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Four photographers do a light-as-subject exercise


The Practicing Photographer

with Ben Long

Video: Four photographers do a light-as-subject exercise

If you've watched my composition course or previous editions of the Practicing Photographer, you know that I spend a lot of time teaching and working at the Oklahoma Arts Institute. A fantastic arts work shop held in Southwestern Oklahoma. One of the reasons it's so fantastic is that I often find myself sitting in a chair Next to guys like these. I've got three great photographers here who have all taught here. Richard Klein, Troy Word, Konrad Eek. You've probably seen them on Lynda before. And we're here today because our producer gave us a little assignment.
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  1. 13m 55s
    1. Composing an image using what you have NEW
      4m 44s
  2. 1m 35s
    1. Introducing The Practicing Photographer
      1m 35s
  3. 12h 16m
    1. Choosing a camera
      5m 27s
    2. Looking at light as a subject
      2m 22s
    3. Using a small reflector to add fill light
      5m 45s
    4. Editing photo metadata with PhotosInfo Pro for iPad
      6m 30s
    5. Let your lens reshape you
      7m 26s
    6. Compositing street photography images with Photoshop
      7m 44s
    7. Expand your filter options with step-up and step-down rings
      3m 56s
    8. Shooting without a memory card
      3m 6s
    9. Give yourself a year-long assignment
      5m 28s
    10. Working with reflections
      1m 26s
    11. Exploring mirrorless cameras
      7m 25s
    12. Batch processing photos with the Adobe Image Processor
      7m 30s
    13. Limiting yourself to a fixed-focal-length lens
      2m 13s
    14. Creating tiny worlds: Shooting technique
      4m 15s
    15. Creating tiny worlds: Post-processing techniques
      11m 41s
    16. Shooting macro shots on an iPhone
      3m 18s
    17. Using a tripod
      3m 33s
    18. Wildlife and staying present
      5m 58s
    19. Batch exposure adjustments on raw files
      6m 52s
    20. Why Shoot Polaroid
      11m 12s
    21. Seizing an opportunity
      4m 4s
    22. Four photographers do a light-as-subject exercise
      12m 24s
    23. Shooting macro bug photos with a reversed lens
      4m 54s
    24. Varnishing a photo for a painterly effect
      13m 36s
    25. Shooting wildlife
      7m 24s
    26. Discussion on how to shoot architecture
      12m 27s
    27. Using a lens hood
      4m 48s
    28. Working with themes
      2m 48s
    29. Setting up an HDR time lapse
      7m 55s
    30. Processing an HDR time lapse
      7m 55s
    31. Two perspectives on travel photography
      12m 28s
    32. Scanning Photos
      5m 37s
    33. Photo assignment: shooting an egg
      3m 13s
    34. Reviewing the egg shot images
      6m 47s
    35. Shooting in your own backyard
      4m 38s
    36. Jpeg iPad import process
      3m 17s
    37. Shooting a product shot in open shade
      9m 34s
    38. Reviewing the product shot images
      4m 5s
    39. Warming up
      3m 26s
    40. Taking a panning action shot
      10m 17s
    41. Scanning polaroid negatives and processing in Photoshop
      8m 17s
    42. Shooting a silhouette
      3m 9s
    43. Going with an ultra-light gear configuration
      5m 29s
    44. Working with masks and calculations in Photoshop
      12m 38s
    45. Working with flash for macro photography
      4m 56s
    46. Colorizing a black and white photo in Photoshop
      5m 10s
    47. Using duct tape and zip ties in the field
      4m 14s
    48. When the on camera flash is casting a shadow
      3m 4s
    49. Using Lightroom on the road
      6m 28s
    50. Listening to your camera to get good exposure
      2m 20s
    51. Shooting a successful self portrait with a phone
      7m 18s
    52. Switching to Lightroom from another application
      9m 48s
    53. Photographing animals in wildlife refuges
      6m 41s
    54. Shooting level
      2m 42s
    55. Photoshop and Automator
      8m 54s
    56. Shooting when the light is flat
      3m 23s
    57. Discussing the business of stock photography
      9m 48s
    58. Shooting tethered to a monitor
      3m 21s
    59. Making a 360 degree panorama on the iPhone
      4m 45s
    60. Understanding the three flash setup
      3m 34s
    61. Shooting a three flash portrait
      4m 6s
    62. Understanding the differences with third party lenses
      4m 43s
    63. Understanding why files look different on depending on device
      5m 25s
    64. Working with a geotagging app on the iPhone
      4m 43s
    65. Using high speed flash sync to dim ambient light
      7m 29s
    66. Using your iPad as a second monitor
      5m 46s
    67. Understanding exposure with a leaf shutter camera
      3m 28s
    68. Photography practice through mimicry
      8m 8s
    69. Canon wireless flash with built in radio control
      5m 59s
    70. Posing and shooting pairs of people
      5m 35s
    71. Shooting with a shape in mind
      3m 15s
    72. Shooting tethered to a laptop
      4m 40s
    73. Softboxes vs. umbrellas
      2m 55s
    74. Getting your project out into the world
      6m 25s
    75. Exploring how to think about shooting a new environment
      3m 56s
    76. Discussing the book "The Passionate Photographer" with Steve Simon
      6m 4s
    77. Highlighting iOS 8 updates on the iPhone5S
      10m 46s
    78. Exploring manual controls with iOS 8 and ProCamera
      5m 30s
    79. Understanding how to compose with an empty sky
      4m 54s
    80. Using an iPhone to make a print in the darkroom
      7m 16s
    81. How to use glycerin as a photography tool
      2m 16s
    82. Understanding micro focus adjustment and Lens Align
      11m 19s
    83. Working with hair in post
      3m 28s
    84. Taking a quick portrait and directing a subject
      5m 50s
    85. Getting inspired through the work of others
      11m 22s
    86. Taking a flattering portrait with flash
      4m 21s
    87. Creating an unaligned HDR image
      3m 3s
    88. Exploring how to use Bokeh
      5m 38s
    89. Shooting stills from a drone
      6m 57s
    90. Using a monitor to get a first person view of the aerial camera
      8m 0s
    91. Understanding lens profile correction
      5m 33s
    92. Working with models
      2m 40s
    93. Understanding the labels on SD cards
      10m 32s
    94. Setting up a macro time lapse of a flower
      6m 18s
    95. Taking a portrait that's tightly cropped or slightly obscured
      3m 24s
    96. Tips for shooting panoramas
      7m 16s
    97. Carrying a point-and-shoot camera
      4m 44s
    98. Adjusting the color of shadows in an image
      5m 35s
    99. Evaluating camera-strap options
      4m 42s
    100. The 100th Practicing Photographer
      3m 31s
    101. Using light-pollution maps for planning night shoots
      3m 26s
    102. Shooting a series of star shots for a stack
      8m 32s
    103. Stitching together stacks of stars
      8m 59s
    104. Understanding how to clean sensor dust
      10m 27s
    105. Dry sensor cleaning
      6m 23s
    106. Cleaning the sensor with moisture
      7m 32s
    107. Composing in the center
      2m 48s
    108. Working with an electronic shutter control
      2m 50s
    109. Understanding how to use the Wi-Fi feature in some cameras
      2m 56s
    110. Exploring the software equivalent to graduated ND (neutral density) filters
      7m 8s
    111. Don't be predictable in your framing
      10m 21s
    112. Shooting with ND filter and flash to balance subject and background exposure
      2m 42s
    113. Understanding when to go low contrast
      3m 15s
    114. Reasons for shooting images alone
      4m 5s
    115. Working with colored lens filters and converting to black and white
      14m 4s
    116. Waiting for a subject when the light is good
      5m 2s
    117. Understanding options for tripod heads
      7m 23s
    118. Shooting a slow-shutter zoom-and-spin shot for light effect
      4m 47s
    119. Shooting and processing a long exposure at night
      10m 0s
    120. Getting creative with image curation
      4m 12s
    121. Why equivalent lenses don't always meter the same
      5m 42s
    122. Pulling stills from a timelapse NEW
      6m 8s

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Watch the Online Video Course The Practicing Photographer
12h 32m Appropriate for all May 16, 2013 Updated Sep 03, 2015

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In The Practicing Photographer, photographer and teacher Ben Long shares a weekly serving of photographic instruction and inspiration. Each installment focuses on a photographic shooting scenario, a piece of gear, or a software technique. Each installment concludes with a call to action designed to inspire you to pick up your camera (or your mouse or smartphone) to try the technique for yourself.

Ben Long

Four photographers do a light-as-subject exercise

If you've watched my composition course or previous editions of the Practicing Photographer, you know that I spend a lot of time teaching and working at the Oklahoma Arts Institute. A fantastic arts work shop held in Southwestern Oklahoma. One of the reasons it's so fantastic is that I often find myself sitting in a chair Next to guys like these. I've got three great photographers here who have all taught here. Richard Klein, Troy Word, Konrad Eek. You've probably seen them on Lynda before. And we're here today because our producer gave us a little assignment.

And you're going to watch us turn in our work. I don't know, what do you, how do you guys feel about this? >> It was a little intimidating. >> It was. Yeah, I felt it also. >> And then I always look at it, it's good to have a gig. >> There is that. One of the things that's great about coming to a workshop like this is you get this great cross-pollination of, of, experience and perspectives. And particularly for a photo workshop where the same group of photographers can go into the same area and pull out very different images, this becomes a very valuable thing. And in this case, that's before we get to the ballet and modern dance and orchestra and all the other people that are here that are so interesting.

And I know that that's why we all enjoy coming here, is there's this great cross pollination of creative ideas. So the assignment we were given was to take our iPhones, and this was particularly difficult for Konrad because he doesn't have an iPhone. >> The twenty-first century is coming on a little too quickly for me. >> He's fighting it tooth and nail. We were supposed to take our iPhones and take a photograph of light as subject, and we had 15 minutes to do this. Complicating the matter was that really, not all of us understood the assignment. So, we'll see how this goes.

I am going to start so that I can get mine out of the way. so I, I' ll be honest I forgot about the assignment, and I didn't think of it until this morning. And I thought oh well, I woke up early anyway, I'll go outside in the good light and totally overcast, no light outside at all. So I went back inside, just into my room and started playing just with whatever light was in the room. there was a painting on the wall with some light on it. And I started fiddling with that, and didn't really get anything that I like. So, none of those really did anything for me.

And then the lamps have these weird little cut-out things in them, and they were casting patterns on the wall but they weren't actually contrasty enough for me to get anywhere. So then I started playing with the holes in the lamp and didn't get anywhere so I gave up. And went to the, the cover that was on the bed because I thought, well, this is kind of an interesting play of light. And fiddled with that some and didn't like those either. So it was really turning out to be a grim morning. I went back to the wall, and I think the thing that I finally ended up with that I liked was this in here.

I actually got in tight on a lamp and found these kinds of patterns in here. Maybe, maybe something like that. I feel like I learning something during this assignment though, which is I don't think I'm actually that taken with light as subject just for lights on sake. I was not finding myself looking at light patterns on the walls and feeling very much, and its very different then being outside in a landscape where I see light and I go oh, wow, this is really awe inspiring.

It, it, it feels like I can, I can appreciate a nicely landscaped garden and know that it's beautiful, but I don't get this real powerful feeling like I got when we went out to the wilderness preserve the other day and the wildflowers were blooming. And, and so it's making me think that my appreciation of light is light as a n, natural phenomenon just, not just light as a compositional element and I've never really noticed that before. >> So you think that dealing with strictly artificial light was sort of a barrier for you in finding a way to something that you like. >> Exactly, yeah. I, I think I like to go outside and see naturally occurring light because it says something about just the wonder of the natural world or something, I don't know.

>> You know, I was struck then by the fact that you had said that it was overcast. There was no light, right? Well, there's a very diffuse, beautiful moonlight. >> There was a very diffuse, but, yes, yes. Yes. >> Right? And in some cases, that's a gorgeous light. >> Absolutely. >> And you work really hard to open shade. You work really hard to get that light, but our mindset, our prejudice is, if we don't have that raking, morning light, there's no light. >> Yeah, and I did think about that. And, and I just thought, I don't know if this is light as subject, how do I shoot the light that's so perfectly even that it's not really.

Like, I want it bouncing off of something in that really beautiful wrapping way that it does. So, you're right, that's something I should go try. It does beg the question, is there such a thing as bad light, or are there are only bad photos? >> I've seen bad captures of light on many occasions. >> There is that yes, yes. So that was, that was my demoralizing yet educational experience. All right, Konrad, I, I actually did loan Konrad my phone. >> Ben was kind enough to help be down this road with a, I have a phone in my camera that I think has a 0.34 megapixel capture and a plastic lens of some sort.

my whole approach it's, Ben was talking about the artificial light being odd for him, I shoot almost everything I do with artificial light. So, I kind of went in the opposite direction, and, and tried chasing the sun to see if I could find some way to bend it to my will. And typically, in my personal work, I look for geometry curves, planes, angles and try to find relationships with it. And I further want to separate myself from what I normally do by. To me light is subject sort of not representating any thing of recognisable form and just starting to look at patterns that the light creates get the light away from what it illuminates.

Or just the pattern of the light and the shape of the light became the subject rather than what was being illuminated. >> Well I think that's really the valuable part of this exercise. And if you haven't done this exercise before it's, it's a really good one, because it makes you stop seeing the world as a bunch of objects and start just seeing the world as light bouncing off of things. >> And as I was really challenging myself to find interesting light. That wasn't expressing what it was falling upon, where I could sort of separate it, and make light the subject by default. Where here, I think I failed because you recognize the floor, but I really like the pattern, the shape, and the light that was striking it.

So I worked it a little bit and went from there and tried an angle. But then when I finally just got to the edge of the steps, I think that's where I started to get away from the subject and more to the light. >> You know, Konrad, it's interesting, just like with Ben. It's interesting to me that you're self imposing limitations, and your limitation is that you can't recognize the object that's being lit, right? >> Mm-hm. Yeah. >> And that somehow invalidates the light that's lighting the object if you can understand what that object is. So you're saying, I really want it to light but I don't want to tell what I'm lighting.

>> Well, and that's where, what I was going to do is isolate light as subject, because my fear was that if I let the light tell the story of what it was illuminating, we tend to look at what's being illuminated rather than at the light itself. >> Okay. >> And what I was trying to do was force the viewer to concentrate on the light rather than what it was striking. And that, that I don't know if I succeeded I had 15 minutes. Ben actually gave me a great tutorial on how to work an iPhone camera first, though. So I felt like I had all the right tools at my disposal. >> All right, Troy.

>> I have one whole image. >> All right. >> And it's sort of, you know, classic cliche, I guess, a variation on an equivalence shot. But, for me, you know, it's interesting the way I always approach light is in relation to the subject. I never approach light >> It tend to itself. >> With no subject, there is no light. In my opinion you know, the light is used to illuminate the subject. So, I don't see how you could have light as a subject. You have to have something for the light to reflect on.

>> You can't see it passing through the air. It has to bounce of off something. >> So to me there is always, so, I always approach light in relation to what it is that I'm photographing, you know. And in this case, it was these extraordinary clouds, which we have here every night, seemingly like clockwork, which are really just incredibly stunning, you know? And it is a little bit of a cliche to do, you know, the sun, sunset magic hour clouds. But, I don't know. I mean, it's, it's, it's also endlessly fascinating to look at you know, sort of what happens in nature with you know, with the sun, and what it does as the light moves across, you know, these wispy clouds and, and the way, you know, it, it gradates.

You know, I mean, to me, light is always in relation to a subject. Without the subject, it doesn't exist. >> We speak so much about light being the raw material that we work with as photographers but, but is that really true? It's, it's no good if you don't have it bouncing off of something. >> Right. Well, I mean, we, we photograph reflected light, basically. And so, I mean, it always is in relationship to the subject but it's the material we use to illuminate the world. You know, I mean or well, the world is illuminated by light. So you know, I don't know, I always I think, I think it's impossible to take light light itself is the subject.

Without reflection you won't see it. >> Yeah. >> Yeah. >> Alright, Richard. Well when I was listening to the assignment being given. >> Oh you listened to the assignment? >> I didn't take that assignment. >> I actually heard that I was to photograph light without bouncing it off something. >> 'Kay. >> So I interpreted that to mean a source of light. I was going to photograph sources of light. Right? So I took that literally and so I went back to my room and I started looking around for sources of light. And the television I thought was really a fabulous source of light even though what I'm really photographing is the phosphor pattern on the TV, it's still a light emitter.

So to me, it was you know, within the confines of the assignment, it was emitting light. and I also thought, well, the great thing about the iPhone is the tiny little short lens that it has. So I'll come in really tight to things and use that very short perspective. and then let it autofocus, and do what it'll do and then respond to what I see on the screen. And now I also found a Frennel lens over top of the light in the shower to protect it from the moisture.

So I photographed that and, and, so I really saw it as transmitted light. and then I found a window and so really it became abstract transmitted light, and then the light bulb in my lab. >> These are very cool, it also shows the importance of a good rationalization when defending your work. So that was really well-crafted and sturdy, I gotta say. >> That's my art school education. >> That's okay. You got it, I can't wait to read statement about it. >> I think it also really points up why you want to see a photographer's portfolio before you give them an assignment.

I think it's interesting, we all four basically got the same instruction, and went in four completely different directions. >> And, and again, that's the value of a workshop environment like this and it's, it's why we come here, and we all actually teach here quite a bit. You ought to check out the Oklahoma Arts Institute website. You may find a way of coming and doing a workshop with us. and I know you guys also teach in other places. If you don't have a workshop available to you, or you can't take the time off for that, there are other ways of getting this kind of interactivity. Again, you've just seen four of us take mostly the same assignment and come back with really different images, and that's a really valuable way to start seeing the world differently.

The very lowest level, you can go join a Flickr group online, although I think this kind of real world interaction is really valuable. There are maybe local camera clubs, Instagram groups, things like that. You guys know of any other suggestions for people to get out and get this kind of interactivity? >> I think most cities these days of, of any size at all will have some sort of a local arts organization, I know Normal has the Fire-house Art centre. look to the local art museums, there'll be a lot of things going on there that you can find the a good place to start.

>> So it's really, it's really worth it trying to get this kind of collaborative environment. It can be very, very inspiring. Guys, that you very much. It was a lot of fun. I'm not going to shoot any more with my iPhone.

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