Set up a simple still-life shot. You will not need to move the light around so the background can be whatever you want. Leave room for access at the sides of the set, and make sure that neither side is close to a wall. Shoot from the same level as the object, with the camera on a tripod. Fix the light at about two to three feet to one side of the object and at its level, so that it is aimed at right angles to the camera’s view. Take the first photograph without a diffuser in front of the lamp, and the second with the diffuser.

Follow these with a series of five exposures. The light and camera remain unchanged. Take the white card and place it three feet/one metre away from the object, on the opposite side from the light and facing it. Take a photograph. Then move the white card twice as close to the object, and take another photograph.Tear off a piece of the aluminium foil sufficient to cover the area of the white card and place it against the card, with the dull side facing the object. Make an exposure. For the next shot turn the foil round so that the shiny side is facing out. For the last shot crumple the foil in your hand and then smooth it out again. Place it once more against the card, with the shiny side facing out. Compare the results and arrange them in order of contrast, from the one with the biggest difference between the lit and shaded parts, to the least. You can see now why the expression ‘shadow fill’ is used. In a simple lighting arrangement like this, the lamp is set up first and then, if necessary, the shadows are filled in with a reflector.

– AoP Coursebook

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Keep the camera in a fixed position (on a tripod) aimed horizontally at the subject. If you are using an object (rather than someone’s face) place it on a small level surface so that there is room to move the light all around it. Place a plain background some distance behind. Start with the light, fitted with its diffuser, at the same level as the subject and camera. Between shots, move it around the subject, so that you photograph this lit from the front (with the light next to the camera), from the side, from behind and to one side, and from directly behind. With the light directly behind, aimed forwards to the subject and camera, the effect you will have is that of a silhouette, provided that the area of the light’s diffuser is greater than that of the subject. Then raise the light so that it points down towards the subject at an angle of about 45 degrees. Again, move the light right around the subject between shots. Finally, suspend the light overhead, pointing down, and take three pictures: directly overhead, from slightly in front, and from slightly behind. Lay out all the photographs together.

Study the differences in order to become familiar with the effect of moving the light. You should find that certain qualities of the subject are revealed better by some lighting directions.

– AoP Coursebook

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