Do you rely on your in-camera light meter to toggle 0 (center) and tell you when your settings are going to produce a perfectly exposed photo?
I used to.
As my comfort level in shooting in manual mode grew, my ability to play with light when it’s uneven, extra bright, or seemingly not enough to make a great photo grew too.
I want to help you create extraordinary images by purposely over-exposing or under-exposing your photos.
Pin this handy infographic for easy access:
I thought everything had to be exposed perfectly. I’d carry the already near-perfect SOOC (straight-out-of-camera) into Photoshop and take down the highlights or lighten the shadows until just about the entire thing in the entire frame was perfectly exposed (well light without losing detail).
What do I mean by “perfect exposure?” Let’s break it down…
You can see the highlights (the brights parts of the image) lose detail. The skin tone is nearly lost.
The shadows (the darkest parts of the image) are almost too dark and detail is lost. The photo overall looks a bit muddy.
Every bit of the image – the highlights, the shadows, and the mid-tones are all perfectly exposed. Color is spot on and you can see clear detail throughout.
I think many learning photographers seek open, even light before anything else. At least, I did. This is the beautiful, catch-light producing light (the kind that makes skin even and eyes sparkle) that makes everything in your image evenly lit, just like this image below. It’s safe. This is the light you find most-often in portrait work.
Here’s an example:
Notice how every bit of the photo has just about the same amount of light? This means it’s evenly lit. The light was almost dusk, and the sun was deep behind the clouds, so the overall light was open – bouncing all around.
If you’re anything like I was, you find yourself craving this light. You’ll make it happen in Photoshop even when the scene wasn’t truly open light. The next thing you know, you’re over-editing and missing out on some killer lighting scenarios! One day I realized I was losing skin tones (making skin appear white and losing pigment) and adding noise to my photos that didn’t need to be there from trying to make adjustments to achieve a “perfectly lit” photo.
There are many, many times when open, even light creates a stunning image, but I’m here to tell you to dare to step away from this light and start playing with uneven light.
At first, the thought of darkening the shadows felt wrong. What I didn’t know is that, sometimes, losing detail that doesn’t aid in telling the story in your photo can be a great thing!
The truth is, a wide variety of lighting scenarios will add mood or help give your viewer a clear path to the core of the story you’re shooting. So learn how to shoot in any light scenario! Not only can uneven light create magic, but it will give your portfolio some variety.
You may be thinking, “But HOW do I shoot in uneven light so the photo makes sense?!” Let’s talk about that…
First – Embrace it!
Shoot in available light by first understanding where it’s coming from and how it lands on your subject. This takes time and practice to see on the fly, but once you do, you’ll be an unstoppable force to reckoned with using light as a character in your images! Here are some examples of the magic you can create in un-even lighting situations. See how the light pulls you into the core of the moment or detail that you want to spotlight.
Now that you’ve seen some examples, let’s talk about the how. We’ll talk about 2 primary ways of shooting in uneven light: purposely under-exposing and purposely over-exposing when shooting.
I have a crush on light that hits my subject and quickly falls off leaving the background to be nearly non-existent. I find that this type of light draws me into the photo to allow me to feel the emotion captured. When photographing a subject in this kind of pocket of light, I like to underexpose 1 – 1.5 stops. I shoot with both Canon and Nikon and found this to be true with both brands. By under-exposing a subject that is pretty much in a spotlight, you can keep their beautiful skin tones and the background fades away. It’s delicious!
Backlighting from a flash, the sun, or even a lamp can give you a rim of light around your subject when you under-expose. I love nothing more than to capture a dancing bride and groom or a child’s laughter by highlighting the emotion or motion with light.
Here are two variations of light where I under-exposed in-camera so that your eyes are drawn to where the light touches and the rest fades away:
On the flip side, sometimes you can be in super bright light with very little shadows. I don’t shoot like this very often as my own personal style is on the darker side, however, over-exposing can be impactful too. In both of the examples below, we were surrounded by light. In the top photo of Kendall, the light was hitting her from the left. I exposed for her face, which was technically in a shadow. The shadow wasn’t all that dark to begin with, it’s just that the sunlight hitting her from the side was super powerful. You can see I’ve lost my background and even her hair where the light touches.
But do you see what happened? All is lost except for that deep soulful, stare. Your eyes are forced to look right back into her eyes. If this was evenly lit, the photo wouldn’t have the same power. I loved this one so much that I printed it in a canvas for our home!
Similarily in this next photo, we were headed outside for formal photos. The background was a parking lot of cars. Had I exposed this properly (according to my camera meter), the bride’s face and the shadows in the foreground (her mother-in-law and doorway) would be very dark. You would see more detail in the background (the cars). I over-exposed not caring that I’d lose detail including her hair. Why? Because I only wanted that soft, delicate expression on her face. Her expression is what makes the photo and would have been nothing special had the rest of the photos been exposed. Your eyes wouldn’t be drawn to her face.
Now, it’s your turn.
Start by taking an object like a kids toy or your BFF and put them in various lighting scenarios. See what happens when the sun hits them from behind and you meter their face. See what happens when you turn them so the light then is hitting them from the left side.
Put that baby doll about 5 ft from a window and see what you can create by under or over-exposing.
Just have fun and play with the light.
Then come back and show me! I’d love for you to comment below with a link to your favorite light play blog posts with YOUR work!
And snag this too: