Light Modifiers

DIAGRAM 1-4. Combining all three addi-
tive primary colors in equal parts forms
black. Combining any two creates one of
the subtractive primary colors.
yellow
red green
magenta blue
cyan
The Camera. Like the human eye, the digital sensors in our cameras are sensitive
to red, green, and blue light. (Films are also sensitive to some or all the
spectrum.) Unlike human eyes, however, cameras are totally objective; cameras
record the actual color of the light striking the image-recording medium. This
can cause discrepancies between what we see with our eyes and what we see in
our images. For example, we may look at an area of white or gray in a shaded
scene and see it as white or gray because our eyes have compensated for the actual
bluish cast in the scene. An image of the same scene captured either on film
or a digital sensor, however, will record the actual color of the light; the white
or gray will be recorded as bluish in color. This might be acceptable for artistic
or abstract images but definitely would not be flattering when photographing
people.
Understanding the color of light, being able to describe it, and learning to
“see” color are key components of becoming more discerning with regard to the
final portraits you create or receive from your photo lab, as well. It will also help
you in your postproduction and/or development of RAW image files. You need
to be aware of what goes into creating exceptional color so that your clients receive
the most professional portraits possible.
PROFESSIONAL VS. AMATEUR
Before we introduce the qualities of light, let’s take a look at an amateur and a
professional photograph side by side. As visual artists, it’s important to be dis-
THE PHYSICS OF LIGHT 15