The regularity of the shadows helps make it clear that the decision was intentional. The lines across my face on the photo below are interesting, rather than distracting for this reason.
In the second photo, the lines from the blinds and shadows help direct your eye throughout the photo. Learn more about using dappled light in the forum here. This kind of ties in with the previous point on regularly patterned shadows. Look for light falling through man-made objects, as you tend to find more regular lines and patterns.
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Use the shadows created for repetition and leading lines. I choose to sidelight in dappled light for much the same reason I would choose to backlight. It adds interest to my photo while also still giving decent lighting to my subject. Finding patches of even light is incredibly important.
I like to evenly light faces… Or at least the eyes! In the photos below I looked for larger patches of even light in between the shadows and made sure to put my face in them. The added advantage of this is that it causes everything not in that patch of light to fall into darkness, emphasizing what is in the light. This was taken at the exact same location as the photo above, but I just took a few steps to my right.
How to Shoot Portraits in Dappled Light
I originally was just taking this as an example to show how important it is to find even lighting for faces, but you can also see how this has a completely different feel from the other photo. If I had turned to look at the camera, you can see how I could have created a creepy, stalker-y feel. Post a Comment. James Gurney. This weblog by Dinotopia creator James Gurney is for illustrators, plein-air painters, sketchers, comic artists, animators, art students, and writers. You'll find practical studio tips, insights into the making of the Dinotopia books, and first-hand reports from art schools and museums.
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For use of text or images in traditional print media or for any commercial licensing rights, please email me for permission. However, you can quote images or text without asking permission on your educational or non-commercial blog, website, or Facebook page as long as you give me credit and provide a link back. Students and teachers can also quote images or text for their non-commercial school activity. It's also OK to do an artistic copy of my paintings as a study exercise without asking permission. Tuesday, March 18, Dappled Light. Light coming through trees results in the spotted light we know as dappled light.
The painting below is by Ivan Shishkin. The circular spots of light shining on the ground vary in size depending on how high the canopy is above the ground.
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A high tree canopy leads to larger circles with softer edges. When bundles of light pass through small spaces between the leaves, each of those spaces act like a pinhole camera. The parcels of light are essentially like conical shapes of illumination radiating from each pinhole in the foliage. The circles of light touching the ground are actually projections of the disk of the sun. In fact on days with a partial eclipse of the sun, the circles of light will appear as half circles. In the 8x10 inch oil study above, the circles of light on the roof of the shed are about a foot in diameter.
The roll I ended up getting was about 50mm wide so I knew I could happily tape the blacks together with that. First things first, I needed to get my glass blocks ready to shoot through. All I did was tape two blocks together and then I taped the three sets of two blocks into one big set of six.
Using white gaffer tape to tape two blocks together and then I can stack these pairs as I want. Ideally you want the blocks up a little higher than the subjects head height so that you can have your light above head height too.
Dappled Light - Dovetail | Kravet
I actually made this a little more achievable by getting the model to sit on a stool thereby making her lower in relation to the wall. You can use whatever you want to support your blocks but I personally used a tripod with a laptop plate attachment on top instead of the regular tripod head. This gave me a relatively stable support that I could put up fairly high too. Position your hard light up above the models head height, then position your mini glass wall between them.
Bringing your glass wall further away from the subject will allow the light effect to be spread over a larger area.
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Be careful not to bring it too far away though, as the shadow detail will begin to lose its effect. As we learned earlier; smaller light sources make harder light sources and harder light sources produce stronger shadows. This all translates to a stronger shadow effect as you move the light further away.
Experimenting with the distances of the light to the glass wall will vary the effect, so be sure to try some options to see what works best for you. At its simplest, the setup is ready to go because you only need one light to make this work. From here you can add whatever you want to make it more visually interesting or engaging. Try adding different backgrounds or try shooting through a variety of items to add foreground interest.
Even at its simplest, a single light and white wall will still produce some cool results. Try adding a background. A very simple addition, but it will add more visual interest to the light dappling effect. The lens was a Lensbaby Twist
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