Welcome that spring sun!
Let’s talk about light for a minute. This is a photography blog after all, right? So here’s where I wax on and on about the blue hour or the golden hour, ok? Or maybe the drizzly overcast day that’s perfect for waterfalls.
Nope. Not this little gray duck. Sure, I love that light and it is a dream to work with, but what if you don’t have it? Pack it in? Give up and go home?
Work with it. Make it work for you.
A lot of photography blogs talk about vision, too. Bleah. Vision. Yeah, you have to have it and an understanding of how to work with light, but not just one kind of light. All kinds. The better you are at dealing with different situations, the better photographer you will be. You will have more “keepers” and more fun. I mean, who wants to go out in the dark all the time? Or on rainy overcast days that are just pretty blah? There is a time and place for that, but a gorgeous, sunny day can be equally rewarding for you and your camera. Especially after a long, gray winter. Spring days are just made for sun and I’m here to tell you it can work. Really.
So, where to begin. I went out in April on one of the only sunny warm days we had because it was too beautiful to be inside. The spring ephemerals were blooming and because the canopy hadn’t filled in much, there was mostly direct sunlight on the forest floor. No leaves to filter and soften it. Nope. Some was direct and harsh.
Did you shudder just then? Direct and harsh are two words most photographers have nightmares about. Oh yeah, very nightmarish right?
So lets go back to vision for a minute. My vision for this shot was the backlighting. Bloodroot is perfect for this because of those leaves and that the flowers, while fragile, have great presence and structure. Because I didn’t have even lighting, I needed to find scenes that worked with the direct sunlight I had. How could I showcase these beautiful wildflowers under these conditions? Backlighting immediately sprang to mind and so I worked pretty hard at cleaning up this next little scene in order to really play up the individual and highly specific beauty of bloodroot. I also waited on the light quite a bit. When I was finally ready to shoot the flower was in the shade of a tree and so I had a light snack while I waited for the earth to turn and give me what I wanted –
Another tip for working with this light comes in the processing. I use Lightroom, but most other software in this category will allow you to control the highlights in the shot. I dimmed them just a bit so that the detail in the petals came back, but not so much that they don’t appear white and crisp.
Going back to the idea that you need a flower with substance in this kind of light, take trout lily as an example. They cry out for backlighting!
Backlight isn’t the only direct sun that can work for wildflowers. How about sidelighting? Early meadow rue grows like crazy around here and each flower looks like some kind of crazy lampshade from a 70s pizza parlor and I love them. You literally have to stop breathing to photograph them; they’re that sensitive to the least movement of air. But wow, they’re so unusual that I always have to give it a go and when I saw these in some early morning sun, I braved the mosquitoes.
Just look at the texture of those little stamens! And the petals, which mostly go unnoticed, those even get a bit of attention. Of course the background has to be right for this kind of thing, too. Often it has to be in shade in order to get the subject to stand out. A little patience and observation can pay big dividends.
Last let’s take a look at frontlighting. It’s probably the least popular because it tends to blow out the highs and lows in any image and can make things look flat and harsh. A challenge! I accept.
I love the hardiness of spring ephemerals. They often sprout and bloom when we still get temperatures below freezing and it doesn’t seem to bother them at all. They’re delicate yet tough and when I spied this little cluster of spring beauty, that idea came into my head. To me the light illustrates the duality of the flower. It is quite tiny and delicate in appearance, but can withstand the harsh Wisconsin springs.
Yup, that light sure is direct, but the shadows are really great at showing texture and structure. Again, it needed a darker background to work and I did a bit of pulling back in the highlights so that you can see those petals in all their stripey pink glory. Oh and that ant totally photobombed me.
So there’s how I work with direct sunlight in wildflowers. I hope that the next time you have a sunny day on your hands you don’t hide indoors with your camera or go out in nature without it. There is beauty and distinction to be found out there if you look for it and know how to make it work for you.