NATURAL LIGHT TUTORIAL
THE POETRY OF LIGHT
Welcome to my photography lighting tutorial. After receiving countless messages from my Instagram followers asking about the lighting techniques I use to create captivating, story-driven images, I felt inspired to share my approach with you.
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This mini-tutorial is born from my personal experience and is designed to help you explore and develop your unique method. Whether you're a beginner or looking to refine your skills, this guide will provide valuable insights into harnessing the power of natural light in photography.
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Natural light has the ability to elevate your photos, bringing warmth, depth, and authenticity to your work. Join me as I guide you through my process of listening to light, understanding its nuances, and using it to create stunning visual stories. This tutorial is your starting point, take what resonates, experiment, and develop a style that’s uniquely yours.
ABOUT ME
Hi! My name is Erica Ferraroni
In this moment of my life I live and work between Italy and Austria.
The passion for photography crept into my life since I was a child; I spent hours in the darkroom with my father, observing and assimilating everything I saw.
At 20, I decided that this would become my profession. Between Florence, Milan and Los Angeles I had the opportunity to study analogue and digital photography, specializing in medium and large format. Meanwhile, I collaborated with many photographers, a Marie Claire Maison interior stylist and several photographic studios. This apprenticeship gave me the opportunity to experiment with all fields of photography but it took many years to find my way …
My adventure in minimal Still Life photography began 5 years ago and, through a careful selection of colors, textures, special atmospheres and natural light, I found the language to fully express myself. Minimalism reflects my approach to life; I strive to reach the essence of things and eliminate anything that is unnecessary.
WHAT YOU WILL NEED
The essential things I always have when preparing to shoot are:
1
CAMERA
It might seem silly to mention this, but in today’s world, it’s important. I’m sorry, but you’ll never hear me say that shooting with a camera and a cellphone is the same thing—I’m old-fashioned! While many of you probably have amazing cell phones that take great photos, they can never truly replace a camera. Now, don’t get me wrong, I’m not saying you need the latest-generation camera. I use a Nikon D700 that my father passed down to me years ago, and I love it. I’ve always believed that the camera is just a tool—you’re the one who tells it what to do. It doesn’t matter what brand or year it is; what matters is that it helps you achieve the results you’re aiming for. My only two recommendations are that you should be able to use it manually and shoot in RAW format.
2
LAPTOP + REMOTE CABLE
These two elements aren’t strictly essential for a successful shot, but they can make the process much easier. By connecting your camera directly to the computer, you can instantly view the shot on a larger monitor, allowing you to catch details that might be missed on the small camera viewfinder. Additionally, shooting directly from your computer, especially when using very long shutter speeds, helps eliminate the risk of blurred photos.
3
TRIPOD
4
SOURCE OF NATURAL LIGHT
While it might not be essential for everyone, I’ve never taken a photo without one! Using a tripod offers many advantages. First, let’s acknowledge that taking a Still Life photo is often more complex than it appears; it can take considerable time to achieve the final shot. A tripod allows you to set up your camera with the desired frame and gives you the freedom to adjust the subject and props without altering the composition. Additionally, having your hands free to work on your setup and the ability to shoot in low light using long shutter speeds are significant benefits.
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SUBJECT + IDEA
Without a strong subject and a solid idea, you won’t get very far. It’s crucial to think about your shot before you start photographing. Choose your subject carefully and do some research—online, in books, by observing nature, or wherever you find inspiration. Your original idea may evolve during the shoot (this happens to me two out of three times), but it’s important to first have a mental image or a sketch to guide you. If you ever find yourself stuck, just empty your mind and start playing around with your subject—see where it takes you.
In my shots, I use a single window as the light source—nothing else. I make sure that all other doors and windows in the room are strictly closed when taking the shot, and I recommend turning off all artificial lights, as they can otherwise alter the colors in the image.
NATURAL LIGHT
“I photograph what the light decides to reveal”
For me, working with natural light has been a natural evolution in my photography. Over time, I’ve come to appreciate the unique rhythm it imposes and the way it constantly pushes me to adapt and evolve as an artist.
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Natural light is never static. It changes throughout the day and across seasons, offering new challenges and opportunities. In the evening, light tends to shift towards blue, while in autumn, the limited afternoon light takes on strong yellow or orange tones. These fluctuations might seem problematic, especially for commercial photographers who need to maintain consistent colors, but I’ve found them to be a wellspring of inspiration.
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The beauty of natural light is in its unpredictability. It encourages you to learn which subjects are best photographed under certain conditions—whether it’s a sunny day or a cloudy one.
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Adapting to natural light creates a dynamic flow in your work, keeping it fresh and engaging for both yourself and your audience. It’s never monotonous because each day brings a new light, a new mood, and a new opportunity to explore. For me, this ongoing challenge and the continuous movement in my work were what naturally led me to rely solely on natural light—no exceptions.
LIGHT SOURCES
If you’ve chosen to explore this tutorial, it’s because you’re interested in creating images that have the power to evoke emotion, spark interest, and tell a story. I like to say, “I photograph what the light decides to reveal". It’s the light that guides you, that answers the question, “Is it better this way or that way?” The light is what ultimately carries the emotional essence of your shot.
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I typically work with just one light source. To achieve the best results, you'll need to block out all other light sources in the room where you’re photographing. You can use black sheets or dark curtains to cover any additional windows or light leaks. Also, remember to turn off any artificial lights to prevent them from interfering with your camera’s white balance.
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You won’t need a large space, but it’s important to have a place where you can take your time to create and experiment. Working with a single light source simplifies things a bit, as you only have one light to control, and it offers you the opportunity to play with beautiful, dramatic shadows.
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A window can be used in various ways: you might position your scene sideways to create long shadows extending opposite the light, or you could place the window behind your subjects for a different effect. If you’re unsure which room or angle is best for your shots, I recommend doing some tests at different times of the day. Take the time to observe how the light enters the room, how it shifts throughout the day, and how it interacts with your subject, altering your perceptions.
SIDE LIGHT
I almost always work with side lighting, so I place my table next to a window, with the light illuminating the scene from the right. In the room where I work, the light comes from the north, providing indirect light that tends toward cooler tones—perfect for the mood I aim to create.
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This setup creates a balanced contrast between light and shadow, adding a pleasant sense of movement to the entire scene.
When arranging objects within the frame, careful consideration is needed. With the light coming in from the side, avoid placing taller elements near the window, as their shadows may fall on smaller objects. To prevent this, you can experiment by positioning elements at different levels or distances so they don’t overlap.
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DIRECT LIGHT
Direct light occurs when sunlight hits your window directly on a sunny day.
This type of light creates dark, long, and sharp shadows, known as hard shadows. In addition to emphasizing textures and creating strong contrasts, direct light significantly impacts the overall atmosphere of an image, lending it a bold and dramatic character.
The harsh shadows themselves become subjects, playing an integral role in the composition.​
BACK LIGHT
Another option is to position the light source behind the subject, directly in front of the camera. Typically, for this type of shot, the camera is positioned higher than the subject to prevent light from entering directly, which could create halos or other unwanted effects.
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This type of backlighting is highly effective for highlighting textures and small details. For example, try experimenting with freshly washed fruit or leaves after a spring drizzle— the droplets of water will stand out beautifully. Similarly, the shiny surface of a cake covered in chocolate ganache or the bubbles in a glass of sparkling prosecco will be enhanced. Experiment and see for yourself!
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In some cases, you might encounter a scene with too much contrast, leaving certain areas underexposed. To balance this, you can use a reflector to bounce light back onto your subject.
INDIRECT LIGHT
Indirect (or diffused) light is the soft light that enters through a window without hitting it directly. This type of light is most noticeable at certain times of the day when the sun’s rays are not perpendicular to the window, or in rooms where direct sunlight never reaches. Clouds are the natural diffusers par excellence, as they create a light layer that filters the sun’s rays.
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If you want to achieve this effect but are working with direct light, you can place an opaque reflector in front of the window.
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Indirect light is my favorite to work with. The shadows remain present but are softer, wrapping around the subject and adding three-dimensionality. This creates a peaceful and engaging atmosphere, often with a subtle aura of mystery.
LISTEN TO LIGHT
The most important aspect of understanding light is to pause and observe. The shot itself is the final step, but many actions must come first. Take the time to “listen” to your subject—don’t rush. Turn it in different directions and observe how it interacts with the light, revealing its shapes and textures. Often, the subject will guide you to the best angle or profile for capturing its essence.
BEHIND THE SCENES
Side light
1
Artificial lights
turned off
2
Closed doors and
other light sources
3
Remote cable
connected to computer
4
A single source of side,
indirect sun light
5
Second window
closed
6
Camera on the tripod
Result:
BEHIND THE SCENES
Back light
1
Closed doors and
other light sources
2
Reflector facing
thesubject
3
Camera on the tripod and connected to the computer
4
A single source of
suffused light,
behind the subject
5
Artificial lights
turned off
6
Shoot directly from
the computer
Result:
NOT SURE HOW TO USE YOUR WORKSPACE?
If you're struggling to understand how to make the best use of your workspace and the natural light you have available, my course LIGHT CRAFT is perfect for you. Together, we will analyze both so that you can use them to their full potential!
BACKDROPS
The choice of background is definitely crucial in Still Life photography, as it helps define the mood of the frame.
The possibilities for backdrops are endless: you can find them in fabric, and paper, or even create your own using a plywood panel painted in the color of your choice. In short, this is another area where you can let your imagination run wild!
Below, I’ll give you three examples of different backdrops, both in terms of material and effect.
REFLECTORS
Let’s talk a bit about reflectors. While you can purchase professional ones, my personal preference is for simple pieces of white styrofoam. They’re super cheap, easy to handle, and easy to find.
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So, what are they for? Even when aiming for a dark, moody image, there are times when you need a little extra light to better illuminate your subject. When light comes from only one side, the opposite side of the object might end up too dark. This is where the whiteboard comes in!
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By placing a piece of styrofoam on the side opposite the window, the light will reflect off it and bounce back onto your subject. The closer you position the board to the object, the more light it will reflect; the farther away you move it, the less light it will cast.
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The advantage of using a white styrofoam (or even a white paper sheet or cardboard) instead of a professional reflector with a gold or silver surface is that the styrofoam reflects light in a soft and diffused way. It won’t disrupt the mood of your shot but will subtly lighten the shadows, preserving the chiaroscuro effect while enhancing the visibility of the unlit parts of your subject.
Without reflector
With reflector, medium distance
With reflector, close distance
NARROWED LIGHT EFFECT
Sometimes, I want to block some of the incoming light to create a narrower beam that illuminates my scene more selectively. In these situations, you can hang a black cardboard or dark tarp over part of the window to reduce the size of your light source.
If you're working with direct light or on a particularly bright summer day, and the light is too intense for the moody atmosphere you're trying to achieve, you can place a semi-opaque reflector in front of the window or hang a very light white sheet. This will help decrease the intensity of the light, creating a softer, more controlled effect.
MAKING MISTAKES IS COOL
Mastering natural light isn't easy; it requires time and dedication. You need the patience and humility to observe, experiment, and make countless mistakes (and how much you can learn from those mistakes!). But when you finally develop the skills to control it and use it to your advantage, it all becomes worth it!
ON - SITE
SHOOTING
You may be commissioned for a job where the client asks you to shoot on location, such as in their restaurant. It's essential to conduct a site inspection beforehand to understand the environment in which you’ll be photographing.
Identify the best angle for your setup and ensure you can make the most of the available natural light. If the location has many windows and you’re unable to block them all, bring along cardboard or black panels to place around your table to control the surrounding light.
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For me, photography is synonymous with creativity; don’t be discouraged by situations that seem impossible at first glance, think about the solution!
Try to schedule the shoot on a day when the location is closed so you can work in peace. And don’t forget, make sure all artificial lights are turned off!
WHITE BALANCE
White balance is a manual or automatic operation that allows your camera to correctly interpret the light in a scene, ensuring that the colors are accurate and true to life. Your camera offers several options to choose from, including Incandescent, Fluorescence, Direct Sun, Flash, Cloudy, Shade, Color Temperature, and Auto.
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It's important to remember that each light source has its own color cast, ranging from red to blue. While our brains automatically compensate for these shifts, giving us more "real" colors, cameras don’t have the same intuitive understanding—they can only make an educated guess, which can lead to significant errors.
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For this reason, it’s crucial to adjust the white balance before you start shooting, selecting the option that best matches the lighting conditions in your scene.
DO SOME TEST
If you’re not already accustomed to managing white balance, I recommend taking a few minutes before you start photographing to do some test shots. Experiment with different white balance settings and observe the results.
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If you’ve noticed that your photos often have a noticeable blue or orange tint, it’s a sign that the white balance isn’t correct. While it’s true that you can adjust the color temperature in post-production, I always strive to capture the most accurate image possible from the start.
auto
shade
incandescent
RAW
FORMAT
As I mentioned earlier, one of the essential features your camera must have is the ability to shoot in RAW. Let me explain why this is so important.
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A significant part of my work’s identity comes from post-production. While I don’t alter the fundamental nature of my photos, post-production allows me to add that extra touch that makes my style personal and recognizable.
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To have full control in post-production, it’s crucial to shoot in RAW format. This format allows your camera to save all the data captured by the sensor, giving you a file that you can process according to your aesthetic and creative preferences.
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A RAW file offers a wide spectrum of brightness levels, enables you to recover details in both light and shadow areas, adjust white balance during editing, and produce images with greater clarity and detail. Another key benefit of this format is that it doesn’t risk damaging the original photo, as it cannot be overwritten. Every time you save changes, you’ll be prompted to choose a format, creating a new file.
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You might argue that RAW files are larger, take up more space, and require post-production or conversion—but I assure you, this format has saved me countless times, especially when working in challenging lighting conditions. Once you get used to it, you won’t want to shoot any other way!
EXPOSURE
When taking a photo, the general rule is to avoid overexposing or underexposing the image, so you can preserve as much detail as possible in both the highlights and shadows.
In photographic terms, an image is overexposed when too much light hits the sensor, often due to a slow shutter speed, causing some areas to become excessively bright and lose detail. Underexposure, on the other hand, occurs when too little light reaches the sensor, often due to a fast shutter speed, causing shadows to become too dark and lose detail.
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​Even if you’re aiming for dark mood photography, where shadows play a dominant role in creating a mysterious atmosphere, I recommend not underexposing your photo too much during the shoot. If you want to darken certain areas, you can always do so in post-production. Remember, capturing a photo with the correct exposure gives you more control over the final result when editing later on!
HERE ARE SOME DATA:
DARK OR LIGHT?
Looking at these two pictures, you might think I used two completely different lighting setups, but... drum roll... it's exactly the same !
With the same light, you can create both dark and light photos. The technique stays the same; what changes is the choice of props.
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For example, if you go with a very dark background and a gray-toned tablecloth, as in the photo on the left, you'll achieve a dark and mysterious image. On the other hand, using a pastel background and a light pink tablecloth will give you a brighter result, as seen in the photo on the right.
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Light-colored surfaces and materials reflect more light. By selecting a setup with lighter tones, both the subject and the entire image will appear brighter and more illuminated.
FORBIDDEN TO GIVE UP!
It doesn’t matter where you are on your photographic journey; if you’ve decided to understand natural light a little better, you’re on the right path! While photography involves more than just light—framing, prop selection, and styling are also crucial—light undoubtedly does 70% of the work.
When I look back at my early work, I hardly recognize myself in it! But as I scroll through my Instagram feed, I can trace the journey I’ve been on, how I’ve evolved, and the stylistic choices I’ve made. It’s all the result of dedication and perseverance.
Over the past 5 years, I’ve photographed almost every day, taken courses and tutorials, read books, observed photographers I admire, made mistakes, and experimented. I don’t think I’ll ever feel like I’ve “arrived,” but I do know that in recent years, I’ve developed a personal style that allows me to express myself and will continue to evolve as I do.
WELL DONE!
You did it! You’ve reached the end of this tutorial, and I hope you’ve picked up many interesting insights along the way. It was a real pleasure guiding you through this wonderful adventure in search of light (okay, it might sound a bit philosophical, but you know what I mean!).
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If you’ve applied the tips from this tutorial but still find yourself struggling or having doubts, I’ve created tailored photography courses to help you dive deeper into specific topics.
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Thanks again for being part of this experience!