ON THE SOFT SIDE
By MICHAEL PERKINS
THE WORLD’S FIRST MOVIE STUDIO WAS A TARPAPER SHACK ON A TURNTABLE. Dubbed by Thomas Edison’s techies as “The Black Maria” (as ambulances were grimly named back at the time), the structure rotated to take advantage of wherever sunlight was available in the California sky, thus allowing the film crew to extend its daily shooting schedule by more than half in the era of extremely slow film stocks. Eventually artificial light of sufficient strength was developed for the movies, and actors no longer had to brave motion sickness just to rescue fair damsels. So it goes.
More than a century hence, some photographers actually have to be reminded to use natural light, specifically window light, as a better alternative to studio lights or flash units. Certainly anyone who has shot portraits for a while has already learned that window light is softer and more diffuse than anything you can plug in, thus making it far more flattering to faces (as well as forgiving of , er, flaws). It’s also good to remember that it can lend a warming effect to an entire room, on those occasions where the room itself is a kind of still life subject.
Your window light source can be harsher if the sun is arching over the roof of your building toward the window (east to west), so a window that receives light at a right angle from the crossing sun is better, since it’s already been buffered a bit. This also allows you to expose so that the details outside the window (trees, scenery, etc.) aren’t blown out, assuming that you want them to be prominent in the picture. For inside the window, set your initial exposure for the brightest objects inside the room. If they aren’t white-hot, there is less severe contrast between light and dark objects, and the shot looks more balanced.
I like a look that suggests that just enough light has crept into the room to gently illuminate everything in it from front to back. You’ll have to arrive at your own preferred look, deciding how much, if any, of the light you want to “drop off” to drape selective parts of the frame in shadow. Your vision, your choice. Point is, natural light is so wonderfully workable for a variety of looks that, once you start to develop your use of it, you might reach for artificial light less and less.
Turns out, that Edison guy was pretty clever.