When I posted last about James Watkins’s hands, it struck me that most of the posts regarding lighting and photoshoots (in my world at least) revolve around using some sort of artificial lighting technology. I love using lights, and if you’ve read this blog enough, you’ll know that I’m a diligent user of several gonzo-sized sticks of dynamite-like photons, er, I mean studio and flash strobe systems.

What doesn’t get paid its due in this world of gear, gear, and more gear, are those times when “lights” aren’t needed. Take for example the photograph in the previous post. Uninhibited by gear, I was left able to just simply find the light. Although it doesn’t present itself to be as simple as we all would really want, when you do find it, you’re more likely to find it later! I was shooting an assignment for a magazine on the art classes held every summer in Junction, and I spent a great deal of time working in the pottery class, taking advantage of the beautiful, directionally diffused light coming in through the screen windows (below is a shot of the interior of the studio where the class was working). The shot in the previous posts, as well as the one above and one below were taken of Mr. Watkins in the right-hand corner of the building you see here. Non-directional light flowing in from everywhere, and the highlight kicker touching his hands came from the window to which he was sitting closest.

Directionally diffused lighting that occurs naturally offers soft, wrapping light that is more subdued in intensity, giving your camera (and you) a break in dynamic range limitations. The values in the shadows and highlights come a bit closer, and you’re able to capture detail in both areas more easily as opposed to shooting outside in direct sunlight at high noon (blech). In essence, it’s a naturally occurring softbox or scrim.

And this light rocks! It can be soft and subdued, or even more dramatic, particularly when it is more directional, such as the shot below taken in the evening. Notice that nice highlight on the artist’s hands.

Basically, this light is coming from behind and nearly level (in terms of the sun) with the window it is passing through. That nice, warm evening light makes everything dramatically tangible, and it’s something that many folks using artificial lights strive to recreate! Hats off to those who do!

So there, it’s always a good practice to review the light given to you naturally, particularly if you’re on assignment and needing to move faster than your assistant (or yourself). In this case, I don’t think artificial lighting would have done this work any justice, especially given the subject and his artwork!