Actual 3 point lighting

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Actual 3 point lighting

  1. 1. 3 POINT LIGHTINGPhotographic Imaging 1
  2. 2. Interview Lighting• Most important lesson• These skills appear in other setups• Pay attention to how often concepts reappear• How the techniques work together and individually• Adapt styles as needed for different situations• Adapt your own lighting style• Use this player to use each light setup• Four lights • Key • Fill • Hair • Edge
  3. 3. History• Contrast and angle affected by windows with indirect sunlight• Historic north-light window = modern soft lights for a classic look
  4. 4. KEY LIGHT• Primary or dominant source of light• Out of frame source• Hard or soft and its position helps set the mood
  5. 5. Soft Key Light• Key light is a very soft Rifa-lite 88 fitted Full lighting with Soft with a 1000-watt KeyRifa 88, 1000W bulb and a soft Egg Soft lightRifa with Crate to control its Fabric Egg Crate spill• Cheek closest to the camera: Notice the shadow line running down the cheek.• Do you notice this in movies, television, and photographs? Simple Light Setups
  6. 6. Hard Key Light• Hard Key Light using a 250-watt Pro-light.• Transition between the light and dark areas is more dramatic• Rembrandt lighting: a light triangular patch under the near eye• Rembrandt experimented with pointing the main light from different directions• Both soft and hard key lights are approaching the face from the far side of the face, from the camera• Short side: far side of the face from the camera 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. 7. Key Light Techniques• Shadow on the nose: • Easier to see with a hard light • Blends more attractively with a larger soft source. • Place the shadow along the crease between the nose and the corner of the mouth.• To remove shadow on the nose: • When light is anywhere from directly in front of the subject to directly over the camera.• With Key light face-on, wrinkles have shadows • This position allows light to spill onto the background • To reduce spill move the subject and lights further away from the back wall• Hatchet lighting: shadow line runs right down the center of the face Bad nose shadow Reduced nose shadow Hatchet lighting
  8. 8. Simple Light Setups• One light for both Key and Fill. Second small light from behind to add shine to the hair• 500-watt Omni-light with a nylon umbrella for the single Key / Fill light and a Single light (Omni- light 500 W) with• 125-watt L-light for the shine umbrella, positioned on the hair and shoulders. to function as Key light, with enough softness to also act as Fill light. Single light result
  9. 9. Fill Light• Fill is used to lighten shadows and control contrast ratios, defines the mood by lighting the shaded areas• Contrast ratio: the ratio of amount of Key to Fill light
  10. 10. Fill Light• Fill light alone Rifa 44, 250W Soft light, egg crate• With Key light alone, darker side of the face may be too dark.• Anytime you adjust the left side with Key light you are working on the Fill Fill light alone• Amount of Fill that is added Rifa 44, 250W Soft depends on your taste light• Change mood by raising or lowering intensity
  11. 11. Fill Light Techniques• Light placement near the camera to hide the shadows behind the subject• When Fill is directly over the camera it adds to the Key lights exposure• Adjust the distance of Key Light to lessen the intensity• Fill light is usually a soft source so using an umbrella A) Lower ratio of Key to Fill light or a softbox B) B) Higher ratio of Key to Fill light• If fill adds another set of C) C) Double Nose Shadow visible shadows, it’s wrong• Double nose shadow: caused by having a Fill light that is almost as strong as the Key
  12. 12. Reflected Fill Light• Bounce the Key light off of a reflector to create fill light.• Specular reflector: kicks back nearly as much light as the Key light• A stippled reflector surface: soften reflected light and give Specular Reflector bouncing Soft less secondary shadows. Key light to create Fill Closeup detail• Matte white card: provide a very soft reflected fill at close range.• Negative fill: hang a dark cloth or piece of black foamcore on the fill side to prevent stray light from providing too much fill.
  13. 13. Hair Light• A light from behind the subject, often weaker than the Key or Fill, aimed at the head & shoulders.• Creates a sense of separation between subject and background, and adds highlights & shine to hair
  14. 14. Hair Light Techniques• Traditionally Hair lights are placed directly opposite the camera.• Small hard lights will make small hard lines and edges• Larger hard lights provide an even, gentle wash• With thin hair or bald heads, there is probably enough separation from the background Hair light alone• For shiny heads: have separate lights for Rifa 44, 250W Soft each shoulder light• Flag: part of the light falling on the head
  15. 15. Edge Light• A light from behind the subject, often weaker than the Key or Fill• Placed to create an edge of definition between subject and background.• Used to define one dark object from another.
  16. 16. Edge Light Techniques• Edge lights create subtle defining edges, and line-like highlights, AKA kickers, liners or edge lights.• It is popular to have a light edge along the jaw line.• Edge lights are also aimed in the direction Edge light alone of the camera L-light, 100W
  17. 17. Background Light• Used for lighting the background of a set, as a whole or specific areas.• Creating separation between subject and background.• More than one fixture at a time
  18. 18. Background Light Techniques• The background level is usually down, or less bright than the subject.• Highlight something in the background for interest.• Cookaloris: a random pattern cut into wood, foam core, or black foil• Turn off any room lights, or add Setup with cookaloris distance between the subject and pattern the background to limit more light. Pro-light, 250W• Consider using an Egg Crate on any softlights used.• Other lights should all have barndoors to direct light only where its wanted
  19. 19. Background Light Options• Slash of light: used to treat the background by putting two barndoors close together on a hard light source.• Focusing the light to flood will give a larger and more consistent output level to the slash.• Mix the slash with general background fill, making it less prominent, Setup with Slash Accent• Use the slash accent alone in Omni-light 500W a darker background to focusable increase its effect
  20. 20. • Background Light Options Highlight Accent• Add a highlight to an object in the setting to add visual interest• Tiny L-light with 100 Watt lamp directed to place a small pool of light on the background• Track lighting or a Setup with Highlight recessed ceiling light, AccentL-light with looking natural 100W lamp
  21. 21. • Background Light Options Color Background: more obviously treated / theatrical effect.• Provides a contrast of color and feel between the environment and the subject. Setup with Color background• Red gel to an Omni-light Omni-light 500W focusable• Use barn doors to trim any spill onto the subject
  22. 22. Work Cited• http://www.lowel.com/edu/foundations_of_lighting.html• http://www.lowel.com/edu/

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