{"id":50035,"date":"2017-05-10T06:04:50","date_gmt":"2017-05-10T13:04:50","guid":{"rendered":"http:\/\/erickimphotography.com\/blog\/?p=50035"},"modified":"2017-05-10T06:13:43","modified_gmt":"2017-05-10T13:13:43","slug":"how-to-paint-with-light","status":"publish","type":"post","link":"https:\/\/erickimphotography.com\/blog\/2017\/05\/10\/how-to-paint-with-light\/","title":{"rendered":"HOW TO PAINT WITH LIGHT"},"content":{"rendered":"

\"\"<\/p>\n

Photography means painting with light.<\/p>\n

<\/p>\n

How to paint with light:<\/p>\n

1. Look for the light<\/h2>\n

\"\"<\/p>\n

The first tip \u00e2\u20ac\u201d always look for the light.<\/p>\n

If you\u00e2\u20ac\u2122re out shooting on the streets (at around sunset) \u00e2\u20ac\u201d keep following where the light takes you. Study Rinzi Ruiz<\/a> for inspiration.<\/p>\n

\"\"<\/p>\n

So look for simple streaks of light. Follow where the light takes you.<\/p>\n

Also as a tip, keep shooting the same part of town. Then you will start to learn what time the light hits a certain part. And you can also know what time the light at a certain part of town is the best.<\/p>\n

2. Shoot like a madman during golden hour<\/h2>\n

\"\"<\/p>\n

Golden hour: sunrise and sunset.<\/p>\n

This is when the light looks \u00e2\u20ac\u02dcgolden\u00e2\u20ac\u2122 \u00e2\u20ac\u201d which almost looks like God put his paintbrush onto reality.<\/p>\n

I am too lazy for sunrise, but I like to photograph during sunset.<\/p>\n

So a tip: be really lazy for most of the day, and shoot like a madman during sunset.<\/p>\n

For example, during the day, wander around and go \u00e2\u20ac\u02dclocation scouting.\u00e2\u20ac\u2122 When you find a good area to shoot, take a nap in the middle of the day, and then (around 5-7pm) shoot like crazy for an hour or two.<\/p>\n

It is a \u00e2\u20ac\u02dcsmarter\u00e2\u20ac\u2122 way to shoot \u00e2\u20ac\u201d better to shoot intensely for 1-2 hours, instead of shooting aimlessly for 10 hours.<\/strong><\/p>\n

3. Use a flash<\/h2>\n

\"\"<\/p>\n

Make the light your slave, by using a flash.<\/p>\n

Either use the flash already built into your camera (I use it on the Ricoh GR II), or get a small external flash. For the Leica cameras, I recommend the Leica SF 20 (for film), or the Leica SF 25D (used) for TTL on digital.<\/p>\n

\"\"<\/p>\n

If you have another camera brand, just buy the smallest flash possible, that preferably has automatic \u00e2\u20ac\u02dcTTL\u00e2\u20ac\u2122 mode (which means you don\u00e2\u20ac\u2122t need to use flash manually). Honestly, it is better to use automatic settings for flash, as you can focus more on composition and framing.<\/p>\n

\"\"<\/p>\n

On the Fujifilm cameras, use the integrated flash (if you use a X100-series camera), or just use the little pop-up that is included on the XT-series.<\/p>\n

\"\"<\/p>\n

The reason why<\/em> I recommend using a flash: you improve the \u00e2\u20ac\u02dcfigure to ground\u00e2\u20ac\u2122 (contrast) in your images, and allow your subjects to pop from the background. Photos without good light (or a flash) lack contrast, which makes the photos look grainy and \u00e2\u20ac\u02dcmuddy.\u00e2\u20ac\u2122<\/p>\n

Flash especially works well with color photos \u00e2\u20ac\u201d because high-ISO noise in color digital photos look ugly. Color film grain (Kodak Portra 400) looks nice, however.<\/p>\n

\"\"<\/p>\n

Also as a tip \u00e2\u20ac\u201d if you have a scene where you have time, take photos both<\/em> with a flash, and without a flash. Then when you go home, you can sit down and decide which you prefer.<\/p>\n

4. Minus-exposure compensation<\/h2>\n

\"\"<\/p>\n

If you photograph during noon when the light is harsh and directional \u00e2\u20ac\u201d use minus-exposure compensation (I recommend trying -1, -2, or even -3) when photographing your subject in the direct light. I learned this from my buddy Neil Ta<\/a>.<\/p>\n

So if you are photographing someone in harsh light, have them look up directly at the sun. See where the shadows fall, and imagine the shadows as pitch black.<\/p>\n

This has helped me create more dramatic<\/em> and \u00e2\u20ac\u02dcedgy\u00e2\u20ac\u2122 photos.<\/p>\n

There is no such thing as \u00e2\u20ac\u02dcgood\u00e2\u20ac\u2122 or \u00e2\u20ac\u02dcbad\u00e2\u20ac\u2122 light\u00e2\u20ac\u201d there are just different<\/em> forms of light. So harsh and direct lighting can look good if you want a more \u00e2\u20ac\u02dcpunk rock\u00e2\u20ac\u2122 look \u00e2\u20ac\u201d or to photograph someone who looks badass.<\/p>\n

Or if you use a smartphone<\/a>, just lower the exposure (brightness). On an iPhone, you can tap the subject, drag the exposure on the right side. Or use the \u00e2\u20ac\u02dcPro Camera\u00e2\u20ac\u2122 app to manually adjust and lock your exposure.<\/p>\n

5. Consider the emotion of your light<\/h2>\n

\"\"<\/p>\n

Don\u00e2\u20ac\u2122t photograph light for the sake of it. Rather, consider what kind of emotion you\u00e2\u20ac\u2122re trying to get through the light.<\/p>\n

For example, if you want a feeling of serenity and peace \u00e2\u20ac\u201d maybe photograph your subject against soft light next to a window. Or photograph during an overcast day, to prevent harsh lights.<\/p>\n

If you want a more \u00e2\u20ac\u02dcedgy\u00e2\u20ac\u2122 and \u00e2\u20ac\u02dchard\u00e2\u20ac\u2122 photo (if you are photographing a rapper), photograph them when the sun is at the top (at around noon, or 3pm).<\/p>\n

Or if you want a more nostalgic, timeless feel \u00e2\u20ac\u201d perhaps shoot during sunrise or sunset, to have warm tones, to reflect the feeling of nostalgia.<\/p>\n

Or photograph during \u00e2\u20ac\u02dcblue hour\u00e2\u20ac\u2122 \u00e2\u20ac\u201d after<\/em> the sun has set, to create a sense of loneliness, loss, or contemplation.<\/p>\n

Conclusion<\/h2>\n

\"\"<\/p>\n

For more inspiration on color and light, study these photographers:<\/p>\n

    \n
  • Alex Webb<\/a> (and buy his book \u00e2\u20ac\u02dcThe Suffering of Light<\/a>\u00e2\u20ac\u2122)<\/li>\n
  • Constantine Manos<\/a> (and look at his series \u00e2\u20ac\u02dcAmerican color<\/a>\u00e2\u20ac\u2122)<\/li>\n
  • William Eggleston<\/a> (study the light in his photos and strive to capture beauty in the mundane<\/a>).<\/li>\n<\/ul>\n

    Why color photographers? I think color and light look nicer. But of course, you need to think about your light in monochrome<\/a>.<\/p>\n