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3 pointlighting.ppt
3 pointlighting.ppt
3 pointlighting.ppt
3 pointlighting.ppt
3 pointlighting.ppt
3 pointlighting.ppt
3 pointlighting.ppt
3 pointlighting.ppt
3 pointlighting.ppt
3 pointlighting.ppt
3 pointlighting.ppt
3 pointlighting.ppt
3 pointlighting.ppt
3 pointlighting.ppt
3 pointlighting.ppt
3 pointlighting.ppt
3 pointlighting.ppt
3 pointlighting.ppt
3 pointlighting.ppt
3 pointlighting.ppt
3 pointlighting.ppt
3 pointlighting.ppt
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3 pointlighting.ppt

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Transcript

  • 1. 3 POINT LIGHTINGPhotographic Imaging 1
  • 2. Interview Lighting● The concepts covered here will reappear in many other lighting setups.● They will also help you to create your own distinctive lighting style.●These 4 lights: Key, Fill, Hair, & Edge, form the basics of a well litportrait.
  • 3. Window lighting● concepts of contrast andlight angles were ofteninfluenced by indirect lightcoming in a window.●The north-light window/softlights- attempt to emulatethis classic look.
  • 4. Key Light defined: The primary or dominant source of light in a shot.
  • 5. Soft Key Light●In the setup shown in the viewer, soft Egg Crate tothe Key light is a very soft Rifa-lite control its spill.88 Notice the effect; the shadowline running down the cheek.
  • 6. Hard Key Light●Thetransition between the light and dark areas is moredramatic.●Rembrandt lighting- you see a light triangular patch under thenear eye,You may notice that both soft and hard key lights areapproaching the face from the far side of the face, from thecamera. What is referred to as the short side. Full lighting with hard Key Rembrandt van Rijn, Portrait of a Lady with an Ostrich-Feather Fan, c. 1658/1660 Pro-light, 250W Focusing Hard light
  • 7. Key Light Techniques●keep an eye on the shadow it creates from the nose. Bad nose shadow Reduced nose shadow●As a start, find the angle and height for your Key light thatplaces that shadow along the crease between the noseand the corner of the mouth.●Now try placing your light so the nose shadow is nearlygone. This will happen when your light is anywhere fromdirectly in front of the subject.●Bringing the Key light face-on is effective for lighteningthe shadows from wrinkles, but it is very flat light. -try to move the subject and lights further away from the back wall to allow the spill to fall off.Hatchet lighting-the shadow line runs right down the centerof the face. Hatchet lighting
  • 8. Simple Light Setups●Sometimes one light will do the work of both Keyand Fill.●A second small light from behind to add a littleshine to the hair adds a finishing touch.●adjust the distance between the light and yoursubject to achieve the balance between your keylight and the ambient light.●Dont forget to make the necessary changes inthe height of your stand and possibly an exposurechange to your camera as you adjust position ofthe lights.●perhaps add an umbrella and see that byincreasing the relative size of the light source youincrease its softness.
  • 9. ●Fill light: used to lighten shadows and controlcontrast ratios. Combined with the Key light, Filllight helps define the mood by lighting theshaded areas in a range of intensities.●contrast ratio: the ratio of amount of Key to Filllight
  • 10. Fill Light●After setting the Key light,you may find that thedarker side of the face istoo dark●This doesnt just apply tolighting faces.●The amount of Fill that isadded depends on yourtaste.●alter the mood of a shotby raising and loweringthe intensity of the Fill.
  • 11. Fill Light Techniques●light placement positions near the camera-hide the shadows behind the subject or moreoff to the opposite side from the Key light.●When the Fill is directly over the camera itadds to the Key lights exposure so consideradjusting for it.●withthe Key light/ adding scrims or neutraldensity gels to the light- lessen the intensity●. While it could be most any kind of light, aFill light is usually a soft source so using anumbrella or a softbox is common. Lower ratio higher ratio Double●theonly wrong way to do fill is if it adds of Key to of key to fill Noseanother set of visible shadows. Shadow Fill light light
  • 12. Reflected Fill Light●Another method of providing Fill is by bouncing theKey light off of a reflector.●A specular reflector (the shiny hard side) will kickback nearly as much light as the Key light shiningon it, in the same degree of hardness that strikes it.● A stippled reflector surface will soften thereflected light more and give less chance ofsecondary shadows.●Using a matte white card will provide a very softreflected fill at close range. ●negative fill- often done by hanging a dark cloth or piece of black foamcore on the fill side to prevent stray light from providing too much fill.
  • 13. *creates a sense of separation between subject and background,Hair light/ backlight: A light from behind the subject,aimed at the head & shoulders.
  • 14. Hair Light Techniques●Both Hair lights and Edge lights fall into thiscategory.●Traditionally Hair lights are placed directlyopposite the camera●Small hard lights will make small hard linesand edges, Larger sources provide an even,gentle wash.●If you are dealing with thinning hair or baldheads, You may just need an edge on theshoulders of a dark garment that is blendinginto the background.●For shiny heads you could have separatelights for each shoulder or put up a traditionalhair light and block, or flag, the part of thelight falling on the head.
  • 15. Edge light: A light from behind the subject,placed to create an edge of definition between subject and background.
  • 16. Edge Light Techniques●Edge lights create subtle definingedges, and line-like highlights.●If your subjects dark hair or jacketseems to blend into a similarly darkbackground then add an edge tovisibly separate, from thebackground.●start with small fixtures and keep aneye on the shadow from the subjectsear. (Try using a small light with anumbrella or with a diffusion gel.)
  • 17. Background Light: Used for lighting the background of a set.
  • 18. Background Light Techniquesif the background is too bright you●can try turning off any room lights, orby adding distance between thesubject and the background.Since large broad sources tend to●spill on the background considerusing an Egg Crate on any softlightsyou use.● Other lights should all havebarndoors to direct light only whereits wanted.
  • 19. Background Light Options (slash accent)●treat background using a slash made byputting two barndoors close together on ahard light source.●Focusing the light to flood will give alarger and more consistent output level tothe slash.●You can mix the slash with generalbackground fill, making it less prominent. the image to the left shows a slash created by a focusable●use the slash accent alone in a darker Omni-light.background to increase its effect.●Coloring the slash with a gel is also acommon approach.
  • 20. Background Light Options (highlight accent)●The hard light character ofthe lamp created a sharpshadow.●The result looks like it couldhave come from tracklighting or a recessed ceilinglight In this shot, we used a tiny lamp directed to place a small●adds to the natural feel of pool of light on the flowers andthe effect. the picture frame.
  • 21. Background Light Options (color background)● it provides a contrast of color and feel between the environment and the subject.● Use barn doors on the fixture to trim any spill

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