Ligh%ng  with  Tomas  Leal   What  makes  a  photograph  

The  Source  of  Light   Always  be  aware  of  where  light  is  coming  from,   when  you’re  in  the  sun  or  in  the  studio,  and   take  a  moment  of  your  9me  to  see  how  light   and  shadows  are  interac9ng  in  your   environment  .  

Tip  1   •  The  broader  the  light  source,  the  so=er  the   light.  The  narrower  the  source,  the  harder   the  light.  A  broad  light  source  lessens   shadows,  reduces  contrast,  suppresses   texture.  A  narrow  light  source  gives  you   harder  light.  This  is  because,  with  a  broad   source,  light  hit  your  subject  from  more   direc9ons,  which  tends  to  fill  in  shadows  and   give  more  even  illumina9on  to  the  scene.  

Tip  2   •  The  closer  the  light  source,  the  so=er  the   light.  The  farther  the  source,  the  harder  the   light.  Move  a  light  closer,  and  you  make  it   broader  in  rela9on  to  your  subject.  Move  it   farther  away,  and  you  make  it  smaller,  and   therefore  more  narrow  giving  you  hard  light.    

Tip  3   •  Diffusion  scaEers  light,  making  the  light   source  broader  and  therefore  so=er.  When   clouds  dri=  in  front  of  the  sun,  shadows  get   less  dis9nct.  Add  fog,  and  the  shadows   disappear.  Clouds,  overcast  skies,  and  fog  act   as  diffusion—something  that  scaEers  the   light  in  many  direc9ons.  On  overcast  or  foggy   days,  the  en9re  sky,  in  effect,  becomes  a   single  very  broad  light  source—nature’s   so=box.  

3  Point  Ligh%ng   •   The  Key  light  as  the  name   suggests,  shines  directly  upon  the   subject  and  serves  as  its  principal   illuminator;  more  than  anything   else,  the  strength,  color  and  angle   of  the  key  determines  the  shot's   overall  ligh%ng  design.     •   The  Fill  light  also  shines  on  the   subject,  but  from  a  side  angle   rela%ve  to  the  key  and  is  oFen   placed  at  a  lower  posi%on  than  the   key  (about  at  the  level  of  the   subject's  face).   •   The  Back  light  (a.k.a.  the  rim,   hair,  or  shoulder  light)  shines  on   the  subject  from  behind,  o6en  (but   not  necessarily)  to  one  side  or  the   other.  It  gives  the  subject  a  rim  of   light,  serving  to  separate  the   subject  from  the  background  and   highligh>ng  contours.  

 

Rembrandt  ligh%ng.   •  Posi%on  one  flash  head  with  a   silver  brolly  at  a  45°  angle  to   the  model  at  about  six  feet   high.  This  creates  a  strong,   hard,  direct  light  from  the  side   and  above.  This  is  called  a  key   light.   •   To  even  the  ligh%ng,  posi%on  a   reflector  on  the  other  side  of   the  model  to  bounce  the  light   back  into  the  shadow  side.   •   There  should  be  a  small   triangle  of  light  on  the  subject’s   face   •  Gear  needed   -­‐One  flash  head  -­‐One  reflector     -­‐Two  light  stands  

Clamshell  Ligh9ng     •  all  you  need  to  do  is  place   two  soFboxes  on  either   side  of  your  subject  at  the   same  angle  and  at  an   equal  distance.   •  Set  the  power  so  it’s  the   same  from  each  light.  Try   using  a  reflector  under   the  face  –  your  model   should  easily  be  able  to   hold  this.  This  will  bounce   light  up  and  onto  the  face.   •  Gear  needed   -­‐Two  flash  heads  -­‐Two   soFboxes  -­‐One  reflector  -­‐ Two  light  stands  

Backlight  Ligh9ng   •  We’re  going  to  posi%on  this  behind  the   model,  poin%ng  back  towards  the   camera  so  that  it  lights  the  back  of  her   head.   •  It  also  creates  a  sense  of  separa%on   from  the  background.     •  Of  course,  you  need  to  make  sure  the   backlight  isn’t  visible  in  the  shot.   •  To  add  drama,  use  a  honeycomb  or   snoot  accessory  on  one  of  the  lights.   This  will  narrow  the  beam  of  light.   •  Gear  needed   -­‐Two  flash  heads  –One  so=box      -­‐One  reflector  -­‐One  honeycomb  

Rim  ligh9ng   •  Place  both  lights  slightly   behind  the  subject,  poin%ng   back  towards  the  camera.   •  You’ll  need  to  watch  out  for   lens  flare,  though,  as  the   lights  are  poin%ng  back   towards  the  camera.  A  set  of   ‘barn  doors’,  a  lens  hood  or  a   shield  can  help  prevent  this.   •  An  assistant  who  can  hold  a   carefully  posi%oned  reflector   is  useful  –  this  will  help  fill  in   those  areas  of  deep  shadow.   •  Gear  needed   -­‐Two  flash  heads  -­‐One   reflector  

High  and  Low  Key   •  High  Key  images   are  considered   happy.  They   convey  posi%ve   emo%ons.   •  Low  Key  images   are  darker  and   present  drama   or  tension.  

Reflectors  

Light  Temperature    

lighting basics.pdf

A broad light source lessens. shadows, reduces contrast, suppresses. texture. A narrow light source gives you. harder light. This is because, with a broad. source ...

2MB Sizes 0 Downloads 263 Views

Recommend Documents

Lighting Technique.pdf
... making frenzy, buy bulk. because it's cheaper. Ten 1.8mm bright white LED's plus Resistors should. cost around £2.50p. • Heat shrink tube ~ it does exactly ...

Lighting the way
the former than of the latter, but everybody will have a story, or four or five. While word of ... so she can recognize her employees during their annual reviews. Evers is quick to point out ... should go to the emergency room. She said, “Even if i

Duray Lighting Catalog.pdf
Spec D Lite. NUC Lite. Little "D" Lite. Deluxe "D" Lite. Task "D" Lite. Solid Front Task T5. Task Big "D" Lite. Prewired Little "D" Lite. DCG Series. GLI Series.

MI Lighting Conference.pdf
Currently, of all luminares installed in the United States less than 1/10th of 1-percent are ... becoming to install an otherwise innocuous button on the ceiling near a ... hosted the 2014 Michigan Advanced Lighting Conference is owed a debt of ...

Difficult Lighting Situations.pdf
rainforests of Costa Rica, full of wildlife and I am using my 70 – 300mm lens. One minute I am shooting birds deep in the foliage near the forest floor at ISO 800.

Lighting and Catwalk Certification Information Packet.pdf ...
There was a problem previewing this document. Retrying... Download. Connect more apps... Try one of the apps below to open or edit this item. Lighting and ...

Duray Lighting Strips Catalog.pdf
Page 2 of 19. Strips Section D. D1 UtilityT8. D2 UtilitySlimline. D3 UtilityHO, VHO. D4 Utility Side Mounted. D5 Duraleer Parallel. D6 AddOLeer Continuous Run.

Duray Lighting Surface Catalog.pdf
There was a problem previewing this document. Retrying... Download. Connect more apps... Try one of the apps below to open or edit this item. Duray Lighting ...

rv atwood furnace lighting instructions.pdf
Page 3 of 4. Page 3 of 4. rv atwood furnace lighting instructions.pdf. rv atwood furnace lighting instructions.pdf. Open. Extract. Open with. Sign In. Main menu.