Photography Lighting Flashcards

24 sample cards from the Lighting deck

Sampled from the end of the deck, so these are different cards from the ones shown on the syllabus page.

1. What does a diffuser do to light passing through it?

   It scatters the light, effectively enlarging the source, which softens shadows, lowers contrast, and reduces intensity (typically by about 1–2 stops depending on the material).

2. Compare continuous lighting and flash/strobe lighting.

   Continuous light is always on — you see the effect in real time (WYSIWYG) and can shoot video, but it is less powerful and can be hot. Flash fires a brief powerful burst — far more output and motion-freezing ability, but the result must be previewed via modeling lights or test shots, and it cannot light video.

3. Give three advantages of LED panels over tungsten (hot) lights.

   LEDs run cool, consume far less power, and typically offer adjustable brightness and color temperature (bi-color). Tungsten lights run very hot, draw much power, and are fixed at $\approx 3200\,\text{K}$.

4. What is the standard color temperature of tungsten studio lighting, and what white-balance issue does it cause with daylight?

   $\approx 3200\,\text{K}$. It is much warmer than daylight ($\approx 5500\,\text{K}$), so mixing them gives orange tungsten areas or blue daylight areas unless one source is gel-corrected (e.g., CTB gel on tungsten or CTO gel on windows/flash).

5. What is meant by 'ambient light' or 'available light'?

   The light already existing in a scene — sunlight, window light, streetlights, room lamps — that the photographer did not add. Available-light shooting uses only these sources, often requiring wide apertures, slow shutter speeds, or high ISO.

6. In flash photography, which exposure control primarily governs ambient light and which governs flash exposure?

   Shutter speed controls the ambient exposure (flash duration is far shorter than the shutter), while aperture, ISO, and flash power/distance control the flash exposure.

7. What is a mixed lighting situation and why is it a problem?

   A scene lit by sources of different color temperatures (e.g., window daylight plus tungsten lamps plus fluorescents). No single white-balance setting can neutralize all sources, so parts of the image carry different color casts.

8. Name three strategies for dealing with mixed lighting.

   (1) Eliminate or overpower one source (turn off lamps, or dominate with flash); (2) gel your light to match the ambient (e.g., CTO gel on flash to match tungsten); (3) white-balance for the dominant source and accept/correct the rest in RAW post-processing (or convert to black and white).

9. What does a CTO gel do, and when is it used?

   A Color Temperature Orange gel warms a light, converting daylight-balanced light ($\approx 5500\,\text{K}$) toward tungsten ($\approx 3200\,\text{K}$). It is placed on a flash so the flash matches warm ambient/tungsten light under a tungsten white balance.

10. What is the main drawback of direct on-camera flash?

    It produces flat, harsh, unflattering light: small hard source aimed straight at the subject causes hard shadows behind the subject, shiny hotspots, red-eye, and rapid falloff to a dark background.

11. What is the main advantage of off-camera flash over on-camera flash?

    Moving the flash off the lens axis lets you control the direction and angle of light, creating shape, dimension, texture, and shadow modeling that on-axis flash cannot — plus freedom to add modifiers.

12. What is flash sync speed and what happens if you exceed it?

    The fastest shutter speed at which the whole sensor is exposed when the flash fires (typically $\frac{1}{200}$–$\frac{1}{250}\,\text{s}$ on focal-plane shutters). Exceeding it causes a dark band where the shutter curtain blocked the flash; High-Speed Sync (HSS) works around it by pulsing the flash.

13. What is a flash guide number and how is it used?

    A rating of flash power: $GN = \text{distance} \times f\text{-number}$ (at a stated ISO, usually 100). To find the needed aperture: $$f = \frac{GN}{d}$$ e.g., $GN\,60\,\text{m}$ at $5\,\text{m}$ gives $f = \frac{60}{5} = f/12$ (round to $f/11$).

14. What is bounce flash and why does it improve light quality?

    Aiming the flash at a ceiling or wall so the reflected surface becomes the effective light source. The surface is much larger than the flash head, so the light becomes soft and directional; the surface must be neutral-colored to avoid color casts.

15. What is fill flash and when is it used?

    Using flash at reduced power to lighten (fill) shadows while ambient light remains the main light — typically for backlit subjects or harsh midday sun. It reduces contrast without overpowering the scene; often set $1$–$2$ stops below the ambient exposure.

16. How do monolights and pack-and-head strobe systems differ?

    A monolight is self-contained — power supply, controls, and flash tube in one head that plugs into mains. A pack-and-head system uses a separate power pack (generator) feeding one or more lighter heads; packs offer more power, faster recycling, and centralized control, and battery packs enable location work.

17. What are watt-seconds (Ws) in studio lighting, and how much power change equals one stop?

    Watt-seconds (equivalent to joules, $1\,\text{Ws} = 1\,\text{J}$) measure a strobe's stored energy/output capacity. Doubling or halving the watt-seconds changes exposure by one stop (e.g., $250 \to 500\,\text{Ws}$ is $+1$ stop).

18. What is a modeling light on a studio strobe?

    A continuous lamp built into the strobe head that approximates where the flash's light and shadows will fall, letting the photographer preview the lighting before firing the flash.

19. Compare optical slave, infrared, and radio wireless flash triggers.

    Optical slaves fire when they see another flash — cheap but need line of sight and can be tripped by others' flashes. Infrared triggers send coded IR pulses — also line-of-sight and weak in bright sun. Radio triggers use RF signals — reliable through walls, long range, sun-proof; modern TTL radio triggers also transmit power/exposure data.

20. Describe the five classic portrait lighting patterns.

    Butterfly (Paramount): light high and frontal, symmetrical shadow under the nose. Loop: light $\approx 45^{\circ}$ off-axis, small nose shadow looping toward the mouth corner. Rembrandt: light higher/more lateral, forming a triangle of light on the shadow-side cheek. Split: light at $90^{\circ}$, lighting exactly half the face. Rim/profile: light behind the subject outlining the edge.

21. What distinguishes broad lighting from short lighting, and which is more slimming?

    Broad lighting illuminates the side of the face turned toward the camera (widens the face); short lighting illuminates the side turned away from the camera (narrows/slims the face and adds drama). Short lighting is generally more slimming and flattering.

22. Compare umbrellas and softboxes as light modifiers.

    Umbrellas (shoot-through or reflective) are cheap, fast to set up, and produce soft but broad, hard-to-control spill. Softboxes enclose the light with a diffusion front, giving soft light with much more directional control and less spill; grids can restrict it further. A beauty dish gives a semi-hard in-between look; grids/snoots/barn doors narrow and shape the beam.

23. In a classic three-point lighting setup, name the three lights and their roles.

    Key light: the main, dominant source establishing the pattern and exposure. Fill light: a weaker source (or reflector) opposite the key that lightens shadows and controls contrast. Back/hair/rim light: behind the subject, separating them from the background with an edge highlight.

24. What is lighting ratio, and what ratio results when the fill is one stop weaker than the key?

    The ratio of key-side illumination (key $+$ fill) to shadow-side illumination (fill only). With fill 1 stop below key, the lit side gets $2 + 1 = 3$ units versus $1$ unit in shadow: a $3{:}1$ ratio (moderate contrast). Higher ratios like $8{:}1$ are dramatic; $2{:}1$ is flat and soft.

What this deck covers

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