Recommended
More Related Content
What's hot
Viewers also liked
Similar to 3 point lighting new powerpoint
Similar to 3 point lighting new powerpoint (20)
Recently uploaded
Recently uploaded (20)
3 point lighting new powerpoint
- 2. Photographic Imaging 3-Point lighting
- 4. ONLY THE KEY LIGHT ON
- 5. ONLY THE FILL LIGHT ON
- 6. ONLY THE HAIR LIGHT ON
- 7. ONLY THE EDGE LIGHT ON
- 8. FULL LIGHT SET UP
- 9. HISTORY he original concepts of contrast and light angles were often influenced by the light coming in from a window ur modern soft light is an attempt to emulate the classic north-light window look
- 10. KEY LIGHT rimary or dominant source of light in a shot ften suggests an out of frame source he choice of fixture (hard or soft) and its position will help set the mood of the shot
- 11. Soft Key Light reates the shadow line running down the cheek Full lighting with Soft Soft light Rifa with KeyRifa 88, 1000W fabric egg crate
- 12. Hard Key Light ramatic transition between light and dark areas embrandt Lighting- when key light is positioned so there is a light triangular patch under the near eye as a slimming effect on the subject Rembrandt van Rijn, Portrait of a Lady with an Ostrich-Feather Fan, c. 1658/1660 Full lighting with Pro-light, 250W hard key Focusing Hard light
- 13. Key Light Techniques he nose shadow is easier to see with hard light but blends more attractively with larger soft source ind the angle and height for your Key light that places shadow along the crease between nose and corner of mouth lace light so nose shadow is nearly gone hen light is directly in front of the subject, the shadow line on cheek will disappear ringing the Key light 'face-on' reduces wrinkles (makeup also effective) • Slimming effect Bad Nose Shadow Reduced Nose Shadow Hatchet Lighting atchet lighting- when shadow line runs down center of face • Can be dramatic effect when paired with little or no fill lighting or some edge lights
- 14. Simple Light Setups ne light will do the work of both Key and Fill second small light from behind adds a little shine to hair and adds a finishing touch small hard source can be used to see where the shadows are Single light (Omni- y adding an umbrella increases the relative size of the light source so softness increases light 500 W) with umbrella, positioned to function as Key light, with enough softness to also act as Fill light. Result of One light Source
- 15. Fill Light ightens shadows and controls contrast ratios (the ratio of amount of Key to Fill light) ombined with the Key light, Fill light defines the mood by lighting the shaded areas in a range of intensities an vary from none, to a level equaling the Key light
- 16. Fill Light Anytime you are treating the side left shaded by the Key light you are working on the Fill You can most easily alter the mood of a shot by raising and lowering the intensity of the Fill Fill light alone Rifa 44, 250W Soft light
- 17. Fill Light Techniques he Fill adds to the key light when directly over the camera • Fills shadows and still maintains a little modeling on the subject • A less intense light on the fill side is needed ays to lessen light intensity • Adjust key light distance • Add scrims or neutral density gels to the light A ill light is usually a soft source- use an umbrella or a softbox B C - A looks more fully lit, while still maintaining the Key as the dominant light source. visible shadows to the camera ill shouldn’t add another set of -Reduced Fill in image B increases dramatic effect. - C has a Fill light that is almost as strong as the Key, placed in a position so that the shadow the nose throws on the opposite side of the face, visible to the camera. lower ratio of key to fill Higher ratio of key to Double nose shadow light fill light
- 18. Reflected Fill Light stippled reflector surface will soften the reflected light more and give less chance of secondary shadows. sing a matte white card will provide a very soft reflected fill at close range. egative fill- used in highly reflected rooms • done by hanging a dark cloth or piece 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
- 19. Hair Light light from behind the subject, often weaker than the Key or Fill, aimed at the head & shoulders ay also be called a backlight eparates subject and background dds highlights & shine to hair
- 20. Hair Light Techniques laced directly opposite camera Hair Light reates highlights and gives shine to hair Alone mall hard lights will make small hard lines and edges arger sources provide an even, gentle wash Rifa 44, 250W Soft light strong back light blasted directly at the back of the head causes hair to glow on’t shine any in front of the lens, causing lens flare
- 21. Edge Light ight from behind the subject eaker than Key or Fill reates an edge of definition between subject and background orm of backlight normally used to define one dark object from another
- 22. Edge Light Techniques reates subtle defining 'edges', and line-like highlights elineate the edge of your subject eparates subject's dark hair or jacket from a similarly dark background imed in the direction of the camera Edge Light L-light, 100W Alone
- 23. Background Light sed for lighting background of set as a whole or specific areas ights objects in background of set significant to image eparates subject and background ossible to use multiple background lights
- 24. Background Light Techniques or the setup used above, a mottled shadow pattern on the background was created by shining a hard light through a cookaloris (a random pattern cut into wood, foamcore, or black foil). t was lit by a 250W focusable Pro-light, a hard source y the time you've 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. You can try turning off any room lights, or by adding distance between the subject and the background. In combination with these is the ability to control the lights you've placed in the setting. Setup with cookaloris patternPro-light, 250W Setup with cookaloris ince large broad sources tend to spill on the background consider using an Egg Crate on any pattern softlights you use. Other lights should all have barndoors to direct light only where it's wanted. You can finesse more by specifically flagging spilled light from where you don't want Pro-light, 250W it.
- 25. Slash Accent lash of light made by putting two barndoors close together on a hard light source ocusing the light to flood will give a larger and more consistent output level to the slash Set up with slash accent ou can mix the slash with general background fill, making it less prominent, or use the slash accent alone in a darker background to increase effect Omni-light 500W focusable oloring the slash with a gel is also common
- 26. Highlight Accent Highlights and object in the setting n this shot, a tiny L-light with 100 Watt lamp is directed to place a small pool of light on the flowers and the picture frame he result looks like it have could come from track lighting or a recessed ceiling light, adding to the natural feel of the effect. AccentL-light with 100W lamp
- 27. Color background popular technique used in media to give the background a more theatrical effect. It provides a contrast of color and feel between the environment and the subject. barn doors were used on the fixture n this shot, we added red gel to an Omni-light, to trim any spill that may fall on the focused wide enough to cover the background subject area of the shot Omni-light 500W focusable
Editor's Notes
- The height of the key light may need to be adjusted to better fill deep set eyes Larger softer light will be able to do this without causing the nose shadow to become distracting.
- Sometimes when power or time limitations are factors, one light will do the work of both Key and Fill. Experiment by adjusting the distance between the light and your subject to achieve the balance between your key light and the ambient light. Necessary height of your stand and possibly an exposure change to your camera as you adjust position of the lights. Perhaps your situation calls for a more or less powerful bulb or a different fixture.
- After setting the Key light, you may find that the darker side of the face is too dark for your tastes. In the setup shown in the viewer at the beginning of this lesson, we chose a Rifa-lite 44 soft light, with a 250-watt bulb, with a soft Egg Crate to control the spill. The amount of Fill that is added depends on your taste (or the preference of the person who hired you). Keep in mind the 'look' you are attempting; especially if you are shooting something that is dramatic. In fact on some soap operas the main difference in lighting between a daytime interior scene and a night setting is they drop the Fill almost all together and light the background a darker than normal.
- More commonly, you may begin to consider light placement positions near the camera to hide the shadows behind the subject or more off to the opposite side from the Key light. (you only need to worry about what's in your frame). Always look closely at your shot to see if your lights are creating unintended consequences.
- . 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. . 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.
- , and is often widened to include a subject's shoulders. Working with Hair light gets trickier with receding hairlines, and may be done without in that situation. , and is often widened to include a subject's shoulders
- Along with the amount of Fill light you use, you can continue to add finesse to the lighting to reveal the subjects form by using light from angles beyond what you use for the Fill. Both Hair lights and Edge lights fall into this category. In the nineteen seventies the extreme backlight was the rage. Find a glamour photo from the era and it will likely have a . If this is what you're after, just try to keep the light far enough back so it doesn't start your subject's hair on fire. and only want to play with adding a subtle edge to the side of the head and neck. . Wave your hand in front of the light and see if a shadow falls on the camera. With the advent of modern cameras there is less need for the really heavy use of hair light unless it is to appear as motivated or logical in the scene. Watch for programs done in film or HD and notice how natural these highlights are compared to older video programming.
- Similar in practice to Hair light, it is , for example a dark jacket from a similarly dark background.
- You may hear them referred to as kickers, liners or edge lights. . You provide a clue to the viewer where the subject leaves off and the background begins. If you have decided to use little or no fill an edge of some sort can enhance the dramatic effect. To experiment with these effects start with small fixtures and keep an eye on the shadow from the subjects ear. It is popular to have a light edge along the jaw line. Try hard sources at different distances and angles. Try using a small light with an umbrella or with a diffusion gel.
- Often the function of the light is fulfilled by more than one fixture at a time.
- How you deal with backgrounds depends on whether it is part of the story or just a neutral setting for your subject. Either way you may notice the background level is usually down, or less bright than the subject. However it is not unusual to highlight something in the background for interest. A plant or dim lamp is a common set dressing. If you look at the Setup shot in the Viewer, you will see the cookaloris, tho' the Pro is hidden from view by the Rifa Key light.
- The hard light character of the lamp created a sharp shadow.
- , as its color will make it very noticable.