LIGHT for Visual Artists Understanding & Using Light in Art & Design sit:CONTENTS ™@ FOREWORD @ PART 1: LIGHTING FUNDAMENTALS Chapter 1: Basic Principles Chapter 2: Light Direction Chapter 3: Natural Light Chapter 4: Indoor & Artificial Light Chapter 5: Shadows Chapter 6 : How We Perceive Surfaces Chapter 7: Diffuse Reflection Chapter 8: Direct Reflection Chapter 9: Translucency & Transparency Chapter 10 : Colour @ PART 2: PEOPLE & ENVIRONMENTS Chapter 11: Light & People Chapter 1 2: Light in the Environment @ PART 3: CREATIVE LIGHTING Chapter 1 Chapter 1 Chapter 1 3: Composition & Staging 4: Mood & Symbolism 5: Time & Place M GLOSSARY INDEX & PICTURE CREDITS 12 20 42 34 74 82 92 102 120 128 142 150 158 166 71: FOREWORD very little detailed information available Fe seems to be very little Reais eucial subject for artists of all kinds, whatever on what is 2 ¢ Ty discipline or media: light — in all the guises in which oe i on a daily basis. I have cead countless books ‘we encounter Pealing with digical and traditional arc, and che subject of Tighe, inall ics complexity, only icially. Yet anyone wishing to an et seems to be touched upon very S| y ilusion of reality should have a good understanding of how Tight behaves in the physical world Light is the fundamental building block of observational latt, and is also the key to controlling composition and story- felling. It is one of the most important aspects of visual art but also one of the most overlooked. Having never found a detailed book about light I decide¢ {0 write this one. Most of what I say here is based on my (Own observations, so —as with all areas of art — there might Besome subjective judgements with which not everyone agrees. It may also be that some f find some of the information so obvious that it doesn't need explaining: however, I hope that this book goes beyond being a basic Primer in understanding and using light and will offer Something new for everyone. I also hope it will be a Springboard for your own careful observation of the world and investigations into the qualities of light, both objective and subjective Richard Yor1: BASIC PRINCIPLES This introductory chapter examines the fundamentals of everyday lighting situations, providing you with all the information you need to develop an understanding of how light works in normal daylight and in artificial light. Light is not difficult to understand, but it does require a conscious effort to observe its effects because you don't usually notice them in everyday life. Once your eyes have been opened, however, you will discover a whole new dimension to the world that will greatly enhance your visual perception and your aesthetic sensibilities. (On acloudless day blue light scattered by the earth's atmosphere shines on everything around us, Note the blue t ‘on the building and windows, PART LIGHTING FUNDAMENTALS ‘This frst section of the book uses a dia- gram of a white ball on a white ground to demonstrate how light behaves in different everyday situations. Here ic illustraces a sunny afternoon, The main source of light is the sun, while the blue sky supplies a second source of light with very different characteristics Some bounced light berween the white base and che ball supplies a third source of light. The brightest light is coming from the sun and is white light emanating, from a small sousce, which causes it to cast sharp-edged shadows. The second source, the blue sky, isa very large light WHY IS THE TERMINATOR THE DARKEST AREA ON THE BALL? This is partly because of the effect of, contrast ~ being so near to the very bright side of the ball in sunlight makes ic appear co be darker, but itis also receiving less of che bounced light reflected by the white card. So, unlike the rest of the ball, which is receiving either full sunlight or light reflected from the white card, ies main source of illumination is the blue sky. Ic is the area in between the main light (the sun) and the fill light (che reflected light from the card). (CHAPTER1- BASIC PRINCIPLES source and, as a resul, has very sofe shadows (which are completely masked by the direce light coming from the sun). The smaller the source of the light, the harder the shadows. “The light coming from the blue sky ha affects everything in this scene. The shadlow cast by the bal is blue because it is illuminated by blue skylight, since the ball is shielding it from the white light of che sun. ‘Those parts of the ball not in digect sunlight also take on a blue hue because they are lit by the blue sky. Finally, che light that is relecced beeween the card and the bal is also predominantly blue (even though the card and ball are white), since it is blue skylight that is being reflected by the white objects. The surfaces that ace clos- cer cogether receive more of this reflected light than those thae are further apart; rey strong colour cast which the bortom part of the ball is lighter than the centre because ic is closer to the white card ‘The darkest areas in the image are che base of the cast shadow and the border WHY IS THE LIGHT FROM THE SKY BLUE? Visible lighe is made up of tiny particles ‘of pure energy called photons, which have different wavelengehs depending fon their colour: blue light comprises photons with shorter wavelengehs, whereas red Light is made up of photons ‘with longer wavelengths White Lighe fom the sua is composed of a continuous spectzum of colours, conventionally divided into the colours of the rainbow (with progressively longer wavelengths: Violet, indigo, blue, green, yellow, ‘orange and red). Iris the mixeuse of these colours that produces whiee. between the areas of the ball thae ate in sunlight and in shade: this zone ist called the terminator. The base of the cast shadow is very dark because it receives no sunlight and the ball is masking it from most of the skylight and bounced light. The other end of the cast shadow is lighter because itis receiving more light from the sky and bounced light from the ball ee This diagram represents the difering wavelengths of the photons that make up red and blue light.However, when light cravels through the atmosphere of the earth, the shorter ‘wavelengths of light become scattered. ‘The earth’s atmosphere is composed of various gases, and the atoms and molecules from which these are formed are suspended within it. Photons travelling through the atmosphere ineeract with these acomic particles, which can absorb and e-emic th photons and make them travel in another direction. Shorter wavelengehs are more likely than longer ones to be deflected, so thae the photons scattered in all ditections by this inceraccion age predominantly blue ‘The sun's light glows red at sunset because the shorter blue wavelengths have been lost due to scattering. Note, however, that the ‘seattered blue ight is reflecting back from the eastern sky and acting as afill onthe foreground waves. Longer wavelengehs of light, such as red, can cravel further through the armo- sphere without being scatcered. This is why sunsets are red: as the sunlight erav els through a thicker layer of air to reach tus when ic is lower in the sky a loc of the blue light is lost from scattering, and the lighe that remains is predominandly ted, The effect of blue photons bouncing in all dicections is that the atmosphere fs actually glowing with blue light, an effect that is clearly visible from space. This blue lighe is strong enough to illuminate areas that are not in direct sunlight, which is why you can still see when you are in open shade ‘The shadows in this photo have a strong blue east because they are being illuminated by the blue sky [PART LIGHTING FUNDAMENTALS. [Radiance ‘When light hies a surface it either psorbed by it, depending pon clea ofthe surface. A white ob- we il eer all wavelengths equal, Fear black objet wil abso them Si aehen white ight hicsa red surface Shebluc and green wavelengehs are a- ed and the red ight reflected Light hits a red surface reflected by the surface 0, if whi the photon vill be sed. When these photons hit the next surface in cheir path they will chereforeilluminace it with red light. This phenomenon is known as radi- tance, and causes the colours of adjacent ‘objects to have an effect on each other. Radiance is usually a subtle effecr, land ic rakes a great deal of light fo it to become apparent. In soft or dim fight it may not be visible at all, but in bright light ic can add a loc of colour ects, Light reflect to the objects ica ing between objects of the same colour can create a very saturated effect ~ the bounced light reinforces the existing colous of che underlying surface, mak- ing the colour glow vividly. Take a look sorld examples below to at che twe see this effece. You will sometimes see this phenomenon in bright daylight, RIGHT The light reflecting from this Venetian blind is projecting the colour of thewood onto the wall FARRIGHT As the ight bounces betwoon these wooden slats the colour of the wood Fsenhanced because ight ofthe same Solour is reflecting back onto it. The eloured light and the underlying su combine to create a glowing and saturated Yersion of the wood!'s existing colour ‘CHAPTERT- Basic PRINCIPLES ‘The rear abdomen of this insact has been strongly coloured by red light reflecting from the poppy. [Note how the red reflecting from the lava lamp Is cast onto thef inthis digital rende ‘and the curtain@ Balancing light & shade How you will choose to represent a scene is subjective and open co interpee- tation. Mose situations will have a light to shade ratio that produces a balanced range of light and dark, which is what wwe perceive to be normal, However there are some situations where the ‘natural order of things tends towards either extreme of light or dark, such as fog or snow on the one hand, or night- time on the other. Alternatively, you ‘might choose to emphasize one of these extremes for visual impact, or to convey a specific feeling. HIGH-KEY LIGHTING Hig! nance of white or very light rones and tend to look light and airy. High-key ey images have a predomi- lighting is often (bue not always) soft, and detail is generally low. In nature high-key lighting is found in fog and snow, where even shadows ate light due to the amount of reflected light bounc- ing around. LOW-KEY LIGHTING Low-key images have very little light in chem, Contrast is usually high and the lighting is hard. Low-key lighting can create a very moody atmosphere and is often used for this effect. obvious serting for low-key lighting is night-time, but ic can also be found in other sicuations, suc and in dark inteciors as during storms oO ao lan 9 OQ e 2 O° o» we » o The stark simplicity ofthis photo created by its limited palette: white and some dark greys and blacks. The crama of this mage is emphasized by the low-key lighting Bf White balance Feces lighting with very strong colour Mave the ably coker she infor lbs a re ecraly cher I ern rscinble ches im Bebe he camer pains the confirm this fact is to look at windows from che outside: next time you are ‘outdoors in che evening look at the colour coming from the windows of hhouses and you will see chac the house interiors are bright orange. When we aren't directly under the light source we Something very similar happens when we stand in open shade, where the light is very blue. We perceive the Tight as being neutral, but if we step back and look at the shade from under sunlight the blue cast is much easier fo see. There are many other situations where lights have a strong cast Auorescent light is often green, street lighting is very deep orange, evening sunlight progresses from a light yellow (HAPTERT.2asic PRINCIPLES =) From within open shad be a deep The blinds have been closed and standard bulbs are the light source Te krar tfc a ties amr eed image may well have surprised you, since sten lightingis not usually perceived boing such a bright yellow orange torevealits true colour. Here it ight from outside helpsEThree-point lighting 3-D textbooks often describe the classic three-point lighting set-up and encour age beginners to use this as an effective ‘way of lighting their scenes. It was originally developed as a way of lighe- ing photographs and its one benefit is thae itis easy to learn and understand, Ic consists of a bright main light com- {ng from one side, dim fill ight coming from the opposite side, and a back light behind the subject, which is used to pick ont edges and highlight form. The biggese problem with this set- up is thae ie is artificial and doesn’e reflect reality. The use of back lighting particularly should be considered only if you are looking for a specific effecr, since itis so dramatic and recognizable Back lighting can be very effective but ie should be used with flair rather chan applied blindly to every siuation. The kind of light chat theee-poine light- ing creates does aot exist in nature and therefore ie looks fake, The face that i is ‘aught in so many textbooks also lends ic an air of cliché and ic has therefore become tired and boring. Ie has long, since fallen oue of favour with phocogra- phers and filmmakers, so you will rarely see it in product shots or mainsteeam Films, IF you are looking to light an environment of an object iti far beteer to study what happens in nacure and devise your own solution. We've al seen those photographic seudio poreraits ehat rely on formulaic lighting: they all look exactly che same as each other because the photographer uses che same lighting every time. The result isa boring and lifeless phoro- raph. IFyou wane your own art to avoid cliché give a wide berth to cext= book formulas and think for yourself Initially favoured by film-makers and photographers, three-point lighting often. can give aclichéd appearance. This shot of Greta Garbo is instantly recognizable as having the traditional Hollywood three~ point lighting set up. PART1- LIGHTING FUNDAMENTALS EXERCISE 1 Observation ad seudy chem, Main yourel co apeciate the every Rarer ocorcnces ae even more worthy of your atcnion: learn what makes them special nd how chey dif from the norm, A great carpe of photogsaphing ee light. the etlece sunset on he timber and he iow s very eye caching, The subjects Buran bu the light isn. (SHAPTER 1 2sIC PRINCIPLES Most people go through life taking light for granted, never really noticing how it looks, where it's coming from or what qualities it might possess. Ittakes a leap of the mind to start really noticing the actual qualities of the light around you. To get the most from this book you are going to need to make this leap. Start looking and start noticing. Observe the light. What is its main source? Are there any other light sources? What colour is it? Is it direct light from a bulb or the sun, oris it diffuse light from the sky or a window? ‘Are there any shadows? Do they have a hard edge? Are there any atmospheric factors affecting the light, such as mist, dust, or haze? Is the light pleasing to the eye? Ifyes, why? The very best thing you can do to train your eye and your appreciation of light is to get a camera and photograph the light. Make light itself your subject, both outdoors and indoors: photograph dusk, midday, early morning and late evening; photograph indoors by a window, by the television, under a light bulb try to make each situation interesting and get the best out of each kind of lighting. By building up a collection of images and observations you will gain a greater appreciation of the variety of light around you and the qualities of different kinds of light. Many people think that overcast days are ugly and dull, but the diffuse light of. cloudy days can be beautiful if you leara to look for what It can reveal about texture, form and colour. Never make any assumptions ~ it's only by looking and noticing that you will learn what works for you and what doesn't, and that's what this exercise is all about.Front lighting | iad 2: LIGHT DIRECTION The direction from which we view a light source has a profound effect on our perception of it, and on how the objects in a scene will appear. Choosing the direction from which your main light is coming is sions when lighting a one of your most important dec scene, since it will have such a big impact on its, Front lighting is where the light source appearance and the emotions conveyed by your image lanai Fitna auch os the softened form of re quality and dr sht aves the leaf, right these otherwise dentea ima Fro ec to reveal ntinely different m form o! re since the shadows are aostly hidden from view, and, asa Pei can male things look Hat However, soft difsed frontal lighting this very can hep conceal offen used in poreraic and produce Ptealy ctractive and isthe kind of pnd end ofthe day. A drawback of using font lighting Rfid out In porenic photography, for instance, hard front lighting is generally Used on men rather than women because the contrast can be too harsh » PART 1 LIGHTING FUNDAMENTALS '-Side lighting a Side lighting is very good for showing form and texture and lends a thre- dimensional quality to objects. Shadows can be high You can use side lighting co throw fi = » walls co create atmosphere. Side lighting } is generally actractive and is often used ‘ | at effect: itis che type of lighting me intered at the beginning and the the day and, as such, is often seen Ims and photogeaphs. Some potential drawbacks of using side lighting can be lost in sh eas of the image and imperfections and wrinkles can be revealed. In portrait photography it is generally used on men rather chan women because, as with hard front lighting, it can look harsh, espe~ cially if the shadows aren't soft edged. eee sj eRe long shadows ca this image of [PART 1- LIGHTING FUNDAMENTALS: y Back lighting is wher ooking into the lighe objects will have theit ‘away from us, so that silhouetted or darkl Tes usually a high con and can often and dramatic. If aslight a view, obje 4 J the viewer is e, and they are eicher lit by the fill light. to your poinc of rim of lighe defining one or more of their edges. ‘The harder che lighe ¢ pronounced ehis rim Back-lie scenes us of shaclow unless the | Soft, Most of the cime wil be ally contain a lot ight source is very the image will be predominantly dark wich dramatic pools flight. The rim ligh thac i reveals trans and any fine derail or lit edges. Back lighe effective for lending a TOP Back i appear i Mippur feature of back-lit RIGHT Back CHAPTER 2 LH Dine ing thae occurs in shadows, y, translucency texture along rim- rama eo an image.Lighting from above rgvwwN “Top lighting isa slightly more unusual situation, alehough itis common in ylighe. It can also be encoun- tered in sunshine at mide interiors and in other situations, such as eit isan effec- stage lighting, In soft light ef tive way of showing form. Under hard light ie can lend an air of mystery by Jhadlows that conceal cascing drama most of the forms beneath them ~ people directly beneath hard lights will have black holes for eyes since their eye Lighting from below If lighting from direcely above is rare, then lighting from directly below is, ‘even more unusual. In a natural context this might happen if you were standing over a camp fire, or holding a torch. Reflected light can also come from below, from water, for instance. It lends ‘strange appearance to even the most familiar things, since what is usually seen in light and shade would b reversed (think of a person shining a sockets will be in toral shadow. ‘op lighting is rarely used by artists, although that doesn't mean ie shouldn'c be. For overcast daylis it is che most realistic set-up, with the whole sky acting as a large diffused light source It's also an unusual lighting solution for more atmospheric situations and the very fact that it's not often seen can be used to create an uncomfortable feeling, ofthe aye sock: torch onto his face from below: the shadows appear to be upside down). ‘Again, the very rarity of this kind of lighting, can be used to creative effect ize when things instinctively recog don't look right, and you can use this to create specific moods by changing the lighting co convey different ‘emotions and provoke responses. Lighting figure from below creates 8 spooky look ~ even the highlights int ‘es look strange because of their Note how the angle ofthe light ‘also emphasizes EXERCISE 2 Lighting set ups A eo \ BalFront 1s cst example, with no strong Bledow, can be considered as the base-line art, Bbeeven bow enc subjece might look i at foo is 2ABelow | tng from below alg looks Sinister, eo cause i's mote PART 1- LIGHTING FUNDAMENT RECTION Light & Shadow on Faces Light direction has a major impact on a subject, both physically and in terms of its emotional impact. Let's look at a common, subject ~ the human face ~ to see how the direction of the light can affect the resulting artwork. It's worth experimenting with different lighting angles and set ups to see how you can convey the mood you are looking for, as well as trying to find what might best suit your subject. Light and shade go a long way towards creating atmosphere: used alongside light quality (hard or soft) you can create any mood you desire, EAS 2.2 Side Add some light and shadow and the 2.8 Above Lit liom above, che face becomes face becomes more solid and dimensional, its sinister and the shape changes dramatically, struct is eaie tose. The dark shows sso tad some atmosphere and modelling. Note how the shape sem to be affected the face apn be nartower The lighting you use will have «big impact on the perception of form ~ moving the light to around afees the same form very iferen 2.6 Behind Finally, lighting from behind completely obieures the features ond isa great veay of rating mystery and suspense 263: NATURAL LIGHT Natural lighe comes in a wide range of flavours, and the difference between them can be enormous. The source of all our natural light is the sun, which takes on different characteristics at different times of day and in different weather conditions, turning this single source of light into many different ones, ranging from hard and cold to soft and warm. This chapter looks at the various types of natural light and examines their properties and effects in detail This simple, back-lit landscape captures the luminosity of the sunset and the way the light plays on the cloud formations. The landscape is reduced to a silhouette and the real subject ofthe painting is light itself PART: LIGHTING FUNDAMENTALS. ouNceD ‘The above diagram represents sunlight far mid-morning or mid-afternoon, and is probably the most straightforward kind of sunlighe in terms of colour and character. However, there are two major factors chat affect che character of sunlight: these are scattering and cloud caver. SCATTERING The carth’s atmosphere scacters the shorter wavelengths of light, which has the effecr of creating the blue sky and of reddening the light from che sun itself Note how heavy cloud cover blocks the blue ofthe sky and softly filter the sun's rays The mote air ehrough which sunlight has to cravel, che more scactering occurs. This means that as che sun gees lower in the sky it has to travel chrough a thicker layer of atmosphere, chus causing more scattering at the beginning and the end of the day. Obviously, chis means tha sunlight has a very different character at differene times of day. Special conditions ‘occur when the sun is below the horizon, when skylight scattered from the sun is the only source of light. Loup cover Clouds also have a major impact on both the colour and the character of sunlight. Clouds are translucent, which means that they let lighe pass through ‘hem, but in a diffuse manner. When lighe travels through a transparent surface, such as glass, the rays remain parallel; where a surface is translucent the light that travels through it is diffused by the substance and the rays bounce around inside it, emerging from ic in several directions. This is a similar phenomenon to the scattering of blue light by the atmosphere, except chat in clouds ic occurs across all wavelengths of light, not just the shorter ones. The effece that this diffusion has on sunlight is to soften it, rurning a small haard light source (che sun) into a large and soft one (the whole sky). Colour is also profoundly affected by cloud cover, since clouds conceal che blue sky and the light coming from it. HAPTER 3. NATURALLIGHTWhen the sun is a its highest poine ir the sky the light is at its whitest and strongest. Contrast is very high and shadows are very dark, so dark chat film ‘emulsions generally render them black = alehough it is still possible to see some detail in the shadows with the naked eye cing co be recreated, For this kind of li believably there needs and hi “The strong light has the effect of nd these appear bleaching out colours, This photograph makes use of the strong to be less saturated than at other times scane, Using of the day, The strong contrast can make Contrast of ts MUS ic difficult to create appealing images in although in situations an infrared filter ha he image would where contrast is naturally lower it can appealing in colour. work very well, Water, for example, can ¢, and many benefit from this strong li images of tropical seas are taken at mid- dy. In other cases the high conerast can be used to creative effect The small shadows and strong light aren't particularly revealing of form, and the low saturation is another drawback. Most photographers avoid using ‘midday lighe, but chat doesn't mean cha these conditions are impossible. Going against conventional wisdom can lead C0 Tyg image ist Wane aeatceh ala ea ‘unusual and creative solutions. ms eoadroai a the coniightis at an angialil the shadow is jet bl dovsr't reflect towards us. This kind OF igh for the fim to be able to reproduce the light brings out the colour ofthe cea {ull range of shades very affective 28 PART LIGHTING FUNDAMENT Late afternoon/ early evening sunlight o = ae As nas an obvious yellow cast. The colour of the sky also takes on a deeper shade of blue due to decreasing light levels Evening light is generally considered to be very attractive, the warm colours and softer contrast being very easy on the eye, From about an hour befor sunset this effect is ac its mose notice able = phorographers and filmmakers SHAPTER 3 -NatURAL: all s the "golden hour’ because the takes on very photogenic quali ties. Colour saturation is very high ai the colour of the light itself has « hu; fie of effect on our perception of the 8 it couches, lending them a warm and rich appearance. By an aesthetically pleasing coincidence the shadows are close to the complementary colour of the highlights ~ the main light is a ‘warm yellow while the shadows are a cool blue. These pleasing properties mean that evening light is often seen photographs, films and advertisements, lossy coat beautifully reflectsSunset By the time the sun is about to set it hhas become a deep orange or red colour and its light has also become much weaker, which means that contrast is very low. The weaker sunlight also means that skylight takes on a greater importance and shadow areas become ‘a deeper and richer shade of blue. Shad: lows ae sunset are very long and texture is very apparent The sky at sunset can be extremely coloueful if there are any clouds. The clouds are now lit from below, raking fon dramatic red or orange hues. These colours add some complexity to the co Jour of the skylight and, as a result, can affect the colour in shadow a times turning them purple or pink Sunsets are also very vacied in ceems of colour and atmosphere — if you “observe several sunsets in suecession, ‘no two will be the same TOP Here the light ofthe setting sun isa ddoop orange, with the shadows turning purple as a result ofthe mixture of colours MIDDLE Sunsets are quite short andthe light change: this one wil befor st for only a couple un disappears below the hor BOTTOM Here contrast is very low ~ the sunligh 1 skylight are very close in they shine on the rocks, PART1: LIGHTING FUNDAMENTALS \ | tebd fetute of the aky at dusk, Socie- times the eastern sky is blue. There is ane eet cetat ee ved e and changes very quickly, Ic is worth Dusk is special time of day, wich noting that the western sky can also be Gnpredicable buc often very beauci- Pink, as well as yellow, orange or red fallighting. Since the sun is no longer above the horizon, the sky ieelFs the nly source of nacurl light. As a csult the light i soft, with leee shadow and fonerast, and the colours can be ex- tremely delicat ALPENGLOW ‘After sunset on a clear day there is lften a pink area in che eastern sky, fa phenomenon called alpenglow. This is a frequent occurrence, bue can surprise those who aren’s used co noticing it. Alpenglow can cast a noticeable pink light onco surfaces that are reflective Such as white houses, sand or water, This pink lighe is coo faine to affect darker surfaces such as foliage, so the Jand will often look dark rs the dusk light is @ ‘The delicate dusk siylight reflects pink and oop saturated b blue from the w ter and boat, CHAPTER 3-NaruRAL GT From indoors the sky can look a deep and vivid blue at dusk, especially as it contrasts with the orange eungseen ighting found in household lamps, In overcast conditions the sky- ight is always a deep, saturated blue (cleat skies are needed to produce the pink light eflece) and ic is generally much darker, with night falling much more quickly VE The pink eastern shy is very obvious inthis image. Note how dark the non-reflective surfaces, such as follag faces, such as the cranes, still ook quite light.Open shade In open shade the sky becomes the mair source of illuminacion, and as a result the light has a strong blue cast. The light from the sky is diffuse with soft shadows, Without the atmosphere co scatter light there would be no illumi- nation here — if you were to stand in a shady area on the moon ir would be pitch black, n also be Light in open shade c reflected from the environment, from for example, Foliage and in also reflect light into rneaeby wall other sufuc shady areas, with resulting effects on he colour of the light. If you stand in 1 dense forest where the sky is hidden bur leaves are reflecting lighe, then the colour of the light will be green. The same effect can be seen between trees a a ats actually painted isthe light and PART? LIGHTING FUNDAME Overcast light jes, depending on the thickness of che loud and the time of day. Ie can be ful, wich several atcractive quite beautiful, wich he whole sky is acting as one light source the light is sofe and diffuse, with soft shadows. Contrast slow and colour saturation is usually quite high. Colour is dependent mostly on time ‘ofday. Colour temperature charts often claim that overcast daylight is blue, and the thicker the the blue. However, if the sun is high the light can appear to be white or grey, and the thicker the cloud the whiter the Hight. It's only when che sun gets lower in the sky that overcast bluer, and the lower the sun goes the ‘more obvious ch ‘Overcast light is often perceived as being dall, bur ie can be beautiful coo. Because iris soft ic is very flareer and it can be used to great effect to show colour and texture. Reflective Surfaces can also look very appealing inthis Kindo igh, since the white Sky creates broad and soft reflections of itself. This is mos ut also on other ‘metal on cars he deeper becom TOP Because of the low contrast and rela ievtrality of overcast light colours car MIDDLE The overcast sky creates beaut! ful sitvery reflections in water, One of the secrets of getting good imailes on over= cast days Is to keep the shy itslf out of the picture ABOVE The diffuse light shoves the form of these grapes but the contrast is sufficiently soft that very little lost in total shadow. Again, the colours are very saturated.EBright overcast pr & (On days with thinner cloud it is pos: sible to get a little directional sunlight coming through. This creates stronger shadows, which can still be soft as Jong as there is cloud in front of the sun, Bright overcast light is an almost ideal compromise beeween the strong, conerast of sunshine and che relative dullness of heavy cloud. ‘Thinner cloud cover means that the sky can have a lor of texcure, whereas ‘on days with heavy cloud cover i tends to look a solid white or grey. Varying cloud thickness or small gaps between clouds can also help co introduce colour into the sky, with blue skylight and yel- low sunlight reflecting onco the surface of the clouds. Colours in the sky can vary enormously when cloud is thinner, and the sky can often be very striking is thin ot broken, Another when clo, factor influencing cloud colour is dis- tance ~ distant clouds can appear yellow or even orange because of light scatter- ing, even in the middle of the day. Frais quite common to come across mixtures of ight eats. Alchough they have ‘environment ; diferent characteristics they are ped together he nd shade in nacural BROKEN CLOUD Wie broken cloud you get a type of fighe tha is ciferenc from pure sunshine Bright overcast light has a stronger sense of direction than the more diffuse light from heavy cloud cover, but shadows are stil led in by the surrounding clous. Here the stronger light from the sky is bright enough to outline the meerkat but the shadow beneath him s still soft because the sunlight is being diffused by cloud, Note also that there is no blue in the shadows since there is no blue sky. SHAPTERS:NaTURALLIGHT or overcast light, The blue fill lighe from the sky is absent yer ehe sun can shine brightly if there isa gap in che cloud Clouds will cast visible shadows on the landscape and there will be patches of sunlight in between these shadows. Con- trast can be high, and che grey skies are a dramatic backdrop to surfaces that are in sunshine, with the difference beeween the bright creating interesting juxtapositions. ‘Again, skies in this light can be very and the gloomy background colourful, with many factors influencing the colours: rime of day, chickness of the cloud, gaps between the clouds, distance, cere. Colours can range from many shades of blue through yellows, oranges and greys, Light can change very fast as the clouds move across the sky, wich sun~ lighe appearing and disappearing from DAPPLED LIGHT Dappled light, such as that found under ‘tees in sunshine, is another mixture of light and shade commonly found in id in full sunlight it can be very bright in contrast to the shade around it. Most cameras will not be able to capture the nature. Ie isa high contrast light, full range of cones that exist in dappled lighe, although they may be visible co the naked eye. u handle the range of by this lighting -T Here the camera can barely -ontvast provided BELOW LEFT The highlights in dappled light are very bright - in parts ofthis photo they are pure white. BELOW Sunlight against a dark cloudy backelrop creates a dramatic moodColour in the sky oman. LIGHT POLLUTION The sky is often very colourful. Ifyou Moonlight is reflected sunlight and i : obeys the same rules as sunlight. When Rae eee oe meee oar te ce the moon is near the horizon ie has a red Bee Chien igland can produce amazing and complex or yellow colour, bue as it gets higher in np ater where you are (ven i he F ages di eae Many factors Pe eae Pe ecru fountryside miles away from any town) will influence the colours you seein the eee sn umiee ata ashe sks somewhere oefecting ack _ and ow cove he hicks fh Eas ee eee ROOM erases ctercly ce insporin aeRO ee Ae nos ped hin teehee herrea sky ac night, the sky itself generally has ratio between the hard moonlight and Be ic underexpose and use.a aa agave from sunlight being scattered through in daylight. Another thing you should The moon has a slight red or brown cast a Sag ern al uunpredict- Golden sunbeams bresking through the the atmosphere, or from moonlight, Stats be aware of is that che moon is quite hhere because itis low in the sky. At its 4 aon clouds are caused by particles in the at- ate too faint to case any noticeable lighe. small when viewed with the naked eye pr tieibae nie anaes Sas eiyaeeee para ‘The key point to remember about and ic can often be tempting to make it ar, almost always has some colour, lighting a nighe scene is that the sky much larger than it appears in real life. a Fe i a Seen beara The sky is unless, ofcourse, there is artificial Light in the dark so our perception of nighe compared to fea Ga eS ‘on the landscape is colourless. You can expose a photo at roofs in th d are still reflecting Silent, 6 dark Look at the two landscape silhouettes below: the fiest one is che correct one; the botcom image is a physical impossi- bility because the light on the landscape would have no source nigh chat will look as if ie was taken in the daytime if you leave the shut ter open for long enough. Even short exposures at night have a lot of colour n them (far more chan che naked eye can perceive). Note the ke str naked ey ightness and colo the sky. Ina ph jor than iLappe: ABOVE The sky is always changing and Unpredictable, Here the distant rain looks nis is because the evening sun is [PART LIGHTING FUNDAMAtmospheric effects pwater that reflect or scatter light. Particles from them has been slightly diffuse is generally white or light blue, dew Jandscap nd the sea, has @ big role scape, so there is always light reflection 56) 6 Hisetsslisetsiveys presenta te and in thick fog ehé light beconies so whie® like ond) bar can (aa Bee cicecionl highligh. BOTTOMLEFT Small drops of water wil air, and ie is what causes the perception scattered that it has equal strengch from any colours that might be shining oni Se ia grass, for example, can cause use a multitude of specular highlights on Wed hay BOTTOM RIGHT The strong mirror-like further away from us are obscu 1g a.camera meter can give can look blue sven yellow of ofa iehes the mo! ge cat teflections on the pavement tells that it LEFT Thi leep blue bed ¢ ky abovell he trees are shading it from the sun's nervise wor orange, BEL neis shrouded iq paige. Chaprey PART? LIGHTING FUNDAMENTA IAPTER 3 nvaTURALLIGHT 29Final note Nacural light is a complex and con- stanely changing phenomenon, and while it docs follow some patterns and obey the rules of physics it is too com- plicated to explain completely here The guidelines here will help you to understand it in differenc conditions, By making your own observations and applying them to your work you can steer cleat of obvious mistakes and clichés. Reality is only a starting point and there is always room for interpreta tion and exaggeration, ‘Sometimes common wisdom or rules are passed dawn unthinkingly, for ‘example warm light should have a cool fill. This can be true in nacural light, with yellow sualight and blue shadows, for instance, but there is a physical rea son for this and the rule should not be followed blindly. In other circumstances it mighe not be erue, for example where there is broken cloud. ‘The same applies to the theory that shadows should be in a colour comple- mencary co the main light. This can be ‘common perception as che brain can fill in the shadow wich the complemen- tary colour, even if it's noe really there (something a photograph should be able to establish easily). Only apply this theory if you have observed it yourself, or if you want that particular effect ~ not because it's a rule EXERCISE 3 Light in the Landscape The best way to learn how natural light works in landscapes is to do series of quick studies, either from life or from reference. The goal of these should not be to capture every detail, but to concentrate simply on the mood and lighting - if you work quickly you will be able to concentrate on getting the light right, leaving out the details, The more of these studies you can do the better, since there is no substitute for real experience in the attainme of artistic ability and knowledge. If you can produce a series of 20 or more of these studies you will see a major progression as you go along. The examples shown here were each executed in around an hour or less. These quick sketches will give you an idea of what to alm for. Examples 1 and 3 feature a heightened and more saturated colour palette to convey a slightly fantastical and idyllic feeling. In the second example the colours are muted and closer to reality. These decisions are subjecth cones, based on the kind of mood you are trying to achieve but either approach is acceptable - it's up to you. PART 1. LIGHTING FUNDAME! an see how che detail ce do oe abso a gti clos 2 ston Bag esis ve Lose Ba abl concen igh itself pa Here the sim ws © Bae and acosphere in a wood ped Note how imporcanr acmospheric Bieseigare in cheseskctches ~ they be: Be one of che mein means of deserib~ Hngithe conditions Bp This impressioniscc skecch is based Beipioto oF a volcano. The aim was Bpesprire the drama of the lighting Beiimeepbere. There is no derail at lees all abou lighc and colour and Ree The lack of derail helps con- Rey the misty atmosphere and bright back lighting. Pitrren a -Weruna. uci4: INDOOR & ARTIFICIAL LIGHTING Light indoors has a very different character from that found outside, the biggest difference being that falloff nificant factor indoors, Falloff affects all man- made lights and light coming from windows, but in sunlight (either direct or diffused by cloud) it is not noticeable because the sun is so far away. When human beings are in control of the light source there is an added twist in that the light is often designed for a ic purpose. For instance household lights are designed to give off appealing, generally diffused light, whereas office lighting is mote functional and cost- effective, and tends to be harsher. spec Tim Burton's animation, PART? LIGHTING FUNDAMENT Note the soft yellow CHAPTER 4 0 Sali inns lone aay i fused, bouncing berween walls, floo Bealings Dice sunlghe can get in Mg nnn Br Dc fhe epeatvey sal sie of window in Kon als, nich of the home will Fefleeted by one surface or nother ‘Window light is how we generally OR & ARTIFICIAL LIGHTING see natural light indoors. Since the window itself isthe effective light source this means thac the light is quite soft Window light is attractive and very photogenic. If chere is only one window then contrast is relatively high, despive the soft light source. With muleiple windows contrast is lower as there will be more fill light The colour of the light is dependent fon several things. The weather will affect the light coming through the window. If it is overcast the initial light will be white, grey or blue. In sunny conditions ie will be either blue skylight or white, yellow or red sunlight (depending on the time of day). Once the light has come through the window ic will be affected by the surfaces in the room from which is reflected. Wall, floor and furniture colours will all influence the light as it bounces around. This means thar to portray window light convincingly you need to chink very carefully about all the possible permutat as and plan the strength colour and contrast choughefully, The simplest set-up would be an overcase day with white light coming into a white room ftom one large window; you can then plan any permuts jons using this simple model as yout starcing poinc and vary it from there NORTH LIGHT One very famous type of window light is called the North Light, the light provided by a north-facing window. In he past artists dida’e have reliable artificial lighting, so by having a studio with a window that faced north ie was possible co have a fairly constant and consistene lighe throughout the day. The reason is that che sun is always in the south (in the northern hemisphere), so only diffuse light from the sky would chrough a with no strong direction o north-facing window =soft shadows, The main qualities of che North Light are the same as any window light withoue dizect sunlight. Although north-facing rooms are dark due to lack of sunlight the light is quite pleasing TOPLEFT The direct sunligh area. Most ofthe light on the walls and furniture is coming from a reflection ofthis sunlight or the diffuse light provided by the LEFT Note the orange colour on the walls, which [slight from tha sunset. Also note the high contrast that the light creates ~ the highlight areas are very brightHousehold lighting Most artificial lights indoors are dif fused ~ this is che purpose of the lampshade ~ in order to soften the light and the shadows ie produces, The major exception to this is spotlights, which produce hard lighting. However, light- ing designers will generally use mule ple spotlights so thae there isn't just one hard light bur several, which cogether will soften one another's shadows, yet still create a multitude of highlights. ‘Tangscen has historically been the ‘most common form of indoos lighting, although ic is gradually being replaced by ‘more efficient lighting technologies, some of which emulate che colour of rungsten and some of which are closer to white The colour of tungsten lighting is a strong yellow/orange (see Chapter I page 17). This is because itis easy co ‘manufacture light bulbs that emit this colour, and since our brains have the capacity to fileer out the orange colour erceive itas being white. Ifyou are raphing, drawing ot painting a ‘ungscen-lit interior i s usually more 1s being range. Your ‘own perception, rather than absolute realistic to depice the li whiter rather than m reality, should be youe benchmark to follow. Photos or drawings that look bright orange might look less convine ing, despice being more accurate However, the quality of tungsten lighting is vatied and less predictable since there are many different approach. sto lighting interiors, In ordinary households most lights will be diffused by the use of a lampshade, making the effect «size of the source bigger and softening the light. FUNCTIONALITY Lighting in ch from room to room, with the function of the space dictating the quality of the light. On the most basic level a room such as a utility room of a garage might have a single bare bulb, giving hard unattractive lighe, Licele cime is spene erage house will vary there, so functionality will take prece- dence over aesthetics. Ina room where you might gy loc of time, and where quality oy might be considered importaneig 0 create a pleasant and comfort atmosphere, you ae likely to find complex and atcractive lighting, Ina siting room (which mighe be centrepiece ofa home) you might large number of lights, used toga create a pleasing ambience, Function will alo play an iy pare in other area of typical homes Inabedtoom you would expect to bedside lights because they ae co for bedtime reading of for getting up dck, Ina kitchen you might find lights designee o light up che co or work surfaces, nl bathroom cai and mirrors migh¢ also have deca lighting foe funceional purposes ‘Apare from the most basi sit most houschole lights will combi function with lighe quality. The m common accessory to « household is the lampshade, which comes in forms, all designed to sofeen the some extent. A lampshade will hi blinding glare ofthe bare bulb and) soften the hard shadows created By the naked light source. Itis easy to observe quite how yellO¥ household tungsten lighting is when looking ata it-up house from the ol Inside the house, our eves percelve tie Tight as boing much whiter PART 1 LIGHTING FUNDAM Licht sources he next important element co consider Bthae moscincerioes will wse a number flight sources, wich will furchersofcen Ahelight and shadows. The light from diferent rooms will spillover in Adjacent spaces and most rooms will Hive more than one lighe in them Dpieal examples might be siting rooms With four or five different lights used co Fate small pools ofacractve lighe, ora Medlem kitchen, which might have rows PEFstesed sporlighes in the ceiling. Miltiple lights used in chis manner Pellteate uneven and inceresting light ng across the oom anc tn PlEShadows,ofcen wich different levels of IES Oc softness. The ocher very obvi- ttl oF having a number of light Bs that reflective surfaces will — BEERS INDOOR 6 armricia. icine have multiple highlights, one for every light. Ieis also possible that che lighes will be subtly differene in colour and intensity, because bulbs get dimmer and redder a they ger older. Finally, certain other household devices can emit light, including computers, televisions, microwave ovens, cookers and eieucle of other appliances dy a number of interiors for youre self this subject is limived only by human imagination and there are infinite This fairly typical interior uses several lights to create atmosphere. Note the various methods used to soften the light, lampshades and bouncing the wall, Using a number of ns that includ the light diffused ights in this manner m there are no hard shadows,& Commercially ned interiors As with ordinary household lights this kind of lig! 3s very varied and used marily co create mood and direct the Ie is often designed with great care to create the desired effect, soit will require careful study to recreate what the designers have aimed for. Make your ‘own observations of various settings taking some photographs for reference Restaurants generally have a number of low, soft lights to create atmosphere ‘There might also be quite a mixcure of different kinds of lights from spotlights to pick out the flowers on the rable to oon che tables themselves. No rants will be the same, so expect a great deal of vatiety from one co the next, Observing restaurant light ing catefully is a good way to learn how can be created mood and atmosphe swith interior lighting. ‘One important decal to note when recreating the armospheric lighting, you might find in a restaurant or bar is thae the relatively large numbers of lights used will also create many reflect: ed highlights ~ chese will be visible in II reflective surfaces, from cutlery and plates to people's eyes. As wi hold lighting the differene, vary in colour and inrensiey pools of lighe across a room, Shops have different lighting and although atmosphere isi cant, cost and visibility are hg ritetia. Mose mainstream sx brighely lie with strip lights tp bright and clear envitonmengy swith extra lighting to pick out displays. If you ate trying to specific environment think of tion of the place before erying the lighting. ABOVE This photo was taken with dayligh balanced film under fluorescent strip lights - you can see the strong green cas of these lights, of a shopping centre with on colour corrected, buat the slight dreen tint from the lighting is stil visible, Note the multiple shadows snuttpl igh Mbstenelighes are primarily used in multiple rectangular highlights. The PEMA whcre costs a factor cheir density of lights will dictate the bright. Be Stperature is usually greenish, ness ofthe lighting: shops will use many ‘TOP The interior ofthis bar Ula Be IBH the brain can compensate lights to create a bright “ several lights to create atmospBe RR cevsenses Highs co creme righ environment, the various methods used to sofa el still perceive while more spartan spaces, sich as car tah, inciucing mpi Thee ane ualy. This kind packs, will use fewer and will be darker Mela ree BBBENG commonly found in offices, Be Public buildings and anywhere LEFT In this shop you ean see thal pesto be lec pomically. lighting has been designad tone ptlborescenc lignes are ofr bright and even illumination Po Higher Bevicy, id Pee liively large accss wich man with the displays having cone ie y Spotlights within to highlight Ks, so there will be showcased products, Fetlapping shadows and an Se PART: LIGHTING FU INDOOR Arita. cHTING "Ic is very common to see a mixture of natural light and artificial ight, both indoors and outdoors, especially ar dusk and at night. This can lead co interesting mixtures of colours and intensities, espe- cially since narural lighe and tungsten light often have complementary colours in blue and orange. Any object near an uncovered window in che evening or at nighe would have some mixcure of natural and arvificial light on ic. This kind of lighting is also commonly found outdoors ~ things illu- inated by street lighting usually have some naturaf light as fill. Lights on buildings c also have very interesting colours and create striking contrasts ‘with nacural light coming from the sky. ‘You can use real-life lighting schemes 0 give a realistic feel to your fancasy arework ~ the image (below right) was ‘created using the colours from the photograph above ABOVE Interesting colours are created by dosign in urban settings ~ the warm lights fon the Houses of Parliament were most likely designed to complement the natural ‘evening light RIGHT Mixed lighting oan be very atmospheric and inspirational. Here it has been used to create 2 magical atmosphere * PART! LIGHTING FUNDAME ABOVE This circus scone mixes warm ungsten light from the streetlamps and Irom inside the tents with cool moonlight. FIGHT Here the mixture of colours looks ostivey alien, with tho groon of the Hluorescent lights in the windows mixing ° SMARTER W000 & ARTIFICIAL LIGHTINGive & candlelight A ip. Light chae comes from a flame is even redder than incandescent light from light bulbs — its colour temperatuee is so low chat the brain can'c compensate for it and we actually perceive it as being orange or red These 1 of light source are often placed much lower than ink i and candles are placed on tables or other farniture, whereas bulbs most often lighe from above. This will have an obvi ous effect on everything from the way that lighe strikes vatious surfaces to shadow and highlight placement. Ie is worth remembering that the light source is often moving, since light from ire and candles flickers. ABOVE Candlelight is very red. The actual hhore to make it look more natural. The RIGHT The illuminating torches on the ight orange, contrasting w light rakin PART 1: LIGHTING FUNDAMEE a ceveet lighting | Bn Soret lights area deer fave a very Narrow sj ctttum, which is Peey cal show any other colour Ifhis makes everything under chem pe a very monochromatic orange colour. (Objects between two or more street fswill cast multiple shadows. The ool of lige beneach chem is usually Ite small, and fades inco darkness Ihinly quickly, making sereets at night sexy igh in contrast Brerthing excopt Under the tretihs Bettinvarcuscirections uocoss Multiplelights, ang i any ig = ee Photographic light \. a ‘A full explanation of photographic lighting is far beyond the scope of thi book, bur is mentioned briefly here so used that photographic reference can wisely. Although many types of lighting, ate used in photography, that most commonly found in portrait and product photographs is very soft lighe from a diffused flash This kind of light is easily recognized by the absence of shadows, so if your photographic reference features this sore of lighting take it into account and adapt it to your own requirements. This applies to any lighting found in refer ence macerial f “sam This soft shadowless light with broad ighlights is typical of contemporary product and portrait photography. tis eated using very ange softbexes, which Special cases Ie is easy ro take lighting for granted and not notice how it behaves, even though round us all the time Looking and really seeing seems to be the main hurdle — itis actually quite easy 0 reach an understanding once this crucial first step has been taken, With the knowledge gained in this chapter, it should be possible to work ‘out how light behaves in other situations that aren't specifically explained here For inscance, you may need to work out now to light an underwater scene on a ropical reef. Where would the light come from? How would the light reace in this environment? What colour would it be? How much reflection ‘would chere be? Whar about diffusion, clarity and shadows? Use the information here as the launching pad for your own observa- és without ions, It is easy to parrot c shoughe (chree-point lighting being a prime example), and when so liele qual- ty information about light is available this leads to the same tired formulas being repeated over and over. However, f you open yout eyes you should be able to formulate your own thoughts and make your own original observations.When it comes to creating atmosphere, mixed lighting is very e for several reasons. You can create good colour contrasts, includ contrasting complementary colours, which will lend a great deal of aesthetic appeal to the lighting. You can also use the different light sources to create emotional impact, by contrasting warm and ea colours, for instance, thereby suggesting conflicting emotions, Lighting is a useful way of conveying a vast and almost subliminal amount of story-telling information in your images. As you will see Section 8 of this book, it plays a key role in conveying moods. You e see with how much subtlety it can be applied: although this image scary subject matter itis essentially humorous and all of these nuances can be conveyed through the lighting and the colour schet A more serious piece, one that was intended to be really frighteningy would use a darker and more muted palette with far darker shado while an image intending to convey a less sinister brand of humoun would probably use a brighter and lighter palette altogether. Ifyou think carefully about the lighting in your images you will be able to convey a lot of meaning and emotion. Interiors offer a huge amount of scope for this kind of manipulation since you are able to mix different kinds of light sources, such as the! ‘moonlight and candlelight in this example - but there are many mo possibilities available to you. by the bed is warm and comforting ‘wbeten the Blie window i cole and sinister ~the bedside cane represents warmth, comifor and safcey, whereas the monster by th scary, Despce these puychologiel connotations, the colts of these light sources are bused on eliy, if litte exaggerated fr emotions! impact The moonlight has been used co casea shadow of che window and the monster ditectly over the bed which isa symbolic threat, like a the haples victim's hea.5: SHADOWS There are two kinds of shadow: form and cast. Form shadows are the shaded areas on a surface where a light source cannot reach. Cast shadows are what we typically think of as shadows: the shadows projected by an object onto a surface (such as the ground) when the object comes between the light source and the surface Shadow plays an important role in your artwork, giving it solidity and form and well as creating drama and suspense Shadow can be used to create aa alism, giving obj s wolght and presence or, as here, used to Brad drama, pnewhere where ambien eit Ye chat si ee asa gianccilluser ere acts a5 4 B00 Feiss fll of reflective sur esi his ight even frter This ae Pie rth some secondary lize, an lymore ofthis second ‘pit ilaminace form sh ; (Beast shadows. The diagrams Memonstcace why chis ep) ‘When lighe bounces off Miss he ground, che reflected light Spetectively coming from 2 large and Setere righ source. This means chat ieform shadow on che sphere is get Hneuitea loco fil lizhe coming from ihe protind, as well a light comi from the atmosphere Because the sphere itself is much Galler than che ground, ic reflects less Hight. The case shadow therefore gees Waly small amoune of fil light from he sphere, and is mostly lic by che at mosphere. Nocice also char the termi toris dark and sacuraced he form shadow hadov. This is Bethere ism: Mthecast shacov, reflected light filing TERS. siscows 40 Cast shado ‘This means that in ordinary outdoor texture is also greacly emphasized by situations case shadows will usually be darker dl the stronger more directional light, so in form shadows, This is __the form shadow plays a very important just a rule of chumb, and there will be role in conveying both the form and the texture of the object ‘occasions where some source of light might be providing more fill to the cast shadows than the form shadows, therefore making them brighter. It is important to observe for yourself racher than blindly follow a ‘rule Form shadows give objects depth, ‘especially with side lighting, and really help to convey the form of an abject ‘The absence of form shadow is why frontal lighting can look so fla, Form shadow also reveals texture, The 3-D renders of a tree erunk, below, illustrate hese points clearly: The second image has more depth, and the crunk looks more solid and dimensional. The This trees itby a large diffuse area light, Here the tree slit by a harder light (simu such as occurs on an overcast day, making lating the evening sun), glving a harder the for {edge tothe form shadow, There is also much greater contrast’between the lit and shadowed sides.AMBIENT OCCLUSION In 3-D imaging another layer of realism can be added to rendered images by creating a ambient occlusion pass. This is created by darkening surfaces that are adjacent co others, and creating, 1 shadow around the area where they ‘meet, simulating the effect ofa large diffuse lighe source. Although there is ‘no actual lighting, in the scene below, the technique creates a sense of depth and solidity, illustrating perfectly how shadows contribute co the illusion of depth and form. Darkening areas where surfaces meet in this fashion will really help any image, whether itis a 3-D ender ot a painting, In diffuse lighting this is the main way we have of reading forms: as objeces get closer to each other, less light is available from the environmenc and so the surfaces darken, The form of the This CAD rendering has ne light sources, but the inclusion of shadow creates the Ilusion of depth. grapes (right) is perfectly defined by this shadowing. Iris also worth noting how the more obstacles there are in the path of the environmental light, che darker the shadows become. The grapes chat are behind or underneath others are darker chan those thar are on che outside of the bunch BASE SHADOW cis also very useful co give objects a base shadow, since most things do not sit pecfectly flush to the ground, bue will have rounded edges at their base chat will leave a gap where a shadow will form beeween them and the sueface ‘on which they are resting. This effect is most pronounced in diffuse lighting, where ic will often provide some of the strongest shadow in the image. a These rounded grapes give the Ba lustration of how surfaces dar hey det close together, IBeelusion can happen over large Iefscesas well as small ones: notice rowtheceling gots darker as the walls Hpsiverde This creates a gradient over the Ipattand calling which helps to convey the ‘apt of the space ABOVE Note the base shadow below this cup, which is the darkest area in the whole image. Ifyou look atthe image below left you wil find a similar base shadow below the plant pot LEFT The effect simulated by ambient occlusion can be seen here, Note how the areas on the sofa and the plant that are in ose proximity to others have shadows rear the points of contact. This helps to ive a sense of solidity and form despite the very diffuse lighting BMMPTERS. shasows =