conversations.from: human
conversations.value: What could be a title for a book about British, Institute, Professional with the genre: Arts & Photography, Photography & Video?
conversations.from: assistant
conversations.value: A title for this book could be 'Photographing Children in Natural Light'
conversations.from: human
conversations.value: What is the first five paragraphs for this book?
conversations.from: assistant
conversations.value: Photographing Children in Natural Light
  Removing ourselves out of the somewhat artificial environment of the studio into what can be an unpredictable workplace can be daunting for the inexperienced or those who have worked within a 'fixed formula'. It's no easy task, especially if you've learnt your trade, established yourself in a studio environment and are perhaps in that comfort zone of what works for you.
  However, working in available light will not limit the creative once they understand what is possible and what (to a point) isn't. It provides an opportunity to create images which are both simplistic or complex in their make-up, depending on how the light is used. Whether the image is a beautiful backlit shot taken in a cornfield where we can incorporate flare and imbue a classical nostalgic feel, or whether an interior window light offers a chance for graphic drama, a different feel can be achieved at different times of day depending on the strength, quality and colour of the light. Yes, it can be unpredictable, and it is a challenge to bring all the elements together, but the results are individual and there are no boundaries in terms of creativity.
  That wonderful hour when the sun rises and later when it sets has been indoctrinated in us as being the best time of day during which to take beautiful portraits and, when handled well, we can indeed produce something special at those times. However, in reality this isn't always possible and, given that the light comes in many guises throughout the day or year, we must use what is available at these times to create something specific.
  You may not want that soft backlit shot; you may be looking for something more harsh. There are no rules as to when the best time is for you to shoot, but you do need to understand the effects of these given times in order to implement the ideas and learn how to control 'wayward' light. If you are selling your images in a professional capacity, it is essential to grasp what your market demands with regard to the feel of your 'product', as well as find out what is the most flattering light for a particular style and what, crucially, is going to sell.
  One of the advantages of working in a studio is that you can position lights as you wish, which of course you can't do with the sun, so when you're outside you need to move yourself and your subject, as well as factoring in a little more planning with regard to the time and position of the light source. Within the studio environment, we talk more about high key and low key lighting set-ups than we do for location shots. The meaning of 'key' flirts with a similar analogy in music – the 'pitch' or tonal range. High key in a studio is a sharp-lit image, holding minimal shadow detail, even sometimes to the point of being burnt out. This is obtained through use of a light background and artificial lighting/flash, in some cases using multiple light set-ups. In contrast, a studio low key image uses just one or two lights, targeting a small area of the subject and giving a more subtle view, almost to the point of effecting three dimensions through the use of deep shadows, and so on.
conversations.from: human
conversations.value: What is another paragraph?
conversations.from: assistant
conversations.value: Permission was gained for this image to be taken in the beautiful grounds of Stourhead, the National Trust property in Wiltshire.
conversations.from: human
conversations.value: What is the last two paragraphs?
conversations.from: assistant
conversations.value: The Master Photographers Association, Jubilee House, 1 Chancery Lane, Darlington, County Durham DL1 5QP
  Australian Institute of Professional Photography, Suite 5, 205a Middlesborough Road, Box Hill South, Victoria 3128