existing daylight. With color correction of the light source or camera most light
sources can produce acceptable and interesting results. Raw file images can be color corrected in
post production. See ‘Light’ and ‘Image capture’.

Exterior location
Common examples of studio lighting used on location are the images seen in film and
television. The same approach can be taken to still images. Artificial light, whether flash or
tungsten, is normally used to supplement the existing light present, usually daylight. In this
situation correct color is achieved by balancing to daylight (5500K) and filtering the tungsten
light source/sources (3200K) with an 80A lighting gel. When using studio flash on location no
filtration is required as the color temperature of the flash is equal to average daylight (5500K to
5800K).

Mixed light
Mixing the color temperature of the light sources can give a more ‘natural’ look. Although the
human eye corrects all light sources to what appears to be white light, it is visually accepted, and
in most cases to great effect; when we view images created using mixed light sources there should
be a difference in the color temperature of the various sources of light within the frame.

Mixed light sources – Itti Karuson

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 Lighting on location

Example 1
A photographer has been commissioned to photograph the exterior of a restaurant complex
situated in a vineyard. The client has requested there be equal interior and exterior detail. As
the building is in constant use the client does not want any introduced lighting placed in the
restaurant that may cause health and safety issues for his customers. To achieve this result the
photographer decides to create the image by making two exposures, one for the exterior another
for the interior. The camera is balanced to daylight. This will record the practical interior
lighting, predominantly commercial tungsten (orange/red) and fluorescent lighting (green), as a
different color temperature to the exterior daylight.

Exterior ambient light – incident – exposure MIE less 1/2 stop

Total darkness – interior lights on – reflected – exposure average highlights and shadows

Combination exposure – John Hay

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Studio Photography: Essential Skills

Interior location
There can be many different light sources with varying color temperatures confronting the
photographer on location. This can range from industrial lighting to the glow from a TV. The
possibilities and variations are many but the problems they pose can be either corrected with
filtration or white balance adjustment to render ‘correct’ color, or ignored and the differences in
color temperature exploited and used to effect.

Daylight balance
In an exterior location all light sources are balanced to the predominance of daylight (5500K).
With an interior location (for example, a furnished room with large windows) there can be
a mixture of various light sources. Balancing to daylight (5500K) without filtration of the
tungsten light sources (3200K) would make the image appear quite different. Daylight in the
image would appear ‘correct’ but any tungsten light source whether artificially introduced
(studio) or practical (normal domestic lighting, desk lamps, candles, etc.) would create a warm
glow at its source and on subject matter predominantly lit by it. The overall effect would be of
white light through the windows, and depending upon the lighting ratio created between the
tungsten light and the ambient daylight an overall warm cast to the image.

Tungsten balance
If the camera is balanced to tungsten (3200K) without filtration of either the daylight (5500K)
or the tungsten light sources (3200K) the result would appear different again. Daylight in the
image would appear to have a blue cast and any tungsten light source would appear ‘correct’.
The overall effect would be of blue light through the windows, and depending upon the
lighting ratio created between the tungsten light and the ambient daylight, a balance of ‘correct’
color within the room. It should be remembered filtration of the camera to match the dominant
light source would also produce similar results. However, filtration of the camera removes the
possibility of selectively filtering the various light sources and color temperatures available to the
photographer to create an interesting mix of colors within the frame.

Commercial tungsten light and daylight – Daniel Tückmantel

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 Lighting on location

Example 2
A designer commissions a photograph of a kitchen. As it is in a residential building the owner
has requested the minimum amount of disturbance. The client has requested the lighting
enhances the space and balances ambient interior and exterior daylight. The photographer
decides upon one exposure, balancing the exterior, interior and introduced lighting. The camera
is balanced to daylight. Exterior daylight will be overexposed to reduce the orange/red color cast
of domestic tungsten lighting.

Ambient light – daylight and tungsten – incident – one second at f8.5

Umbrella flash in hallway balanced to f8.5

Fill flash off ceiling balanced to f8 – John Hay

167
Alan Boulton Gregson


Jeph Ko
Stuart Wilson
 composites

Jeph Ko

essential skills
• Develop a knowledge and understanding of the methods and techniques used to
create composite images.
• Develop skills in controlling lighting to achieve the requirements of composite
images.
• Observe the use of post-production techniques in the production of composite
images.
• Produce composite images demonstrating a practical understanding of creative
lighting techniques.
Studio Photography: Essential Skills

Composite images
Since the early days of photography photographers have been producing composite images.
The work of Henry Peach Robinson (1830-1901) is one of the first competent, and by
the acceptance standards of the day almost convincing, attempts at combining various
photographic elements to create a single narrative image. Today digital capture combined
with digital post production can achieve the seemingly impossible, from the complex effects
contained in most movies to the simplicity of a studio product shot. A situation or subject that
a few years ago may have required many hours of intricate lighting can now be achieved with
far greater economy of effort and cost by lighting the different elements to their best effect and
combining in post production to achieve the desired result.

Jeph Ko

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 Composites

Composite lighting
Combing all the components to create the final montage can be achieved more efficiently if
the photographer captures the individual subject matter in such a way as to ensure it has sharp
edges that contrast with the background tone or color. White backgrounds lit to level 255 and
black backgrounds maintained at level 0 make using the Photoshop ‘Screen’ and ‘Multiply’
blend modes easier for montage. Backlit subjects against white will create a silhouette effect
and capture detail in translucent artwork. Side lighting subjects against a black background will
result in sharp edge detail and create highlights if required. If shadows are a component they
must be captured falling on a smooth surface or one with a similar texture to that previsualised
in the completed montage. If using Adobe After Effects blue or green screens backgrounds can
be used to create an ideal matte (most movie effects are created using this process). A simple
rule to remember when creating a blue/green screen image is the blue/green screen should be
two stops under the exposure of the subject key light. Also a back light aimed at the back of the
subject (creating a rim light) and filtered to the complementary color of the blue/green screen
should be one stop under the subject key light. This will reduce fringing around the subject
from background light spill.

Back light

Back/Front light

Side light Magdalene Bors

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Studio Photography: Essential Skills

Paulina Hyrniewiecka
Composite techniques
In the world of commercial reality photographers are often asked to produce the ultimate
image in the shortest time for the least cost. Prior to the wonders of digital capture and post-
production software this would have meant a certain degree of compromise. In the example
below the lighting to create a shadow is a point light source, the lighting to create curvature
and minimal reflections on the bottle is a broad diffuse light source. A difficult result to achieve
on film which would have required two images, one for the shadow, one for the bottle and
precise pin registration of the two images. Now the solution is remarkably simple and very cost
effective. By lighting, exposing, digitally capturing each element separately, maintaining lighting
direction (even though the shadow is created by a point light source it must look as though
it has originated from the same direction as the diffuse light source lighting the bottle) and
combining in post production the impossible can seem to be achieved.

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 Composites

1.  Images 1 and 2 are placed in the same Photoshop document image by dragging the
background thumbnail (in the Layers palette) from the wine image into the shadow image.
Shift-click both layers to select them. Select Auto-Align Layers from the Edit menu and select
the Reposition Only option before selecting OK.

2.  Check the alignment by temporarily setting the blend mode of the wine layer to Difference.
If the layers have not been aligned using the Auto-Align Layers command (thin white lines
along edges may be apparent, indicating misalignment), select the Move Tool and nudge them
into position using the arrows on the keyboard. Return the blend mode to ‘Normal’ when
alignment has been achieved. Make a path around the bottle using the Path Tool. Save the
Work Path and then hold down the Command key (Mac) or Ctrl key (PC) and click on the
Path thumbnail to load it as a selection.

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Studio Photography: Essential Skills

3.  In the Layers palette select the Wine layer and click on the ‘Add layer mask’ icon. Soften the
edge of this layer mask by going to Filter > Blur > Gaussian Blur. A one-pixel radius should be
chosen to give this bottle a smooth edge.

4.  The lighting on the bottle has been refined by masking some of the top layer. This has
been achieved by selecting the Brush Tool from the Tools palette and choosing black as the
foreground color. A soft-edged brush set to 30% Opacity has been used to darken the right side
of the bottle cap by painting in the layer mask to reveal the underlying layer. A second path
around the label of the bottle has been created and saved as a ‘Work Path’. The path has been
loaded as a selection by holding down the Command key (Mac) or Ctrl key (PC) and clicking
on the Path thumbnail.

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 Composites

5.  The wine and the label can now be modified independently using an adjustment layer.
Hold down the Alt/Option key and select a Curves adjustment layer from the ‘Create new
fill or adjustment layer’ icon in the Layers palette. In the New Layer dialog box select the Use
Previous Layer to Create Clipping Mask checkbox and set the mode to Luminosity. Select OK
to open the Curves dialog box. Adjust the brightness and shadows to optimise the tonality
for the label and select OK. Apply a 0.5-pixel Gaussian Blur filter to the mask (Filter > Blur >
Gaussian Blur).

6.  It is possible to straighten the converging verticals of the bottle caused by non-matching
camera angles. To perform this task you will need to stamp the visible elements of the layers
into a new layer. The keyboard shortcut for this is to hold down the Ctrl + Alt + Shift keys
and type E (for PC) or to hold down the Command + Option + Shift keys and type E (for
Mac). With this composite layer on top of the layers stack use the Free Transform command
(Command + T or Ctrl + T) and click on the Warp icon in the Options bar. Access the rulers
(Ctrl + R or Command + R) and drag some guides into the edges of the bottle and label. The
guides will provide feedback to achieve correct alignment. Push gently at the sides of the bottle
to make the bottle fit within the guides you have created.

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Studio Photography: Essential Skills

Composite solutions
Photoshop is mostly used by photographers to adjust and enhance an image after the instant
of exposure. However, in the hands of a skilled operator images can be created that cannot be
captured in a single exposure. The component images of the montage below illustrate that the
photographer has spent a great deal of time in pre-production previsualising and assessing the
most expedient and effective way to assemble the final image in post production. Part of this
process is to fully understand that continuity of lighting direction and lighting quality is the
most important key to successful combination of all the components. To create this ‘illusion
of reality’ the photographer has not only lit all the components from a common direction
but introduced the light emitted by the fairy by placing a practical light globe in the glass jar.
The model and the jar have also been photographed against a black background to enable a
higher quality extraction. These components can then be seamlessly placed in the composite
image (black, when placed in the ‘Screen’ blend mode in Photoshop, is neutral or ‘invisible’).
Other factors to be taken into consideration are continuity of perspective, depth of field (each
component image may require a different aperture to maintain the illusion) and a precise
approach to all aspects of the process.

Images 1-5

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 Composites

The professional montage and retouching techniques,

outlined in these activities, are explained in greater
detail in Photoshop CS3: Essential Skills and Adobe
Photoshop Elements Maximum Performance. These
books come with all of the images used in the projects
together with supporting movie tutorials.

Daniel Tückmantel

179
Rodrick Bond
 assignments

Amber Gooding

essential skills
• To develop and extend your knowledge and understanding of the application of
studio lighting and camera technique.
• To develop and extend your understanding of the practical use of light to create
contrast, dimension, mood and to increase your creative ability to interpret a written
brief with specific guidelines.
• Through further study, observation and pre-production understand the resources
and skills required to produce photographic images.
• To develop ideas and produce references containing visual information gathered in
completing the assignments.
• Produce color images to the highest standard fulfilling the assignment criteria plus
personal creative interpretation.
Studio Photography: Essential Skills

Introduction
The assignments should only be attempted after successful completion of all the assignments
in ‘Lighting still life’, ‘Lighting people’ and ‘Lighting on location’. They are intended to
test and understand the application of the lighting and camera techniques learned. Creative
interpretation of the written brief is strongly encouraged. Assignments should be completed at
an individual level in any order. Allowance should be made for the fact that each assignment
may need photographing more than once before a satisfactory result is achieved. Where possible
group tutorials should be the forum where technique and creative interpretation are discussed.
Special attention should be taken of the medium in which the photograph is to be used. This
will determine image format and in some cases composition. See ‘Art direction’.

Michael Downes

It is important that the images portray an understanding of what lighting and camera technique
can achieve in changing the photographer’s perception of the subject and previsualisation of the
image. At this stage it is no longer acceptable to place a subject on a background, take a normal
viewpoint and perspective and light for correct exposure. This is no different to documentation
of the subject. As creative photographic illustrators much more is required. Experiment with
viewpoint and lighting. Do not let reality get in the way of creative composition. Perspective,
depth, dimension can all be altered to suit the design of the image. The camera will ‘see’ and
record anything you want it to. This does not have to relate to normal human perception.
Separate subjects from the background. Dispense with the concept of backgrounds altogether.
The area behind and around the subject is only limited by your imagination. Previsualise,
experiment and create.

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 Assignments

1. Breakfast cereal
To illustrate the health giving and nutritional value of a cereal product, an advertising agency
requires a photographic image for a full page magazine ad. The approach should be in a
contemporary style, with emphasis given to the premise there is a healthy ‘reward’ for eating
their cereal product. The packaging must be strongly featured, showing three sides and product
name and logo clearly visible.

2. Clothing
A large clothing retailer requires a photograph for an in-store ‘point of sale’ poster. The
photograph should be aimed at the youth market with the emphasis on ‘lifestyle’. The image
must have a point of view of 45 degrees to the subject. Use should be made of selective focus to
highlight detail and production identification.

3. Quality control
For the purpose of quality control, a large manufacturer requires a photograph depicting a
close-up detail from their product range. The photograph should specifically show detail of
manufacturing quality and/or design detail. The image must have sharp focus throughout.

4. Paint
A quality paint manufacturer requires a photograph to launch a ‘new’ brand of paint. The brief
is to show all or part of the packaging, with brand name and type of paint clearly visible. The
manufacturer wants to show, however, some of the various colors available. The art director
suggests this could best be illustrated by using various colored paint swatches within the
composition. The choice of colors to be used is to be determined by the photographer, taking
into account the inability of the photographic process to sometimes faithfully record true color.
This is a critical element of the image.

5. Childhood memories
A weekend color supplement requires an editorial photograph for a double page spread to
complement an article on ‘Childhood Memories’. The image has to evoke nostalgia, warmth,
security, tenderness and the fun of childhood days spent playing and enjoying treasured
possessions. The result depends greatly on the interpretive use of light.

6. Strong flat white

A city coffee shop requires a series of images for their web page. The client wants to reflect their
position within the CBD and the inviting and exciting environment they have created. The
coffee shop is only available during normal working hours so the use of supplementary lighting
is limited due to health and safety concerns.

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Studio Photography: Essential Skills

7. Glass
An international glass manufacturer requires a photographic image for the cover of its annual
report. It has been suggested a limited product range (various colors and sizes) be shown on a
white background. As they have had a successful year one of their clear glass products, filled
with paper money, should be featured in the foreground. The manufacturer (who has limited
understanding of the photographic process) is emphatic there are no specular highlights on the
glass, the background be pure white, and the money is clearly visible through the foreground
product.

8. Industrial plastic
An industrial plastic manufacturer requires a photographic image to be reproduced as a large
mural for its head office reception area. Its main area of output is for the telecommunications
industry. The client has requested an abstract approach be taken to this large-scale visual.
However, emphasis should be placed on telephones and/or their related ancillary equipment.

9. Music
A record manufacturer has requested submissions to produce a photographic image for a
CD cover. The photographer has been supplied with a demo CD so they may have a full
understanding of the type of music involved (i.e. your choice). Props to be used at the
photographer’s discretion. As music is an emotional medium, the manufacturer has decided that
any submission must attempt to portray the emotions felt by the photographer whilst listening
to the music. At the same time it should be obvious the type of music it is (i.e. not a totally
obscure image). This is an open brief, the only limitation being that there is movement during
exposure of either objects and/or light and/or camera.

10. Food
A publisher requires a double page photographic image for an editorial article on a major
processed food corporation. The product to be featured is from its line of packaged cheese. The
concept is that cheese has been a basic food source throughout history and will remain so into
the future. The photographic approach should have strong appetite appeal and through the use
of light and props convey a visual sense of the past or the future.

11. Animal house

A local veterinary practice has requested a series of images to advertise their boarding kennels.
The emphasis is on the luxurious conditions under which the boarded animals are kept. The
client has suggested a collection of ‘happy’ animal portraits.

12. [Link]
A national internet service provider requires a collection of images to supplement their online
promotion of a new satellite voice facility. The target market is rural and remote broadband
users who may wish to replace their existing landline system with a more efficient satellite
connection.

184
Daniel Willmott
Daniel Tückmantel
revision exercises

Stuart Wilson

essential skills
• Understand various methods and techniques used to create studio images.
• Be aware of how photography can change our perception of the world.
• Understand the history and development of the various genres of photography.
• Understand how a photograph is a two-dimensional composition of lines,
patterns and shapes.
• Understand the process of working with an art director, art direction terminology
and outcomes.
• Gain knowledge and understanding of the use of artificial light sources, camera and
associated equipment used in the studio and on location.
• Gain knowledge and awareness of the effect of artificial light in the creation and
control of lighting ratios, shade, contrast and exposure.
Studio Photography: Essential Skills

Genres
Q1. The first photograph falls into which genre?
(a)  Fashion
(b)  Portraiture
(c)  Still life

Q2. What invention enabled photographers to reproduce copies from an original

photograph?
(a)  Polaroid
(b)  Calotype
(c)  Ambrotype

Q3. Which photographer is recognised as inventing the celebrity pin-up?

(a)  Ansel Adams
(b)  André Disdéri
(c)  Richard Avedon

Q4. One product above all others has changed the public’s approach to photography.
When was it first put on the market?
(a)  1888
(b)  1826
(c)  1854

Q5. During the 1960s which photographer is recognised as challenging the traditional
perception of portraiture?
(a)  Julia Margaret Cameron
(b)  Sarah Moon
(c)  Diane Arbus

Q6. Two magazines were instrumental in the reproduction of fashion photographs.

In which period did this start?
(a)  1870s
(b)  1880s
(c)  1890s

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 Revision exercises

Communication and design

Q1. How can a viewer be encouraged to make an objective opinion of an image?
(a)  Using simple content
(b)  Using complex content
(c)  Using neither

Q2. We instinctively follow a pattern of visual perception when looking at an image.

What is that pattern?
(a)  Bottom left to top right
(b)  Top right to bottom left
(c)  Top left to bottom right

Q3. Where can a curved line be placed within a composition to greatly increase its effect?
(a)  Edge of frame
(b)  Centre of frame
(c)  Top of frame

Q4. A horizontal image would best be suited to which image format?

(a)  Portrait
(b)  Landscape
(c)  35mm

Q5. Which camera format would best be suited to an A4 layout?

(a)  6 x 6cm
(b)  35mm
(c)  6 x 9cm

Q6. Horizontal lines create a sense of stability. What type of line creates tension?
(a)  Vertical
(b)  Diagonal
(c)  Curved

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Studio Photography: Essential Skills

Art direction
Q1. When referring to typography an art director is talking about which element of the art
work?
(a)  Image
(b)  Logo
(c)  Copy

Q2. What is the name given to the guideline to which the photographer has to work?
(a)  Layout
(b)  Script
(c)  Estimate

Q3. In a double page spread allowance should be made for what part of the printing
process?
(a)  Bleed
(b)  Color
(c)  Gutter

Q4. The camera should be orientated to which format when taking a photograph for a
single full page advertisement?
(a)  Landscape
(b)  Portrait
(c)  Horizontal

Q5. The art director is responsible for the overall look of the advertisement. Who writes the
text?
(a)  Account director
(b)  Client
(c)  Copywriter

Q6. As a photographer commissioned to take a photograph your responsibility is to whom?

(a)  Bank manager
(b)  Client
(c)  Subject

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 Revision exercises

The studio
Q1. What is the most important thing to exclude from a studio?
(a)  Heat
(b)  External light
(c)  People

Q2. What is meant by a compound lens?

(a)  Lens with a single element
(b)  Lens with more than one focal length
(c)  Lens with more than one element

Q3. How do you estimate what is a normal focal length lens when working with different
format cameras?
(a)  Measure the diagonal of the image format
(b)  Call the manufacturer
(c)  Guess

Q4. Compared to a normal lens a long lens will give what field of view?
(a)  Wider
(b)  The same
(c)  Narrower

Q5. What device can be used to control the spread of light from a tungsten light source?
(a)  Diffusion screen
(b)  Barn door
(c)  Filter

Q6. What piece of equipment can be used to reduce lens flare?

(a)  Filter
(b)  C-stand
(c)  Lens hood

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Studio Photography: Essential Skills

Light
Q1. A subject two metres from a light source is correctly exposed at 1/60 second at f5.6.
The light is moved a further two metres away. If the output of the light is constant,
what would the new exposure time be if the aperture remains at f5.6?
(a)  1/30 second
(b)  1/15 second
(c)  1/4 second

Q2. A subject two metres from a light source and camera is correctly exposed at 1/30
second at f8. If the subject to light distance remains constant but the subject to
camera distance is doubled, what will the exposure aperture be at 1/30 second?
(a)  f8
(b)  f5.6
(c)  f11

Q3. What filter is required when using daylight film with a tungsten-halogen light source?
(a)  85B
(b)  None
(c)  80A

Q4. If the reflectance range of a subject is four stops or 16:1 and the lighting ratio is two
stops or 4:1 what will be the subject brightness range (SBR)?
(a)  64:1
(b)  20:1
(c)  12:1

Q5. Two lights are used to light a subject. The first light (spotlight) is three metres from the
subject and measures f16. The second light (floodlight) is two metres from the subject
and measures f8. What is the lighting ratio between the lights?
(a)  2:1
(b)  8:1
(c)  4:1

Q6. Of the four main types of artificial light used in a studio, which has a color
temperature closest to noon on a clear day?
(a)  Photoflood
(b)  Flash
(c)  Tungsten-halogen

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 Revision exercises

Exposure
Q1. A subject two metres from a single light source is correctly exposed at 1/60 second at
f5.6. The light is moved to a new position four metres from the subject. What is the
new exposure if time remains constant?
(a)  f8
(b)  f4
(c)  f2.8

Q2. Changing exposure from f4 at 1/60 second to f11 at 1/60 second has increased or
decreased the amount of light entering the camera by how many times?
(a)  Plus 3x
(b)  Minus 8x
(c)  Minus 6x

Q3. What does an incident reading measure?

(a)  Light falling on a subject
(b)  Light reflected from a subject
(c)  Both

Q4. When using Caucasian skin to establish an exposure reading, what adjustment should
be made to the MIE to correctly expose for a mid-tone?
(a)  Plus one stop
(b)  None
(c)  Minus one stop

Q5. What is the lighting ratio of a subject measuring f16 in the highlights and f5.6 in the
shadows?
(a)  6:1
(b)  3:1
(c)  8:1

Q6. Correct exposure is f8 at 1/30 second. What would be the aperture at 1/4 second?
(a)  f22
(b)  f4
(c)  f32

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Studio Photography: Essential Skills

Image capture
Q1. A camera balanced to tungsten will give correct color when used with which light
source?
(a)  Flash
(b)  Photoflood
(c)  Daylight

Q2. What is the color temperature of that light source?

(a)  5800K
(b)  8000K
(c)  3200K

Q3. The exposure at ISO 100 is 1/15 second at f8. What will the exposure be at ISO 400 if
aperture remains constant?
(a)  1/60 second
(b)  1/30 second
(c)  1/8 second

Q4. Processing reversal film in a negative process will give what result?
(a)  No color
(b)  Positive image
(c)  Negative color

Q5. Which image file format uses the least amount of memory per image?
(a)  TIFF
(b)  Raw
(c)  JPEG

Q6. Which has the greater latitude?

(a)  JPEG
(b)  Color reversal film
(c)  Raw

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 Revision exercises

Creative controls
Q1. How far into a subject would a photographer focus to maximise depth of field?
(a)  1/2
(b)  1/3
(c)  2/3

Q2. What camera mechanism allows a photographer to judge depth of field at exposure
aperture?
(a)  Cable release
(b)  Shutter
(c)  Preview button

Q3. What would be the slowest shutter speed recommended to stop image blur when using
a tungsten light source?
(a)  1/30 second
(b)  1/60 second
(c)  1/125 second

Q4. When using a slow shutter speed how can a photographer eliminate camera shake?
(a)  Use a small format camera
(b)  Use a cable release
(c)  Use a tripod

Q5. The closest point of focus is achieved when the lens is at its:
(a)  longest physical length?
(b)  shortest physical length?
(c)  any physical length?

Q6. Selective focus is best achieved at:

(a)  maximum aperture?
(b)  fastest shutter speed?
(c)  minimum aperture?

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Studio Photography: Essential Skills

Using light
Q1. An incident meter reading of a subject with average SBR two metres from a light
source is f11 at 1/60 second. What will the aperture be at 1/30 second if the light is
moved another two metres further away from the subject?
(a)  f5.6
(b)  f8
(c)  f4

Q2. What affect does the color temperature of tungsten light have upon black and
white film?
(a)  Increases exposure
(b)  Increases contrast
(c)  Decreases exposure

Q3. What is the name given to the shaped piece of optical glass used to bring a spotlight to
focus?
(a)  Focusing lens
(b)  Panchromatic lens
(c)  Fresnel lens

Q4. Barn doors can control the shape of a light source. What attachment can control the
intensity of the light?
(a)  Color correction filter
(b)  Net
(c)  Power pack

Q5. Diffusion of the light source will have what effect upon exposure?
(a)  None
(b)  Increase exposure time
(c)  Decrease exposure time

Q6. A polarising filter will have what affect?

(a)  Alter color temperature
(b)  Alter color saturation
(c)  None

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Michael Downes
Jo Harkin
 Exposure and Light Meters 199
Glossary
1K 1000 watts, measure of light output.
2K 2000 watts, measure of light output.
5K 5000 watts, measure of light output.
10K 10,000 watts, measure of light output.
12K 12,000 watts, measure of light output.
120 Film format.
2¼ 2¼ x 2¼˝. Camera format.
35mm Camera and film format (24 x 36mm).
500W 500 watts, measure of light output.
5 x 4 5 x 4˝, camera and film format.
6 x 4.5 6 x 4.5cm camera format.
6 x 6 6 x 6cm camera format.
6 x 7 6 x 7cm camera format.
6 x 8 6 x 8cm camera format.
6 x 9 6 x 9cm camera format.
10 x 8 10 x 8 inches camera and film format.
80A Conversion filter, daylight film to 3200K light source.
80B Conversion filter, daylight film to 3400K light source.
85B Conversion filter, tungsten film to daylight.

ACR Adobe Camera Raw.

AC discharge 5600K continuous light source.
Adobe RGB A color space that is appropriate for images destined for print output devices
that have a larger gamut than sRGB.
Ambient Available or existing light.
Analyse To examine in detail.
Aperture Lens opening controlling intensity of light entering camera.
Arri 650W Arriflex 650 watt light source (3200K).
ASA Film speed rating – American Standards Association.
Aspect ratio The ratio of height to width.
Auto focus Automatic focusing system, mainly small-format cameras.
Available Ambient or existing light.

B Shutter speed setting for exposures in excess of one second.

B/g Background.
Background Area behind main subject matter.
Backlight Light source directed at the subject from behind.
Backlit A subject illuminated from behind.
Balance A harmonious relationship between elements within the frame.
Banding Visible steps of tone or color in the final image due to a lack of tonal
information in a digital image file.
Barn doors Metal shutters attached to light source.
Studio Photography: Essential Skills
200 Lightproof
Bellows Essential Skills: Photographic Lighting
material between front and rear standards.
Bellows extension When length of bellows exceeds focal length of lens.
Bellows formula Mathematical process to allow for loss of light.
Bit depth Number of bits (memory) assigned to recording color or tonal information.
Blurred Unsharp image, caused by inaccurate focus, shallow depth of field, slow
shutter speed, camera vibration or subject movement.
Bounce Reflected light.
Bracketing Overexposure and underexposure either side of MIE.

C-stands Vertical stand with adjustable arm.

C-41 Negative film process.
Cable release Device to release shutter, reduces camera vibration.
Calibration Adjusting a device such as a computer monitor to a known and repeatable
state that is considered standard within the industry.
Camera Image capturing device.
Camera Raw Unprocessed image data from a camera’s image sensor.
Camera shake Blurred image caused by camera vibration during exposure.
CCD Charged Coupled Device. A solid state image pick-up device (sensor or chip)
used in digital capture.
Clipping Loss of detail due to overexposure, underexposure or excessive saturation.
Close down Decrease in aperture size.
Closest point of focus Minimum distance at which sharp focus is obtained.
CMOS Complementary Metal Oxide Semiconductor. A type of image sensor.
Color balance Photoshop adjustment feature for correcting a color cast in a digital image
file.
ColorChecker A reference card of colors and tones manufactured by Gretag Macbeth.
Color conversion Use of filtration to balance film to light source.
Color correction Use of filtration to balance film to light source.
Color management The process of maintaining the accuracy of colors from the capture device to
the output device.
Color profile Information that describes the unique color characteristics of a device such as a
scanner, camera, monitor or printer.
Color space An accurately defined range of colors which may be a smaller portion of the
human vision.
Color temperature Measure of the relationship between light source and film.
Compensation Variation in exposure from MIE to obtain appropriate exposure.
Complementary Color – see ‘Primary’ and ‘Secondary’.
Compound In lens design, indicating use of multiple optical elements.
Compression Underdevelopment allowing a high-contrast subject brightness
range to be recorded on film.
Concept Idea or meaning.
Context Circumstances relevant to subject under consideration.
Continuous tone A smooth transition of color or tone without visible dots or bands.

200
 Glossary
Contrast The difference in brightness between the darkest Exposure and Light
and lightest areasMeters 201
of the image
or subject.
Cord Electrical lead.
Covering power Ability of a lens to cover film format with an image.
CPU Central processing unit of a camera used to compute exposure.
Cropping Alter image format to enhance composition.
Cut-off Loss of image due to camera aberrations.
Cutter Device used to control spread and direction of light.
Cyclorama Visually seamless studio.

Darkcloth Material used to give a clearer image on ground glass.

Dark slide Cut film holder.
Daylight 5500K.
Dedicated flash Flash regulated by camera’s exposure meter.
Dense Overexposed negative, underexposed positive.
Density Measure of the opacity of tone on a negative.
Depth of field Area of sharpness variable by aperture or focal length.
Depth of focus Distance through which the film plane moves without losing focus.
Design Basis of visual composition.
Diagonal A line neither horizontal nor vertical.
Diaphragm Aperture.
Differential focusing Use of focus to highlight subject areas.
Diffuse Dispersion of light (spread out) and not focused.
Diffuser Material used to disperse light.
Digital Images recorded in the form of binary numbers.
Digital image Computer generated image created with pixels, not film.
Digital Negative Adobe’s open source Raw file format.
DIN Film speed rating – Deutsche Industrie Norm.
Dioptres Close-up lenses.
Direct light Light direct from source to subject without interference.
Distortion Lens aberration or apparent change in perspective.
DNG Adobe’s Digital Negative format.
Double dark slide Cut film holder.
Dynamic Visual energy.
DX coding Bar coded film rating.

E-6 Transparency film process.

Ecu Extreme close-up.
Electronic flash Mobile 5800K light source of high intensity and short duration.
Emulsion Light-sensitive coating on film or paper.
Equivalent Combinations of aperture and time producing equal exposure.
EV Numerical values used in exposure evaluation without reference
to aperture or time.
Evaluate Estimate the value or quality of a piece of work.

201
Studio Photography: Essential Skills
202 Essential Skills: PhotographictheLighting
Expansion Manipulating separation of zones in B & W processing.
Exposing right Increasing exposure when using a digital camera to increase the quality of
shadow information.
Exposure Combined effect of intensity and duration of light on light sensitive material.
Exposure compensation The action increasing or decreasing exposure from a meter-indicated exposure
to obtain an appropriate exposure.
Exposure factor Indication of the increase in light required to obtain correct exposure.
Exposure meter Device for the measurement of light.
Exposure value Numerical values used in exposure evaluation without reference
to aperture or time.
Extreme contrast Subject brightness range that exceeds the film or sensor’s ability to record
all detail.

F-stop Numerical system indicating aperture diameter.
Fall A movement on large-format camera front and rear standards.
Fast film Film with high ISO, can be used with low light levels.
Field of view Area visible through the camera’s viewing system.
Figure and ground Relationship between subject and background.
Fill Use of light to increase detail in shadow area.
Fill flash Flash used to lower the subject brightness range.
Film Imaging medium.
Film speed Rating of film’s sensitivity to light.
Filter Optical device used to modify transmitted light.
Filter factor Number indicating the effect of the filter’s density on exposure.
Flare Unwanted light entering the camera and falling on film plane.
Flash Mobile 5800K light source, high intensity, short duration.
Floodlight Diffuse tungsten light source.
Focal Term used to describe optical situations.
Focal length Lens to image distance when focused at infinity.
Focal plane Where the film will receive exposure.
Focal plane shutter Shutter mechanism next to film plane.
Focal point Point of focus at the film plane or point of interest in the image.
Focusing Creating a sharp image by adjustment of the lens to film distance.
Fog/fogging Effect of light upon unexposed film.
Foreground Area in front of subject matter.
Format Camera size, image area or orientation of camera.
Frame Boundary of composed area.
Fresnel Glass lens used in spotlight.
Front light Light from camera to subject.
Front standard Front section of large-format camera.

Gamma A mathematical formula describing the relationship between the input and
output of a device. The Gamma setting on a monitor and in Photoshop
controls the mid-tone brightness.

202
 Glossary
Gels Color filters used on light sources. Exposure and Light Meters 203
Genre Style or category of photography.
Gobos Shaped cutters placed in front of light source.
Grain Particles of metallic silver or dye which make up the film image.
Gray card Contrast and exposure reference, reflects 18% of light.
Grayscale An image where the color values have been converted to tones of gray.
Ground glass Viewing and focusing screen of large-format camera.
Guide number Measurement of flash power relative to ISO and flash to subject
distance.

Halftone Commercial printing process, reproduces tone using a pattern

of dots printed by offset litho.
Hard/harsh light Directional light with defined shadows.
HDR High Dynamic Range.
High Dynamic Range An image with full detail in the darkest shadows and brightest highlights that
has been created from a subject with a brightness range that exceeds the
latitude of the capture device. The HDR image is assembled in the image-
editing software using multiple exposures.
High key Dominant light tones and highlight densities.
Highlight Area of subject giving highest exposure value.
Histogram A graphical representation of a digital image indicating the
pixels allocated to each level of brightness.
Hot shoe Mounting position for on-camera flash.
HSL Hue, Saturation and Luminance. Color controls found in Adobe Camera Raw
and Photoshop Lightroom.
Hue The name of a color, e.g. red, green or blue.
Hyperfocal distance Nearest distance in focus when lens is set to infinity.

Image sensor Light sensitive digital chip used in digital cameras.

Incandescent Tungsten light source.
Incident Light meter reading from subject to camera using a diffuser (invercone).
Infinity Point of focus where bellows extension equals focal length.
Infrared film A film sensitive to wavelengths of light longer than 720nm invisible to the
human eye.
Invercone Trademark of Weston. Dome-shaped diffuser used for incident
light meter readings.
Inverse square law Mathematical formula for measuring the fall-off (reduced
intensity) of light over a given distance.
Iris Aperture/diaphragm.
ISO Film speed rating – International Standards Organisation.

JPEG (.jpg) Joint Photographic Experts Group. Popular image compression

file format used for images destined for the World Wide Web.

203
Studio Photography: Essential Skills
204light Main
Key Essential Skills: Photographic Lighting
light source relative to lighting ratio.

Laboratory Film processing facility.

Landscape Horizontal format.
Large format 5 x 4 inch camera, 10 x 8 inch camera.
Latitude Ability of the film or image sensor to record the brightness range of the
subject.
Lens Optical device used to bring an image to focus at the film plane.
Lens angle Angle of lens to subject.
Lens cut-off Inadequate covering power.
Lens hood Device to stop excess light entering the lens.
Light The essence of photography.
Lightbox Transparency viewing system.
Lighting contrast Difference between highlights and shadows.
Lighting grid Studio overhead lighting system.
Lighting ratio Balance and relationship between light falling on subject.
Light meter Device for the measurement of light.
Long lens Lens with a reduced field of view compared to normal.
Loupe Viewing lens.
Low key Dominant dark tones and shadow densities.
Luminance range Range of light intensity falling on subject.

M Flash synchronisation setting for flash bulbs.

Macro Extreme close-up.
Matrix metering Reflected meter reading averaged from segments within the image area.
Preprogrammed bias given to differing segments.
Maximum aperture Largest lens opening, smallest f-stop.
Medium format 2¼ inch or 6cm film or image sensor size.
Meter Light meter.
MIE Meter-indicated exposure.
Minimum aperture Smallest lens opening, largest f-stop.
Monorail Support mechanism for large-format camera.
Multiple exposure More than one exposure on the same piece of film.

ND Neutral density filter.

Negative Film medium with reversed tones.
Negatives Exposed, processed negative film.
Neutral density Filter to reduce exposure without affecting color.
Noise Electronic interference producing speckles within the image.
Non-cord Flash not requiring direct connection to shutter.
Normal lens Perspective and angle of view approximately equivalent to the human eye.

Objective Factual and non-subjective analysis of information.

Opaque Does not transmit light.

204
 Glossary
Open up Increase lens aperture size. Exposure and Light Meters 205
Orthochromatic Film which is only sensitive to blue and green light.
Out of gamut Beyond the range of colors that a particular device can capture, display or
print.
Overall focus Image where everything appears sharp.
Overdevelopment When manufacturer’s processing recommendations have been exceeded.
Overexposure Exposure greater than meter-indicated exposure.

Panchromatic Film which is sensitive to blue, green and red light.

Panning Camera follows moving subject during exposure.
Perspective The illusion of depth and distance in two dimensions. The relationship
between near and far imaged objects.
Photoflood 3400K tungsten light source.
Photograph Image created by the action of light and chemistry.
Plane Focal plane.
Polarising filter A filter used to remove polarised light.
Portrait Type of photograph or vertical image format.
Positive Transparency.
Posterisation Visible steps of tone or color in the final image due to a lack of
tonal information in a digital image file.
Post production Modifications made to an image after the initial capture using image-editing
software such as Adobe Camera Raw or Photoshop.
P.o.v. Point of view.
Preview Observing image at exposure aperture.
Previsualise The ability to decide what the photographic image will look like
before the exposure.
Primary colors The basic colors used to create all other colors. The colors blue, green and red
are the additive primaries while cyan, magenta and yellow are the subtractive
primaries.
Process Development of exposed film.
Profile A record of the unique characteristics of how a device records, displays or
prints color and tone.
ProPhoto RGB The largest of the working spaces used in Photoshop.
Pull Underprocessing of film.
Push Overprocessing of film.

QI Quartz iodine light source.

Raw The unprocessed data recorded by a digital image sensor. Sometimes referred to
as Camera Raw or the ‘digital negative’.
Rear standard Rear section of large-format camera.
Reciprocity failure Inability of film to behave predictably at exposure extremes.
Reflectance Amount of light from a reflective surface.
Reflectance range Subject contrast measured in even light.

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Studio Photography: Essential Skills
206 Essential Skills: Photographic
Reflected Light Lighting
coming from a reflective surface.
Reflection Specular image from a reflective surface.
Reflector Material used to reflect light.
Refraction Deviation of light.
Resolution Optical measure of definition, also called sharpness.
Reversal Color transparency film.
Rim light Outline around a subject created by a light source.
Rise A movement on large-format camera front and rear standard.

Saturation Intensity or richness of color.

SBR Subject brightness range, a measurement of subject contrast.
Scale Size relationship within subject matter.
Scrim Diffusing material.
Secondary Complementary to primary colors, yellow, magenta, cyan.
Selective focus Use of focus and depth of field to emphasise subject areas.
Shadow Unlit area within the image.
Sharp In focus.
Shutter Device controlling the duration (time) of exposure.
Shutter priority Semi-automatic exposure mode. The photographer selects the shutter and the
camera sets the aperture automatically.
Shutter speed Specific time selected for correct exposure.
Side light Light from side to subject.
Silhouette Object with no detail against background with detail.
Slave Remote firing system for multiple flash heads.
Slide Transparency usually 24 x 36mm.
Slow film Film with reduced sensitivity and low ISO rating.
SLR Single lens reflex camera; viewfinder image is identical to image
captured by film or image sensor.
Small format 35mm film or a digital camera with a sensor no larger than 35mm.
Snoot Cone-shaped device to control the spread of light.
Softbox Heavily diffuse light source.
Soft light Diffuse light source with ill-defined shadows.
Specular Highly reflective surfaces.
Specular highlight The brightest tone in an image that is not absolute white (255 or paper white).
Speed ISO rating, exposure time relative to shutter speed.
Spotlight Light source controlled by optical manipulation of a focusing lens.
Spot meter Reflective light meter capable of reading small selected areas.
sRGB A working space closely aligned to the color space of a typical monitor.
Standard lens Perspective and angle of view equivalent to the eye.
Stock Chosen film emulsion.
Stop Selected lens aperture relative to exposure.
Stop down Decrease in aperture size.
Strobe 5800K light source.
Studio Photographic workplace.

206
 Glossary
Subject Main emphasis within image area. Exposure and Light Meters 207
Subjective Interpretative and non-objective analysis of information.
Subject reflectance Amount of light reflected from the subject.
Swing A movement on large-format front or rear standards.
Symmetrical Image balance and visual harmony.
Sync Flash synchronisation.
Sync lead Cable used to synchronise flash.
Sync speed Shutter speed designated to flash.

T Shutter speed setting for exposures in excess of one second.

T-stop Calibration of light actually transmitted by a lens.
Text Printed word.
Thin Overexposed positive, underexposed negative.
Thyristor Electronic switch used to control electronic flash discharge.
TIFF Tagged Image File Format. Popular digital image file format for
desktop publishing applications.
Tilt A movement on large-format front or rear standards.
Time Shutter speed, measure of duration of light.
Time exposure Exposure greater than one second.
Tonal range Difference between highlights and shadows.
Tone A tint of color or shade of gray.
Trace Material used to diffuse light.
Transmitted light Light that passes through another medium.
Transparency Positive film image.
Transparent Allowing light to pass through.
Tripod Camera support.
Tripod clamp Device used to connect camera to tripod.
TTL Through-the-lens light metering system.
Tungsten 3200K light source.
Typeface Size and style of type.
Typography Selection of typeface.

Underdevelopment When manufacturer’s processing recommendations have been

reduced.
Uprating film Increasing the film speed.
UV Ultraviolet radiation invisible to the human vision.

Vertical At right angles to the horizontal plane.

Vibrance slider A control for increasing color saturation in Adobe Camera Raw or
Photoshop Lightroom. This control is less likely to render colors out of gamut
when compared to the Saturation slider.
Viewpoint Camera to subject position.
Visualise Ability to exercise visual imagination.

207
Studio Photography: Essential Skills
208 balance
White Essential Skills:The
Photographic Lighting
process of setting a neutral white point or value as the color temperature
that is illuminating the subject changes.
White point The color of white that a device creates, displays or prints.
Wide angle Lens with a greater field of view than normal.
Workflow A term used to describe a sequence of steps to achieve a particular result.
Working space A color space that is optimised for editing images in a product such as Adobe
Photoshop.

XMP eXtensible Metadata Platform. Data saved with an image file.

X-sync Synchronisation setting for electronic flash.
X-sync socket Coaxial socket on lens or camera for external flash cable.

Zone System Exposure system related to tonal values.

208
 Exposure and Light Meters 209
Resources
Agfa-Geveart. [Link].
American Cinematographer. [Link].
American Museum of Photography. [Link].
An American Century of Photography. [Link].
Arriflex Professional Products. [Link].
Australian Centre for Photography. [Link].
Basic Design & Layout – Alan Swann. [Link].
Basic Photography, seventh edition – Michael Langford. Focal Press. Oxford.
Benetton. [Link].
Communication Arts. [Link].
Digital Photography: Essential Skills – Mark Galer. Focal Press. Oxford.
Elinchrom Professional Products. [Link].
Focal Press. [Link].
Fuji. [Link].
George Eastman. [Link].
Graphis. [Link].
Hugo Boss. [Link].
Kodak. [Link].
Louis Vuitton. [Link].
Masters of Photography. [Link].
Museum of Modern Art. [Link].
Photographic Education. [Link].
Photographic Lighting: Essential Skills – John Child and Mark Galer. Focal Press. Oxford.
Photographing in the Studio – Gary Golb. Brown & Benchmark. Wisconsin.
Photography – Barbara London and John Upton. [Link].
Photography – Selected from the Graphis Annuals. [Link].
Photography Until Now. Museum of Modern Art. New York.
Photoshop CS3: Essential Skills – Mark Galer and Philip Andrews. Focal Press. Oxford.
Polaroid. [Link].
Richard Avedon. [Link].
Royal Photographic Society. [Link].
Thames & Hudson. [Link].
The Focal Encyclopedia of Photography, third edition. Focal Press. Boston.
The History of Photography. Museum of Modern Art. New York.
The Image – Michael Freeman. Collins Photography Workshop. London.
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 Bourdin, Guy, 19 Exposure and Light Meters 211
Index ‘Box’, lighting still life, 132-3
18% gray scale, 53, 79, 85 Box Brownie camera, 17
Boyle, Andrew, 56
AC discharge (5600K) lamps, 10, 61, 65 Bracketing compensation, 84-5
Accessories for cameras, 51 Breakfast cereal (assignment), 183
Adobe Photoshop see Photoshop Brightness:
Advertising, 14, 15, 25 digital image exposure, 87
Animal house (assignment), 184 range of light, 69
Aperture: Business cards, 8
depth of field, 107, 108
exposure, 74-6 Calotypes, 17
lenses, 51 Cameras:
Art direction: accessories, 51
directors, 38, 39 format, 26
format, 40 shake, 110
framing the image, 40-1 studio, 49
layouts, 39 Cameron, Julia Margaret, 19
revision exercises, 190 Candles, 125
Artificial light, 61-2 Caucasian skin compensation, 85
Assignments, 181-6 Characteristics of light, 63-72
Avedon, Richard, 18 Childhood memories (assignment), 183
Average exposure, 83 Clip test, 99
Average tones, 82 Clothing (assignment), 183
Coghlan, Rebecca, 67
Back lighting, 111 Color:
Background for lighting still life, 130 correction, 65
Balance (communication and design), 28 digital image exposure, 88
‘Ball’, lighting still life, 134 saturation, 111
Barker, Tim, 68, 110 spectrum, 65
Bayer, Kata: temperature, 10, 98
color temperature, 98 Commercial portraiture genre, 18
commercial portraiture, 18 Commercial practice, 10
history of photography, 8 Communication and design:
Berstadht, Thomas, 86 balance, 28
‘Black and White’, lighting still life, 146-7 composition, 29
Bleed, 41 content, 27
Bond, Rodrick: context, 25
art direction, 37, 42 depth, 33
communication and design, 32, 36 format, 26
composite images, 180 genres, 14
deep focus, 106 line, 31
extreme contrast, 70 point of view, 30
genres, 13, 14, 22 revision exercises, 189
image capture, 102 Compensation (exposure), 84-5, 89
light, 59, 115 Composites:
lighting still life, 129, 150 images, 172
studio photography, 1 lighting, 173-4
text and bleed, 41 solutions, 178-9
Bors, Magdelene, 173 techniques, 174-7
Studio Photography: Essential Skills
Composition (communication and design), 29 Dominant light tones, 83, 89
Content (communication and design), 27 Downes, Michael:
Context (communication and design), 25 assignments, 182
Contrast: framing the image, 40
digital image exposure, 87 revision exercises, 197
subject, 67 Duration of exposure, 104, 110
Correct exposure, 74
Creative controls: Equipment for studio, 48, 53-4
depth of field, 106-7 Everton, Samantha, 10, 15
duration of exposure, 110 Exposure:
exposure compensation, 111 aperture, 74-6
focus, 105 average, 83
perspective, 112 compensation, 84-5, 89, 111
preview, 109 definition, 74
revision exercises, 195 digital image, 86-9
selective focus, 108 light meter, 77-9
Creative exposure compensation, 111 lighting ratios, 80-1
Cross processing for image capture, 100 lighting still life, 130
Curves, 31 mediums, 95
‘Cutlery’, lighting still life, 18-19 meter readings, 82-3
revision exercises, 193
Dark tones, 82 time, 74, 76
Darkness of studio, 46 Exterior location lighting, 164-5
Darkroom for studio, 48 Extreme contrast, 70, 89
Daylight:
balance for interior location lighting, 166 Familiarity with equipment, 104
film, 98 Fashion genre, 14, 19-20
image capture, 94 Fast shutter speed, 110
Deep focus, 106 Film:
Depth (communication and design), 33 color temperature, 10, 98
Depth of field, 106-7, 108, 109 daylight, 94, 98
Design, see communication and design equipment, 53
Designers, 38 image capture, 98
‘Desk’, lighting still life, 142-3 reciprocity failure, 89
Diagonal lines, 31 tungsten, 94, 98
Diffusion of light, 64, 122 Filtration of light, 124
Digital images: Fire extinguisher, 54
capture, 96 First aid kit, 54
compensation, 85 Flash light:
display for capture, 101 (5800K), 10, 61, 65
exposure, 86-9 equipment, 52
light sources, 53 properties, 118
storage, 54 Floodlights, 119-20
Direction of light, 66 ‘Flowers’, lighting still life, 138-9
Disderi (photographer), 17 Focal length in depth of field, 107
Distance: Focus, 51, 104, 105
between light and subject, 63 Food (assignment), 184
depth of field, 107 Format:
Domestic lamps, 65 communication and design, 26
Dominant dark tones, 82, 89 framing the image, 40

212
 Index
Framing the image, 40-1 film, 98
Friml, Tomas, 19, 30 ISO settings, 94
latitude, 97
Gamvros, Joanne, 5 mediums, 94-5
Gelatin filters, 124 preview, 101
Genres: revision exercises, 194
advertising, 14-15 tungsten light, 94
fashion, 19-20 Images:
portraiture, 17-18 composites, 172
revision exercises, 188 format, 26
still life, 16 Incident light reading, 78
Glass (assignment), 184 Independent learning, 3
Gleeson, Natarsha, 33 Industrial plastic (assignment), 184
Glossary, 199-208 Infinity (focus), 105
Gooding, Amber, 106, 181 Intensity of light, 63
Graphic designers, 39 Interior location lighting, 166-7
Gregson, Alan Boulton, 168 ISO settings:
Guest, Sharon, 116 film speed, 9
image capture, 94
Halos, 111 light meters, 78
Harkin, Jo, focus,105
pose, 160 JPEG files for digital images, 95, 96, 97
revision exercises, 198 Judgment of compensation, 85
Harvey, Orien, 89
Hay, John, 165, 167 Karsh, Yousuf, 18
Hayes, Tracey: Karuson, Itti, 122, 126
art direction, 44 Ko, Jeph:
context, 25 composite images, 171, 172
direction of light, 66 creative controls, 114
flash, 118 digital image capture, 96
light, 72 fashion, 21
lighting people, 151 image capture, 93
methodology, 11 lighting on location, 169
portraiture, 17 lighting people, 162
selective focus, 108 studio, 58
Health and safety in studio, 47 Kodak camera, 17
High key portraits, 153, 154-5
Histograms for digital exposure, 86-7 Latitude (image capture), 86, 97
History of photography, 8 Layouts, 39
HMIs see AC discharge lamps Lenses for studio, 50
Horizontal lines, 31 Les Modes, 19
Hyrniewieka, Paulina, 174 Liebenstein, Jana, 50
Light:
Illusion of movement, 126 artificial, 61-2
Illustrated American, 9 brightness range, 69
Illustration (advertising), 15, 25 characteristics, 63-72
Image capture: color, 65
cross processing, 100 color correction, 66
daylight, 94 contrast, 67
digital, 96 diffusion, 64, 122

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Studio Photography: Essential Skills
direction, 66 ‘Desk’, 142-3
filtration, 124 exposure, 130
flash, 118-19 ‘Flowers’, 138-9
Illusion of movement, 126 ‘Metal’, 140-1
intensity, 63 props, 130
meter, 53 ‘Rust’, 144-5
meter exposure, 77-9 technique, 130
mixed sources, 125 ‘Texture’, 136-7
quality, 64 Limitations of focus, 105
reflectance, 63 Line (communication and design), 31
reflection, 64, 123 location lighting, 164-7
revision exercises, 192, 196 Long lenses, 50
sources, 10, 52 Low key portraits, 153, 156-7
subject contrast, 67
sun, 116 Mediums for image capture, 94-5
tungsten, 120-1 Melville, Jacqui, 24
white balance, 65 ‘Metal’, lighting still life, 140-1
Light tones, 83 Meter Indicated Exposure (MIE), 85, 98, 165
Lighting: Meter readings for exposure (interpretation), 82-3
composite images, 173 Methodology, 11
contrast, 68 Mid key portraits, 153, 158-9
‘High key’ portraits, 154-5 MIE see Meter Indicated Exposure
location, 164-7 Mixed light sources, 125, 164
‘Low key’ portraits, 156-7 Mollerhaug, Line, 74
‘Mid key’ portraits, 158-9 Moon, Sarah, 19
pose, 160 Music (assignment), 184
ratios, 68, 80-1
still life, 130 Neutral density filters, 124
studio, 117 New York Daily Graphic, 9
Lighting diagram: Newman, Arnold, 18
‘Ball’, 135 Newman, James:
‘Black and white’, 147 creative controls, 104
‘Box’, 133 exposure, 73
‘Cutlery’, 149 exposure compensation, 84
‘Desk’, 143 studio, 56
‘Flowers’, 139 Newton, Helmut, 19
‘High key’ portraits, 155 Niepce (photographer), 16
‘Low key’ portraits, 157
‘Metal’, 141 Organisation:
‘Mid key’ portraits, 159 art direction, 39
‘Rust’, 145 studio, 55
still life, 131 Overexposure, 74
‘Texture’, 137
Lighting still life: Paint (assignment), 183
background, 130 Patience, 60
‘Ball’, 134 Pawsey, Shannon, 34
‘Black and white’, 146-7 People:
‘Box’, 132-3 lighting, 151-9
criteria, 130 posing, 160
‘Cutlery’, 148-9 Perspective, 34, 104, 112

214
 Index
Photoflood lamps (3400K), 10, 62, 65 Ryner, Marten, 23
Photography:
history, 8 Sarraff, Fabio:
presentation, 7 balance, 28
storage, 7 lighting people, 161
technology, 9 push and pull, 99
Photoshop: studio lights, 117
composite solutions, 178 technology, 9
composite techniques, 176 Saunders, Alison, 19, 71
programs, 179 SBR see Subject Brightness Range
Point of focus, 107, 108 Seeing light, 60
Point of view (communication and design), 30 Selective focus, 108
Polarising filters, 124 Shadows, 66
Polaroid compensation, 85 Shallow focus, 106, 108
Portraiture: Shutter speed, 110
genre, 17 Silhouettes, 111
key type, 152-3 Size of studio, 46
Posing people, 160 Slow shutter speed, 110
Power for studio, 46-7 Smith, Janette, 60
Pre-shoot checklist, 55 Soegijono, Amelia:
Presentation of photographs, 7 exposure, 90
Preview: light, 128
creative controls, 109 mixed light sources, 125
image capture, 101 Solutions for composite images, 178-9
Progress images for lighting still life, 131 Spotlights, 119, 121
Props for lighting still life, 130 Stammers, Tim, 113, 127
Steep perspective, 112
Quality control (assignment), 183 Steichen, Edward, 19
Quality of light, 64 Still life:
genre, 16
Raw files in digital image capture, 96 see also lighting still life
Reciprocity failure of film, 89 Storage of photographs, 7
Record Book, 6 Strong flat white (assignment), 183
Reflectance of light, 63 Studio:
Reflected light reading, 79 cameras, 49
Reflection of light, 64, 123 darkness, 46
Reftel, Martin, 35 darkroom, 48
Research, 4, 7 equipment, 48, 53-4
Revision exercises, 196-8 health and safety, 47
art direction, 190 lenses, 50
communication and design, 189 light sources, 52
creative controls, 195 lights, 117
exposure, 193 organisation, 54
genres, 188 power, 46
image capture, 194 revision exercises, 191
light, 192, 196 size, 46
studio, 191 Study guide, 3
RGB digital images, 86 Subject Brightness Range (SBR), 69, 111, 117
Rule of thirds, 29 Subject contrast, 67
‘Rust’, lighting still life, 144-5 Sunlight, 116

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Studio Photography: Essential Skills
Support stands, 54 Vertical lines, 31
Visual Diary, 5
Tanuwidjaja, Pauline, 16 Vogue, 18, 19
Teaching guide, 2 Vy, Thuy, 77
Techniques:
composite images, 174-7 Website for teaching, 2
lighting still life, 130 Wennrich, Michael, 100
Technology in photography, 9 White balance (color correction), 65
Text, 41 Wide angle lenses, 50
‘Texture’, lighting still life, 136-7 Willmott, Daniel, 97, 185
The Royal Photographic Society, 8 Wilson, Stuart:
Through the lens (TTL) metering, 49 filtration of light, 124
TIFF files for digital image capture, 95, 96, 97 lighting on location, 170
Time: perspective, 112
exposure, 74, 76 preview, 109
lenses, 51 revision exercises, 187
Tones: spotlights, 119
dark, 82 studio, 46
digital image exposure, 87 Work bench, 54
light, 83 [Link] (assignment), 184
Tool box, 54
TTL see through the lens
Tückmantel, Daniel, 163
art direction, 43
assignments, 186
composite solutions, 179
content, 27
creative controls, 103
exposure, 91
exposure compensation, 111
interior location lighting, 166
photoflood, 62
portraits, 152
reflection, 123
starting, 4
studio equipment, 54
studio photography, 12
Tungsten light:
balance for interior location, 166
film, 98
image capture, 94
light sources, 52
uses, 120-1
Tungsten-halogen lamps (3200K), 10, 61, 65
Tyagi, Shivani, 7, 83

Underexposure, 74

Vanity Fair, 18, 19

216