Photo class. power point


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Photo class. power point

  1. 1. 3 Point Lighting Photographic Imaging 1
  2. 2. Key Light
  3. 3. Definition: The primary or dominant source of light in a shot. It oftensuggests an out frame source. Choice of fixture (hard or soft) and its position will help set the mood of the shot.
  4. 4. Soft Key Light The key light is a very soft Rifa-lite 88 fitted with a 1000- watt bulb and a soft Egg Crate to control its spill The cheek closest to the camera has the shadow line running down the cheek. Begin to notice how often you see this in movies,television and photographs. Full lighting with soft KeyRifa 88, 1000W Soft lightRifa with Fabric Egg Crate
  5. 5. Hard Key Light  250-watt Pro light. The transition between the light and dark areas is more dramatic.  REMBRANDT: move key light until you see a light triangular patch under the near eye.  Both soft and hard key lights are approaching the face from the far side of the face, from the camera.Full lighting with hard keyRembrandt van Rijn, portrait of a Lady with an Ostrich-FeatherFan, c. 1658/1660 Pro-light, 250W Focusing Hard light
  6. 6. Key Light Techniques Keep eye on the shadow it creates from the nose. Nose shadow is easier to see with hard light but blends more when you use a large soft source. Find an angle and height for your key light that places a shadow along the crease between the nose and corner of the mouth. Placing your light directly in front of the subject, slightly away from lens takes away the nose shadow. Key light “face-on” is effective for lightening the shadows from wrinkles. This position is very flat light so you need to balance the needs of filling wrinkles or a slimming effect. Hatchet lighting- adjust the height of the key light to a better fill deep set eyes.
  7. 7. Bad nose shadow/Reducednose shadow Hatchet lighting
  8. 8. Fill Light
  9. 9. Definition:Fill is used to lighten shadows and control contrast ratios (the ratio of amount of Key to Fill light). Combined with the Key light, Fill light helps define the mood by lighting the shaded areas in a range of intensities. It can vary from none, to a level equaling the key light.
  10. 10. Fill Light Rifa 44, 250W Soft light Anytime you are treating the side left shaded by the key light you are working on the fill. Keep in mine the “look” you are attempting Alter the mood of a shot by raising and lowering the intensity Fill light alone Rifa 44, 250W Soft light
  11. 11. Fill Light Techniques Consider light placement positions near the camera to hide the shadows behind the subject. Near-the-camera position is when you want to fill shadows and still maintain a little modeling.
  12. 12. A. A. Lower ratio of Key to Fill lightB. B. Higher ratio of Key to Fill light C. C. Double Nose Shadow
  13. 13. Reflected Fill Light-Bounce the Key light off of a reflector.-Using a matte white card will providea very soft reflected fill at close range.Note: In highly reflective rooms, if your lighting is too flat, you might considera technique called negative fill. This isoften done by hanging a dark cloth orpiece of black foamcore on the fill side to prevent stray light from providing too much fill. Specular Reflector bouncing Soft, Key light to create Fill close up detail.
  14. 14. Hair Light
  15. 15. Definition:A light from behind the subject, often weaker than the Key or Fill, aimed at the head & shoulders. It may also be called a backlight. It creates a sense of separation between subject and background, and adds of highlights & shine to hair. Often widened to include a subjects shoulders.
  16. 16. Hair Light Techniques Rifa 44, 250W soft light Hair lights are placed directly opposite of the camera. Gives it a nice shine. Play with adding subtle edge to the side of the head and neck. Hair light alone Rifa 44, 250W Soft light
  17. 17. Edge Light
  18. 18. Definition:A light from behind the subject, often weaker than the Key or Fill, is placed to create an edge of definition between subject and background. Similar inpractice to Hair light, it is also a form of backlight normally used to define one dark object from another. For example, a dark jacket from a similarly dark background.
  19. 19. Edge Light Techniques Creates subtle defining edges and line like highlights. Light edge along the jaw line. Be careful to keep any liht from shining into the front of the lens Edge light alone L-light, 100W
  20. 20. Background Light
  21. 21. Definition: Used for lighting the background of a set, as a whole or specific areas, Orlighting objects in the background of the set that are significant to the image. It also contributes to creating separation between subject and background. Often the function of the light is fulfilled by more then one fixture at a time.
  22. 22. Background Light Techniques Less bright then the subject Setup with cookaloris patternPro-light, 250W Other lights should all have barndoors to direct light only where its wanted. Setup with cookaloris pattern Pro-light, 250W
  23. 23. Background Light Options
  24. 24. Background Options Highlight Accent Add light to the object in the setting Color background A popular technique in news magazine format TV over the past 10 years has been to give the background a more obviously treated effect.
  25. 25. Simple Light Setups
  26. 26. Simple Light Setups 500-watt Omni-light One light will work for both key and fill. A second small light from behind to add a little shine to the hair adds a finishing touch. Make necessary changes: height of stand exposure
  27. 27. Single light (Omni lgiht 500W) with umbrella,positioned to function as key light, with enoughsoftness to also act as Fill light.
  28. 28. http://www.lowel.Com/edu/foundations of lighting.html