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A Study in Light, Directionality and

Mood
About Rick Keller

16-21 minutes

In the first of a series of follow-up articles to The Quality of Light, I

have posted this article to share a series of photographs (along
with the thought processes behind them) that I hope will
accentuate the interplay of light, directionality, shadows, and mood
in landscape photography. As previously discussed, the
directionality of light is a powerful factor in defining the quality of
shadows, the contrast, textures, and three-dimensionality of a
scene, as well as the mood and emotion that the photograph will
convey. In particular, unidirectional light qualities (e.g., side lighting
and backlighting) serve this purpose well in landscape
photography.
Unidirectional side lighting sweeping across the landscape,
creating long shadows, revealing textures, and imparting depth
Nikon D800, Nikkor 28-70mm f/3.5 – 4.5 D

Unidirectional side lighting sweeping across the landscape,

creating long shadows, revealing textures, and imparting depth
Mamiya 7II, 43mm f/4.5 L, Fujichrome Velvia 50, Hoya HMC 81A

Moreover, with both unidirectional and non-unidirectional lighting

the prevailing cloud cover can potentially be an equally powerful
factor in modifying the quality of light. In landscape photography,
clouds serve two instrumental purposes. The most obvious is that
they can potentially represent a strong compositional element in
the scene.

Mamiya 7II, 150mm f/4.5 L, Kodak T-Max 100, Hoya O (G) HMC
(Wratten #16), Hoya HMC polarizer
Mamiya 7II, 80mm f/4 L, Ilford Pan F Plus 50, Hoya Y (K2) HMC
(Wratten #8), Hoya HMC polarizer

Secondly, clouds can be effective substrates in modifying the

quality of shadows, and thus, the contrast, textures, and depth of
the scene. As previously discussed in The Quality of Light, in the
context of even lighting overcast skies represent one extreme of
cloud cover that causes the incident sunlight to illuminate the
scene from all angles, resulting in less well-defined shadows,
relatively lower contrast, and potentially a flat appearance of the
landscape. In essence, the cloud cover of overcast skies serves as
a giant “soft box” that increases the effective area from which light
emanates, creating a diffuse light source that fills in shadows,
resulting in low contrast. Depending on the photographer’s
visualization for the photograph, this quality of light may or may not
be desirable. On the other extreme, in the relative absence of
clouds (i.e., clear blue skies) the sun serves as a “point” light
source that depending on other factors (the directionality of the
light, time of the day, season of the year, geographical
latitude/longitude) results in more well-defined shadows and
potentially excessive contrast that may or may not be desired.

With these considerations in mind, let’s examine how cloud cover

and its potentially dynamic nature can alter the quality of light and
the mood of a landscape scene. Consider the following series of
four photographs, all made in a single photo shoot in the late
afternoon on a winter day in the U.S. with the sun at a relatively
low angle in the sky. (Technical notes: Nikon F6, Nikkor 70-200mm
f/4 G ED VR, Rollei Ortho 25, Hoya HMC polarizer)
First, please note the directionality of the light. From which
direction is the incident light illuminating the landscape? What
direction are the shadows being cast? Perpendicular to the lens?
Toward the lens? Or away from the lens? Here, I chose one of my
preferred qualities of light: unidirectional light from the side and
slightly behind the landscape (oblique angle relative to the lens),
which lends itself well to revealing textures, shape, and
dimensionality. Secondly, please note the dense cloud cover. I had
been scouting this site for the previous two weekends at the same
time of the day. At that time the paucity of cloud cover yielded
unfettered unidirectional light that was too intense and contrasty
for what I visualized for my photograph; there were not enough
shadows to impart the mood and dimensionality that I desired. So,
as any determined landscape photographer would do, I patiently
waited for the weather to change to obtain the desired cloud cover
and quality of light. And I waited … and waited … until Mother
Nature kindly provided a few rainy days. In my humble opinion,
when bad weather arrives the time is now for the landscape
photographer. I plan to have more thoughts on this special quality
of light in a dedicated article soon, but an approaching and/or
clearing storm can potentially create a special quality of light that
can provide the landscape photographer with his most cherished
tool and inspiration to capture the moment. It is a quality that you
cannot adequately describe in words; you just have to be there to
witness it and photograph with it. For this particular series of
photographs, I waited until the storm front began to clear and the
cloud cover to gently lift. Ultimately, I was blessed to have had
cloud cover that was physically dynamic – changing form moment
to moment, providing a beautiful quality of light with moderated
intensity and dynamic shadows to paint the landscape. It was
gorgeous!

Please, carefully study the above series by clicking on the first

photo and using the toggle arrow at the right hand corner to scroll
back and forth. Starting with the first photo, you can discern that
the dense cloud cover had pockets that allowed some sunlight to
bathe the landscape, creating a lovely series of alternating
highlights and shadows that nicely revealed the textures of the
grassy hills and imparted shape, dimension, and mood to the
scene. As the clouds starting moving eastward and the pockets of
light changed, the landscape evolved before the human eyes: a
new set of shadows declared itself, revealing a new set textures,
new shapes, and a different mood as the seconds elapsed. Every
photograph in this series is different because the light and
shadows are different. Herein lies the take home point of this
article: it really is all about the light. My personal favorite
photograph of this series is the third one, but that is a matter of
taste and again highly dependent on the visualization process and
what the photographer was feeling and seeing at the time of
opening the shutter. This is what I love about landscape
photography!

Next, let’s consider the following series of photographs made

under similar circumstances: unidirectional light from both the side
and back under rapidly changing cloud cover. As you scroll
through these images, please note the change in the quality of the
shadows, the textures, and the mood. The same subject . . . three
different qualities of light . . . three different photographs. In my
humble opinion, one of the great challenges of landscape
photography is capturing the moment during rapidly changing light;
yet this challenge also represents one of its most enjoyable
aspects. In this scenario, the photographer may potentially
visualize a different composition, feel a different emotion and
interpretation, and thus come away with a completely different
photograph in a span of seconds to minutes, which I think is a
beautiful experience. (Technical notes: Nikon F6, Nikkor
70-200mm f/4 G ED VR, Rollei Ortho 25, B+W MRC UV filter)
Next, I chose the following landscape photograph to share to
reinforce the observations and principles of light already discussed
as well as to share some of my personal reflections on Nature.
The difference here is that I chose a subject with more simplicity
and emotion.

Nikon F6, Nikkor 70-200mm f/4 G ED VR, Fujichrome Velvia 50,

Hoya HMC 81C, Hoya HMC polarizer

A week before I made this photograph, I had scouted this scene

under dense overcast skies. At the time, the scene had artistic
potential in terms of the composition, but the light was uninspiring:
even, diffuse, and devoid of patterns of highlights and shadows.
Emotionally, the scene was cold, flat, and lifeless. Nonetheless, my
imagination was captivated by the seemingly dead tree in the
foreground with a backdrop of rolling hills and fog/mist. As I
surveyed the scene, I felt that if the light were to be vibrant and
inspiring then perhaps the tree and the mood of the scene may
become also vibrant and lay the framework for an enticing image.
Then came the most critical part of making this image: as I do with
every single photo I make, I invoked the process of visualization. I
studied the scene with my composing card. I made note of the
desired perspective within the frame as well as the modifiers of
light to the far right (bigger hills that would potentially obscure low
angle incident sunlight). For the light, there was only option to fulfill
the visualization: warm, unidirectional light from the side. I
visualized a scene in color with the warm glow of light during
the Golden Hour bathing the landscape (in particular the dead tree
in the foreground) to impart life to a cold and lifeless scene. With
these aesthetic considerations in mind, the choice of tools was
manifest: color slide film and a long lens to frame the perspective.
All I needed was for Mother Nature to deliver the goods. As the
days and weather reports passed, I did not lose faith in this
process. In my heart and mind, I needed to follow visualization and
this inspiration to the very end. When the moment finally arrived,
Nature did not disappoint. The beautiful glow of the Golden Hour
light invigorated the landscape; the hills were revitalized; and an
otherwise lifeless tree was once again born. Perhaps, a second
chance, a fresh start, in life . . . Please, note the directionality of
the light, the shadows, and the contrast. With light cloud cover in
the vicinity of the sun, the light swept in low and at a right angle to
the axis of the lens and unveiled lovely textures on the grassy hills,
accentuated their contours, and imparted an illusion of depth. As
the textures burgeoned, I felt as if I could run my fingers through
the blades of grass and feel the damp and soft textures of the
grass on my bare feet … Minutes later, as the light ceased to
bathe the landscape, the scene became lifeless and cold – devoid
of texture, dimension, emotion, or intrigue. Mother Nature raised
the curtains then lowered them on a scene visualized in the heart
and mind of the artist. It was but one act of many in a series of
light performances that are there for the taking. Yes … it is all
about the light.

Next, let us explore once again the special mood conferred from
backlighting and the silhouette effect. The choices of subjects
(mountains, hills, trees, people, buildings) and compositions that
the landscape photographer can visualize and craft with this
quality of light are endless, which is why I gravitate to backlighting
as one my most preferred tools. Consider the following
photograph, which I made near the end of a delightful hike and
photo shoot in the rolling hills of Central California. Interestingly, I
neither scouted this subject, nor did I have time to visualize the
photograph in advance. It was a serendipitous opportunity that
presented itself when the light and the emotion just happened to
be in harmony.
Nikon F6, Nikkor 70-200mm f/4G ED VR, Rollei Ortho 25, B+W
MRC UV filter

As I have previously written, whenever I set forth on a landscape

photo shoot, I do so with either one (or both) of two approaches in
mind. Either I have a pre-determined subject that I have scouted
and all that I require is for the desired light to materialize, or
inspiring light has already declared itself but I do not yet have a
well-defined subject in mind. Neither approach is mutually
exclusive; yet every photograph I construct has one of these
approaches as its foundation. As Galen Rowell often wrote and
spoke about in his books, teachings, and interviews, once
‘magical’ light has materialized for the landscape photographer the
artistic imperative becomes one of finding a subject to place within
that light. Returning to the photograph, as my mind explored the
trees, hills, contours, and directionality of the light, I was not yet
inspired by a subject to make an exposure. With the retiring sun
beaming through diffuse but thin cloud cover, a chilly breeze
numbed my face and ears, and the mist of my breath billowed in
all directions. Suddenly, among the distant hills I was stunned to
see a delightful family of four (adults, children) hiking in the
distance. With the soft and warm light glowing on my face, I felt as
if I could reach out with my hand and feel the light bathe my palm
and collect the silhouetted human figurines in my hand. With the
brooding silhouetted appearance of the foreground trees
contrasting with the uplifting mood of the human element in the
distance, at that moment I saw and felt my photograph and
opened the shutter. It was a beautiful experience.
Finally, I chose this next photograph to once again illustrate my
personal vision and interpretation of the intersection of light,
directionality, color temperature, and emotion. Days before I made
this exposure of a Torrey Pine, I had scouted this subject. I felt that
if the light, cloud cover, and the mood were aligned, the potential
was there to make a pleasing image that accentuates simplicity
and harmony. I saw my image through my composing card (exactly
as composed in the photograph below), but the light and the mood
were uninspiring. So I waited . . . and contemplated … and
dreamed … To fulfill the visualization, I chose the tail end of the
Golden Hour to take advantage of the strong backlighting,
silhouetting, and warmth of the sun melting into the ocean.
Nikon F6, Nikkor 70-200mm f/4G ED VR, Kodak Ektar 100, Hoya
HMC 85C

To accentuate the radiance of the light that I had visualized, I used

a strong warming filter to lower the color temperature. Please, note
the textures of the clouds and on the surface of the water provided
by the light sweeping across and toward the lens. Technically, to
frame the scene as I had visualized it though my composing card, I
used a long lens to isolate the subject. I selected the appropriate
aperture for sufficient depth field (but not too much) to reveal
enough creamy and soothing textures in the clouds and water; if I
had chosen to pursue more depth of field, then too much detail
would have been revealed in the water and clouds, potentially
distracting the viewer’s eyes from the primary subject. There is no
right or wrong in visualization, yet these considerations are one of
the many joys of the ‘artist’s choice’ at the decisive moment. As I
opened the shutter, the mood was uplifting, as I felt an emotion of
peace and harmony at the conclusion of a glorious day. Seconds
after I closed the shutter, the sun dipped below the horizon, and in
an instant all textures on the water surface and the contrast
between the silhouetted pine and the water disappeared. Another
curtain raised and lowered on a magnificent performance by
Nature. As Galen Rowell once said, we only get to witness only so
many of these acts in our lifetime … Following the light to the edge
was symbolic and exhilarating. The edge of a light performance,
the edge of creativity, the edge of another glorious day of our short
life on Earth. It was yet another beautiful experience.

Conclusions

Short and to the point: one tool, one imperative, the quintessence
of the photographic and artistic process: it really is all about the
light. In landscape photography, the prevailing cloud cover
(especially if it is dynamic) can potentially modify the shadows and
contrast to provide the photographer with the inspiration to
visualize the photograph and the physical means to make the
decisive exposure. A landscape photographer need not always
have clouds to enjoy landscape photography or make a compelling
photograph, but their presence can certainly make a positive
impact on the aesthetic quality of the composition and potentially
on the quality of the light; of course, it all depends on the
photographer’s visualization process. Whether you are a
landscape photographer or have an interest in other genres in
photography, an important philosophy to bear in mind is that light,
artistic vision, and the skill of the photographer are paramount to
visualizing the photograph and making it a reality. As always, my
best recommendations for my fellow beginning photographers are
to study the light, allow yourself to be inspired by it, learn to
manipulate the light, and use it creatively to translate your
expressions and interpretations of the world as you feel and see it.
More importantly, seize the day and have fun!

Special thanks to Northcoast Photographic Services for the film

 development services for these photos. Great job, Bonnie & Scott!
Please, stay tuned for an upcoming article, “The Second Sunset”,
where I will discuss and illustrate how this special phenomenon of
light can capture the imagination of the artist and lend itself well to
making spectacular scenic photographs.

All of these photographs are copyright protected. All rights

reserved, Rick Keller © 2017. You may not copy, download, save,
or reproduce these images without the expressed written consent
of Rick Keller.

Suggested Reading

1. Light For Visual Artists, Richard Yot.

2. Mountain Light, Galen Rowell.

3. Galen Rowell’s Inner Game of Outdoor Photography, Galen

Rowell.

4. The Quality of Light

5. A Study In Light, Vision, and Shadows

6. Construction of a Photograph: The Process of Visualization

7. Visualization: The Hunt For The Light