Lighting

Whether the intent is believable imagery or intense, 'larger than life' effects, it is the use of lighting, more than any other factor, that will make or break a photo. On the side of believable photography, artificial lighting is a very challenging process, and all too often, it is easy to observe the calling cards of flash or photofloods. A helpful beginning, involves either collimating the light source (guiding the light to the subject through an aperture to enable more even coverage with less falloff), or bouncing it to increasing ambient levels. The important point is to master the use of one lamp and very gradually add others. Even the most experienced photographer seldom uses more than two.

As professional as studio lighting may appear, when used properly, much of the best work is done with available light. This is generally a great starting point for photographers striving for a realistic look. Clear Skies in morning and afternoon can be great for preserving color and tone often lost in midday sun. Further, cloudy skies and open shade can be some of the most flattering environments - especially for color.

When shooting black and white, or extended-range color, silhouetting and lighting at obtuse angles, can provide dynamic contrast with enhanced texture and dimension in surface details. A shallow angle can result in well-developed modeling of the subject, while having the light on the opposite side of the model, can capture beautiful contours in silhouette. Flare, however, can be a real problem in such situations and it is wise to keep to a prime lens with a low number of elements (Tessar, Dialyte and Sonnar formulas are ideal for this - especially when multicoated).