Ex 1: Measuring Exposure
Ex 2: Higher and Lower Sensitivity
The Colour of Light
Ex 3: Judging Colour Temperature 1
Ex 4: Judging Colour Temperature 2
The Time of Day
Ex 5: Light Through The Day
Ex 6: Variety With a Low Sun
Ex 7: Cloudy Weather and Rain
Available Light
Ex 8: Tungsten and Fluorescent Lighting
Ex 9: Outdoors at Night
Photographic Lighting
Ex 10: Softening the Light
Ex 11: The Lighting Angle
Ex 12: Contrast and Shadow Fill
Ex 13: Concentrating Light
Ex 14: Shiny Surfaces
Ex 1: Measuring Exposure
Part 1.
Between four and six photographs are to be taken which are deliberately lighter or darker than average and say why.
The first image is of a gold insect on a jade leaf. It was on display with a dark background and dim lighting.
It is darker than the reading given by the camera because most of the sceen is in darknes the camera would try to compensate and make it lighter. By deliberately making the exposure less than that of the camera but not to make the background black, the colours have been kept and even the black of the pedestal stand can still be seen.
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| f6.3 1/50sec ISO-3200 |
The second image, in similar manner to the first is darker than the reading from the camera. The reading from the camera blew the highlights of the handle on the right and left the image lighter than seen by the human eye. By compensating the exposure details are maintained and colours are kept true to the original item.
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| f5 1/15sec ISO-1000 |
The third image in this sequence is of a top hat and is also predominantly dark. Compensation was made to the exposure and the greys were kept the colour honest to to the hat on display. The reading from the camera made the upper half too light and destroyed the detain in the weave of the material.
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| f5.6 1/20sec ISO-3200 |
I Have added an extra image that I found it necessary to expose darker than the reading given by the camera. The camera reading lost a lot of detail in the sky by making it too light and blowing highlights in the sky and on the water. Because the picture had such a wide contrast from black to whites any incorrect reading from the camera will loose detail.
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| f9 1/100sec ISO-100 |
The flowing image is mostly of light tones. With a high contrast image I had to compensate lighter than the readings given. Had I used the reading from the camera the photograph would have been darker and the background would have been a darker grey than it is.
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| f5.6 1/40sec ISO-1000 |
Again a high contrast image is shown. Readings taken from the subject would result in the background being blown out and details lost. Highlights on the cogs would loose detail too. As suggested by the notes given I took a reading from the background and opened up the aperture by 2 stops. This resulted in an image suitable exposed.
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| f8 1/125sec ISO-125 |
The final image is again deliberately lighter than average. Predominantly made up of light tones and being high key, the camera will underexpose the scene. This has been corrected by increasing the exposure.
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| f5.6 1/25sec ISO-3200 |
The second part to this exercise is to take photographs of five or six subjects, but making five exposures of each. The photographs are to be based around the measured exposure. The first is to be a stop darker, the next half a stop darker and the third as measured. The next two should be half a stop lighter and the final a stop lighter.
Is the central exposure as expected?
The first set of images are of open grazing land. Taken during the late afternoon the sun was low and gave the scene a warm light. Five images were taken and are in order below.
I think that any of the three darker ones would be acceptable with the darkest one giving a sense of sunset.
Because of the tones of the greens and blues The exposure of the camera reading is as expected.
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| f16 1/20sec ISO-100 |
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| f20 f18 f16 f14 f13 1/20sec ISO-100 |
The next image is from the same time of day as the previouse set. The muted colours of the background is of even tones and with a subject that was well within the colour spectrum (no white highlights), the camera has read the scene quite accurately.
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| f8 1/20sec ISO-100 |
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| f10 f9 f8 f7.1 f6.3 1/20sec ISO-100 |
Again the camera has read the scene well. I will have to find a subject that may fool the camera. By using a scene that has muted colours with no or little extremes of tones, the camera does well to take a meter reading. Again it hasn't surprised me how well the image from the camera settings has been exposed.
Apart from the lightest exposure, all the pictures from the bracketed sequence are acceptable.
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| f7.1 1/5sec ISO-100 |
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| f9 f8 f7.1 f6.3 f5.6 1/5sec ISO-100 |
The two brightest images could be used as they are to me of an acceptable exposure, the other three are far too dark to represent the sight as seen.
This scene I deliberately took a series of photographs of as I knew that the camera would overexpose it. It is under the pier at Clacton on Sea. It was quiet dark and even the photograph giving the darkest exposure hasn't caught it as it was. This has happened because the camera has taken an average reading of the scene. As the scene was quiet dark the camera has mis-read and given an exposure that is too light.
Ex 2: Higher and Lower Sensitivity
In this exercise I am to take 12 images, two of each scene. The scene needs to be of a subject with lighting or movement that makes the image just possible to be taken at and ISO-100. The same scene is to be photographed again but this time at a higher ISO and comparisons noted. (Particularly in the darker areas.
The next images were taken at Camden Market in an enclosed area that was in shadow. A slow shutter speed of 1/13sec meant a steady hand was needed and the use of optical image stabilisation was needed. The centre of the image was kept sharp as movement of the pedestrians was slow. Movement in the lower right is more noticeable.
The second image of ISO-1250 has ensure a higher shutter speed was available and the scene as a whole is sharper. Again a higher ISO results in an increase in noise but this isn't as obvious in the lighter tones.
The Shard, taken from the London Eye which is constantly moving, this meant that faster shutter speeds were needed to combat the movement and vibration of the view point.
The second image shows an increase in noise in the sky. This is a flat greyish colour that is more uniformal in the first image.
A Flamingo and it's reflection is the subject of the third set of images. Again it is shown that with a higher ISO more noise is present in the darker colours and is more obvious in the parts of the picture that are of a flat constant colour. The ISO in the second picture is on 1000 and not as high as previous images, the noise is still present. Digital noise will always be a trade off for higher ISO for faster shutter speeds.
The next photographs of a portable coffe bar were taken on an overcast and rainy day. The focal length of 95mm and a slow shutter of 1/30 has resulted in camera shake in the first image. This is noticable when zoomed in on the containers on the shelf.
With the need of a faster shutter speed for a sharper picture the ISO was increased to 1600. This made it eisier to take a sharper picture but as expected the trade off with noise is to be expected. In this case it is more acceptable than the camera shake in the first image.
Digital noise is created as a sampling error of the camera sensor due to less than ideal light available.
Ex 3: Judging Colour Temperature 1
"...you will need a subject you can move around.... The other thing you will need is less reliable - very clear weather."
It is now November in the UK and clear weather is not going to be here for a while, thankfully work took me away and I was able to carry on with my studies.
Three photographs were required. One in full sunlight during the middle of the day, one in the shade during the middle of the day, and one to be taken in sunlight while the sun is close to the horizon. All photographs are to be taken with a white balance setting of "daylight".
Ex 4: Judging Colour Temperature 2
The next set of images are to be similar to the previouse exercise except that the camera white balance setting should be changed. One at the cameras daylight setting, a second at the shade setting and the final at Auto.
Midday Sun
Shade
Low Sun
Ex 5: Light Through The Day
The following exercise was to take photographs through the day of the same scene. I needed a sunny day for this exercise and as it was November I wasn't feeling optimistic until work took me to Cyprus for three weeks. (What a break!)
Below is a collage of all the photographs I took during the day at 15min intervals and then at 5 min intervals for the end of the day.
The sun rise was from the left and moving to the right during the course of the day.
An early start to the day shows how much blue is in the sky first thing in the morning and this is emphasised by the street lighting.
By 05:13 the sun had risen. The photograph still shows a slight blueness to it, as seen by the neutral grey path and wall.
Within 4 hours the sun had moved quickly and prominent shadows were on view. The colour of the light was as I would expect and all of the blue had long gone.
Just before mid day the sun was in the west and had already passed the zenith. No colour was visible in the light.
In the next image the sun was starting to set. It was starting to get low in the sky and the shadows were gone as the light became diffused in the atmosphere.
A slight blueness was returning to the images and the greens became more vibrant.
Evening was drawing in again, it was surprising me how quickly night came late in the year in Cyprus.
As the evening came the blue became prominent again.
Finaly the sun set and only a small amount of light was left. The streetlight illuminated and the complimentary colours of yellow and blue returned.
My favourite of the sequence were at night with the complimentary yellow and blue as above.
In the UK as the sun sets the sunlight has quiet an intense yellow to it. This is more obvious when the sun is below storm clouds. An example of this can be seen in the next set of images. This is the light that I like most.
Ex 6: Variety With a Low Sun
This exercise is to produce a minimum of four images taken wen the sun is low. Any subject could be used but they must be in sunlight. Lighting should be as follows:
Frontal Lighting, Side Lighting, Back Lighting and Edge Lighting.
Frontal Lighting.
Side Lighting.
Back Lighting.
Edge Lighting.
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| f6.3 1/100sec ISO-400 |
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| f9 f8 f 7.1 f6.3 f5.6 1/100sec ISO-400 |
This scene I deliberately took a series of photographs of as I knew that the camera would overexpose it. It is under the pier at Clacton on Sea. It was quiet dark and even the photograph giving the darkest exposure hasn't caught it as it was. This has happened because the camera has taken an average reading of the scene. As the scene was quiet dark the camera has mis-read and given an exposure that is too light.
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| f6.3 1/13sec ISO-1250 |
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| f6.3 f5.6 f5 f4.5 f4 1/13sec ISO-1250 |
Ex 2: Higher and Lower Sensitivity
In this exercise I am to take 12 images, two of each scene. The scene needs to be of a subject with lighting or movement that makes the image just possible to be taken at and ISO-100. The same scene is to be photographed again but this time at a higher ISO and comparisons noted. (Particularly in the darker areas.
The first subject is of a gate at the end of a tree covered path. The gate has been enlarged to show that some blurring has occurred due to a slow shutter speed of 1/8 sec.
The second image has retained more detail and blurring has been reduced. The result of using a higher ISO of 3200 has increased the digital noise. This is shown as speckles and dots. It is more noticeable in the darker areas.
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| f10 1/8sec ISO-400 |
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| f10 1/60sec ISO-3200 |
The next images were taken at Camden Market in an enclosed area that was in shadow. A slow shutter speed of 1/13sec meant a steady hand was needed and the use of optical image stabilisation was needed. The centre of the image was kept sharp as movement of the pedestrians was slow. Movement in the lower right is more noticeable.
The second image of ISO-1250 has ensure a higher shutter speed was available and the scene as a whole is sharper. Again a higher ISO results in an increase in noise but this isn't as obvious in the lighter tones.
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| f8 1/13sec ISO-100 |
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| f8 1/160sec ISO-1250 |
The Shard, taken from the London Eye which is constantly moving, this meant that faster shutter speeds were needed to combat the movement and vibration of the view point.
The second image shows an increase in noise in the sky. This is a flat greyish colour that is more uniformal in the first image.
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| f5.6 1/320 ISO-250 |
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| f5.6 1/2000 ISO-1250 |
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| f5.6 1/80sec ISO-100 |
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| f5.6 1/1000 ISO-1000 |
The next photographs of a portable coffe bar were taken on an overcast and rainy day. The focal length of 95mm and a slow shutter of 1/30 has resulted in camera shake in the first image. This is noticable when zoomed in on the containers on the shelf.
With the need of a faster shutter speed for a sharper picture the ISO was increased to 1600. This made it eisier to take a sharper picture but as expected the trade off with noise is to be expected. In this case it is more acceptable than the camera shake in the first image.
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| f5.6 1/30sec ISO-100 |
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| f5,6 1/500 ISO-1600 |
The final couple if photographs for this exercise show a couple of men feeding birds at the boating lake. My preference is the first on with the birds blurred and showing movement. By increasing the ISO in the second photograph a faster shutter was available and froze the movement of the birds. Digital noise can be seen on the enlarged portion in the darker areas as expected.
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| f5.6 1/30sec ISO-125 |
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| f5.6 1/320sec ISO-1250 |
Digital noise is created as a sampling error of the camera sensor due to less than ideal light available.
Ex 3: Judging Colour Temperature 1
"...you will need a subject you can move around.... The other thing you will need is less reliable - very clear weather."
It is now November in the UK and clear weather is not going to be here for a while, thankfully work took me away and I was able to carry on with my studies.
Three photographs were required. One in full sunlight during the middle of the day, one in the shade during the middle of the day, and one to be taken in sunlight while the sun is close to the horizon. All photographs are to be taken with a white balance setting of "daylight".
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| f7.1 1/400sec ISO-250 W/B Daylight |
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| f7.1 1/60sec ISO-250 W/B Daylight |
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| f8 1/50sec ISO-100 W/B Daylight |
When each photograph was taken, the scene on each occasion looked naturally coloured and looked as they should. On inspecting the photographs together I was surprised how much of a difference in colour they were. I knew from reading that the colour temperature changed depending on direct sun light, shade and time of day, but I didn't appreciate how much it was effected.
The direct midday sunlight has no colour change, this is due to the fact the camera was set at daylight white balance.
The photograph taken in the shade has a bluish tint as the light with a shorter wavelength (blue) has been scattered. This phenomenon is known as Rayleigh Scattering and is also the reason why mountains in the distance look blue.
The final photograph shows that the sunlight has a lot of yellow in it. This is because as the sun sets the wavelengths have to travel through more of the atmosphere to reach us, therefore more of the shorter wavelengths are scattered leaving the longer yellow and red wavelengths which we then see.
Ex 4: Judging Colour Temperature 2
The next set of images are to be similar to the previouse exercise except that the camera white balance setting should be changed. One at the cameras daylight setting, a second at the shade setting and the final at Auto.
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| f14 1/80sec ISO-250 W/B Daylight |
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| f14 1/80sec ISO-250 W/B Shade |
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| f14 1/80sec ISO-250 W/B Auto |
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| f14 1/100sec ISO-250 W/B Daylight |
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| f14 1/80sec ISO-250 W/B Shade |
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| f14 1/100sec ISO-250 W/B Auto |
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| f6.3 1/200sec ISO-400 W/B Daylight |
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| f6.3 1/125sec ISO-320 W/B Shade |
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| f6.3 1/160sec ISO-250 W/B Auto |
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I was surprised to see how my camera interpreted the scene and the results weren't quite as I was expecting.
Looking through the images I would say the most faithful representations of colour are reproduced by the Auto setting of white balance (right hand column of the image above).
The central column representing the shade setting has turned too yellow. This is not the way I saw the scene.
The daylight setting is acceptable, but not faithful.
The images produced with the Auto setting are my preferred selection, but if I were to be producing images promoting sunshine (beach, holiday scenario) then I would use a warmer setting like daylight. If I get the chance to repeat the exercise again in the UK I will to see if I get the same results.
Ex 5: Light Through The Day
The following exercise was to take photographs through the day of the same scene. I needed a sunny day for this exercise and as it was November I wasn't feeling optimistic until work took me to Cyprus for three weeks. (What a break!)
Below is a collage of all the photographs I took during the day at 15min intervals and then at 5 min intervals for the end of the day.
The sun rise was from the left and moving to the right during the course of the day.
An early start to the day shows how much blue is in the sky first thing in the morning and this is emphasised by the street lighting.
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| f16 30sec IS)-100 04:44hrs |
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| f16 2sec ISO-100 05:13hrs |
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| f16 1/13sec ISO-100 08:58hrs |
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| f16 1/13sec ISO-100 11:28hrs |
A slight blueness was returning to the images and the greens became more vibrant.
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| f16 1/3sec ISO-100 14:42hrs |
As the evening came the blue became prominent again.
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| f16 6sec ISO-100 15:49hrs |
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| f16 30sec ISO-100 16:15hrs |
My favourite of the sequence were at night with the complimentary yellow and blue as above.
In the UK as the sun sets the sunlight has quiet an intense yellow to it. This is more obvious when the sun is below storm clouds. An example of this can be seen in the next set of images. This is the light that I like most.
Ex 6: Variety With a Low Sun
This exercise is to produce a minimum of four images taken wen the sun is low. Any subject could be used but they must be in sunlight. Lighting should be as follows:
Frontal Lighting, Side Lighting, Back Lighting and Edge Lighting.
Frontal Lighting.
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| f6.3 1/640sec ISO-100 |
Side Lighting.
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| f4 1/25sec ISO-320 |
Back Lighting.
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| f8 1/800sec ISO-160 |
Edge Lighting.
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| f7.1 1/160 ISO-200 |
Twilight
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| f5.6 1/160sec ISO-100 |
Ex 7: Cloudy Weather and Rain
The first part of this exercise is to photograph the same subject under direct sunlight and cloud.
The differences between the images are to be commented on considering:
Temperature colour
stops' difference
The first pair of images were taken overlooking a car park. The shadow detail is most prominent on the second as this was in direct sunlight while the first was taken while cloud covered the sun. The colours of the first photograph are a lot colder than the second direct sunlight photograph and the shadows are as expected softer. The overall appearance of the first image is a flatter image but with more colour contrasts. I direct sunlight the shutter speed is 2/3rds of a stop faster showing that while the clouds diffuse the sunlight it also reduces the light available.
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| f7.1 1/400sec ISO-160 |
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| f7.1 1/640sec ISO-160 |
The second set of images is of an ashtray. Similarly to the first set of images, the first (under diffused sunlight) has a colder light temperature when compared to the second (direct sunlight). The shadows and lack of shadows are more prominent in this set of images and demonstrated that the type of lighting can change a picture drastically. The first image is more reminiscent of a product shot while the second is more in the style of a still life, and the only variable was the light. Again the second photograph taken in direct sunlight is of a quicker shutter speed. 1 and 1/3rd stops faster.
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| f7.1 1/250sec ISO-160 |
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| f7.1 1/640sec ISO-160 |
The final set of images in this sequence is of some steps. Again the colours of the first image is cooler, the image is relatively flat and as no depth to it. It is image graphical in nature but to see what the subject is is quiet difficult. The second image in direct sunlight is warmer and has more depth created by the shadows. t is still graphical but the presence of shadows allow the brain to work out the subject and direction of the steps. The shadow allows us to make sense of the image while this is missed in the first.
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| f7.1 1/500sec ISO-160 |
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| f7.1 1/800sec ISO-160 |
The second part of this exercise was to take three images on an overcast day "taking advantage of the soft enveloping, shadowless light." While a subject has a surface pointing away from the light, it will always produce shadows.
The following photograph was taken at the local zoo. The enclosure has a large opaque glass roof that diffuses the light. Although this creates nice soft light it reduces the light that the ISO had to be increases to allow a shutter speed fast enough to capture the image with no camera shake or blurring from the movement of the animal. This also increased the digital noise. With a higher ISO shadows were darker and the recessed eyes wee difficult to capture.
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| f5.6 1/60sec ISO-4000 |
The second image was taken on a misty day, the light was very flat and diffused even more by being in a wooded area. he photograph is of a creeper on a fallen tree trunk. Shadows are still present and details are easily seen, but the shadows are soft. The softness of the shadows give a pleasing feel to the photograph and don't distract the eye with harsh contrasts. The colours are saturated adding to the photograph.
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| f6.3 1/60sec ISO-640 |
The final image in this sequence is of a moss covered tree. Again this was taken on a misty morning which diffused the light. Shadows again are nice and soft and colours are saturated. The soft light lets the tones speak for themselves and the shadowed area under the bough still has detail.
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| f7.1 1.15sec ISO-400 |
The third part to this exercise is to take two images in rainy weather.
They were taken in an ally on a rainy day, the cloud cover wasn't too heavy and light was still available. The ISO had to be increased to freeze any movement by increasing the shutter speed.
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| f5.6 1/160sec ISO-2000 |
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| f5.6 1/125sec ISO-2000 |
Ex 8: Tungsten and Fluorescent Lighting
The first part of this project is to take three photographs of an interior showing tungsten lighting and natural lighting at dusk. Each image should be at different white balances:
1. Auto
2. Daylight
3. Tungsten
The photographs were to be taken at as slower shutter speed as possible and noting if it would be possible to take the photograph hand held. The shutter speed at ISO 100 (as suggested was 1/8th of a second which was too slow. I adjusted the ISO to 160 and at 1/13 of a second it was just possible to take this image hand held.
The three images show clearly how the different settings affect the colour of the photograph. The 1st and 3rd are similar with slightly more blue in the 1st at the window while the 2nd with a setting of daylight has a more naturally light exterior but far too orange on the interior. This exercise demonstrates the difference in colour temperature of natural light and artificial light.
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| f6.3 1/13sec ISO-160 |
Below is an image of showing the inverse of the above and a different building.
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| f4 1/2sec ISO-320 |
The second part was to photograph other interiors showing the difference between the camera set at "Auto" and "Fluorescent" white balance.
The left of the images is showing Auto while the right is set as fluorescent.
It is not so easy to see the difference in the first image, the left is slightly warmer than the right but either would be passable to me as a suitable setting.
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| f5 1/30sec ISO-2000 |
In the second image it is easier to see the temperature difference of the the light. The left is a lot warmer than the right with the right being possibly slightly to blue. It would be possible to adjust this in post processing.
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| f4.5 1/15sec ISO-1600 |
The following image has results that would not normally be expected. The reason the side with a florescent white balance is so blue is because the light above the switches was daylight balanced, it was an old light from a fish tank.
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| f5.6 1/50sec ISO1000 |
Ex 9: Outdoors at Night
This exercise is to take photographs at night taking in scenes with different light sources.
The first five are taken in a city center with different light sources and were taken all hand held. White balance was adjusted in post processing.
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| f5.6 1/4sec ISO-250 |
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| f5.6 1/10sec ISO-250 |
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| f5.6 1/60sec ISO-500 |
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| f5 1/10sec ISO-125 |
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| f5.6 1/13sec ISO-125 |
The next three were taken in London and show some of the tourist spots at night. A tripod was used for this set of images with slow shutter speed to encapsulate movement.
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| f10 1/2sec ISO-320 |
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| f10 20sec ISO-100 |
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| f14 8sec ISO-100 |
The following photograph was taken at a local coastal resort. I was hoping that more of the arcade lights would be on to show different colour lights and how they play in the scene It will be some time I think before they are switched on.
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| f4.5 1/40sec ISO640 |
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| f10 6sec ISO100 |
The last in the sequence shows the pairs of lights as seen above. I tried to correct the colour cast by modifying the white balance to 2150K but this still leaves an orange hue over the image.
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| f3.5 1/15sec ISO3200 |
Ex 10: Softening the Light
Any object can be used for this exercise to produce two images. One with a diffused light and one with a naked light, both from above.
It was commented that the exposure settings would be different, but my camera read it as the same though noticeable differences between the images can clearly be seen. The naked light in the second image is lot brighter than the first. If it was an extra stop darker it would be a closer exposure to the first image. The shadows are sharper in the second image and this is because the light rays were travelling in the same direction. The light from the diffused light source has been scattered making it travel in different directions and softening the whole image.
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| f10 1/125sec ISO-125 |
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| f10 1/125sec ISO-125 |
Ex 11: The Lighting Angle
11 photographs are to be produced with a light source in different positions The subject and the camera are to stay static while the light is moved.
The first five images are to be taken with the light source level with the subject. The diagram shows the relationship between the light and the subject and the order that the sequence was taken.
The exercise was repeated but with the light elevated and angled down by 45 degrees onto the subject.
The final images were taken from above the subject. The first being slightly in font, the second directly above and the third slightly behind the subject.
Level Light
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| f16 1/125sec ISO125 |
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| f16 1/125sec ISO125 |
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| f16 1/125sec ISO125 |
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| f16 1/125sec ISO125 |
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| f16 1/125sec ISO125 |
Elevated Light
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| f16 1/125sec ISO125 |
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| f16 1/125sec ISO125 |
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| f16 1/125sec ISO125 |
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| f16 1/125sec ISO125 |
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| f16 1/125sec ISO125 |
Light from Above
AboveFront
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| f16 1/125sec ISO125 |
Directly Above
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| f16 1/125sec ISO125 |
Above Rear
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| f16 1/125sec ISO125 |
Ex 12: Contrast and Shadow Fill
This exercise was to take 7 images of a still life artificially lit. Card and aluminium foil were to be used to reduce the shadows by reflecting the light back onto the subject.
The light is positioned at right angles to the camera's view.
The first image is taken without a diffuser.
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| f8 1/125sec ISO-125 |
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| f8 1/125sec ISO-125 |
The third image is taken with a diffuser and with the piece of card place about a meter away from the subject on the opposite site to the light source.
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| f8 1/125sec ISO-125 |
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| f8 1/125sec ISO-125 |
This image was taken with a piece of foil placed over the card with the dull side facing the subject.
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| f8 1/125sec ISO-125 |
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| f8 1/125sec ISO-125 |
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| f8 1/125sec ISO-125 |
Ex 13: Concentrating Light
This exercise is to take a photograph with concentrated light. I used a roll of black card to make a homemade snoot. This concentrated the light with little spill. The closer the light source is to the subject with this method the smaller the concentration of light will be.
The background of the scene was an off yellow wall, a bag and a door, but with the directional light, aperture of f11 and a quick shutter speed none of this was picked up the the camera.
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| f11 1/125sec ISO-200 |
Below is an image using natural light from a window. The detail of the background can be seen and the feel of the image is completely different.
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| f3.5 1/20sec ISO-200 |
Ex 14: Shiny Surfaces
This exercise was to take a photograph of a shiny object showing all the reflections. It was to be repeated after using a sheet of tracing paper in the form of a cone to reduce the reflections on the subject.
This was an absolute night mare. The paper wouldn't hold it's form and would collapse under it's own weight.
I manage to get one photograph successfully before frustration took over. I will have to repeat this exercise once my stress levels have subsided.
In the image below the reflections of the room are clearly seen.
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| f7.1 1sec ISO-100 |
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| f14 1/125sec ISO-100 |
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| f4.5 1/100sec ISO-200 |
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| f11 1/125sec ISO-200 |
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| f5 1/25sec ISO-200 |
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| f11 1/125sec ISO-200 |
Reflection
It has taken a while to complete this part of the course. It has made me more aware of light, how to use it and how not to use it. I now appreciate the use of reflectors not only in still life but for portraits too.
I also have been made aware that light is often not the colour that we perceive as our eyes and minds adjust and compensate to make scenes look as we would expect. This is now something that I am aware of and can appreciate even though being partially colour blind.
I can understand how the side and intensity of light can change the appearance of a scene and the affects that it has on objects. Because I am aware of the different attributes of light I can now use it to my advantage through reflectors, diffusers, strobes, gels and simply of all the white balance setting on the camera.
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