Understanding shadow and light in photography
Published 12 November 2021 by MPB
Effective use of shadows can enhance your photography, whatever the genre. Ranging from subtle elements of an image to the defining feature, shadows can add depth, contrast and dimension to your work. But how can you master their use? We spoke to six photographers who shared their methods, tips and advice for doing just that. Let’s hear from Andrea Pozzoni, Natalie Christensen, Adam Docker, Tim Smith, Nico Froehlich and Ian Howorth.
Andrea Pozzoni
I took this image using a Fujifilm X-T30 mirrorless and Fujifilm 18-55mm f/2.8-4 R LM OIS lens. Using a very fast shutter speed of 1/2700s, an aperture of f.4 and a low ISO of 320, the result is that of a deep, defined shadow, where the strong and bright beam of light is in strong contrast. I went back to that place for several days to photograph with no satisfactory result until I got this shot.
Where diagonal lights and shadows are the protagonists, a strong light is needed, that of the central hours of the day. Usually, structures with well-defined edges—bridges, terraces, portions of the house—return sharp shadows. The background should be light in colour so that the contrast between light and shadow is more evident and the subject more legible.
It is necessary to shoot the scene at very high shutter speeds and often with small apertures, also useful for having a depth of field that allows you to shoot a possible dynamic scene with the interaction of different elements in different planes. The mirrorless system is ideal for composing the scene and setting the correct shooting settings. The fact of ‘seeing’ the result of the shot in real-time in the viewfinder is objectively very helpful and for me to support my creativity.
I always recommend observing, noting the times, the months of the year and returning to the scene identified several times. Never settle for it, there will likely be a chance of a better shot than you already have.
Natalie Christensen
This image was made in Albuquerque, New Mexico in the summer of 2021. It was shot with a Fujifilm GFX 50R with a Fujifilm 32-64mm f/4 R LM WR lens. I was drawn to the scene for multiple reasons. Initially, I was drawn to the palette of the structure combined with the ordinariness of the place—those two things are photographic gold for me. The New Mexico sun is very bright and on this day it was a bit more subdued. Deep shadows are ubiquitous here because of the intense light. However, on this day I was pleased to see the softer shadows. It is a simple scene but a challenge to frame with the window and then balance the door with the shadows and the reflection. I like this image because I am playing with reflection and I find that really interesting from a psychological perspective. The closed door and large shadow are a bit ominous and those elements are balanced by the colour palette. Pink is typically viewed as a ‘happy’ colour, but the other aspects of the image don't necessarily convey that.
The bright light of New Mexico creates very contrasty shadows and I enjoy those very much. For me, the shadows must hold as much importance as the subject in the image, so composition is my main focus when making these kinds of images. The Fujifilm camera is fantastic for dynamic range so there is so much detail available even with the deep shadows we have here.
Adam Docker & Kong Wako
I’m lucky that, as a cinematographer, I get to film loads of really interesting people on my travels. I always take my Fujifilm GFX 50R camera on all my shoots and try to get a snap of the talent. This time, I was doing a TV promo at a studio in South London, where one of the gaffers was a young lad from Sudan called Kong Wako. When I take portraits, I want to capture the expression in the eyes, they’re so important, our eyes tell our story. Kong has a haunting intense stare and photogenic features—in the short time I had, I tried to give myself plenty of options for the edit.
I like to shoot wide open, I like a short depth of field on my subject, and I love the bokeh and the texture it gives. To compliment that, I use a simple soft key light that wraps around the face. I add some negative fill—black material—on the opposite side to reduce any light spill bouncing from, for example, nearby white or coloured walls/windows. Once I have this shadow on one side of the face, I can then control how much of the key light I want to wrap around the overall face and how much of it is in shadow or not. Sometimes I like my subjects to blend into the dark background, depending on what I see in the overall image and how I imagine the end product. If I am in a controlled setting, I might add a small light on the background to help separate the subject from the backdrop and give the head more shape, especially in the shadowed area.
Tim Smith
The image was taken in San Antonio, Texas. Generally, I like to look for patterns—whether it's structural or shadow specific. This photo happens to have both. Additionally, I'm drawn to vertical and horizontal lines and almost a sterile environment. Trees, bushes, etc, excluded. Once I knew what I wanted to shoot, it was just a waiting game for the pedestrian to walk by. I used a Nikon D5300, Nikon AF-S DX 18-300mm f/3.5-6.3G ED VR, 1/200 shutter speed, f10 aperture, ISO 100.
Have an intent on shooting black and white photography. If you're able, shoot in black and white instead of shooting in colour and having to convert in post. You really get a better feel for how the image will turn out and can make adjustments during the shoot. Shadows are always around us and can make interesting patterns, but are often overlooked. I've gotten into the habit, when I'm out and about without my camera, to look for shadow patterns, making a note of the location on my phone or taking a cell pic as a reminder. Then I can go back and explore it more.
Nico Froehlich
Shot on a Pentax 67 with a 75mm f/4.5 lens, the hard summer light seeping through the train window created a high contrast setting, which heightened the turquoise tones of the seats. I decided to take the photo at a lower angle to mimic the perspective of a child. Although understated, it was a nostalgic and familiar scene for me and I wanted to heighten the emotional effect of nostalgia as much as possible.
Understated and dramatic scenes can pop up in the most unexpected places. Always have a camera with you and constantly observe the relationship between light, shadow and space.
Ian Howorth
This photo was taken in late 2017 in Brighton. The time of day we shot was imperative as I needed the high midday sun to hit a specific spot. Aside from the colour composition being key for the image to work for me, the high contrast between the light and shadowed areas was extremely important to create a mood. The colour palette and the model’s wardrobe and make-up are reminiscent of the 50s rockabilly style, but I wanted the light to somehow go against the traditional method of shooting in this style.
Although the light is reasonably soft coming through the window, it still creates a lot of contrast against the darker parts of the image. For me, this creates a little mystery that defies the colour palette, soft lighting and expression on the model’s face. Having shot this on medium format film, I knew the highlights could get blown out, so I did careful metering of both highlight and shadow to ensure I could lift the shadows a little if needed without blowing out the highlights.
How you use light can transform an image and create a very different vibe and emotion. If shooting with natural light, it’s always good to work out the position of the sun to see where it will be later or where it may have been earlier. Patience is key—often the light and its position relative to your subject can transform your image from an average shot to a great one.
If you enjoyed this article, you might be interested in reading our guide to emotional photography.
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