w e d d i n g p h o t o g r a p h y with e r i c h m c v e y

L O O K I N G F O R T H E L I G H T

Review the images on the next page and identity what type of lighting situation each of them is set in. For bonus points, identify where the sun is coming from in each image, and think through why the subject is positioned the way they are, how you would meter, and any other important details you notice. After writing down your answers, flip to the last page of the worksheet to learn more about how each image was made.

Note: If you’re printing this out and the image colors get distorted by the ink quality, simply refer to the images on screen and write down your corresponding notes on the worksheet.

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Lighting:

A

Lighting:

B

w e d d i n g p h o t o g r a p h y with e r i c h m c v e y

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W O R K S H E E T 1 1 C H A P T E R S I X

Lighting:

C

Lighting:

E

Lighting:

H

Lighting:

D

Lighting:

F

Lighting:

G

w e d d i n g p h o t o g r a p h y with e r i c h m c v e y

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W O R K S H E E T 1 1 C H A P T E R S I X

Lighting:

I

Lighting:

K

Lighting:

L

Lighting:

J

Lighting:

M

Lighting:

N

w e d d i n g p h o t o g r a p h y with e r i c h m c v e y

A N S W E R S

A. After sunset. This was shot on Portra 800 in Carmel, California right after the sun dropped below the horizon. You can see how the sun is set right behind the subject—where the warm, yellow glow is strongest.

B. Overcast. It was an extremely cloudy, overcast day during this shoot in Newport, Oregon. We were on an outcropping of dark rocks right by the edge of the sea. This was taken on Fuji 400h two hours before sunset.

C. After sunset. This was shot on Portra 800 right after sunset in Cannon Beach, Oregon. The sunset had a very vivid, warm glow. I faced the model towards the sunset after the sun dipped below the horizon and had her look over her shoulder towards the camera so that the strongest light was hitting the side of her face.

D. Backlit with airy background. On a cliffside looking over the Columbia Gorge in Oregon, I shot this image on Fuji 400h. It was one hour before sunset, and the soft light created a beautiful, glowy, airy backdrop with the hills and trees in the distance behind the couple.

E. Backlit with solid background. This was shot in the same location as Image D. Just around the corner, there is a dark rock cliff blocking the sun. It was shot on Fuji 400h an hour and a half before sunset. I set the bride in front of the rock wall and had her step forward until her head was in the light (the sun was behind her and slightly to the left of the frame) so that the background was dark and solid with the halo of light making her “pop.”

F. Open shade. This was shot on Fuji 400h around noon in St. Helena, California. The sun was extremely high and harsh at this time of day. I used

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W O R K S H E E T 1 1 C H A P T E R S I X

w e d d i n g p h o t o g r a p h y with e r i c h m c v e y

the shade of a large oak tree to create flattering, even lighting for these family photos. The bright, directly-lit backdrop works with this image because there is more than enough fill light coming in from the front where direct sun is hitting neutral colored ground and bouncing clean back onto the subjects.

G. Backlit with airy background. This was shot in Depoe Bay, Oregon 3 hours before sunset on Fuji 400h. The sun was at a 90 degree angle from her back, lighting her more from the side than from directly behind. This image is more sidelit than I generally set up for portraits (harsh sidelight can make for unflattering light and shadows on the subject ’s face), but it works because her back faces the sun and her face is positioned away from the harsh light. This positioning allows for luminosity without compromising the light on her face.

H. Backlit with solid background. It was tough to cut down the lens flare when taking this image—shot on Fuji 400h about 1.5 hours before sunset in Powell Butte, Oregon. The sun was relatively low at the time, and almost directly behind the model (just to the right of him in the frame). I took my time, shuffling side-to-side, looking for the perfect angle and using my hand as a lens-hood to adjust the frame to avoid flare.

I. Overcast. This image was taken about 30 minutes before sunset on Portra 800 during a wedding on Phra Nang Cave Beach in Thailand. It rained almost the entire wedding day, and was very cloudy.

J. Window light. This was taken on Portra 800 at about 12pm in Los Olivos, California. While she was putting on her jewelry, I had the bride stand facing an open doorway, letting in flattering sunlight.

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w e d d i n g p h o t o g r a p h y with e r i c h m c v e y

K. Sunset. The sun was just about to set behind the mountains in Los Olivos, California when I shot this image on Fuji 400h. Because the sun was so low, I was able to shoot directly into it—using the couple as a shield to block the sun from directly hitting my lens, and creating a beautiful glow around the subjects.

L. Sunset. This was shot on Portra 800 at sunset in Bend, Oregon. I placed the model in an open field of golden grass, and faced her with the sun slightly behind her to her right. You can see it peeking into the top of the frame.

M. Window light. It was a rainy, cloudy day in Carlow, Ireland when I shot this image on Portra 800. Luckily, there was plenty of window light available for this shoot, so I placed the model close to the window to add light to her face and allow the backdrop behind her to fall off into shadow.

N. Open shade. This was shot on Fuji 400h in the early afternoon at a wedding in St. Helena, California. To avoid the harsh, midday light, I placed the couple in open shade created by a grove of oak trees. The trees blocked the direct sunlight, but it was an open enough space that there was still plenty of fill light to create flattering portraits.

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