Understanding light is essential for any photographer. Light is the fundamental element that shapes the mood, composition, and visual impact of a photograph. In this lesson, we will look at the basics of light, including its properties, behavior, and how to manipulate it. Whether you're a beginner or an experienced photographer, mastering light is key to creating your desired final image.

Natural light refers to the illumination provided by the sun. It's constantly changing throughout the day and affected by weather conditions. Knowing how to read the light will help you to control it, creating your desired final image.

The quality of natural light varies based on time of day, weather, and geographical location. For example, the golden hour, which occurs shortly after sunrise and before sunset, provides soft, warm light ideal for portraits and landscapes. Different times of the day offer different types of natural light: harsh midday light can create strong shadows, while overcast skies can provide soft, diffused light with minimal shadows.

Note: Positioning of your subject in different natural light also impacts light quality. For example, a large white wall can reflect strong sunlight, softening it and acting as a modifier.

The source of light in this image is the sun and is directly in front of the lens. This, along with the structure of the lens, is causing the flaring you may have noticed. It also adds to the warmth of the overall image, the blown out sky, and the washed out look.

Direction of Light

The direction from which natural light comes can dramatically affect the mood and appearance of your photographs. Front lighting illuminates the subject evenly, while side lighting creates depth and texture through shadows. Backlighting, where the light comes from behind the subject, can create silhouettes or halo effects. Experimenting with different angles and directions of natural light can help you convey various emotions and narratives in your photographs.

Lighting direction plays a crucial role in shaping the mood and visual impact of a photograph. Observing the direction of light, whether it's front, side, or backlit, can significantly influence the overall look and feel of the image. Frontal lighting, where the light source is directly facing the subject, tends to minimize shadows and reveal details with clarity. This type of lighting is often used in portrait photography to create a flattering and evenly lit portrait.

On the other hand, side lighting can add depth and texture to the scene by casting shadows that define shapes and contours. This directional light creates a sense of drama and emphasizes the three-dimensional aspects of the subject. Photographers often utilize side lighting in landscapes or still life compositions to enhance the texture and visual interest of the elements in the frame.

Backlighting, where the light source is behind the subject, can create silhouettes or halo effects, adding a sense of mystery or ethereal beauty to the photograph. This lighting direction can be particularly effective in capturing subjects against a dramatic sky or creating a sense of warmth and nostalgia in outdoor scenes during golden hour. Understanding how different lighting directions affect a photo allows photographers to creatively manipulate light to convey specific emotions or narratives in their images.

What direction do you think the light is coming from? What clues do you see in the image lead you to that conclusion?

Reading Light

As photographers, it's essential to observe and understand how natural light interacts with the environment. Pay attention to how light falls on different surfaces, how shadows form, and how colors appear under different lighting conditions. Being observant allows you to anticipate and adapt to changes in light, enabling you to capture compelling photographs even in challenging situations.

Understanding how to read light is crucial in photography. Light can dramatically change the mood and impact of a photograph, influencing everything from exposure to color rendition. One fundamental aspect of reading light is to observe its direction and quality. Directional light, such as that from the sun or a lamp, creates distinct shadows and highlights, adding depth and dimension to the scene. On the other hand, diffused light, like on a cloudy day or through a sheer curtain, produces soft and even illumination, ideal for capturing details without harsh contrasts.

Another key aspect is understanding the intensity of light. Bright light can result in high contrast and vivid colors, while low light conditions can create a moody and atmospheric effect. By paying attention to these elements of light, photographers can make informed decisions about exposure settings, composition, and timing to achieve the desired visual impact in their photographs.

Artificial light refers to any light source that is not naturally occurring, such as lamps, flashlights, or studio lights. Unlike natural light, artificial light offers photographers greater control over intensity, direction, and color temperature. In later lessons we will look at more advanced studio set-ups, but for now, we’re going to keep it simple focusing on what artificial light is and how you can use it even without a huge set up (or even without a simple speed light!)

Types of Artificial Light

When it comes to light in photography, you have two main options: continuous lighting and flash/strobe lighting. Continuous lighting offers a steady stream of illumination, allowing you to see and adjust the lighting setup in real-time. This type of lighting is particularly useful in studio settings and videography, where you need consistent lighting throughout the shoot for precise control over the scene.

On the other hand, flash or strobe lighting provides a quick burst of intense light, perfect for freezing fast-moving subjects or adding dynamic effects to your images. This type of lighting is popular in portrait photography and outdoor shoots where additional light is required to fill in shadows or create a specific mood. Understanding the characteristics and applications of both continuous and flash/strobe lighting will empower you to make informed decisions and elevate the quality of your photographs.

You’ll see in this image a singular off-camera speedlight (flash) in a silver umbrella. Not only does this add some structure to the scene, but it is the main and only light source on the subject.

Manipulating Artificial Light

Manipulating artificial light in photography involves several techniques to control and enhance the lighting conditions for desired effects. One crucial aspect is adjusting the intensity of the light. This can be done by changing the distance between the light source and the subject or using dimmers for adjustable lighting setups. By varying the intensity, you can create different moods and atmospheres in your photographs, from soft and subtle lighting to bold and dramatic effects.

Another important technique is modifying the quality of light. This can be achieved using diffusers, reflectors, or specific modifiers like softboxes and umbrellas. These tools help soften harsh shadows and create a more flattering light on the subject. By controlling light quality, photographers can enhance textures, reveal details, and create a visually appealing balance of light and shadow.

Additionally, playing with color temperature by using gels, controls on the light if it has any, or even modifying the white balance and adds another layer of creativity to artificial lighting. Different light sources have varying color temperatures, from warm (yellow/orange) to cool (blue). Understanding color temperature allows photographers to match the artificial light with ambient lighting for a natural look or creatively alter the mood of their photographs. This manipulation of color temperature can evoke different emotions and enhance the overall storytelling in photography, making it a powerful tool in the photographer's toolkit.

If you look closely at the eye in headshots and other portraits, you can often make out what light modifier was used. In this image a single octobox (softbox) with a speedlight inside was placed to the top right of the subject, and a large oval reflector was placed below their chin. Both are visible in the reflection (catch-light) of the subject’s eyes.

Note: Random household items can be used as a beginner to play and experiment with modifiers. A white shower curtain can be used as a diffuser, cardboard as a reflector, a snoot can be built from some black paper, for gels you can use colored transparent sheets (but warning if the strobe or light is hot they can catch fire.

A fun way to learn about modifiers in photography is to focus on catchlights in fashion or portrait photos. Take a close look at the subject's eyes and observe the shape of the catchlight. Is it an octagon or a perfect circle? Try to identify the modifier used based on the reflection visible in the subject's eye. This exercise can help you understand how different modifiers affect the light and create distinctive catchlights.

Light plays a crucial role in setting the mood and atmosphere of a photograph. Whether it's the warm, golden glow of sunset casting long shadows or the diffused light of foggy mornings, different lighting conditions can evoke distinct emotions in viewers. Experiment with using natural and artificial light to enhance the mood of your photographs. Consider how the direction, intensity, and color temperature of light can contribute to the overall atmosphere you want to convey.

Creative Light

Light has the ability to reveal texture and shape, adding depth and dimension to your images. By manipulating the angle and intensity of light, you can highlight the details of surfaces. Experiment with side lighting to create dramatic shadows that accentuate the texture of your subject. Alternatively, use soft, diffused light to capture smooth textures with minimal shadow detail.

Contrast refers to the difference in brightness between the lightest and darkest areas of a photograph. By controlling contrast through lighting techniques, you can add drama and impact to your images. High-contrast lighting, characterized by deep shadows and bright highlights, can create a sense of tension and intrigue. Low-contrast lighting, on the other hand, produces a softer, more subtle effect, suitable for conveying a sense of tranquility or nostalgia. Experiment with backlighting, silhouettes, and chiaroscuro lighting (strong contrast between light and dark) to create compositions that command attention.

Light can be used strategically to draw the viewer's eye to specific elements within a photograph. By placing light strategically, you can create leading lines, highlights, and focal points that guide the viewer's eye through the image. Experiment with using light to illuminate your primary subject while allowing surrounding elements to fade into shadow. This technique, known as selective lighting, can help emphasize the subject's importance and create a sense of depth within the frame.

Light can be a powerful symbolic element in photography, representing concepts such as hope, enlightenment, or mystery. By incorporating light symbolically into your images, you can imbue them with deeper meaning and narrative. Experiment with using light to create symbolic motifs within your photographs, such as light streaming through a window to represent new beginnings or casting ominous shadows to evoke a sense of foreboding.

There are many visual tools in your artist’s toolbox which help create a more striking visual narrative. One of these toolsets is the so-called “compositional rules.”

Now, as I am not one for adhering to the rules, I prefer the verbiage ‘guidelines’ instead. So, that’s what we’re going to use from here on out.

Compositional guidelines give you the tools you need to see interesting images in any situation. By having a solid handle on the basic guidelines, photographers are prepared for whatever scenario. As a documentary travel photographer, I often find myself in unfamiliar locations with little prep time.

Of course I can (and do) research potential opportunities before arriving, but it's not possible to anticipate everything—especially when the goal is to put a unique voice into a travel photo.

Having a mental lockbox of compositional guidelines to fall back on gives the ability to look at a location differently and with intention.

Before we get to the guidelines, I want to explain how we will approach analyzing the example images. I’m going to talk a lot about “The Eye” and its movements. When you look at an image, try and pay attention to the route your eye takes while viewing. My grandma, the talented painter, once said to child-me, “the goal of a painter is to make The Eye go on a circular journey, never allowing it to leave.” That’s what you want in your photographs. You want The Eye to be free to move about the frame with ease.

I am not one to speak in absolutes. There are times the artistic vision is to make a viewer feel cramped, frantic, uneasy, claustrophobic, etc. Knowing compositional guidelines, and when to not follow them will help in these situations.

I am also going to challenge you to rethink how you look at a scene. What I mean by that, is to not look at a landscape and see a grassy hill and tree. Instead, you should be seeing curves (the hill), strong lines (the tree and branches), softness (the grass on the hill), sharpness (the leaves on the tree). An easy way to get into the habit of seeing differently in a scene is to unfocus your eyes (bonus points if all you have to do is remove your glasses) and just take note of the shapes and textures you’re seeing.

With all that out of the way, let’s have a look at some common and master-able compositional guidelines.

As photographers, we have a lot of tools available to us: compositional rules, lighting knowledge, the exposure triangle, and so on. Color is just another one of those tools. While it can be an intimidating element to a photographer, color can help solidify a voice. Knowing and understanding color theory - the way painters, designers, and artists of all trades do - a photographer can utilize color to their benefit.

You may already be aware of the concept of additive and subtractive color (RGB vs. RYB), which is something we will touch upon in the next post in this series. For the sake of this lesson, we will be talking in generics about color theory and are focusing on Red Yellow Blue (RYB).

In this lesson we’ll look at orders of colors, variables of colors, and color schemes. By the end, you should be able to recognize different color orders and schemes, and how to use variables to bring out the most in your images.

Orders of Colors

There are three orders: Primary, Secondary, and

There are three orders: Primary, Secondary, and Tertiary colors. When working in RYB color, the primary colors are red, yellow, and blue. That is to say, they are the three pure colors from which all other colors are derived.

If we take two primary colors and add combine them equally, we get a secondary color. Finally, a tertiary color is one which is a combination of a primary and secondary color.

By knowing the three orders, we can make decisions about which colors we want to show in frame. As this lesson continues we will explore how to effectively make those decisions to achieve the final look you are aiming for, but before then, let’s look at some examples of the three orders in actual photographs.

Now that we've been introduced to the orders of the colors, let's look at their variables. Those who have post processed images in Adobe Lightroom, Apple Photos, Capture One, or any other RAW editor may be familiar with what is commonly known as the 'HSL sliders.' HSL meaning: Hue, Saturation, and Luminosity. Let's start with hue.

Hue simply is the shade or name of the color. In our editing programs, this slider allows us to completely change a color.

Saturation is the amount of color, or its intensity. This is how we end up with those selective color photos we all... er... love so much, but it can also be used to isolate the strength of one color over the others.

The photo in this example consists of mainly 3 colors: blue, yellow, and orange. Watch what happens when I move each color's individual saturation slider.

Luminance is the brightness of the color. 
This helps us bring out bright color, recover skin tones, and many other techniques.

When you decorate a house, you choose the color of the walls to go with the furniture, wall hangings, curtains, and so on. You're essentially creating a color scheme. We do the same thing when we set up a shot. When being intentional with the color in your images, scheme absolutely comes into play.

Three of the most popular color schemes are complimentary, analogous, and monochrome. To look at each individually, it will help to revisit our RYB color wheel.

Simply put, complementary colors are the ones which sit completely opposite one another on the color wheel, and they, ahem - complement one another. For example, red and green may make you think of Christmas, or light blue and orange may make you think of the Mets (oh, only me?) But there's a reason these combinations create such strong emotions in us - they just look good together.Analogous Colors

Colors which sit next to each other on the color wheel and share similar colors are known as analogous colors. They will have one dominant color in common, most often a primary color, but can also be a secondary or tertiary. Analogous colors are often found in nature - think those rich oranges and yellows in a New England autumn.

While you may be familiar with monochrome referring to black and white, it actually refers to anything which uses solely one color value. Those images you see where there is overwhelmingly one color present are monochrome, for all intents and purposes. We see this technique often in those hazy sunrise/set shots, but it is also a very impactful technique for street shots.

So now we know the orders and variables, as well as three popular schemes of color, but how do those tools aide us in our photography? When we combine the three aspects we discussed above, we can deliberately look for or create scenes that further our intended story.

To recap, we went over are three orders of colors (primary, secondary, and tertiary), three variables of color (hue, saturation, and luminance), and three popular color schemes (complementary, analogous, and monochrome).

When you have a good grasp of these basic aspects of color theory, you're off to a good start and can work to manipulate a scene to create the desired ambiance or ~vibe~ in your shots.

In this assignment, you will see how natural light changes the mood and look of an image. You’ll take two photos—for example, one in harsh midday light and one in flat, diffused light—while intentionally applying a compositional guideline and a color scheme to each image.

The goal is to develop control over light, composition, and color to create more intentional photographs.

Capture Two Images with Different Light

Using two different types of light, make two separate images utilizing the same compositional guideline and color scheme.

Options of type of light:

* Harsh mid-day light: Taken under strong sunlight, showing high contrast and defined shadows.

* Flat light: Taken in diffused or overcast conditions, with minimal shadows.

* Artificial light: Using any kind of introduced light, whether it be flash, found street lights, table lamps, etc.

* Modified light: Change natural or artificial light using an outside element like reflectors, umbrellas, sheets, paper, etc.

Remember: The photos should use the same compositional guideline and the same color scheme. The subject of the photo does not need to be the same.

Reflect & Share

Pick your two favorite images and write a brief reflection addressing:

* What did you photograph, and why?

* How did different lighting conditions affect the image?

* Which compositional guideline did you use and how did it influence your approach?

* How did the chosen color scheme impact the overall look?

* What kind of feedback would you like?

tl;dr: What to hand in:

1. Your final 2 images.


2. A short paragraph reflecting on the points above.