PROGRAM PROFESI FOTOGRAFI S.T.S.R.D.

VISI
MATA KULIAH TATA CAHAYA
SEMESTER 1 & 2

MEMAHAMI CAHAYA
Mata kita dapat melihat sebuah benda, mengidentifikasikan obyek dan
mengenal bentuknya karena bantuan cahaya. Sama halnya dengan fotografi, tanpa
cahaya tidak mungkin bisa bekerja untuk menciptakan sebuah karya foto. Cahaya
diperlukan untuk menghantarkan warna dan bentuk yang direkam pada film.
Pengertian fotografi sendiri adalah gambaran dari cahaya. Dengan
pengertian tersebut bahwa fotografi pada prinsipnya tidak lain memanipulasi
cahaya, baik secara teknik maupun secara artistik. Jadi, secara sederhana bahwa
dengan cahaya apa saja dan kondisi cahaya seperti apa saja dapat untuk melakukan
pemotretan (membuat gambar).
Sumber cahaya bisa bermacam-macam, bisa dari matahari, lilin, lampu pijar,
blitz, dll. Kualitas cahaya dari masing-masing sumber pun berbeda. Pemotretan
dalam keadaan cerah akan mendapakan foto yang baik, sedngkan pemotretan
dengan cahaya redup atau gelap cukup sulit dan foto yang diperoleh kadang juga
kurang memuaskan. Jadi untuk mendapatkan hasil pemotretan yang optimal kita
harus menggunakan cahaya yang memiliki kualitas yang sama dengan cahaya
matahari cerah (daylight). Jika kita memotret dengan cahaya yang tidak sesuai akan
terjadi pergeseran warna pada foto, misalnya foto berwarna menjadi kemerahan,
kekuningan, kehijauan dll sesuai cahaya tang meneranginya. Bertumpu pada hal
tersebut, semakin jelas bahwa cahaya merupakan elemen penting dalam fotografi.
Dalam fotografi fungsi cahaya dapat digolongkan menjadi tiga jenis, yaitu:
1. untuk menerangi obyek yang difoto. Dengan kondisi terang kita dapat
melakukan pengukuran cahaya dan penajaman fokus. Juga untuk
menentukan highlight dan shadow yang tepat.
2. cahaya dapat memberikan informasi yang lebih terinci mengenai
bentuk, warna, ukuran, tekstur dari obyek yang difoto dari bentuk 2 dimensi
menjadi terkesan 3 dimensi.
3. untuk menampilkan suasana atau mood bagi penikmatnya, seperti rasa
gembira, sedih, dll.
Good Light
The definition of “good light” is solely dependent on a photographer’s intent.
There is no time of day or year when the sunlight is photographically better than
another. However, it may be more suitable for a particular subject. At various times of
day and in different seasons, light takes on a range of unique physical attributes,
each with its own emotional and tactile qualities.
Have you ever encountered a scene that you thought would make a good
photograph, yet the results were disappointing? There is a strong probability that it
was photographed at a time of day at which the light did not reveal the fundamental
aspects of the subject that were important and attracted you to the scene in the first
place. Try photographing the scene again at a different time of day.
Keep in mind that discovering the best natural light for any subject is often just a
matter of timing and waiting for the light to be “right.” When a scene grabs your
attention (and you don’t have a camera with you), make a mental note of the time of
day and the weather conditions so you can return later and capture what you initially
found intriguing. Just as writing is about rewriting, photography can be about
rephotographing a subject until you get it the way you want it.

The Camera and Light

Your ability to function as a creative photographer depends on your knowledge of
how to make your equipment work for you. A camera is a recording device, and it will
not reproduce a scene or an experience without your guidance. The camera can
isolate a scene; it can reduce it to two dimensions; capture a slice of time; and set it
into a frame. What it does not do is record the sequence of events that led up to the
moment you pressed the shutter button or registered your private emotional
response to what was happening that sparked the urge to make the picture. This is
the substance you have to learn to incorporate into your pictures if you expect to
make photographs that stand on their own instead of snapshots that require
explanation. The camera does not discriminate in what it sees and records, but you
can, and must, make such distinctions to create successful images.
Keep in mind that the camera, lens, software, and paper have but a single purpose: to
capture and present light.
Dalam mempelajari lighting, hal mendasar yang perlu diketahui adalah:
1. Brightness
Brightness adalah kualitas intensitas dari pancaran atau pantulan cahaya.
Secara verbal dapat mendefinisikan brightness sebagai terang dan gelap.
Kita dapat mengukurnya secara akurat dengan sebuah light meter.
Brightness adalah kualitas cahaya yang komparatif, sehingga efek-efek
cahaya itu dapat diubah-ubah pada tiap step dalam proses fotografi. Bahkan
setelah pemotretan.
2. Contrast
Contrast adalah perbedaan atau tingkat perubahan antara terang-gelap
(brightnesses) cahaya dalam suatu gambar. Contrast, sama dengan
brightness, dapat diubah-ubah selama proses fotografi, hingga fotografer
memutuskan untuk berhenti memanipulsinya.
3. Color
Cahaya sering dibayangkan sebagai putih, padahal yang sebenarnya
merupakan gabungan dari 3 warna primer (warna cahaya) yaitu merah,
hijau, dan biru (RGB). Penggunaan color meter sangat berguna untuk
menetralkan color balance. Warna cahaya diukur menggunakan satuan
derajat Kelvin oK.

Dari sekian banyak sumber cahaya, secara global, terbagi menjadi:

1. cahaya alam (natural light), yaitu matahari dan bulan.
2. cahaya buatan (artificial light) misal lampu pijar, studio flash, dll.

Berdasarkan arah sumber cahaya terhadap obyek dapat dibagi menjadi:

1. Frontlight. Bila obyek mendapat sinar dari depan atau sumber cahaya
berada searah kamera.
2. Side Lighting. Penyinaran langsung dari samping dengan sudut cahaya 45 o-
90o terhadap obyek dari kamera.
3. Back Lighing. Penyinaran dari arah belakang obyek dengan sudut cahaya
135o-180o terhadap obyek dari kamera. Arah sumber cahaya dari belakang
obyek, atau kamera langsung berhadapan dengan sumber cahaya. Kondisi
ini dapat menimbulkan beberapa kesulitan, seperti flare, adanya cahaya
yang masuk langsung ke dalam lensa yang mengganggu gambar. Dapat
dikurangi atau dihindari dengan pindah posisi atau menggunakan
lenshood.
4. Overhead Lighting. Penyinaran dari atas obyek. Akan terjadi banyak
bayangan pada wajah.
NATURAL LIGHTING (MATAHARI)
Membuat foto dengan menggunakan cahaya alam harus mengikuti dan
menyesuaikan dengan keadaan alam, karena kita tidak dapat mengaturnya. Cahaya
alam bagi manusia merupakan hal yang biasa, tapi dalam dunia fotografi cahaya
matahari memegang peranan yang sangat penting karena dari cahaya inilah foto
yang kita buat akan berhasil atau tidak.
Di Indonesia matahari mulai terbit sekitar pukul 5.30 pagi, kemudian
memberikan cahaya terang sepanjang siang hari dan akan terbenam kembali sekitar
pukul 18.00 dan seterusnya.
Untuk pemotretan sunrise kita bisa mulai sebelum pukul 5.00 pagi, ketika
langit sebelah timur mulai terbentuk awan-awan berwarna, mula-mula biru
kemerahan dan berangsur menjadi kuning terang. Kemudian matahari akan muncul
pertama kali sebagai bola merah dan perlahan berubah menjadi kuning, dan langit
berubah menjadi terang dalam waktu tidak lama.. Keadaan ini bisa ditangkan oleh
mata dan sangat menarik untuk direkam.
Sekitar pukul 6.00 sampai pukul 9.00 merupakan saat terbaik untuk
melakukan pemotretan. Karena kualitas cahaya yang ada relatif lebih sangat baik.
Dengan kontras cahaya yang cukup rendah, sehingga memberikan mood cahaya
yang menyenangkan. Serta posisi matahari yang rendah dan tidak terlalu tinggi yang
dapat menciptakan volume pada obyek.
Sesudah saat itu lewat, cahaya yang dipancarkan matahari lebih kuat untuk
bisa diterima mata dan film. Kontras cahaya menjadi lebih tinggi, kesan yang muncul
adalah karakter yang keras. Dengan kontras yang tinggi, dan bayangan yang pendek,
akan terjadi beberapa hal yang mengganggu. Namun hal tersebut dapat diatasi
dengan bermacam-macam teknik fotografi.
Sore hari, mulai sekitar pukul 15.00, matahari mulai condong dari arah barat
dan pancaran cahaya berangsur melunak, kontras pun berkurang, sehingga menjadi
lebih nyaman. Kualitas cahaya pada saat tersebut hampir sama dengan saat pagi
hari, namun warna cahaya lebih menghangat dibanding cahaya pagi hari. Saat ini
juga baik sebagai waktu pemotretan.
Menjelang matahari terbenam (sunset) banyak sekali kemungkinan
keindahan yang tercipta. Keindahan penampilan saat sunset, banyak menjadi
inspirasi dan obyek fotografi. Peralihan keadaan sore menjelang petang atau malam
hari yang sering disebut golden hour berlangsung sangat cepat. Cahaya matahari
yang datang dari sudut yang sangat rendah menimbulkan efek suasana alam/warna-
warni langit yang sangat menarik dan menakjubkan. Pada saat itu, matahari berupa
bola merah, dengan cahaya yang terhalang atmosfir sehingga menjadi sangat
lemah.
 Matahari menerangi obyek bisa secara langsung maupun tidak langsung.

1. Direct sunlight
Penyinaran langsung terhadap obyek menyebabkan adanya bagian terang
(highlight) dan bayangan (shadow). Perbedaan keduanya sering disebut
dengan kontras. Bila cahaya matahari langsung tanpa terhalang awan atau
kabut, akan terjadi kontras tinggi. Sebaliknya bila ada awan atau kabut yang
menghalangi, kontras akan berkurang.
2. Open Shade
Penyinaran dengan cahaya matahari secara tidak langsung karena terhalang
atau dihalangi oleh sesuatu (di bawah bayang-bayang). Cahaya pada daerah
bayangan terbuka (open shade) berkarakter kontras rendah. Dapat
dilakukan pemotretan dengan cahaya ini pada bayangan di bawah pohon,
di teras, atau di bawah tenda.
3. Window Lighting
Penyinaran dengan cahaya matahari secara tidak langsung, melalui jendela.
Sifat dan karakter cahaya matahari tergantung dari kondisi saat itu. Dapat
terjadi, sinar matahari langsung masuk melalui jendela mengenai objek,
sinar matahari langsung masuk melalui jendela mengenai objek namun
terhalangi oleh tirai tipis, ataupun sinar matahari secara tidak langsung
masuk melalui jendela. Luas dan sempitnya bidang jendela juga
mempengaruhi sifat dan karakternya sinar yang masuk.
The Cycle of Light and Its Basic Characteristics
Begin by observing the cycle of light and noting its characteristics, especially in
terms of color and shadow. The following are some of the basic qualities of the
predictable phases of light that will affect your images.
Before Sunrise
In the earliest hours of the day, our world is essentially black and white. The light
exhibits a cool, almost shadowless quality, and colors are muted. Up to the moment
of sunrise, colors remain fl at and opalescent. The intensity of the colors grows as the
sun rises. Artificial lights can appear as accents and create contrast.
Morning
As soon as the sun comes up, the light changes dramatically. Since the sun is low and
must penetrate many miles of atmosphere, the light that gets through is much
warmer in color than it will be later in the day. The shadows can look blue, as they
lack high, brilliant sunlight and because of the great amount of blue from the
overhead
sky. As the sun rises, the color of light becomes warmer (red-orange). By
midmorning, the light begins to lose its warm color and starts to appear clear and
white.
Midday
The higher the sun climbs in the sky, the greater the contrast between colors. At
noon the light is white. Colors stand out strongly, each in its own hue. The shadows
are black and deep. Contrast is at its peak. Subjects may appear to look like three-
dimensional cut-outs. At noon the light may also be too harsh, stark, or crisp for
many subjects.
Afternoon
As the sun drops to the horizon, the light begins to warm up again. This is a gradual
process and should be observed carefully. On clear evenings, objects can take on an
unearthly glow. Look for an increase in red. The shadows lengthen and become bluer.
Surfaces are strongly textured. An increasing amount of detail is revealed as the level
of the sun lowers.
Twilight/Evening
After sunset, there is still a lot of light in the sky. Notice the tremendous range of light
intensity between the eastern and western skies. Often the sunset colors are refl
ected from the clouds. Just as at dawn, the light is very soft and contrast and shadow
are at a minimum. After sunset and throughout twilight, notice the warm colors in
the landscape.
This phenomenon, known as purple light, arises from light from the blue end of the
spectrum falling vertically on you from the overhead sky. Observe the glowing pink
and violet colors as they gradually disappear and the earth becomes a pattern of
blacks and grays.
Night
The world after the sun has set is seen by artifi cial light and refl ected light from the
moon. The light is generally harsh, and contrast is extreme. Combinations of artificial
light and long exposure can create a surreal atmosphere. Photographing under these
conditions usually entails long exposures at a high ISO setting in combination with a
tripod, a brace, or a very steady hand.
The Seasons
The position of the sun varies depending on the time of year and your geographic
location in relation to the equator. This has a great impact on both the quality and
quantity of the light. Learn to recognize these characteristics and look for ways to go
with and against the fl ow of the season to obtain the best possible photographs.
Winter means a diminished number of daylight hours. Bare trees, pale skies, fog, ice,
rain, sleet, and snow all produce the type of light that creates muted and subtle
colors. Spring brings on an increase in the amount of daylight and the introduction
of more colors. Summer light offers the world at its peak of color. Harsh summer light
can offer a host of contrast and exposure problems for the photographer.
 COLOR THEORY

Fotografi erat hubungannya dengan warna. Hampir setiap

fotografer, terutama yang bukan fotografer black & white pernah
melakukan color correction atau dalam bahasa Indonesianya koreksi
warna. Koreksi warna dilakukan baik karena keterbatasan kamera
dalam mereproduksi warna-warna persis seperti yang kita inginkan
maupun karena memang ingin memperkuat atau melemahkan
kandungan warna tertentu pada foto kita.
Alasan lain orang melakukan koreksi warna adalah karena ada
perubahan warna ketika kita melakukan konversi mode warna dari
RGB ke CMYK dan sebaliknya.
Sayangnya tidak semua orang yang melakukan koreksi warna
mengerti tentang teori warna. Memang benar, setiap orang boleh dan
bisa melakukan koreksi warna walaupun tanpa mengetahui teori
warna yang baku. Namun alangkah baiknya jika kita mengetahui
sedikit mengenai teori warna yang ada karena sedikit banyak akan
membantu kita dalam melakukan koreksi warna.
Anda pasti familiar dengan nama ”RGB” dan ”CMYK”. Tapi
apakah Anda tahu apa arti dari kedua nama tersebut? RGB sering
disebut sebagai warna additive atau warna Tuhan. Hal ini karena warna
ini dihasilkan oleh cahaya yang ada. Beberapa alat yang menggunakan
color model RGB antara lain: mata manusia, projector, TV, kamera
video, kamera digital, dan alat-alat yang menghasilkan cahaya. Proses
pembentukan cahayanya adalah dengan mencampur ketiga warna
tadi. Skala intensitas tiap warnanya dinyatakan dalam rentang 0
sampai 255.
Ketika warna Red memiliki intensitas sebanyak 255, begitu juga
dengan green dan blue. Maka terjadilah warna putih. Sementara ketika
ketiga warna tersebut mencapai intensitas 0, maka terjadilah warna
hitam, sama seperti ketika kita berada di ruangan gelap tanpa cahaya,
yang tampak hanya warna hitam. Hal ini bisa kita lihat ketika kita
menonton di bioskop tua dimana proyektor yang digunakan masih
menggunakan proyektor dengan 3 warna dari lubang yang terpisah,
kita bisa melihat ketika film menunjukkan ruangan gelap, cahaya yang
keluar dari ketiga celah proyektor tersebut berkurang. Sementara
ketika gambar di layar menunjukkan warna dominan dari salah satu
dari ketiga warna RGB maka cahaya yang keluar dari celah proyektor
hanya kuat di salah satu celah saja.
Bagaimana dengan CMYK? CMYK sering disebut sebagai warna
subtractive. Mode warna ini digunakan oleh alat-alat yang
mereproduksi warna dengan cairan atau pigmen buatan manusia
seperti printer untuk merepresentasikan warna yang diinginkan. Pada
awalnya mode warna CMYK berasal dari color model CMY. Ilmuwan
warna pada saat itu berusaha menemukan formula yang tepat untuk
menemukan mode warna yang bisa menghasilkan warna seperti pada
mode warna RGB. Jika warna putih pada RGB dibuat dengan
mencampur warna red, green dan blue pada skala maksimal, pada
color model CMY warna putih dihasilkan ketika intensitas warna Cyan,
Magenta dan Yellow berada pada titik 0%. Hal ini berdasar pada
asumsi kertas yang digunakan putih. Maka dari itu Anda tidak pernah
bisa menghasilkan warna putih dengan printer Anda ketika Anda
menggunakan kertas berwarna. Sementara dengan RGB apapun
warna dasar yang ada bisa berubah menjadi terlihat putih, karena
adanya cahaya.
Selanjutnya, ketika ilmuwan berusaha membuat warna hitam
dengan color model CMY, mereka menemui jalan buntu. Walaupun
secara teori dengan mencampur warna cyan, magenta dan yellow
pada kadar 100% bisa didapatkan warna hitam, namun pada
kenyataannya warna yang didapatkan dengan mencampur ketiga
warna tersebut pada kadar maksimal hanya akan mendapatkan warna
coklat tua mendekati hitam. Untuk itulah ditambahkan warna black.
Dan sejak saat itu mode warna CMY menjadi CMYK. Tapi jangan salah
sangka K pada CMYK bukan merupakan singkatan dari Black,
melainkan singkatan dari “Key” yang kurang lebih artinya warna
tersebut adalah kunci dari masalah tersebut.

COLOR BALANCE
Mode warna CMY & RGB saling berhubungan dan saling bertentangan.
Percampuran warna-warna CMY bisa menghasilkan warna-warna RGB
begitu juga sebaliknya.
Pengurangan intensitas pada satu warna tertentu akan berakibat pada
menambahnya intensitas pada warna lain yang diseberangnya. Hal ini
bisa dilihat pada fasilitas color balance di beberapa software seperti
Adobe Photoshop. Misalnya, Yellow dengan Blue yang berseberangan,
Green dengan Magenta, Red dengan Cyan. Masing-masing pasangan
ini berseberangan. Artinya penambahan warna yang satu akan
berakibat pengurangan intensitas warna yang ada di seberangnya.
Dengan mengetahui color balance ini Anda bisa lebih leluasa
melakukan color correction.

COLOR GAMUT
Bagi Anda yang memotret hanya untuk keperluan website, atau hanya
dilihat di monitor tentunya Anda banyak bekerja pada mode warna
RGB karena mode warna itu yang digunakan oleh peralatan semacam
itu. Namun bagi Anda yang memotret untuk keperluan cetak offset
tentunya Anda harus mengkonversi warna dari mode RGB ke CMYK.
Masalah yang paling banyak terjadi adalah terjadinya distorsi warna
atau perubahan warna. Hal ini juga sering kita temui ketika kita
mencetak foto kita dengan printer rumahan.
Perlu diketahui bahwa tiap color model memiliki keterbatasan
menampilkan warna. Singkatnya tidak semua warna yang bisa
ditampilkan oleh color model RGB bisa ditampilkan oleh color model
CMYK, begitu pun sebaliknya. Warna-warna dengan saturasi tinggi
yang bisa ditampilkan dengan bantuan system reproduksi cahaya
tentunya tidak bisa ditampilkan oleh CMYK. Keterbatasan
menampilkan warna inilah yang disebut dengan color gamut. Dengan
mengenali color gamut Anda, Anda bisa bekerja lebih leluasa bukan?
KALIBRASI WHITE BALANCE MANUAL
Banyak pehobi foto yang senang bermain dengan warna-warna dalam
sumbu hue tertentu. Terutama foto-foto yang bertema fashion dan wedding.
Ketika banyak fotografer yang berusaha keras mencari warna netral pada
foto-foto mereka, fotografer yang suka bermain dengan warna justru
merubah foto netral menjadi bernada warna tertentu misalnya kemerahan,
kebiruan, kehijauan, kekuningan, dll. Berbeda dengan fotografer komersial
khususnya dalam melakukan foto produk. Foto produk seringkali menuntut
akurasi warna yang tepat karena harus bisa menggambarkan warna asli
produk yang difoto.

Lepas dari termasuk kategori manakah anda, kami melihat akan sangat baik
jika setiap fotografer mengerti dan tau betul bagaimana cara mendapatkan
warna netral. Untuk itu pada edisi ini, dengan sangat terpaksa kami
melanggar janji kami sendiri untuk tidak menampilkan step by step tutorial
pada majalah ini. Karena hal yang akan kami jelaskan dalam mendapatkan
warna netral bersifat sangat teknis. Mudah-mudahan tidak sekedar dihapal
namun dimengerti sehingga lain kali anda tidak perlu membuka halaman ini
lagi untuk melakukan kalibrasi warna dan tonal.

Pada jaman digital seperti sekarang ini, white balance bukan masalah lagi
karena anda dengan mudah bisa berganti-ganti setting white balance
dengan mudahnya. Lain halnya ketika anda menggunakan kamera analog
dimana white balancenya tergantung pada film yang digunakan. Namun
apakah benar white balance yang selalu anda gunakan di kamera benar-
benar akurat? Banyak fotografer professional yang menggunakan lembaran
kertas yang dicetak khusus yang berisi 3 warna, keputihan (bukan 100%
putih), abu-abu, dan kehitaman (bukan 100% hitam) untuk melakukan
kalibrasi dengan white balance. Alat itu dinamakan Grey Card. Jika anda
menggunakan software RAW editor tertentu, anda bisa dengan mudah
melakukan kalibrasi dengan grey card ini. Namun akan lebih baik lagi jika
anda mengerti betul bagaimana cara kerja kalibrasi dengan grey card atau
color checker seperti yang kami gunakan.

Untuk mengerti lebih jauh lagi mengenai kalibrasi dengan grey card akan
sangat baik jika anda mengerti color model yang ada. Color model yang
digunakan oleh kamera digital adalah RGB (Red, Green, Blue). Ilmuwan warna
menamakan ini sebagai warna additive. Warna ini diciptakan oleh Tuhan.
Prinsip cara kerja warna additive adalah berdasarkan cahaya. Ketika ketiga
elemen (Red, Green dan blue) bernilai maksimal (dinyatakan dengan angka
255) maka yang terjadi adalah warna putih. Teorinya ketika anda memiliki 3
buah lampu dengan warna merah, hijau dan biru dinyalakan secara maksimal
dan dipertemukan maka yang terjadi adalah warna putih. Sementara jika
nilainya minimum (dinyatakan dengan angka 0) maka sama seperti ketika
ketiga buah lampu tadi tidak ada yang menyala, yaitu gelap alias hitam.
Sementara Warna abu-abu ad adi tengahnya. Artinya untuk memproduksi
warna hitam, abu-abu, putih dan warna lainnya pada kamera anda,
digunakan pencampuran dari warna utama Red, Green dan Blue dengan
kadar tertentu bergantung pada kepekatan tonalnya.

Mengapa kalibrasi kamera menggunakan grey card atau color checker?

Begini cara kerjanya. Kalibrasi kamera adalah mencari settingan warna netral
dari tiga elemen tonal, yaitu Highlight, Midtone, dan Shadow. Highlight
adalah titik paling terang dimana masih menyimpan detail gelap sedikit
(bukan R:255, G:255, B:255), sementara Shadow adalah titik paling gelap di
mana masih menyimpan sedikit terang (Bukan R:0, G:0, B:0). Warna netral
artinya tidak kemerahan, tidak kehijauan, tidak kebiruan dan lain sebagainya.
Artinya ketika anda mengukur kadar komposisi warna R,G,B pada tiap
elemen (Highlight, Midtone, Shadow) komposisi ketiga warna tersebut
sebaiknya berimbang. Untuk itu pengukurannya tidak bisa dilakukan dengan
mengira-ngira berdasarkan penglihatan kita, namun akan lebih akurat jika
diukur berdasarkan data angka melalui software grafis seperti Adobe
Photoshop.

Langkah awalnya adalah dengan mengawali pemotretan dengan grey card

atau color checker seperti yang kami gunakan. Setelah itu file tersebut kita
buka di software yang bisa membaca kadar komposisi warna, lalu dengan
color sampler kita klik di ketiga tempat dalam grey card atau color checker
(Highlight, Midtone, Shadow). Pada palet info bisa terlihat kadar komposisi
R,G,B yang membentuk highlight, midtone dan shadow. Jika pada color
sample highlight besaran R,G,B nya sama, artinya pada highlight warnanya
netral. Selanjutnya cek juga pada midtone & shadow.

Pada contoh yang kami berikan, terdapat perbedaan baik pada highlight,
midtone maupun shadow. Pada highlight kandungan red terlalu tinggi
sehingga perlu diadjust. Selain itu ketiga elemen warnanya tidak ada yang
sama. Sementara pada shadow kandungan greennya terlalu lemah, sehingga
shadownya cenderung bernuansa magenta. Dan terakhir pada midtone
kandungan rednya terlalu tinggi. Untuk mendapatkan warna netral
sebaiknya angka yang tercantum di ketiga warna R,G,B besarannya sama
atau sedekat mungkin. Bagaimana cara melakukan adjustmentnya? Pertama
anda harus melakukan adjustment pada highlight dan shadow. Anda bisa
menggunakan Level pada Adobe Photoshop. Pertama lakukanlah koreksi
pada highlight. Cari elemen warna apa yang akan diadjust lalu lakukan
adjustment pada channel tersebut di level. Caranya adalah dengan
menggeser slider highlight baik input maupun output. Lakukan juga pada
warna lain jika perlu. Perhatikan pergeseran nilai pada palet info. Ketika nilai
yang diinginkan sudah didapat bergantilah pada elemen shadow. Lakukan
hal yang sama. Tujuannya adalah untuk mendapatkan besaran yang sama
antara R,G,B di tiap elemen (shadow, highlight).

Sementara untuk melakukan koreksi pada midtone anda bisa menggunakan

curve. Yang pertama harus anda lakukan adalah melindungi bagian highlight
(bagian atas) dan shadow (bagian bawah) pada curve anda. Caranya adalah
dengan mengklik satu kotak paling atas dan paling bawah sehingga yang
akan terkoreksi hanyalah midtone. Selanjutnya anda perlu menghitung nilai
rata-rata dari ketiga elemen R, G, B pada elemen midtone. Caranya adalah
dengan menjumlahkan nilai ketiga elemen warna tadi lalu bagi dengan 3.
Contoh yang saya berikan adalah 167, 164, dan 158. rata-rata dari
penjumlahan ketiga nilai tadi adalah 163. Langkah selanjutnya, klik bagian
tengah curve pada channel red lalu masukkan angka 167 (nilai awal sebelum
dikoreksi) pada bagian input dan 163 (angka rata-rata) pada bagian output,
maka secara otomatis nilainya akan bergeser ke angka yang sama dengan
Green dan blue setelah anda melakukan hal yang sama. Selanjutnya pada
curve channel green masukkan 164 pada input (angka sebelum koreksi) dan
163 pada output (angka rata-rata). Begitu juga pada curve channel blue,
masukkan 158 pada input (nilai sebelum koreksi) dan 163 pada output (nilai
rata-rata). Maka anda akan mendapatkan nilai yang sama.

Dan anda mendapatkan warna netral. Artinya foto anda terkalibrasi. Untuk
melakukan hal ini pada foto-foto yang lain silakan save preset ini dan load
pada foto lain yang satu sequence dengan foto ini. Selamat mencoba.
Equipment and techniques
A camera with movements is essential for serious architectural photography,
although detail work can be carried out with any regular camera. Vertical
lines shown strongly converging are acceptable for dramatic, linear
compositions but they look wrong (or careless) when just offtrue.
In any case, you will need shift and probably swing movements to work from
high or low viewpoints, extend depth of field over a chosen plane, etc. Your
lenses – especially wide angles – must therefore offer really generous
covering power. Remember that lenses give best results when used at an
aperture around the middle of the aperture range. Use an incident light
meter to determine the correct exposure. If you use only your camera’s built-
in light meter make sure that you measure a mid tone area for correct
exposure. Your method depends on your camera’s available light-metering
system (centerweighted, matrix, spot, etc.).
With digital cameras ensure that you do not overexpose the highlights
because you will lose all detail in these areas. If available, check the histogram
of your image on the camera display before exposure.
Have a kit of lamps or portable studio flash to help fill in and reduce contrast
and unevenness with interiors. For colour shots, have blue acetate so that,
where necessary, you can match up lamps with daylight seen through
windows. However, never overdo your extra lighting – often it is vital to
preserve the existing lighting scheme as part of the character of the
building itself. For this reason, soft, bounced illumination is often best. Take
some bluetinted domestic lamps to swap for lamp bulbs in any desk lamp,
wall lights, etc. included in the picture if an orange cast here is objectionable
on daylight film stock.
You also need a powerful variable-output flashgun for situations where there
is no suitable electricity supply. If you work with a large- or medium-format
camera using film an instant-picture back helps you to preview whether fill-in
is sufficient yet natural-looking. Remember that either tungsten light or flash
can be used from several different positions during a time exposure (covering
the lens in between) to fill-in dark areas. Another way of working
 Filters

Introduction
The purpose of a filter is to selectively modify the light used for exposure.
Filters are used by all professional photographers. They are an indispensable
means of controlling the variations in light source the photographer is likely
to encounter or use. The range of filters used varies according to the range of
situations likely to be encountered.

Studio
In the studio the photographer is able to create images with a consistent
quality using few, if any, filters. The photographer must simply ensure the film
stock or image sensor white balance is carefully matched to the light source
being used. The studio photographer has the option of filtering the light
source, the camera lens or placing the filters between the lens and the image
plane. If the photographer is using a mixture of light sources the
photographer should ideally filter the light at its source. Any filter attached to
the camera lens must be of premium quality - preferably glass.

Location
On location where ambient light is the primary light source or cannot be
eliminated from the overall exposure the necessity to carry and use a broad
range of filters increases.
If choosing to purchase filters for lenses the photographer needs to be aware
of the thread size on the front of each lens intending to be used. Filter sizes
for fixed focal length, wide angle and standard lenses on small format SLR
cameras are usually between 48 to 55mm. Medium format, telephoto and
zoom lenses may have thread sizes much larger. Purchasing every filter for
every lens would be an expensive operation, so filters have to be selected
carefully through actual rather than perceived need.
Plastic filters are available from manufacturers such as ‘Cokin’ which can be
adapted to fit a range of different lens diameters. The initial outlay of money
to filter all the lenses owned by the photographer can be greatly reduced,
but their working life may be far less because the risk of damage is far
greater. The decision must be left to the individual photographer.
Basic colour theory
To be comfortable with filtration it helps to understand basic colour theory.
The broad spectrum of visible light is divided into three primary colours and
three secondary colours. The primary colours of light are red, green and blue
(RGB).
The secondary colours are yellow, cyan and magenta. When used in the
printing industry to create images black is added (CMYK or four-colour
printing). Each secondary colour is a combination of two primary colours and
is ‘complementary’ to the third primary.
~ Yellow is complementary to blue
~ Cyan is complementary to red
~ Magenta is complementary to green

Filter categories
Filters can be divided into five main categories:
~ Neutral filters
~ Black and white
~ Colour conversion
~ Colour balancing
~ Effects

Neutral filters
A range of filters are manufactured that have little or no colour. These
include:
~ UV (haze) and ‘Skylight’ filters (clear)
~ Neutral density filters (grey)
~ Polarising filters (grey)

UV and skylight filters

Ultra-violet (UV) radiation present in the spectrum of light is invisible to
human vision but adds to the overall exposure of the image. It is most
noticeable with landscape images taken at high altitude and seascapes. To
ensure the problem is eliminated, UV filters can be attached to all lenses used
on location. If the optical quality of the filter is good the filters may be left
permanently attached to the lenses. The added benefit of this practice is the
front lens element of each lens will be protected from scratching. A Skylight
filter also eliminates UV light and has a colour compensating effect. Shadows
filled by skylight have a blue cast and the slightly pink tinge of the filter helps
to create shadows with a neutral colour cast when using colour transparency
film. Skylight filters are identified as a 1A and a stronger 1B.

Neutral density filters

With manufacturers going to great lengths to create fast lenses with wide
maximum apertures it may seem a little strange to find a range of filters
available which reduce the light reaching the film or image sensor at any
given aperture. These are neutral density filters and are available in a range of
densities. If only one is purchased the photographer should consider one
that can reduce the light reaching the film or image sensor by at least two
stops (four times). Neutral density filters are used for two reasons:
Reducing depth of field & Increasing duration of exposure

Reducing depth of field

Very shallow depth of field is not always possible when working on location if
the ambient light is very bright. If the photographer is using an ISO setting of
100 and direct sunlight to illuminate the subject the photographer may only
be able to select f5.6 or f8 as their maximum aperture, if the maximum
shutter speed available on the camera being used is 1/1,000 or 1/500 second.
This aperture may not be enough to sufficiently isolate the subject. If the
aperture was increased further overexposure would result. The problem can
be solved by using a slower speed film, or lower digital ISO setting if
available, a modern camera with a focal plane shutter that is capable of
exceeding 1/1000 second, or a neutral density filter.

Increasing duration of exposure

Long exposures are not always possible when working on location if the
ambient light is bright. If the photographer is using a film or image sensor at
100 ISO and direct sunlight to illuminate the subject the photographer may
only be able to select 1/60 or 1/30 second as their slowest shutter speed, if
the minimum aperture on the camera lens is f22 or f32. This shutter speed
may not be sufficient to give the movement blur required. The problem can
be solved by using a slower speed film, a lower ISO setting on the digital
camera if available, a lens with a minimum aperture smaller than f32 or a
neutral density filter.
Polarising filters
Polarised light is the light reflected off shiny non-metallic surfaces and parts
of the blue sky. A polarising filter can reduce this polarised light and the
effects are visible when viewing the image in the camera.
A polarising filter is one of the most useful filters a photographer can own. It
is grey in appearance and when sold for camera lenses it consists of the
actual filter mounted onto a second ring, thus allowing it to rotate when
attached to the lens. The filter is simply turned until the desired effect is
achieved.
The polarising filter is used for the following reasons:
~ Reduce or remove reflections from surfaces
~ Darken blue skies at a 90 degree angle to the sun
~ Increase colour saturation

Possible problems
The filter should be removed when the effect is not required. If not removed
the photographer will lose two stops and reduce the ability to achieve overall
focus.
When the polarising filter is used in conjunction with a wide-angle lens, any
filter already in place should be removed. This will eliminate the problem of
tunnel vision or clipped corners in the final image. Photographing
landscapes when the sun is lower in the sky can result in an unnatural
gradation, ranging from a deep blue sky on one side of the frame to a lighter
blue sky on the other.

Black and white filters

When the photographer is using black and white film there is the option of
controlling tonal values and contrast by using coloured filters, e.g. a green
apple and an orange may record on black and white film with the same tonal
value or shade of grey. The use of an orange filter would result in the orange
recording lighter and the apple darker, using a green filter would result in the
apple recording lighter and the orange darker. Filters lighten their own
colour. In this way the tones are made different. Many photographers using
black and white film use a yellow green filter as standard to correct the bias
of the film towards the blue end of the spectrum.

The basic rule when using coloured filters with black and white film is:
Adjacent colours are lightened.
Opposite colours are darkened.

Using the colour wheel left, the photographer can quickly determine that
colours the same as the filter and either side of the filter colour will be
lightened. All others will be darkened.
Special-Effects Filters
• Center spot: Diffuses the entire area except the center.
• Changeable color: Used in combination with a polarizing filter.
Rotating the filter changes the color, from one primary, through the
midtones, to a different primary color.
• Color spot: The center portion of filter is clear with the surrounding
area colored.
• Color vignette: Filters with colored edges and a clear center portion.
• Cross screen: Exaggerates highlights into star shapes.
• Diffraction: takes strong highlights and splits them into spectral color
beams.
• Diffusion: Softens and mutes the image and color.
• Double exposure: Masks half the frame at a time.
• Dual color: Each half of the frame receives a different color cast.
• Fog: Delivers a soft glow in highlight areas while lowering contrast
and sharpness.
• Framing: Masks the frame to form a black or colored shape.
• Graduated: Half the filter is colored and the other half is clear.
• Prism/multi-image: Repeats and overlaps the image within the frame.
• Split field: Allows differential focus within the frame.
Filter exercise

1. What is different about a skylight filter when compared to a UV

filter?
(a) No difference
(b) A skylight filter is a colour compensation filter offering no UV
reduction
(c) A skylight filter offers UV reduction and colour compensation.

2. What is the purpose of a neutral density filter?

(a) Prevent underexposure
(b) To reduce glare
(c) To darken blue skies
(d) To enable reduced depth of field or extended shutter speeds when
the ambient light is bright.

3. What precautions must be taken when using a polarising filter on a

wide-angle lens?
(a) Remove any UV or skylight filter
(b) Fit a lens hood
(c) Shoot at right angles to the sun
(d) Apply appropriate exposure compensation to TTL light meter
reading.

4. What colored filter is required to correct tones to that of human

vision when using black and white film?
(a) Skylight (b) Yellow (c) Yellow/Green (d) Orange.

5. What exposure compensation is necessary when using a red filter?

(a) Divide the exposure by a factor of 8.
(b) Increase exposure by 2 stops.
(c) Increase exposure by 3 stops or more.
(d) Increase exposure by 8 stops.

6. What filter is required to convert the color temperature of daylight

to that which is suitable for a tungsten film?
(a) 81A (b) 81B (c) 80B (d) 85B.

7. When would you use an 80A filter?

(a) As a warming filter to remove a blue cast from shadows.
(b) As a colour conversion filter when using Daylight film and Tungsten
light.
(c) As a cool colour balancing filter.

8. What is an FLD filter used for?

(a) Lowering density.
(b) Fully correcting the cast of all fluorescent lights.
(c) A filter for partially correcting the cast of most fluorescent lights.
Flash Exercise

1. Why would you choose to use a gold reflector on location whilst

photographing a model on a sunny day?
(a) Correct a blue colour cast in the shadows
(b) Increased reflection of light compared to silver or white reflectors
(c) Increase warmth of highlights.

2. What is the likely effect if you exceed the recommended shutter

speed whilst using flash on an SLR camera?
(a) Underexposure (b) Overexposure
(c) Partial exposure to image area (d) No exposure.

3. A flash unit is switched to manual and fired at full power. The flash
meter reading taken six metres away indicates an exposure of f8. What
is the guide number of the flash unit?
(a) 24 (b) 48 (c) 14 (d) 32.

4. A flash unit with a guide number of thirty-two is switched to manual

and fired at full power. The distance to the subject is four metres and
the photographer is using 200 ISO film. What is the aperture required
for a correct exposure?
(a) f8 (b) f16 (c) f32 (d) f.5.6.

5. How can a photographer reduce or eliminate the risk of red-eye?

(a) Lower the intensity of the flash output
(b) Increase the distance between the subject and flash
(c) Increase the angle between the subject, camera lens and flash.

6. Explain the procedure you would need to take when lowering the
SBR using an automatic flash unit.
(a) Match the ambient exposure with the flash exposure
(b) Increase ambient exposure by opening up one stop
(c) Reduce flash exposure by firing flash at 1/2 or 1/4 power.

7. What must you ensure when using the technique of bounce-flash

with an automatic flash unit?
(a) A 45º angle of bounce
(b) The thyristor is directed towards the subject
(c) The unit is automatically fired via the hot-shoe or a sync lead.

8. What is slow-sync flash?

(a) Flash fired during a slow shutter speed
(b) Extended flash exposure
(c) Delayed firing of a flash during exposure.
CONTROLLING THE LIGHTS

FILL
The following conditions may lead a photographer towards selecting
additional lighting:
~ The lighting may be too dull for the intended film and the resulting slow
shutter speeds would cause either camera shake or subject blur.
~ Colour temperature of artificial lights causing undesired colour casts.
~ The ambient light is leading to an unsuitable brightness range for the film
or image sensor, e.g. the contrast is too high for the latitude of the capture
medium and would lead to either overexposed highlights or underexposed
shadows.
~ The direction of the primary light source is giving unsuitable modelling for
the subject, e.g. overhead lighting creating unsuitable shadows on a model’s
face.

In high and extreme contrast scenes where the subject brightness range
exceeds the latitude of the film it is possible for the photographer to lower
the overall lighting ratio by supplying additional fill-light. The two most
popular techniques include using reflectors to bounce the harsh light source
back towards the shadows or by the use of on camera flash at reduced power
output.

REFLECTOR
Fill-light can occur naturally by light bouncing off reflective surfaces within
the scene. It can also be introduced by reflectors strategically placed by the
photographer. This technique is often used to soften the harsh shadows cast
on models in harsh sunlight. The primary considerations for selecting a
reflector are surface quality and size.

Surface quality
Reflectors can be matt white, silver or gold depending on the characteristics
and colour of light required. A matt white surface provides diffused fill-light
whilst shiny surfaces, such as silver or gold, provide harsher and brighter fill-
light. Choosing a gold reflector will increase the warmth of the fill-light and
remove the blue cast present in shadows created by sunlight.
Size
Large areas to be filled require large reflectors. The popular range of
reflectors
available for photographers are collapsible and can be transported to the
location in a carrying bag. A reflector requires a photographer’s assistant to
position the reflector for maximum effect. Beyond a certain size (the
assistant’s ability to hold onto the reflector on a windy day) reflectors are
often not practical on location.

FLASH
Flash is the term given for a pulse of very bright light of exceptionally short
duration. The light emitted from a photographic flash unit is balanced to
daylight and the duration of the flash is usually shorter than 1/500 second.
When the photographer requires additional light to supplement the daylight
present, flash is the most common source used by professional
photographers.
It is perhaps the most common skill to remain elusive to students of
photography when working on location. The difficulty of mastering this
essential skill arises in the fact that the effects of the flash are not seen until
the film is processed. The flash is of such short duration that integrating flash
with ambient light is a skill of previsualisation and applied technique. The
photographer is unable to make use of modelling lights that are used on
studio flash units (modelling lights that can compete with the sun are not
currently available). The skill is therefore mastered by a sound understanding
of the characteristics of flashlight and experience through repeated
application.

Characteristics
Flash is a point light source used relatively close to the subject. The resulting
light is very harsh and the effects of fall-off (see ‘Characteristics of Light’) are
often extreme. One of the skills of mastering flash photography is dealing
with and disguising these characteristics that are often seen as professionally
unacceptable.

Choice of flash
Choosing a flash unit for use on location may be decided on the basis of degree of
sophistication, power, size and cost.

Automatic
An automatic flash unit uses a photocell mounted on the front of the unit to read the
reflected light and operate an on-off switch of the fast acting thyristor type. The
metering system works independently of the camera’s own metering system. If the
flash unit is detached from the camera the photocell must remain pointing at the
subject if the exposure is to be accurate.
Useful specifications Perhaps the most important consideration when selecting an
automatic flash unit is its ability to make use of a range of f-stops on the camera lens.
Cheaper units may only have a choice of two f-stops whereas more sophisticated
units will make use of at least four.
Ideally the output of a professional unit will have a ‘guide number’ (an indication of
the light output) of 25 or more. The amount of time the unit takes to recharge is also
a consideration. Many flash outfits have the option of being linked to a separate
power pack so that the drain on the unit’s smaller power supply (usually AA batteries)
does not become a problem.
The flash head of a unit will ideally swivel and tilt allowing the photographer to direct
the flash at any white surface whilst still keeping the photocell pointed at the
subject.

Dedicated
Dedicated flash units are often designed to work with specific cameras, e.g. Nikon
‘Speedlights’ with Nikon cameras. The camera and flash communicate more
information through additional electrical contacts in the mounting bracket of the
unit.
The TTL metering system of the camera is used to make the exposure reading instead
of the photocell. In this way the exposure is more precise and allows the
photographer the flexibility of using filters without having to alter the settings of the
flash.
In addition to the TTL metering system the camera may communicate information
such as film speed and the focal length of the lens being used. This information may
be automatically set ensuring an accurate exposure and the correct spread of light.
Features such as automatic fill flash, slow sync, rear curtain slow sync, red-eye
reduction and strobe are common features of some sophisticated units. Often the
manuals accompanying these units are as weighty as the manual for the camera
which they are designed to work in conjunction with.

Setting up a flash unit

Check that the film’s ISO has been set on either the flash or flash meter and the
camera. Check that the flash is set to the same focal length as the lens. This may
involve adjusting the head of the flash to ensure the correct spread of light.
Check that the shutter speed on the camera is set to the correct speed (usually
slower than 1/125 second on a 35mm SLR camera using a focal plane shutter).
Check that the aperture on the camera lens matches that indicated on the flash unit.
On dedicated units you may be required to set the aperture to an automatic position
or the smallest aperture.
Check that the subject is within range of the flash. On dedicated and automatic units
the flash will only illuminate the subject correctly if the subject is within the two
given distances indicated on the flash unit. If the flash is set incorrectly the subject
may be overexposed if too close and underexposed if too far away.
Check the accuracy of the flash output using a flash meter (see ‘Guide numbers’ in
this study guide).

Guide numbers
Portable flash units designed to be used with small-format and medium-format
cameras are given a ‘guide number’ (GN) by the manufacturers. This denotes its
potential power output. The guide number is an indication of the maximum distance
at which the unit can be used from the subject to obtain an appropriate exposure.
The guide number is rated in metres using a 100 ISO film and an aperture of f1.
Because very few photographers possess an f1 lens the actual maximum working
distance is usually somewhat lower than
the guide number would suggest.
A unit given a guide number of thirty-two could correctly expose a subject at sixteen
metres using an aperture of f2 (32 divided by 2 = 16). If the lens was changed to one
with a maximum aperture of f4, the maximum working distance would be reduced to
8 metres.
It therefore follows that if the guide number of the unit is known the correct
exposure can be determined by dividing the guide number by the working distance.
The resulting figure is the aperture required when the flash is turned to manual full
power (photocell
effectively switched off ). For example a flash with a guide number of 32 used to
expose a subject four meters away will require an aperture of f8.
Flash as the primary light source
The direct use of flash as a professional light source is often seen as unacceptable
due to its harsh qualities. The light creates dark shadows that border the subject, hot
spots in the image where the flash is directed back into the lens from reflective
surfaces and ‘red-eye’.

Red-eye
Red-eye is produced by illuminating the blood filled retinas at the back of the
subject’s eyes with direct flash. The effect can be reduced by exposing the subject’s
eyes to a bright light prior to exposure (‘red-eye reduction’) or by increasing the
angle between the subject, the camera lens and the flash unit. Red-eye is eliminated
by moving closer or by increasing the distance of the flash unit from the camera lens.
To do this the lens must be removed from the camera’s hot-shoe. This is called ‘off-
camera flash’.

Off-camera flash
Raising the flash unit above the camera has two advantages. The problem of red-eye
is mostly eliminated. Shadows from the subject are also less noticeable.
When the flash unit is removed from the camera’s hot shoe the flash is no longer
synchronized with the opening of the shutter. In order for this synchronization to be
maintained the camera and the flash need to be connected via a ‘sync lead’.
For cameras that do not have a socket that will accept a sync lead a unit can be
purchased which converts the hot shoe on the camera to a sync lead socket. If a
dedicated flash unit is intended to be used in the dedicated mode a dedicated sync
cable is required that communicates all the information between the flash and the
camera. If this is unavailable the unit must be switched to either automatic or manual
mode. Keep the photocell of an automatic unit directed towards subject during
exposure.

Hot-spots
When working with direct flash the photographer should be aware of highly
polished surfaces such as glass, mirrors, polished metal and wood. Standing at right
angles to these surfaces will cause the flash to be directed back towards the cameras
lens creating a hotspot.
Whenever such a surface is encountered the photographer should move so that the
flash is angled away from the camera. It is a little like playing billiards with light.
Diffusion and bounce
If the subject is close or the output of the flash unit is high, the photographer
has the option of diffusing or bouncing the flash. This technique will soften
the quality of the light but lower the maximum working distance.

Diffusion
Diffusion is affected by placing tissue, frosted plastic or a handkerchief over
the flash head. Intensity of light is lowered but the quality of light is
improved. The flash can be further diffused by directing the flash towards a
large, white piece of card attached to the flash head. Purpose made
attachments can be purchased.

Bounce flash
The most subtle use of flash is achieved by directing the flash to a much
larger, white reflective surface such as a ceiling for overhead lighting, or
nearby wall for side lighting. This is called bouncing the flash. To obtain this
effect the flash unit must have the ability to tilt or swivel its flash head. If this
is not possible the flash can be removed from the hot shoe and connected to
the camera via a sync lead. If an automatic flash is being used the
photographer must ensure that the photocell is facing the subject when
the flash is fired.

Fill-flash
Fill-flash can be a very useful way of lowering the brightness range. Often the
photographer is unable to reposition the primary subject and the addition of
fill-light from the camera’s position is essential to the image’s success. The aim
of fill-flash is to reveal detail in the dark shadows created by a harsh
directional light source. The aim is not to overpower the existing ambient
light and remove the shadows completely. If the power of the flash is too
high the light will create its own shadows creating an unnatural effect.
Because the ambient light is still regarded as the primary light source any
exposure dictated by the flash unit must also be suitable for the ambient
light exposure.
Mount the flash unit on the camera’s hot shoe and direct the flash towards
the subject. To retain the effect of the primary (ambient) light source the flash
is most commonly fired at half or quarter power.
Manual - Select a smaller aperture on the camera from that indicated by the
flash unit or flash meter, e.g. if the meter or unit indicates f5.6 select f8 or f11
on the camera.
Automatic - Many automatic flash units have the facility to fire at 1/2 or 1/4
power making fill-flash a relatively simple procedure. If this facility is
unavailable set the ISO on the flash unit to double or quadruple the actual
speed of the film or image sensor to lower the output.
Dedicated - Many sophisticated cameras and dedicated flash units have a fill-
flash option. This should be regarded as a starting point only and further
adjustments are usually required to perfect the technique. Power often needs
to be further lowered for a more subtle fill-in technique. The photographer
may also wish to select a ‘slow-sync’ option on the camera, if available, to
avoid underexposing the ambient light in some situations.

Flash as a key light

The main light in studio photography is often referred to as the ‘key light’.
Using studio techniques on location is popular in advertising and corporate
photography where mood is created rather than accepted. In this instance
flash becomes the dominant light source and the ambient light serves only
as the fill-light.
When the ambient light is flat, directional light can be provided by off-
camera flash. This enables the photographer to create alternative moods. The
use of off-camera flash requires either the use of a ‘sync lead’ or an infrared
transmitting device on the camera.

Slave units
Some professional flash units come equipped with a light-sensitive trigger so
that as soon as a flash connected to the camera is fired the unconnected
flash or ‘slave’ unit responds. On location the slave unit can be fired by the use
of a low powered on-camera flash.

Accessories
A tripod or assistant is required to either secure or direct the flash. An
umbrella or alternative means of diffusion for the flash may be considered.
Color compensating filters may also be considered for using over the flash
head. A warming filter from the 81 series may be useful to create the
warming effect of low sunlight.
Technique
• Check the maximum working distance of the flash.
• Ensure the key light is concealed within the image or out of frame.
• Diffuse or bounce the key light where possible.
• Consider the effects of fall-off.
• Avoid positioning the key light too close.
• Establish a lighting ratio between the key light and ambient light.
• Consider the direction of shadows being cast from the key light.
When working at night the photographer may have the option of approaching
the subject and firing a number of flashes manually during an extended
exposure (recharging the unit each time). The photographer or assistant must
take care not to illuminate themselves during this process.

Slow-sync flash
Slow-sync flash is a technique where the freezing effect of the flash is mixed with
a long ambient light exposure to create an image which is both sharp and
blurred at the same time.
Many modern cameras offer slow-sync flash as an option within the flash
program but the effect can be achieved on any camera. The camera can be in
semi-automatic or manual exposure mode. A shutter and aperture combination
is needed that will result in subject blur and correct exposure of the ambient
light and flash. To darken the background so that the frozen subject stands out
more, the shutter speed can be increased over that recommended by the
camera’s light meter.
• Load the camera with 100 ISO film or less.
• Select a slow shutter speed to allow movement blur, e.g. 1/8 second.
• Take an ambient light meter reading and select the correct aperture.
• Set the flash unit to give a full exposure at the selected aperture.
• Pan or jiggle the camera during the long exposure.

Possible difficulties
Limited choice of apertures - Less expensive automatic flash units have a limited
choice of apertures leading to a difficulty in obtaining a suitable exposure. More
sophisticated units allow a broader choice, making the task of matching both
exposures much simpler.
Ambient light too bright - If the photographer is unable to slow the shutter
speed down sufficiently to create blur, a slower film should be used or the image
created when the level of light is lower.