Þ At full aperture, backlight may produce dramatic lens flare beams. By stopping down to picture-taking aperture, the beam can disappear and zooms often produce more flare than single-lens lenses because of their many more elements.

Þ For landscape, take exposure reading from the sky excluding the sun.

Þ For directional light, expose the primary distance scene.

Þ Use your in-built camera metering system – evaluative metering.

Þ Use a warm up filter to provide additional overall color to backlight shots.

Þ Do not let the brilliance color of the backlight fool you into underexposing and a silhouette.

· Expose mainly for your backlit subject.

· For a complete silhouette, expose for the background and completely avoid metering the subject.

· Turn your model away from the sun, your subject faces an evenly illuminated, broad patch of sky – very much like a big, soft lighting panel, i.e. switching from highly directional to highly diffuse light. Plus you will get a rim light on the hair and shoulders as a bonus.

Þ Over-the shoulder lighting – light level is the same throughout the picture, which means that all the detail in the background will be lit to the same level, and the background can end up battling your subject in the photograph.

Þ Once you turn your subject around to face away from the light, you have to open up about 3 stops or so for a proper exposure of your subject’s face – resulting in a background that’s lighter in tone – a bright halo, even increases the separation of subject from the background. When you open the aperture to increase exposure, more of the background will be out of focus.

Þ Avoid uprating color negative film because it tends to suffer from color casts. The main drawback with push processing is that contrast and grain size increase, but you can create very gritty, grainy images. R.L.F causes the color balance of the film to alter so your picture come out with a color cast.

Þ As a source of light becomes smaller, the shadows it casts become stronger and more defined. Why?

All of the light comes from one small, narrow point and hits the subject at almost the same angle.

Þ If the light source is larger than the subject, the light comes at the subject from a wide range of angles.

Þ If the light source is so large that is evenly distributed over the whole sky, as on an overcast day the lighting will be almost shadowless because all the shadows will be filled in.

3 areas of Illumination Medium-light Sources

Þ By adding an additive primary with a specific subtractive primary, we will get white light.

Þ The higher the Kelvin, the Cooler the light.

Þ Slide films show the effects of filters more completely and are capable of recording more subtle effects, so if you want to see the most complete, purest effect of a filter, use transparency films.

Þ Black & White – monochrome film is based on daylight. So shooting under tungsten lighting, have to increase one half to one stop more exposure or lower ISO 125 to ISO 80 for example.

Þ Umbrellas, soft boxes, & diffusion screen. They were designed to change small, powerful light sources into Medium or Medium large ones. By pointing a flash into an umbrella, the light will bounce off the sides and spread out when leaving the umbrellas. Thereby, increasing the size of the light source.

Þ Gold reflectors lower Kelvin rating of the light for a noticeably warm look.