Casey O'Brien 3ptppt


Published on


Published in: Technology, Business
  • Be the first to comment

  • Be the first to like this

No Downloads
Total views
On SlideShare
From Embeds
Number of Embeds
Embeds 0
No embeds

No notes for slide

Casey O'Brien 3ptppt

  1. 1. 3 POINT LIGHTINGPhotographic Imaging 1 Casey O’Brien
  2. 2. All of the lights are onhere, lighting everyangle. {
  3. 3. Only the Key Light is onhere. This is the primaryor dominant source oflight in a shot. There aretwo types of Key Light, asshown in the followingslide.
  4. 4. Types of Key Light Soft Key Light Hard Key LightIt portrays a soft shadow It creates a darker on the subjects face, shadow, making the drawing your eye to the photograph more brighter part of the face. dramatic.
  5. 5.  When you’re practicing, keep an eye on Harsh Nose Light the shadow it creates from the nose.  It’s easier to create a shadow from the nose with hard Key light.  Soft Light blends better  When the light is directly facing theHatchet Lighting subject, the nose shadow will disappear.  You can make the Key light seem more effective by making a dramatic face and wearing makeup with the hard Key light.  Hatchet Lighting: When the shadow runs Reduced Nose Light right down the center of the face.Key Light Techniques
  6. 6. Only the fill light ison here. Fill light isused to lightenshadows.
  7. 7. What is Fill Light? Fill light lights the shaded areas of the subjects face in a photograph.Fill Light TechniquesPlacement positions near the camera to hide the shadowsbehind the subject or more off to the opposite side from theKey light.When the Fill is directly over the camera it adds to the Keylights exposureUsing an umbrella or a softbox is common.
  8. 8. Only the hair light is on.
  9. 9. Hair Light• Hair light is a light from behind the subject aimed at the head & shoulders.• It creates a sense of separation between subject and background, and adds highlights & shine to hair, and is often widened to include a subjects shoulders.
  10. 10. Hair LightTechniques•Traditionally Hair lights are placed directly opposite the camera. It creates highlightsand gives a nice shine to the hair.•For thinning hair or bald heads, you probably already have enough separation fromthe background; either because of the contrast or color differences, and only wantto play with adding a subtle edge to the side of the head and neck.•For shiny heads you could have separate lights for each shoulder or put up atraditional hair light and block, or flag, the part of the light falling on the head.•You may just need an edge on the shoulders of a dark garment that is blending intothe background.
  11. 11. Only the edge light is on.
  12. 12. Edge Light• Edge light is 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 in practice 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.
  13. 13. Edge LightTechniques •Edge lights create subtle defining edges, and line-like highlights, which can be added to your setup to delineate the edge of your subject. •If your subjects dark hair or jacket seems to blend into a similarly dark background you can add an edge to visibly separate, or cut them away, from the background. •To experiment with these effects start with small fixtures and keep an eye on the shadow from the subjects ear. •Edge lights are also aimed in the direction of the camera, so be careful to keep any light from shining into the front of the lens, causing lens flare.
  14. 14. This is the setup.
  15. 15. Background Light• Background Light is used for lighting the background of a set, as a whole or specific areas. Or for lighting objects in the background of the set that are significant to the image. It also contributes to creating separation between subject and background.
  16. 16. Background Light Techniques• How you deal with backgrounds depends on whether it is part of the story or just a neutral setting for your subject.• For the setup used in the Viewer above, we created a mottled shadow pattern on the background by shining a hard light through a cookaloris (a random pattern cut into wood, foamcore, or black foil)• By the time youve put up your Key, Fill, Hair and Edge lights you might have light bouncing off the walls and ceiling lighting up the background too much.
  17. 17. Background Light Options• It is also common to treat the background using a slash of light made by putting two barndoors close together on a hard light source.• Slash Accent• You can mix the slash with general background fill, making it less prominent, or use the slash accent alone in a darker background to increase its effect.
  18. 18. Background Light Options A more practical approach to adding visual interest to the background would be to add a highlight to an object in the setting.• In this setup, the hard light character of the lamp created a sharp shadow.• The result looks like it have could come from track lighting or a recessed ceiling light, adding to the natural feel of the effect.
  19. 19. Background Light Options• A popular technique in news magazine format TV over the past 10 years has been to give the background a more obviously treated / theatrical effect. It provides a contrast of color and feel between the environment and the subject.• Use barn doors on the fixture to trim any spill that may fall on the subject, as its color will make it very noticable.
  20. 20. Simple Light Setups• A second small light from behind to add a little shine to the hair adds a finishing touch.• This setup is providing the shine on the hair and shoulders.• Get the feel of working with a small hard source (you can really see where those shadows are) and then perhaps add an umbrella and see that by increasing the relative size of the light source you increase its softness.
  21. 21. Reflected Fill Light• Another method of providing Fill is by bouncing the Key light off of a reflector.• A specular reflector (the shiny hard side) will kick back nearly as much light as the Key light shining on it, in the same degree of hardness that strikes it.• Using a matte white card will provide a very soft reflected fill at close range
  22. 22.   Information Websites