(Ben Green) #1



Natural lighting can help to lift a photograph and give
it a certain subtlety, however you need to ensure that
you use it and enhance it in the right way to get the
most out of it, or it can dull your image.
“Natural light can tend to make images look very
flat and boring if you don’t find a way of making it
define [and] give depth to your model, or highlight
them in an interesting way,” explains photographer,
retoucher and digital artist Clinton Lofthouse (www.

PhotograPher Jamie mahon (WWW.JAMIEMAHON.COM) exPlains how to work
with these two different lighting tyPes in-camera and in PhotoshoP

Before After

“In my Dark Tales And The Rose Of Solitude image
(above), I had to shoot natural light in Leeds
University library, which was fairly dark and secluded.
Eventually I noticed shafts of sunlight beaming down
from small ceiling windows. Placing my model
underneath this light created some defining rim light
and depth.
“I also knew I could enhance and adapt this light
afterwards in Photoshop to add further interest to the
image and draw your eye to the model.” When

Shoot setup: 50mm prime
lens and a reflector on location used to bounce
light back onto subject

Shadows and highlights:
shadows and highlights done on a s oft l ight layer, as opposed to
dodging and burning

Lighting setup:dish as only light source Beauty

Noise: Noise added to
equalise image

Vignette:to create vignette multiply layer

Lens Blur: lens Blur
filter, but painted in with Quick mask to pull
focus more onto subject

Edit contrast: curves
layer adjustment to lower the contrast

Blending modes: linear
dodge layers on various opacities used to
emphasise the scene and colour of the setting sun

Dodge and Burn: overlay
layer set at low ododge and Burnpacity to

retouching images in Photoshop, it pays to work with
the natural light to give your final image more drama:
“One technique I commonly use to do this is to
sample the highlight colour with my picker, create a
new layer and set it to a Linear Dodge blending mode.
I created a selection of the model then painted in the
light beam on a low opacity. To add more realism I
added some dust speckles in the air along the light. I
did this by creating a dust brush in and painted in the
dots, again on a low opacity only in the light.”

© c linton l

ofthouse Photography;

stylist and model - r

achel r ea

© Jamie Mahon
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