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3. Available Light Photography

“a vailable light" is a relatively new expression that has been added to the photographer's vocabulary. Unfortunately, the term lacks crystallization, and definitions are both varied and contradictory. Interpretations have been expressed that encompass the extremes of sunlight and match light! The con­fusion, I believe, originated from the all-inclusive name—"available light" or light that is available for picture taking.

Certainly a "daylight exposure" is taken with light that is available, but it is called a daylight exposure with such refinements as sunny, cloudy, open shade etc. It has never been nor need ever be called available light. Certainly a quarter second, a full second, or any exposure too long for the camera to be hand-held is defined most explicitly as a "time-exposure" and not available light. Up to this point almost everyone is in agreement. But take the case of a subject hotographed at 1/50 and f/5.6 by daylight coming through a window and the camp is divided. Some will insist it is an available light shot. I'm puz­zled. How does it differ from the picture taken under the shade of a porch or tree? What, suddenly, has caused the one to be available light and the other a daylight (open shade) exposure? The light source? Direction of light? Ex­posure? Availability? No, they are all alike.

What Is Available Light?

"Available," "existing," or "found light" began appearing along with the introduction of fast films and super-speed developers. With the addition of Kodak's Tri-X (pushed beyond normal limitations) the popularity of these terms took fire but not direction.

The first to use these expressions were the white-haired, f/1.4 to f/2 boys with their high-octane developers—the boys who came back with a picture where no picture could be gotten. There is no question in my mind that to these pioneers the only differentiation between a one second f/4.5 "time-exposure" and a 1/25, f/2 (forced development) "available light" shot—iden­tical in point-of-view and illumination—was in the simple act of picking up the camera. But with this simple act the rules of cause and effect went into play. Cause: the 1/25 sec. hand-held exposure. Effect: the need for fast lenses, fast

19. As the bride and her father walk from the car to the church, shoot at a distance of about 15 feet (20 feet with a 35mm camera and 50mm lens). Set your camera for this distance and for daylight exposure. Wait until the bride's gown is arranged and they start forward. If necessary, walk backward to maintain distance until everything is perfect. On cloudy days or in open shade forget the fill-in flash. (Rolleiflex; Verichrome Pan; 80 w/s electronic flash, 1/200, f/11; D-76.) 20. This vestibule picture of the kneeling bride was a "grab shot." It might have been effective and dramatic without a fill-in flash but the picture I saw was soft and the mood was quiet so I used weak bounce fash. (Rolleiftex; Tri-X; 1/30, f/4, 60 w/s electronic flash.)

film, powerful developers. In other words, the simple act effected a departure from the accepted rules and tools of photography and provided the freedom of movement through which the camera could speak with greater eloquence. Also, in my mind, there is no question that an available light assignment meant low light level conditions: either flash or flood was prohibited, or retaining naturalness or mood was desired.

This, I believe, is what was meant by available light. Today, it means this and very much more. Kodak in their pamphlet, "Kodak Tri-X Roll Film—Its Use and Characteristics," referring to "Available Light" states: "In brightly lighted interiors of schools, gymnasiums, cafeterias, stores, industrial and com­mercial interiors, art galleries, museums, exhibitions, etc. pictures have been made at exposures of 1/100 at f/5.6" and it continues ". . . negatives given the normal development."

Films the speed of Kodak Tri-X, Ilford HPS, and DuPont SX are respon­sible for this welcome confusion. They have pushed back the barriers and greatly extended photography's potential. Pictures once possible only with f/1.4 or f/2 lenses could be taken with an f/2.8 or f/3.5. Dramatic, realistic, natural photographs immediately became popular. They were no longer the envied performance of the few with expensive 35's, but within the scope of the millions with family cameras. A word was needed to explain this new photography, and the old term "available light" was appropriated. I think the term, "found light," would have been more to the point and less controversial. The vagaries of nomenclature are beyond comprehension: bulb means lamp; strobe, electronic flash; and soup, developer. So long as we all have a good idea of what we are talking about the term is unimportant and "available" light will do.

But in (mis)appropriating the term, available light, we have left our white-haired boys—still pioneering—in the dark. An expression that can not be compromised must be found to define what magic they are brewing with super-fast f/1.1 lenses, flickering candlelight, mystery soups and their "black cat in a coal bin." Of late the term "low light level" has been appearing in our photography magazines. It is an expression that leaves no room for confusion. It will serve our pioneers admirably.

Now for an argument that is reminiscent of pictorialist versus purist: should we take our available light straight, or mixed with flood, flash, reflector, etc. The topic can provide hours of amateur bull sessions but does not pay the professional's rent. With experience we become masters of equipment and ma­terial. At the moment of shooting, the photographer is the only judge of what will make a natural picture. A church balcony shot can be made more natural by adding a fill-in flash to a slow exposure. An available light photo of a bride taken by the light of an open window (I have conformed) will look more true if either a reflector, a weak bulb or a flash bounced off the farther wall is used to "open up" the shadows. Without the photographer's ingenuity, equip­ment and material are incapable often of reproducing the effect of the tre­mendous latitude registered by the perfect camera and film—the eye and the brain.

Having to shoot a complete candid wedding by available light is a remote possibility. Unless the bride or groom are averse to flash the only logical place to expect any restrictions is in the church. Slow exposures are all good and well, but with a 1/25 sec. exposure the shackles are broken: the photographer's movement is unhampered and moderate subject motion can be stopped.

The recent announcement of Kodak's new Royal-X Pan sheet film with its speed ranging from a conservative 750 to a possible 8,000 depending on development, greatly extends the photographer's available light possibilities. Though at this writing the new fast film is available only in sheet film sizes, there is reason to believe that it may become available for smaller cameras.

Available Light Techniques

Fast f/1.4 to f/2.8 lenses, and films with at least the speed of Kodak Tri-X or Ilford HPS are necessary. Medium fine grain, special-purpose devel­opers like FR's X-500 and Ilford Microphen are helpful where poor lighting calls for pushing film to speeds several times above those recommended by the manufacturer. Royal-X Pan can develop remarkable speed in DK-60a or DK-50. In weddings there is

a limit.  The case is not like photo-reporting where any photo is better than none. Wedding photos deal with human vanities. The subject must be "shown in a good light."

20. After photographing the bride approaching church, go to the room adjoining the altar to catch the groom and best man. You may also include the clergyman, if present. (Rolleiflex; Verichrome Pan; 80 w/s electronic flash, par­tial  bounce,  1/250,  f/5.6;  D-76.)

Fast films plus strong developers equal grain. Obvious grain is foreign to the layman's concept of a good wedding picture. The larger our film the less apparent the graininess. The smaller the diaphragm opening the greater the depth-of-field. Both these physical results can be made to work for us. In most churches, altar pictures can be taken at 1/30 and f/5.6 if film like Tri-X is processed in high-energy developer. This gives us the choice of three cameras: the 35, the roll film camera and the 4x5. The roll film camera is the natural choice. The depth-of-field is considerably better than with the 4x5, and without close scrutiny, graininess is scarcely perceptible. A combination of a 35 at f/1.4 to f/2 with Microdol will give you about the same graininess as roll film (forced) but at the expense of depth of field. Cameras are merely tools. Their productivity is equal only to the ability and resourcefulness of the photogra­pher. (Several of the illustrations show the difference which camera choice can have on the finished picture.)

An accurate light-meter is essential for optimum results. It will help pre­vent pushing the film more than is necessary. Kodak's Tri-X can safely be rated at the equivalent of 500 to 800 ASA with a 13 minute development at 68 de­grees in Microphen, or 11 minutes in X-500, diluted 1:10. Pushing the film beyond 800 is not recommended, but if there is no alternative, develop for 16 minutes or more with Microphen, or about 13 minutes with X-500. Where the accuracy of the exposure is questionable or "pushing" is carried to extremes, the only method for knowing when your film has had enough is through de­veloping by inspection (see Chapter 9).

If you know your meter and how to use it, trust it—not your judgment. Judgment is for times your meter does not register or in situations where it can not be used. Close guessing comes only after considerable experience. With a reflected light meter, take the reading off the palm of your hand; with an incident light meter, place your meter in front of your subject and direct the light gathering sphere or area at your lens.

For house shots, make full use of any daylight that is coming through the windows; learn to use walls, house lights and mirrors as a reflector or fill-in; remove the lampshades and your exposure can jump from 1/5 to 1/25 of a second. A reflector that is easy to handle is a helpful accessory for house shots.

With Tri-X and high energy developers, 1/25 at f/2 is the usual exposure for aisle shots and 1/25 at f/5.6 for altar pictures. If a generous amount of daylight is streaming through the windows you have the alternative of a smaller f/stop or a faster shutter speed. Reception rooms, though subdued in lighting, should offer easy shooting with an 800 (ASA equivalent) rating.

On occasion there is no choice but to include along with the available-light exposures, daylight shots such as leaving the house or church. These should be given the same rating as the indoor shots. Increasing the shutter speed from a "normal" 1/200 and f/16 for Tri-X in bright sun to 1/400 or 1/500, will take care of the {ASA equivalent) 400; add a K2 (medium yel­low) filter and the 800 rating is taken care of.

If indoor flash should be included on the same available light roll, double your shutter speed from your "normal" flash exposure (see Chapter 4) and close down one-half stop for ASA equivalent speed of 400. To increase speed to 800 from the "normal" exposure for flash, double the shutter speed and close down one and a half f/stops.

If a wedding calls for a mixture of flash and available light try to keep each type in a separate magazine. Microdol, (or other fine-grain developers) can then be used with flash, the more potent solutions with available light. Daylight exposures can he shot on your flash magazines.

The reason for shooting a candid is to preserve the highlights of the wed­ding day. With available light, play it safe. If you are in doubt, take another shot at double the exposure. Shoot a lot, but remember there is a time to stop. Ninety-six shots, including duplicates, will be necessary if you use one 20-shot magazine for house, one for church, one for formals and 36 shots for the re­ception. Beyond that you will be repeating and if you continue to ask the bride and groom to pose you will cause them to be more annoyed than ap­preciative.

Color used indoor by available light is too impractical a combination to rely on for a good and complete coverage of a wedding, even with new color film rated at an index of 100 or more. It is a combination that is best avoided— for the present.

22. For the photograph of the bride coming up the aisle with her father, set the camera and f/stop for 15 feet. If there are few people near the rear of the church catch the bride and her father near the first pew so it will not look as if the church is empty. By taking this shot toward the back of the church the walls and balcony will register: if there is a black background the bridal couple will almost always find it objectionable. (Mamiya 6; Verichrome Pan; 80 w/s electronic flash unit, 1/200, f/8; film developed in D-76.)

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