Lighting on location

On location
Studio lights need not be limited to the studio. They can be used on location in conjunction with ambient and existing daylight. With color correction of the light source or camera most light sources can produce acceptable and interesting results. Raw file images can be color corrected in post production. See ‘Light’ and
Exterior location
Common examples of studio lighting used on location are the images seen in film and television. The same approach can be taken to still images. Artificial light, whether flash or tungsten, is normally used to supplement the existing light present, usually daylight. In this situation correct color is achieved by balancing to daylight (5500K) and filtering the tungsten light source/sources (3200K) with an 80A lighting gel. When using studio flash on location no filtration is required as the color temperature of the flash is equal to average daylight (5500K to 5800K).
Mixed light
Mixing the color temperature of the light sources can give a more ‘natural’ look. Although the human eye corrects all light sources to what appears to be white light, it is visually accepted, and in most cases to great effect; when we view images created using mixed light sources there should be a difference in the color temperature of the various sources of light within the frame.

Interior location
There can be many different light sources with varying color temperatures confronting the photographer on location. This can range from industrial lighting to the glow from a TV. The possibilities and variations are many but the problems they pose can be either corrected with filtration or white balance adjustment to render ‘correct’ color, or ignored and the differences in color temperature exploited and used to effect.
Daylight balance
In an exterior location all light sources are balanced to the predominance of daylight (5500K). With an interior location (for example, a furnished room with large windows) there can be a mixture of various light sources. Balancing to daylight (5500K) without filtration of the tungsten light sources (3200K) would make the image appear quite different. Daylight in the image would appear ‘correct’ but any tungsten light source whether artificially introduced (studio) or practical (normal domestic lighting, desk lamps, candles, etc.) would create a warm glow at its source and on subject matter predominantly lit by it. The overall effect would be of white light through the windows, and depending upon the lighting ratio created between the tungsten light and the ambient daylight an overall warm cast to the image.
Tungsten balance
If the camera is balanced to tungsten (3200K) without filtration of either the daylight (5500K) or the tungsten light sources (3200K) the result would appear different again. Daylight in the image would appear to have a blue cast and any tungsten light source would appear ‘correct’. The overall effect would be of blue light through the windows, and depending upon the lighting ratio created between the tungsten light and the ambient daylight, a balance of ‘correct’ color within the room. It should be remembered filtration of the camera to match the dominant light source would also produce similar results. However, filtration of the camera removes the possibility of selectively filtering the various light sources and color temperatures.

Balance

In nature there is a natural balance or harmony of texture, shape, form and color. Manyobjects upset this balance and impair the visual relationship between one object and another.It is this control of balance by the photographer, whether to achieve harmony or discord, thatdetermines the level of acceptance of an image by the viewer. As humans we naturally gravitate towards a balanced image (symmetrical).

When there is symmetry between the elements within the frame the image is said to have a sense of balance. A balanced image although pleasing to the eye can sometimes appear bland and conservative. Knowing this a photographer can change the balance of an image to achieve a different result. A dominant element of balance is visual weight created by the distribution of light and dark tones within the frame. To frame a large dark tone on one side of the image and place tones of equal visual weight on the other side will create an imbalance. An unbalanced image (asymmetrical) will often create visual tension,
interest and a sense of things not being as they should be. The communication of harmony or tension is the deciding factor when composing an image intended to convey a specific message.