How To Tuesday: Photography Lighting Part I.

Lighting is the most important factor to consider when snapping the perfect photo. Light is what makes sight, colour and, more specifically, photography possible. Without the proper light your photos can appear dull, lacklustre and tinted.

Because I am primarily a natural light photographer that is the method I will discuss with you , but artificial light is an option as well. I prefer natural light because of it's ease of use, consistent abundance and that it conveniently streams through my kitchen window. It's not without it's challenges, but in the next few weeks we'll talk about how to overcome each of them.

One prominent challenge that natural light presents is white balance. Not everyday is filled with bright, sunny and cheerful light. Some days are cloudy, rainy or maybe you've lost track of time and the sun is quickly escaping.

You might have noticed that bright high sunlight is somewhat yellow or orange in colour. Cloudy or overcast light is very white. Rain clouds, evening light, shade or winter sunlight create very blue tones. That's why it's important to adjust your white balance settings to communicate the truest colours possible in your subject.

This effect can be achieved one of three ways. The easiest method and the one I use is to choose one of the premade settings on your camera. Most cameras, DSLR or otherwise, have a selection of at least seven basic white balance settings: auto, daylight, shade, cloudy, tungsten, fluorescent and flash.

The auto setting meters the light and adjusts the colour balance accordingly. This might seem like an easy choice but auto is definitely not foolproof and I would only recommend it in situations where you don't have the time to play around to find the right setting. Daylight white balance leans towards a bluer tint to counteract the orange casts of direct sunlight. It can be tricky to use in diffused sunlight, but it's still the setting I use most often. Shade is obviously the setting best suited to shady situations as it defends against the cool tones of true shade with lots of warm tones. The cloudy setting is also warm like shade, but not as extreme. In the cold winter months I use this setting almost exclusively. Tungsten is very blue to balance the super yellow tint that comes from indoor lighting. Florescent is very green and flash is slightly warm. I have never used the last three settings personally because I've never played with shooting in unnatural light, but it would be a good idea to get to know them.

Here you can see the white balance presets hard at work.