Lighting is one of the most important parts of photography — and also one of the most misunderstood.

This episode idea actually came to me while driving to a client’s home for an upcoming session. It was a new family, a private location, and I hadn’t photographed there before. Before I ever pick up my camera, I’m already thinking about one thing:

What is the lighting going to be like, and how can I work with it — not against it?

Why I Never Show Up Without a Lighting Plan

When I photograph at a private home — indoors or outdoors — I almost always ask for photos ahead of time. I want to see:

• where the light enters the space

• how open or shaded the area is

• what direction the sun hits the home

Back when I photographed newborns regularly, this was essential. Parents would send me photos of their living room, bedroom, or nursery so I could walk in already knowing how to best photograph their family.

If the session is at a public location, I’ll often stop by ahead of time or mentally note how the light changes throughout the day.

Lighting decisions don’t happen during the session — they happen before it.

The First Thing I Look For: Where Is the Sun?

For most outdoor sessions, especially in the evening, I prefer the sun behind my subjects, ideally filtered through trees.

Tree shade creates soft, even light without harsh contrast. It’s one of the most flattering and reliable lighting situations there is.

Sometimes we have to use shade from buildings or homes — especially during midday sessions — and that’s okay. I’ve photographed everything from high school band portraits to extended families in situations where trees simply weren’t an option.

But if I have a choice, filtered tree light wins every time.

Why “Pretty Locations” Don’t Always Mean Good Lighting

One of the most common things I hear from clients is:

“I love this tree / these flowers / this spot.”

And while it might be beautiful to the eye, it doesn’t always photograph well.

Lighting matters more than the backdrop.

Speckled light, harsh sun, and heavy contrast can make even the most beautiful location feel distracting in photos. There are some places that only work at certain times of day — and others that honestly never work well at all.

That’s not a bad thing. It’s just part of knowing how light behaves.

Finding the Sweet Spot in the Shade

When I teach lighting — or even when I’m working with clients — I explain it like this:

• Deep shade near a tree trunk = too dark

• Full sun = too bright

• The edge of the shade = perfect

That middle ground is where the magic happens. It’s soft, flattering, and natural.

Small movements — turning slightly toward or away from the sun — can make a big difference, and that’s something I’m constantly watching for during sessions.

Are Cloudy Days Good for Photos?

Yes… and sometimes no.

If I had to choose most of the time, I would still pick a sunny day. But there are locations where cloudy days are actually better.

Open fields, flower farms, and wide spaces without shade can be incredibly bright. On cloudy days, those locations become usable for much longer periods of time.

However, cloudy days can also make people more light-sensitive:

• watery eyes

• squinting

• discomfort if they’ve been wearing sunglasses

My tip?
Arrive early, take off your sunglasses, and give your eyes time to adjust before the session begins.

Why I Don’t Reschedule for Clouds Alone

Unless it’s pouring rain, I usually don’t reschedule just because it’s cloudy.

Weather is unpredictable — and rescheduling doesn’t guarantee better conditions. Sometimes the next day is sunnier… but incredibly windy.

After 15+ years of photographing outdoors, I’ve learned how to adapt:

• adjusting location

• turning subjects toward the sun

• using natural reflectivity

• enhancing light subtly in editing

The sun is still there on cloudy days — it’s just diffused.

Lighting Is Experience, Not Perfection

Lighting isn’t about forcing conditions to be perfect.

It’s about understanding what you’re given and making thoughtful decisions in real time.

That experience is what allows me to confidently photograph families, seniors, and businesses — even when conditions aren’t ideal.

If you’re a client, that means you don’t have to worry about lighting.
If you’re a photographer, it means learning to trust your eye over time.

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