Overcast Day Light-4

Pre-Existing Studios

Here’s another secret “tunnel oflight” location. In fact, you must besworn to secrecy if I give this informationto you. Maybe we shouldform a secret Tunnel of Light Society(TLS? The Tunnelers? Maybethe Mole People?). This spot existsright under your nose in your localpark. It usually has a theme and lotsof kids around. Yes, it’s the junglegym.
The next shot (1-8) was actuallytaken beneath the rope bridge at apirate-themed jungle gym. Overcastlight spilled over the back of themodel to light her hair, while thelight from the front created flatteringcatchlights in her eyes. Thinkingin subtractive light terms, the light was subtracted from above her headand from her left and right side. An added benefit to the jungle-gym experiencewas that the ground was covered with wood chips, which createda warm bounce light from below the subject. Feel free to use this location—hey, you might even want to photograph an actual kid there.

1-8. Overcast light was subtractedfrom the top and sides of the subject. 

The next two shots (1-9, 1-10; next page) were done under an overhangat the entrance to an office building. The entrance was white concrete,making it much like shooting inside a big white box. The cornersand walls of the entryway effectively flagged parts of the overcast sky to keep it more directional, from the front and rear only. On an overcast day,look for areas where the light can be partially blocked.

1--9. Columns work well to subtract light and give it moredirection.

For the first shot (1-9), the model stood against one of the columns.The column and the overhang blocked the light to camera left and overhead,which, in effect, directed the light to come mostly from camera right.This created nice shading on her face and the top of her head.

1-10. The light-colored concrete effectively bounced lightinto the shadow side of the subject’s face. 

For the next shot (1-10), the model sat on the white concrete floor inthe same office entrance. Light bounced all around the “big white box.”If she had been sitting in a darker area, with the walls and floor paintedgray, then the shadow side of her head might have been much darker. Thelight-colored concrete here effectively filled in the shadow side of her face.The light was still directional, though, since the overcast sky shone throughthe opening to the building at camera left.

Leaving the suburbs and heading downtown, you can find many locationsto set up your next makeshift studio. Parking lots, alleys, and lobbies are great tunnels of light. Please be aware about photographing on privateproperty, though. You may want to stick to public buildings, such as librariesand public parking lots. Even then, don’t be surprised if a securityguard asks you what you are doing. If you are asked to leave, don’t worry.There are plenty of other locations.

1-11. A parking lot staircase functionsperfectly as a tunnel of light.

This photo (1-11) was not done in the studio. It was taken at the streetlevelexit of a parking-lot stairwell. This is basically the inside of a giantgray concrete box with the right side open—very similar to the last shot. The space measured about 10 feet square and the model stood five feet infrom the opening. The overcast sky once again acted much like a large studiosoftbox placed to camera right. The gray walls helped bounce enoughlight in to fill the shadow side of the model’s face.

Here is another high-tech studio setting for the tunnel of light: a freewayunderpass! This image (1-12) was shot on an overcast day. I shot froma low angle about halfway back into the underpass. Accounting for all of thebright backlight and how it would affect my exposure, I used a center weighted metering mode to obtain the correct exposure on the subject’sface.

1-12. A freeway underpass blocked thelight from overhead, keeping it directionalfrom the front and back only. 

Image 1-12 was taken to show the light source for image 1-13. See thatbig triangle of white light behind the model where the underpass opens upto the daylight? There is another one of those behind the camera position.This is the light source—basically a huge triangular softbox, as seen in thetriangular catchlights in his eyes. A soft but directional light has been created(or found) just off the Main Street exit.

1-13. This is what overcast daylightlooks like when all of the light fromabove is blocked. It’s soft yet directionallight—great for portraits 

These types of pre-existing studios are everywhere. You just need be onthe lookout for them. The only difference when shooting this way is thatyou will have to position your model to catch the light, whereas when youare in the studio you can place the light to catch the model. Since the lightis fixed outdoors, you may have to adjust the angle of your model’s face orbody position so that the light is hitting them where you want. There’s noneed to rush, though; you will have plenty of time to work with the consistentlight on an overcast day. Anyway, your models will feel like they arehaving a more active roll in the shoot if you bark out instructions—“Chinup!” “Chin down!” “Eyes up!” “Head left!” “Relax your teeth!” (That lastone always confuses them.)