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The biggest job a cinematographer has on set is directing how the lights look in the frame. He knows everything about the lights and what they represent. The cinematographer is the master of lighting. Working closely with the director and gaffer of the production, the cinematographer creates a happy balance of lighting in the frame to produce a realistic picture. There are four key concepts a cinematographer utilizes when setting up lights: movement, placement, intensity and color. This is how I describe each:

Movement: “Why is the light moving?” “How much is it moving?” These are two questions a cameraman or cinematographer must ask himself. If there is no movement, fine-the scene is still. Movement causes curiosity, chaos and directs the eye to a certain place in the frame. If not trying to recreate a scene that requires lights to flicker, turn on and off at a certain rate or move back and forth as if searching for something, movement of light is not required-it just helps to make a more believable situation if necessary. Some examples of scenes that use light movement would be in a scene where the lights are going out or flickering or something like an interrogation scene. Movement could also be used to portray a lightning or a massive earthquake where everything is falling down and the power is going out. Also, any sort of club or party scene would use not only moving lights but colored lights as well.

Placement: Depending on where you place the light on a character, it creates different shadows on their faces and can create different moods and can change the way you look at someone. For instance, when you light someone from the bottom, it creates an evil look. Remember when you’d go camping and you’d scare your little sister by placing a flashlight under your chin, turning it on and making a scary face? Just like that. The more lights you use, the less shadow you will create, so using just one light will create more shadow and make a character look darker and more mysterious.

Using more lights makes things brighter and creates a happier mood. Therefore, villains normally are lit less and heroes are lit more to portray the darker and the lighter moods. Heroes will not be lit from underneath as much as they will from the front, back and side, using more lights. Their faces will be better lit so you can see their eyes better.

Intensity: Light intensity can make things look different and hide objects and even wrinkles in shadows. I once had an actress ask me to turn the light down a little because she thought she looked better in the lower lighting-and she was right-it took away some of her wrinkles and made her look a little younger and thinner. It was after this encounter that this lesson stuck with me. Just like black clothes give you the illusion of looking thinner, less light also makes you look thinner and younger. If you notice, in films you will see that antagonists are shown in darker lighting because shadowy figures represent someone evil or unapproachable to people. Protagonists are better lit and you can see more of their face because someone who’s eyes you can fully see seems more trustworthy and approachable.

Intensity can also be used to represent times of the day. Obviously it’s not going to be bright outside at 10PM, so you’ll need to use dimmer lights and add some color to them. A scene with a romantic dinner would use dimmer lights as opposed to a reenactment of a football game at night. Each scene calls for a realistic intensity of light and your job as a cameraman or cinematographer is to find that realistic balance. A good idea is to take note of the light around you in every day situations-see how intense the light is, where it’s coming from and what color it emits. This will help you create more realistic lighting situations in the movies you make.

Color: The color of the light also creates mood and helps the audience understand time of day and whether the character(s) are inside or outside. Inside light tends to be more orange or tungsten, and outside light tends to be bluer.

When all these concepts are learned and mastered, they come together to create a masterpiece and can be used and manipulated in every project you shoot to invent a different, unique look. With all these concepts and a touch of your personal creativity, the possibilities of painting with light are endless!

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Advancements in technology have made it possible to achieve photographs using a compact camera that compare with those taken with more expensive SLR cameras.

The success of a good portrait photo is ultimately judged by the subject who wants to be portrayed in the best possible light and in a way that they see themselves. Taking a professional approach to this will pay dividends and help you to achieve the best possible results.

It is very important to ensure that the subject is the main focus of attention, so spend some time organising the surroundings to ensure that this is the case. I have seen many photos that would have been perfect but for a random item that draws your attention away from the subject.

Consider the comfort of the person posing and ensure that they are relaxed and happy with their surroundings. A good portrait can be of any size and does not have to be just another head and shoulders shot of a person staring into the camera. How many people would be tempted to display their passport photos? Not many. If you are taking a picture of a child, let them play with their favourite toy and position yourself to achieve the best shot. It is easier to move yourself than the sitter.

Changing your perspective will alter the impact of the finished picture considerably. People have a tendency to position the camera at the eye level of the subject, but a simple trick such as standing on a chair and shooting downwards can create a stunning picture. If you are unfamiliar with shutter speeds, your digital camera will have a portrait mode which should be selected. This will slow down the shuter speed, allowing more light in to the camera, creating a shallow depth of field. This will enhance the details of your subject rather than their surroundings.

Lighting is a key element in portrait photography and you should strive to use natural lighting wherever possible, such as a window. This can normally be achieved without the need for expensive equipment. Lamps, torches and candles will all give different and sometimes spectacular results. If you have to use a flash, an external one is preferable as you can point it in any direction you choose to alter the mood of the shot.

Before involving the sitter it is best to take a few shots of the background to see if anything looks out of place. You won’t want to make too many adjustments to the surroundings once your subject is ready, especially if it is a child you are photographing, who will become easily distracted or bored. With a good size memory card you will be able to take as many shots as you like and discard any that you are not happy with. The best part of a digital camera is being able to see your results immediately and make any adjustments there and then.

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Art photography usually refers to high-quality archival prints of photographs that are reproduced in limited numbers, and sold to dealers, collectors or curators. Occasionally the prints may be exhibited in an art gallery, but not always. These photographs are usually created to fulfill the creative vision of the photographer. They are an art form, photographed and printed for their own aesthetic value. They may be in color, or black and white.

Good art photography is not so much about technique as it is about self- expression. It is the process of seeing the image that you want, than recording or photographing it to share. Your eye-what you see as well as what you can envision, is more important than fancy cameras and equipment. Many art photographers even prefer using older cameras or even pinhole cameras to achieve the image they see in their mind’s-eye.

The current trend in art photography seems to be staged photographs. This involves careful positioning of the subject or object and pre-set lighting. There are several well-known photographers who shoot art photography in this manner, including Gregory Crewdson and Cindy Sherman.

Famous Art Photographers

Ansel Adams is perhaps one of the most famous art photographers. Born in 1902, in San Francisco, he was an only child. In 1916 the family took a trip to Yosemite and this provided the inspiration for later photographs, though he did not begin photographing until 1927.

Ansel Adams also pioneered the idea of visualization of the finished print. He based this visualization on the metered light values in the scene being photographed. Adams specialized in black and white art photography. He died in 1984 but his work lives on today.

Diane Arbus is another well-known art photographer. She is particularly noted for her portraits of people on the fringes of society. She was once quoted as saying “a photograph is a secret about a secret. The more it tells you, the less it knows.” Arbus was born in 1923, and unfortunately ended her own life in 1971. One of her photos (Identical Twins) sold for $478,400 in 2004.

Developing an Eye for Art Photography

One-way to learn to produce good art photography is to practice “seeing” an object. For this exercise choose an inanimate object such as a toy, a book, a tree or anything else that does not move. Photograph this object everyday for a month. Each day try to photograph it in a different way, whether it is at a different angle or using a different technique. This exercise will force you to see the object in a different way, as well as to think about and create different views that will improve your art photography.

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Pushing the shutter down is not the only thing that makes a photographer. Photographers also need to make their client feel comfortable while doing their job. Certain people skills are also important for photographers.

A photographer needs both skills and talents to take attention grabbing pictures. Photography is both an art and a business. But without people skills, then your business can suffer. If you want your photography business to succeed, then you need to make your clients feel comfortable and relaxed. That’s why it’s important for you to have people skills. If they feel comfortable taking pictures with you, then it’s very likely they’ll return and even become your long-term clients. However, if you fail to make them feel comfortable, then you may lose their business.

How to Develop Great People Skills

The Importance of Eye Contact: Line up the shot then step away from the camera if you’re going to take someone’s picture when using a tripod. When your instructing them on their position or angle, always remember to keep eye contact. This technique is a lot better than talking to your client while looking through the camera. Talking to them while looking through your camera can make them feel along and uncomfortable. Remember to maintain eye contact and keep your tone relaxed and conversational so your client would feel more comfortable. Since talking to the camera for the entire session would make your client feel uncomfortable, it’s possible they wouldn’t want to return.

Interactions Remember that keeping the interaction going with your client through the entire session is important. Keep the conversation going, give a compliment or two, and just make them feel like they’re talking to friend. Earning their trust is possible through conversations, gestures, and body language. This could be hard if you’re a shy person. Being open with your clients can still be a possibility. You can practice your people skills alone or with friends and family. Imagine how your clients feel by putting yourself in their shoes.

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