Category: Soft Lights

Key Light

In studio photography, the photographer has his own autonomy in the use of light. Basically, you can change the light orientation, intensity, and nature of the key light “as you want”. The quality of the light source, that is, the color temperature, is constant, and it is only necessary to unify the color temperature value of the photosensitive medium and the color temperature value of the light source. Under normal circumstances, the position of the main light is determined after the positions of the camera and the subject are basically determined.

Regardless of the orientation of the key light, it is in a “dominant” position. Otherwise, the lighting effects of several light sources will conflict, cancel each other out, reduce the styling effect, or create messy shadows.

The determination of the direction and angle of the key light is based on the photographer’s modeling needs for the model, that is, to reveal the appearance, highlight (or conceal) certain features, surface structure, color or texture, etc.

Studio flash photography light people picture. The main light is a slightly soft side light with soft paper. When using light, it is necessary to consider the expression of the character’s expression, body and other shapes. It is also necessary to pay attention to the texture and layered performance of the white clothes, and that it will not overlap with the white background tone, giving the characters a space position.

Key Light Changes

If the power of the key light source is insufficient or the projection area is insufficient, two (or more) light sources can be used for the key light. But the closer the light position, the better, and it can play the role of a main light source. But pay attention to the connection between lights and the processing of multiple light sources to form multiple shadows.

Digital cameras have optional high sensitivity. So that many scenes in the case of low illumination, the photosensitive medium can also obtain sufficient exposure. This allows photographers to shoot in relatively low light conditions.

It should be noted that in this light condition, it is difficult for the human eye to judge the brightness of the light and the color temperature of the main light. The determination and setting of the color temperature (white balance) of the key light, the mastery of the metering method and the exposure amount are best obtained through experience.

The use of key light changes a lot, especially in indoor artificial light photography, the key light changes more. Photographers may wish to compare photos of a person or scene with different lighting conditions from time to time to help understand the function of light and master the use of light.

To a large extent, the key light determines the exposure of the photosensitive medium. In digital camera photography, the color temperature of the key light also determines the setting of the manual white balance color temperature value.

Auxiliary Light

Also known as supplementary light, it is used to make up for defects or insufficient light in the main light. In light modeling, it can reduce the light contrast of the subject, increase the level and texture, adjust the tone or tone of the picture, and complete the composition.

The different brightness ratio (light ratio) and distribution of the auxiliary light and the main light directly affect the contrast and tone of the picture, whether it is bright or thick.

In natural light, when the key light (sunlight) is in backlight or metering, the shadow part of the scene is thick, and the dark part lacks gradation. At this time, it is necessary to provide auxiliary light in the dark part, often using a reflector or flash. In fact, under natural light conditions, there is another kind of auxiliary light, which is the mutual reflection of various scenes in the space and the scattered light of the sky. This is also a fill light for shooting natural landscapes.

Position and Brightness of Fill Light

In artificial light photography, the auxiliary light is generally located on both sides of the camera. Too far from the camera will cause a splint light (bright sides, dark center) effect. The height should be parallel to the optical axis of the lens as much as possible to avoid the shadows formed by the main light.

The light is mostly diffused light, and the light is soft to reduce unnecessary shadows. For some parts that cannot be taken care of by the auxiliary light, a second auxiliary light can be added to make up for it. In artificial light photography, the number of light sources should be minimized to reduce the number of shadows. Even soft light can produce faint shadows, and the handling of shadows is a big problem in artificial light photography. We will discuss it again in the control of light.

The fill light is always less bright than the key light. Too bright will dilute the modeling effect of the key light, and too dark will not be able to express the level well. For example: in general, the ratio of the brightness of the main light to the auxiliary light of the character is 1:1.5–1:3. Of course, the light ratio depends on the photographer’s expressive intentions. Looking back at Figure 4 above, the picture is in strong contrast and no fill light is used.

Fill Light and Auxiliary Light

For studio flash photography, the ratio of the main and auxiliary light of the characters is controlled at about 1:2. The main light side is about 45 degrees, and the elevation angle is about 40 degrees. The fill light is located near the camera, slightly above the lens. The fill light takes care of the shadows formed by the main light, so that the shadow levels are expressed.

Since the character faces to the side, the nose shadow formed by the key light is small. There is also a backlight on the right side to enhance the contours and layers of the black hair. The bright light makes the background white, and the background can also be treated separately if it is to increase the effect.

Use of Secondary Light

When photographers take side-light or back-light photography in the morning or evening, due to the excessive light contrast of the scene, the dark scene forms a silhouette. In order to express the level of the dark part without sacrificing the level of the bright part, if there is no possibility to increase the brightness of the auxiliary light, the method of adding a gradient gray mirror in front of the mirror can be used. This reduces the brightness of the bright parts, and relatively increases the brightness of the auxiliary light.

In addition, some people listed the secondary light as the fill light. Sometimes the secondary light plays the role of fill light, but there is a difference between the two. Strictly speaking, it is not accurate enough. Because it is rarely used, I will briefly talk about its function. Secondary light – relative to the main light, it can also be called the transition light of the main light.

One or more secondary lights can be used, as required. Its position does not exceed 60 degrees left and right of the camera position. And the angle is horizontal to 30 degrees. Neither the fill light nor the secondary light affects the exposure.

Backlight

We have already talked about “light direction” and “light angle” in the front. Backlight refers to the light projected from behind the subject in the direction opposite to the camera lens.

There are many problems in application, especially for beginners or lovers of photography. It can’t be said to be abuse, at least it’s used inappropriately. For example: I have seen people photographed with backlight. And the ratio of the brightness of the fill light to the backlight is not appropriate. And the picture loses the atmosphere of the backlight.

Backlighting is a powerful light in photography. If used properly, it can play a valuable role in the picture.

The Role of Backlight

Basically it can be summed up as follows:

One is that it can outline part or all of the subject and form an outer contour line to distinguish the subject from the background. As shown in the figure below, if there is no backlight, the black clothes will be mixed with the background of the same color. This is also an illustration of the effects of all backlighting.

The second is that it can shape the outer edge of the subject and show the outline of the edge. See the picture below, if the subject is not backlit, they can be distinguished from each other by the thorns on their outer edges and the color of the sphere. Backlighting makes their edge shapes and contours stand out. It not only shows their texture well, but also highlights the undulations and lines of the subject’s shape. This strengthens their three-dimensional sense.

The third is that the color brightness and saturation of the subject that can have a certain light transmittance in the backlight can be improved. This can show their outline, detailed characteristics, texture and translucency. As shown below.

Fourth, the backlight can enhance the rendering of the ambient atmosphere and the depth of the picture. Especially in the morning and evening, low-angle backlight is used. Because the backlight is reflected and refracted by fog or dust in the air medium, the brightness and color of the scene we observe have changed. From front to back, the scene changes from dark to bright, color saturation from high to low, color from dark to light, and lines from clear to turbid. This creates a sense of depth in the space and presents a specific environmental atmosphere. See the image below.

Problems That Should Be Paid Attention to When Using Backlight:

In our daily life, as long as we observe people, objects and scenery a little, we will appreciate the light effect of backlighting under natural conditions. Some photographers don’t like backlighting, which shows that they don’t understand enough about the shape of the light.

But not all situations require the use of backlighting. For example, if there is a light contrast or color difference between the subject and the background, it isn`t necessary. If the backlighting angle is close to 90 degrees or not suitable, it is worse than not at all. Because the effect produced is unnatural, giving people a false or even ugly feeling.

The halo or halo caused by backlighting is really beautiful. However, this kind of beautification expression method cannot be abused. And the expression should be combined with the subject and the theme. Also, prevent lens flare from causing the entire image to be foggy.

In addition, soft light can also be used as backlight (generally, backlight is hard light). Its brightness and darkness are determined in the contrast of the main light, mainly based on visual effects. Not directly related to exposure determination.

(To Be Continued)

The Role of Light in Photography

The role of light in photographic creation (in addition to exposing the photosensitive medium):

1. Some features of the subject can be highlighted or hidden to attract people’s attention.
2. Reveal the shape, shape, color, texture of the subject, giving the impression of volume, outline, size and proportion.
3. Create an atmosphere of the environment, show the relationship between the subject and the surrounding environment, spatial relationship (three-dimensional sense), proportion, perspective (spatial sense).
4. Highlight the characteristics of the subject and its environment to form the concept of mood, atmosphere and time.
5. It affects the nature of color, the appearance and concealment of lines, the contrast of scenery, forms a relationship with composition, and coordinates the structure, form and tone of the picture.

Note: Hue is the abbreviation of color tone. Refers to the main color tendency of the picture. It can give people a general color impression. In black-and-white photography, the tone is black-dark, gray-midtone, and white-bright.

In order to make light play a role in photographic creation, photographers not only master the above-mentioned knowledge about light in theory, but also need to master the methods and technical skills of using light, and control (or select) it in application.

 Classification of Light in Photography

The use of light refers to the process of expressing the shape and characteristics of the subject ingeniously and achieving the effect of image art by using various light processing on the model and the scene during photography and combining with other modeling methods. Of course, there is also a description of the character’s mood and character.

In photography, whether it is natural light or artificial light, according to the role of various lights in modeling, it can be divided into: main light, auxiliary light, contour light, ambient light, decorative light, effect light and so on. According to the direction of the light, it can be divided into: front light, side light, and backlight (discussed earlier). All kinds of light have their own effects on shaping the image of the subject.

In the following, we will discuss the functions, application methods and effects of various types of light according to the types of light used in photography.

Key Light

Also called modeling light. Is the main light illuminating the subject. The key light plays a leading role in photographic modeling and is a decisive factor in the characterization of artistic images. Other lights are subject to the key light.

The key light can be natural light or artificial light. Determine the orientation, nature (soft or hard) and quality (color temperature) of the light according to the needs of the modeling.

The light of the key light can be cast to the model from many directions and angles. Horizontally, there are front, side and backlight. From a vertical perspective, there are horizontal, overhead (no natural light) and overhead light.

The light properties of the key light can be hard light or soft light. Changes in the direction, nature and quality of light can change the shape of the model and the atmosphere of the scene. The choice of the position of the key light (direction and angle) determines the external features of the model revealed by the photographer and the key points that the photographer wants to emphasize or highlight.

In photography, the main light source is not only sunlight, photography lights, flash, but also local light sources. For example: day light through windows (direct hard light or diffuse soft light), candle light, indoor and outdoor lighting, etc.

Photography in Natural Light

When creating photography in natural light conditions, daylight is the key light for the model. The photographer cannot artificially change the orientation, nature and quality of the key light, but can only choose. The selection is based on the photographer’s consideration of the main body shape of the model, the consideration of the object, and the needs of the rendering effect of the environment and atmosphere, and the appropriate light conditions are selected.

How to choose, we discussed in articles such as “Light Properties, Directions, and Angles”. For the changes in the use of key light, we choose a few pictures to discuss.

Figure 1, the main light comes from the side of the camera, and the angle is low. We talked about the modeling effect of low-angle side lighting in the article “Side Lighting”, and now review it:

Low light can produce long scene projections, which can be exaggerated. Scenes illuminated by side light and reverse low light have a strong sense of three-dimensionality, with clear lines, obvious layers and textures. Low backlight can produce halo and halo, making the picture have a good atmosphere effect, but the contrast of the scene is large.

In the morning and evening in landscape photography, using the modeling method of low-angle backlighting, the light will outline the red clouds like dye, the transpiration of the sea of ​​clouds, the mountains, villages, and trees like ink. It also emphasizes the tonal perspective of the scene, producing a strong atmosphere and artistic effect, making it more appealing.

Side Light as Key Light

The above picture is a good illustration of the characteristics of the hard side light as the main light.

The texture and layers of the mounds and low clouds are obvious, and the outlines and lines are clear. The three-dimensional effect of the mound is strong. Since it is evening, the color temperature of the light is low and it is reddish, so that the orange-yellow mound is covered with a layer of aggravated “color cover”, which is reddish-orange. It is “reasonable” and acceptable in the visual experience of people.

Through the blue sky are dark clouds, showing a blue tinge. Because the key light is reddish, the clouds have a purplish tint (additive coloring). The entire picture has a uniform tone, contrast, and a strong sense of depth. If the mound to the right in the foreground is in the bright light, the picture will be worse.

Selection of the Best Shooting Location

When we are faced with a specific subject, whether it is a person, object, or scene, the photographer may move a certain distance left and right (high and low) after choosing a shooting point that he thinks is suitable for light conditions. Observe the model while moving, and choose the best shooting position from the small changes in the lighting conditions (especially the key light) that cause changes in the subject’s shape.

This method is not very obvious for shooting wide scenery, which requires a longer distance shift observation. For photographing a certain person or object, the effect is very obvious. Sometimes the deviation (up and down, left and right) of a few degrees can make a great improvement in the picture effect. It may also determine the success or failure of the work.

Of course, changing the shooting angle not only changes the lighting conditions, but also the structure of the picture. Therefore, it is necessary to fully consider the model shape and the layout and structure of the screen to obtain the best performance.

Side Backlight as Key Light

In the above image, the shaded scene is selected as the background. Except for a few dark spots, the background is mostly indistinguishable black and gray.

The main body is the residual load, and the main light selection is the effect of side backlighting. If our shooting angle is shifted to the left by a few degrees, the key light will be more inverse. And the “highlight” will disappear, and the effect will be better. However, that would cause the “highlights” to overlap the petals near the subject, affecting the subject’s performance.

If we move the shooting angle gradually to the right, the main light will gradually change from a side backlight to a positive side light to a side light. The area of the “high light spot” gradually increases, competing with the subject for sight. And it will also overlap the nearby petals. The shadow of the subject and the shadow of the object create a three-dimensional effect. And the level of the picture and the texture of the petals and lotus leaves also change accordingly.

Side Light as Key Light

The above image is a photograph of a person in an outdoor natural light condition. The main light is a slightly reversed side light, at an angle of about 40 degrees. The facial lines of the characters are clear and the skin has a good texture. The light is hard, and the clear nasal shadow is projecting on the face near. It forms a small triangle (commonly known as triangle light in photography). Lines, shadows, and bright spots on the screen are from right to left. The faces of the characters are bright lines, bright in the middle, bright lines, shadows, bright spots, and shadows to black. This ups and downs give the character a three-dimensional feel.

Combination of Natural Light and Key Light

The picture above is an indoor natural light photography picture. If the main light uses the light beam to form diffuse reflection light indoors as the main light. And produces bluish-cyan highlights on the face and shoulders on the right side of the character (part of the vegetable in the left hand), it will also have its “reasonableness”. That will change the tone of the picture (and possibly the subject of the presentation).

Now the main light comes from the upper left of the picture, giving the impression that there is scattered light entering from an open door or window on the left. But it can also be imagined that there is no scattered light entering. A key light is an artificial light (such as a flash) that controls the projection range.

From the color of light and the relationship of light, we can analyze what light source belongs to the main light, the contrast of light color, high contrast, hue and cool color light column cause the effect of ambient atmosphere. Try to analyze it. Is it possible to recognize the language of light in photographic modeling from the use of light?

Note: Visible beam refers to a beam of light passing through a certain area. Visible light beams are forming in the background of relative brightness contrast due to the reflection or refraction or blocking of light by substances in the propagation space, such as fog, fine dust, etc. The beams of light that people see are actually fine particles of mist or dust in space. Photography often uses it to render the atmosphere of the environment, express a specific time or space. Also enhance the beauty of the picture.

(To Be Continued)

The Angle of the Light

The angle of light refers to the angle formed by the light source point and the horizontal line of the main optical axis of the lens. In natural light conditions, generally refers to the angle formed by the sun’s rays and the horizon.

The direction of the light itself does not determine the exact location of the light source. If the position of the camera is relative to the angle of the light, the spatial positioning of the light source can be determined, and the orientation of the light can be accurately determined.

For example: 45-degree side light, from the perspective of the camera position, the light is the light that illuminates the subject from a high angle of 45 degrees and a side angle of 90 degrees. We can imagine the light effect of this light transmitted to the subject.

The light angle commonly used in photography is 15 degrees to 60 degrees, which is also the light angle that most photographers prefer. Especially for side-lit or side-backlit photography at a 45-degree angle.

Because of this angle of light, whether it is shooting scenery, buildings, flowers, people, etc., it is more conducive to the three-dimensional sense, sense of space, texture, scene contrast, color and lines of the subject. For example: the facial modeling, three-dimensional sense and skin texture of the characters have a good performance. At the same time, it can take into account the front and rear scenery and the scenery contained in the whole picture.

Example 1: A side-lighted character with a soft side light around 60 degrees

Example 2: The side backlight of about 60 degrees makes the lotus crystal clear, with good layers in both the light and dark parts, showing a better texture and three-dimensional effect

Low Light

Light angles below 15 degrees, morning and evening light, are called low light.

Low light can produce longer projections of the scene, which can exaggerate. The side and low-light scenes have a strong three-dimensional effect. The lines are clear, the layers and texture are obvious. Low backlight can produce halo and halo, making the picture have a good atmosphere effect, but the contrast of the scene is large.

When shooting landscapes in the morning and evening, using low-angle backlighting modeling methods, the light will outline the red clouds like dye, the transpiration of the sea of ​​clouds, the mountains, the villages, and the trees like ink. It also emphasizes the tonal perspective of the scene, producing a strong atmosphere and artistic effect, making it more appealing.

The color temperature of low-angle light varies greatly in the morning and evening. At the same time, the light direction (photography angle) is different, and the color temperature of the light is also quite different. When shooting, pay attention to the setting adjustment of the color temperature value.

For example, in portrait photography, the use of ground-angle light to produce long shadows and exaggerated characteristics can be used for special effects shooting. It is worth noting that some photographers also use a low angle when using a reflector to fill in light for people under natural light, and do not pay attention to the light ratio of the face. The result is that the facial modeling of the characters is not beautified, but ugly. Also, smoother low light can bring the photographer’s projection into the frame.

Note: Tone Perspective

Tonal perspective is one of the ways to express the depth of space in photography. People’s sense of depth to the scene space is closely related to the perspective of space. When the light passes through the atmosphere, due to the scattering effect of the air medium on the light, the contrast of light and dark, the sharpness of the outline, and the saturation of the color of the near scene appear to be larger than those of the distant scene. The nearer the stronger, the farther the weaker. This phenomenon is reflected in the photographic screen to form a tonal perspective effect. In this way, the spatial depth of the scene and the spatial orientation of a certain body are expressed.

Example 3: Low-angle side light. Since the light direction is relatively positive, the contrast and level of the scene basically depend on the “natural state” of the scene under this light condition. The front and side light makes the diffuse reflection of the light such as steam or dust in the space less, so the sky is blue and clear.

Top Light

If the light hits the subject at an angle of 60–90 degrees, regardless of the direction. We call this light top light. Light at a 90-degree angle is a mid-top light.

In photographic lighting, a mid-top light around a 90-degree angle is always rejected. Although it can express the texture and shape of the top of the subject and the distance from the background. That shows the sense of space of the subject. But because the projection falls vertically to the lower part of the subject, the light modeling effect will not satisfy the photographer.

Especially when photographing people, the top light can cause an abnormal and peculiar shape of the people. Therefore, except for expressing the top features of the subject or using it in special circumstances, general photographers rarely use this top light. We can try some people, buildings, landscapes, still lifes, etc. to see the effect.

Example 4: Top light buildings. Trees and the light-receiving surface of the top of the house performed well. Because the walls, doors and windows and scenery in the shadow are illuminated by scattered light, the color temperature of the light is high, making the white wall appear blue-cyan. The same is true for other scenes in the shadow. But the color cast is not obvious due to color and reflectivity.

60° Angle Top Backlight

In photography, the modeling effect of positive top light, forward top light and side top light is not ideal. Therefore, it is not commonly used. But the top backlight (about 60 degrees) is the more commonly used light level in photography. It can make the subject rich in layers, clear in color, and full of life. The picture taken is crystal clear. However, the outline of the scene is not as obvious as the low-angle backlight.

Example 5: The side top light makes the shoulder and arm side, upper part and prominent nose tip and cheekbones of the character receive light

Foot Light

Artificial light has low light below the horizontal line of the main optical axis of the lens, up to minus 60–90 degrees. Too low light is called foot light (low light and foot light do not have a clear angle definition).

We will see in film and television, the use of high-contrast footlights on the villain. And the nose shadow is upward, and the face is hideous. Make the audience feel cruel and fearful.

Foot light can only be created manually. Natural light can only produce foot light after reflection. Pay attention to proper use of foot light, otherwise it will be counterproductive. It is rarely used in general.

The angle of the light will also be involved in the use of light. We will gradually discuss, understand, and understand to practical application.

The Intensity of the Light

The intensity of the light depends on the luminous energy of the light source. Light intensity is generally expressed in terms of luminous flux, illuminance, and brightness. Indoor artificial light photography generally expresses the intensity of light emitted by the power (watts) of the lamp.

The intensity of natural light is mostly measured by the exposure meter to measure the illuminance of the light or the brightness of the reflection of the scene. The camera’s internal metering can only take the brightness, the purpose is to obtain the reference exposure value.

Most photographers pay attention to the effect of lighting, and pay little attention to its strength. As long as you get a satisfactory exposure value, you are satisfied. Light intensity is a very professional talk, so let’s not discuss it further.

(To Be Continued)

The Name of the Light

The direction of light such as forward light, side light, and backlight is divided according to the relative position of the photographer’s viewpoint (camera position) and the light source.

The direction in which the light hits the subject is best determined from the photographer’s viewpoint (camera position), rather than from the subject. Assume that the subject is in the center of the horizontal clock, and the camera’s viewpoint is at 6 o’clock on the clock. This is the basic condition, and we will explain the direction of the light.

Forward Light

Also known as front light, flat light. The light is directed from the same direction as the camera lens (optical axis) relative to the subject. Simply put, the camera is in the same (or close) direction as the light that hits the subject. Generally, the angle between the camera and the light source and the subject is within 15 degrees.

The forward light makes the light received by the subject relatively uniform and the light receiving area is large (the utilization rate of light is high). The projection of the subject falls behind, and the shape appears flat and the light ratio is small. The surface shape and texture of the scene are mostly hidden by the frontal light. Therefore, the picture contrast is small, the layers are not rich enough, and the three-dimensional sense is lacking.

Note:

There are two concepts involved here.

1. Texture – is the characteristic of the object formed by the subtle undulations on the surface of the object.
2. Light ratio – refers to the ratio of light and dark caused by different parts of the same scene. Contrast is also formed by light. Unlike contrast, light ratio specifies the same scene, while contrast refers generally.Example: Overcast light conditions are scattered light without shadows, which can also be considered frontal soft light. Because this light has no directionality.Due to the soft light on the front, 1. The formation of shadows can be hidden or eliminated. We can use it to shoot scenes without shadows, convex and concave surfaces that don’t need attention, and scenes that don’t need to be modeled. For example: in portrait photography, this light can mask the wrinkles and sagging of the skin of the characters, making the characters look younger. 2. Use as auxiliary light to eliminate unnecessary shadows, reduce light contrast, etc.Note: It should be noted that the front light will produce light reflection spots on the smooth surface of the subject. Of course, in photography, flare can be eliminated or utilized)

   The picture taken with the smooth light mainly depends on the natural form of the subject, because of the picture level, tone and contrast presented by its color and natural contrast (different reflectivity). This light method is also called flat light method.

   Legend: A building shot on a cloudy day, there is no light contrast, the picture effect depends on the natural state of the subject

   Side Light

   Also called edge light. It is the light that hits the subject from both sides of the camera. Including side light, front side light, side light. If it reflects the angle of the light, it can be divided into flat side light, upside light, and downside light.

   The position of the side light varies a lot. The use of side light can well express the subject’s level, line structure, sense of space, three-dimensional sense and contour lines, so that the color tone (tone) of the picture changes richly. At the same time, the side light makes the projection of the subject fall within the picture, which is conducive to the composition, or uses the projection to create a certain artistic conception of the picture.

   Side-lit subjects (especially hard light) with convex and concave surfaces will also look good. For example: the surface of knitted fabric, leather, stone fast, embossed, wood grain and similar bas-relief materials can show their surface characteristics. If you use a lower angle side light, the shadow of the subject will be exaggerated. The photographer can use it flexibly according to the creative intention.

   Side lights are mostly used as key lights in photographic applications, and sometimes as decorative lights.

   A comparison shot of the frontal light effect of this example was not taken here. We can imagine, if the front light is used as the key light, what will the effect be? Or take a test shot to compare the effects.

   Backlight

   Refers to the light projected from behind the subject in the direction opposite to the camera lens. Including positive backlight (also known as full backlight), side backlight, 3/4 backlight, side backlight. Due to different angles, there are high (top) backlighting and low backlighting. The utilization of light is very low, and most of the light is ineffective.

   Structural details of backlit subjects are obscured. The surrounding edges form a lighter line, and the outline stands out to separate it from the background. It can better express the sense of space of the subject, so that the picture has a sense of depth and three-dimensionality.

   Backlight can make the model produce special artistic effects such as silhouette, glare and flare. For transparent or translucent subjects, the lightness and saturation of the color can be improved. Objects exhibit a beautiful luster, better transparency and texture.

   Bottom example: side backlighting.

   There is still discussion on backlighting in the “Use of Light” later, so I won’t talk about it here.

   Conclusion

   Viewed from a fixed viewpoint (camera position), the appearance of the subject changes as the light direction changes.

   We take the horizontal clock as the plane, the viewpoint (camera position) is 6 o’clock. And the subject is located in the center of the clock. When the lamp position is gradually moved to each time position on both sides of the viewpoint, the appearance of the sphere changes and the resulting light effect.

   If we use a light source to illuminate the subject sphere at a fixed point, and we change the viewpoint (camera position), it is easy to know the visual effect of the sphere illuminated by the light at each hour position.

   (To Be Contiuned)

The Role of Light in Photography

In our daily life, we are so accustomed to light that we don’t notice it. Light is an incidental thing. If we can’t see clearly, turn on the light, or bring it closer. From household daily lighting to building lighting, lighting decoration, and even street and highway lighting, these are the functional uses of light.

The second role of light is that we use it to observe and reveal the world around us. It allows us to see the structure, external form, distance and color of the scene and its surface. With light, we not only see the things around us, but also form perceptions and judgments about these things and their relationship to the environment.

Thirdly, the infectious effect of light. Light invisibly affects how we feel about what we see. The same scene, under different light conditions, makes us have different physical and psychological feelings, and it varies from person to person.

In this regard, people generally do not pay attention to it, explore it, and it is not easy to explain. But for photographers, it’s about looking at light from a different angle.

In photography, light is not only a necessary condition for making the photosensitive medium sensitive, but also a modeling method for artistic creation. By using light and combining with other photographic creation methods (composition, tone, lines, etc.), it skillfully expresses the model’s appearance characteristics, portrays the model’s inner emotions, depicts natural scenes, and renders the atmosphere of the environment. This is the artistic modeling effect of light, which is what we often call “using light”.

The Significance of Light to Photography

In photography, from the exposure of the photosensitive medium, the contrast of the image to the color performance of the picture, the basic tone composition, the line structure and the composition, etc., mostly depends on the use of light. If photography is compared to “light painting”, then light is the “brush” and “palette” in photography. For photographers, mastering the use of light in creation is the most basic. “Learn to use light, in order to explain the learning of photography” has a certain truth. It doesn’t matter if you just use photography as entertainment and take some fun photos of yourself.

Some photography beginners also know the important role of light in photography. But in the shooting they were disappointed with the use of light, and they didn’t get the desired effect. As a result, photography is often used as a material for obtaining images, and it is hoped that post-production adjustments will be made to obtain self-comforting “works”.

Therefore, as a photographer, you must understand light. With the relevant knowledge, it can be well controlled or utilized. Next, we will discuss the light in photography from the aspects of the nature, direction, angle, function, control, application and shadow of light.

Nature of Light

The nature of the light mainly refers to whether the light emitted by the light source is “soft” or “hard”. It depends first on the nature of the light source. There are two types of light sources: one is natural light and the other is artificial light. The light emitted by the light source can be hard light that produces shadows and diffuse light that does not have shadows. There are in between, and many more rays that can produce varying degrees of penumbra or virtual shadows.

Hard Light

–Also called it direct light. Generally, it refers to unshielded sunlight, spotlights, flashes without soft light medium, etc.

Hard light has a high degree of directionality and will not illuminate the place where there are obstacles. Objects it illuminates create well-defined shadows. The subject illuminated by hard light will form a strong contrast of the scene, the three-dimensional effect will be strong, and the surface will be rough and blunt.

Figure 1 above: Hard light has natural and artificial light sources. The smaller and farther away the light source emits light, the harder the light. Therefore, soft light in the distance can also produce sharp shadows.

Above 2: Soft light also has natural and artificial light sources. Hard light can also cause soft light by artificial means. Diffuse the light well without creating shadows. The way to scatter hard light is to reduce the efficiency of the light source.

Soft Light

–Also called scattered light or diffused light. Soft light is a diffuse, soft light that does not produce noticeable shadows. Such as sunlight blocked by clouds, fluorescent tubes, some energy-saving lamps and hard light sources with diffuse reflection materials.

Soft light can hide the surface structure of the object, express the details of the dark part, reduce the contrast of the scene, and make the image tone flat. What is difficult to control is the spillage of soft light. Where we don’t need it, it’s also easy to “take care of”.

For beginners in photography, most of them like to use soft light, which is called the flat light method in photography. One is that photography is not limited by the direction of light and the angle of shooting. The second reason is that both bright and dark objects can be seen clearly. Set the camera to automatic to make photography both easy to shoot and “safe”. In this regard, we do not make a comment for the time being. After discussing the light in photography, everyone has their own public comments.

Comparison of Hard and Soft Light

	Features	as key light		as auxiliary light
Hard light Shadow-producing, directional light	easy to limit and control	Advantage	Disadvantage	Advantage	Disadvantage
		Provides a sharp, well-defined look	Styling may appear stiff	The irradiation range is easy to control	Casts messy shadows
	Beam focusing and positioning is easier	Shadow formation can express surface texture and external form	Shadow formation may not be perfect	Effective over longer distances	Destroy the delicate parts of the shape
	light can be concentrated		Local flare may occur	not abruptly diminish
soft light Diffuse, non-directional light	not easy to limit	Produces rich mid-tones and tonal layers	Using too much can hide the shape	Inability to produce delicate midtones	not easily localized
	larger light source	No distracting shadows	May cause lack of sharpness and sharpness, and subjects are flat	No messy shadows	spread to nearby areas
		Does not accentuate the shape and texture	High-efficiency light sources have low utilization efficiency	Softens shadows and brings out shadow detail	Brightness decreases rapidly with distance

(To Be Continued)

Whether you are a beginner in photography or have been shooting for many years, portrait photography is always a deep learning. It may seem simple, but there are actually a lot of tricks in it. After taking a long time, you will find that many photos are similar, but the model has changed. So what skills can beginners learn to take portraits? Check out these 10 quick portrait tips!

(1) Flexible Use of Lens Focal Length

Whether it is wide-angle, telephoto, or standard focal length, each has its own characteristics. When shooting portraits, you can think about what focal length lenses can produce different effects. Even if the model is the same person and the composition changes, the effect of the shot is very different!

Characteristics of various focal lengths

Telephoto: It can compress the background and reduce the sense of space between the background and the characters. Because the distance between the lens and the model is far, the model who is not used to shooting will also appear more natural. Of course, the telephoto can also make it easier to shoot with a shallow depth of field effect.

Standard focal length: Standard focal length such as 50mm can produce more “realistic and natural” works. If you use a prime lens, the lens distortion is smaller, and the focal length will not be too long or too short, which is very suitable for street snapshots or when it is inconvenient to change lenses.

Wide-angle: Not only can you “lead people with a scene”, so that the model has the effect of being in the scene, the wide-angle lens also has the element of lens deformation, which can make the model more slender. But be careful not to make the photo too weird!

(2) Find Angles That Are Not Eye Level

When taking landscape photos, we often say that we need to find a special angle to make the photo more varied. In fact, the same is true for portraits, don’t just shoot at eye level. Try shooting from above, from below, or from the side. In this way, the same model can also bring different feelings.

(3) Try the “Off-camera Flash” Effect

“Off-camera flash” is an advanced science. It also requires certain skills in distance, angle, flash distance, etc. Beginners need a little more practice and experimentation.

(4) Use the “Calendering”

Technique

Calendering is when we are shooting in the sun and the sun is full, then we can adjust the camera to M-Mode, reduce the height of the background by speeding up the shutter, and then use a powerful flash or external light to illuminate the subject ( prospect). In this way, the background color is not only very rich, but also the characters will be very prominent like “hair shining”.

(5) Look for Backlight

Backlighting is a great portrait photography trick at sunrise and sunset. Just point the camera in the direction of the sun and shoot with natural light. Increase the overall brightness when needed, and you’ll get warm, sensual photos! If it’s taken at sunset and dusk, the model’s hair will be shimmering gold, very beautiful!

(6) Using Silhouettes and Reflections

Silhouettes can also be tried together when shooting against the light. The main thing to note is that the model’s movements must be clear in order to effectively display the black outline. And remember to focus on the model to make the subject clearer and more defined.

The reflection technique is very interesting. You can make good use of objects that reflect light, such as glass, mirrors, water surfaces, and metals, so that the model’s face or scene can be reflected in the photo, forming a symmetrical composition. Also remember to ask the model not to look at the camera, so that the photo will be more beautiful!

(7) Shoot Through Things and Use the foreground as a “Picture Frame”

This trick is very common. It is to let the camera face and lean against some objects, which can be flowers, leaves, cups, columns, etc. and then shoot. Because the object is so close to the shot, it is often blurred by the shallow depth of field, which allows it to be “foreground” and used as a “frame” to accentuate the portrait. You’ll find that many great portrait photos use a similar technique.

(8) LED Lights Instead of Flashing Lights

Have you seen the LED lighting used for video shooting? Now many brands have launched similar products, which are getting cheaper and cheaper. If you are new to photography, you may not be familiar with external flash. At this time, you can choose to use this LED light. The advantage is that you can instantly see the effect of the light on the model, making it easier for you to shoot the work you have in mind. However, its light source intensity is limited, and it is not suitable for long-distance or calendering purposes.

(9) Add Color to the Light Source

Many new photographers are also afraid to use flash. One of the main reasons is that portraits can look weird when flash is used. Much of this question is:

(1) Because the light output is too strong, it overwhelms the natural light of the background.

(2) The color of the flash output is different from the live light. For example, the scene light is warm, and the flash is generally 5500K in the middle color temperature. After using the flash, the color of the subject received by the light is not the same as the scene light, and there will be a discordant situation and become strange.

The solution is to add colored cellophane or the original color filter to the flash to change the color of the flash output.

(10) Shooting Close-ups

Try to find the most beautiful part of the model, and then take a close-up, so you can take a better photo.

The Law of Light Control in Portrait Photography

If you ask professional portrait photographers, what are the most important tips for portrait photography? Everyone will tell you that it must be the use of light. The light control rules for portrait photography seem complicated, but if you already have a little foundation, you can deepen your choice of “soft light and hard light”, “light source position”, “light intensity”, “color temperature” 4 kinds An understanding of the effects of elements and the principles behind them.

1. The wider the light source, the softer the light.

A broad light source can soften shadows, reduce contrast, and soften subject textures. Narrower light sources do the opposite. The principle behind this is that the wider the light source, the more directions the light hitting the object spreads, which makes the scene overall brighter and reduces the intensity of the shadows. And vice versa.

2. The closer the light source, the softer the light

The principle is that when the light source is closer to the subject, for the subject, the source of the light is larger and more scattered. When the light source is farther away from the subject, the light source is relatively smaller and narrower. Take sunlight as an example. The diameter of the sun is 109 times that of the earth, so it should be a very broad light source. But the sun is 93 million kilometers from Earth, making up only a tiny fraction of our sky. So when the sun shines directly on an object on a sunny day, the light is hard. And vice versa.

3. The diffuser can make the light wider and softer

Take clouds as an example. When clouds block the sunlight, the shadow of the illuminated object becomes less obvious. And when the clouds get a little thicker, the shadows even disappear. Clouds and fog will cause the light to be scattered and spread around. On cloudy and foggy days, the light source becomes very broad and unfocused, and the moisture in the sky acts like a giant softbox softening the sunlight.

4. Use reflections to soften the light

If a very narrow beam of light is projected on a larger, less reflective surface (such as a frosted glass surface, such as a wall, a plastic reflector), the light will be scattered during the reflection process. wider area. However, if you use some highly reflective materials, such as aluminum paper or mirrors, after the light is reflected, it will still be very concentrated and cannot soften.

5. The farther the light source is, the darker the subject will be

This is common sense. Light decays rapidly as the light source moves away. And if the light is refracted, its travel distance will also increase, and the reflected light will not be as strong as direct light.

6. Use the intensity of light to make the subject more prominent

If the light is close to the model, the light intensity between the subject and the background will be more obvious. If the light is further away from the subject, the background will be brightened accordingly and the model will not stand out as much.

7. Side light can enhance the texture of the subject

Portrait photographers usually point the light source directly at the subject’s face so that the subject’s wrinkles are less prominent. Landscape photographers prefer to use side lights to enhance the texture of rocks, sand, and foliage. In general, the greater the oblique angle between the light direction and the subject, the more textured the subject will be.

8. Shadows can make the model more three-dimensional

Shadows are what photographers use to make models more three-dimensional on flat photos. All kinds of light, such as side light, top light, and bottom light, can cast deep shadows on objects, thereby creating a three-dimensional effect. Still life, commercial and landscape photographers like to use different angles of light to create different moods and effects.

9. Backlight can be used as a soft light source

Few subjects are illuminated solely by the backlight. If a person is standing in front of a bright window, the wall he faces will reflect some of the light that falls on him. If a person is outdoors, there will be light from the sky on the front even if the background is bright sunlight. You can use a reflector to reflect the backlight back on the subject to increase its exposure.

10. Light has color

We call the color of light its color temperature, although it can sometimes appear to be “colorless”. It’s just that our eyes and brains automatically adjust and sense, making it imperceptible to us. But digital cameras and film record colors that we can’t see.

The early morning and evening sun has warm tones, and the shadows cast by the midday sun are blue. For digital cameras, you can use the white balance function to eliminate or accentuate the color of the light. For example, you can add warm tones in landscape or portrait photos.

What is Key Light

The key light, as the name suggests, is the light source that forms the main tone when we are lighting. It can also be said that it is the light source that determines the main atmosphere. The key light must be the upper light source acting on the subject, so the light source acting on the environment must not be the key light.

Some people say that the key light is a “hard” light source, but this may not be true. As I understand it, the key light determines the tone of the subject. Whether the light on the model (or specifically the face) is flat or three-dimensional, and the tone formed by the angle of the light brings a sense of atmosphere. I think this is what the key light brings.

Generally, when we arrange the light, the first thing is to adjust the angle of the main light. I believe that everyone has seen many lighting methods on the Internet (may be called not exactly the same), such as Rembrandt, Loop, Butterfly, Paramount or side light, etc. .

Other Lighting Methods

Rembrandt Light is from the famous Dutch painter Rembrandt. It is a very popular light in portrait painting, which can well express the facial structure of characters. Typically it will be a top-down ray at a 45-degree angle slightly above the model’s line of sight.

Butterfly light is a lighting method used by early Hollywood film studios to shoot actresses. Directly in front of the character, generally at a 45-degree angle from top to bottom, a shadow like a butterfly is formed on the face of the character.

The loop light is placed at a 30-degree angle to the front of the model, creating a soft ring on the side of the nose.

Side light, as the name suggests, is 90-degree light from the side. It is easy to form a contrasting facial light, but it can also bring a deep, mysterious feeling.

As Asians are not as three-dimensional as Westerners, butterfly light and loop light are more suitable. On the contrary, Western models are more suitable for Rembrandt light and side light. Women are not as tough as men, so flat light is more suitable. Conversely, when shooting men, you can raise the height of the lights.

As for whether the main light is on the left or the right, the photographer will generally refer to the direction of the character’s hair line, and then refer to which side of the face is better for lighting.

Butterfly Light

A typical butterfly light, with a white beauty dish and no diffuser. Place it about less than 1 meter in front of the face, with the lower edge parallel to the person’s line of sight. But instead of putting the lamp head down, it is parallel to the front. In this way, the light from the edge of the radome will be more evenly illuminated on the rest of the model’s body, and the face will also stand out.

In fact, many times, we like to point the light directly at the model. Because there are different light shaping accessories, we thought it would produce very different lighting effects. Not absolutely. Many times we can use the light coming out of the edge according to our needs, and the light will become soft and natural at the same time.

Soft Light

In order to allow the model to easily move in a certain area and at the same time to create a uniform and soft top light area, the photographer used two standard hooded flashes to point at the roof. The light bounces off the white roof, but it’s still uneven. So the photographer added a 3x5m soft cloth (butterfly cloth) in the middle, so as to get a large area of uniform and soft top light. It should be noted here that the height of the diffuser is lower than the height of the lamp.

Although the photographer used a standard hood to limit the direction of the light emitted by the flash, there was still some stray light from the edges. This affects the even, soft light that photographers need. The photographer must ensure that as much light as possible passes through the diffuser.

For example, in this photo, the photographer used a film spotlight, but set the light to diffuse. But if you don’t have a spotlight in the studio, you can use a diffuser instead. Then use a reflector to block out some shadows and use the chalkboard towards the person. Let the picture have some light and shadow changes to help the characters show a more mysterious feeling.

Tone

Here are two small tips that make a difference, one is the shadow edge. Here the photographer wanted a softer edge, so the photographer placed the reflector farther away from the model. If you want a clean edge, push the reflector closer to the model. The other is the color of the back of the reflector, which is the color of the side of the reflector facing the character.

Generally, the reflector has black and white sides. If the side towards the model is white, it will play some fill light effect, and the result will be a lighter shadow. If it is black towards the model, it will absorb light, resulting in a darker shadow.

One might ask is there such a big impact? This will be different from the on-site environment, and the reflector material will also have an impact. You may not be able to see it with the naked eye, but in the camera lens it will change a little bit.

Under normal circumstances, photographers will also use desk lamps and overhead flashers as light sources. Sunlight is also possible. If the occluded object needs lighting, we can use our commonly used five-in-one reflector. Cards can also be used, and even friends who take pictures together can also form different shapes of shadows that will bring different stories.

Light Position

The photographer used a large octagonal softbox for this photo. The lamp stand is about 2 meters away from the model, raised to the height of two people, and the lamp head is basically flat. The light is basically evenly sprinkled on the model from the edge of the octagon.

We are bathed in the sun all the year round, so we are used to the top-down light and feel natural and comfortable. At the same time, it is also very good to control the light ratio with a single lamp.

This is a less extreme side light, so it still forms a Rembrandt-like triangular highlight on the shadow side. However, because the light position is not 90 degrees, but slightly forward, it does not perfectly show the structure of the nose and cheekbones like Rembrandt.

The “Soft” and “Hard” of Light

Then some people may ask how to judge the hardness of the light. We generally look at the edges of the shadows. If it’s a clean, sharp line of light and dark, it’s hard light. Generally, it is because the light source is relatively small and the lamp position is relatively far away. Of course, whether there is a soft cloth is also one of the reasons for the influence.

If it’s a blurry dividing line, it’s soft light. It is usually a large area light source, or a reflection method or a diffuser is used.

So which light shaping accessories can cause hard light? Generally, silver radomes, silver reflectors, standard covers, snoots, bare lights, and softboxes without diffusers will produce relatively hard light. Softboxes, translucent umbrellas, and white reflective umbrellas will produce softer light.

How to Use a Single Light

A light pointing directly at the model is probably the easiest way to start. But we will gradually feel that this is not very natural, and it will be more blunt.

We started experimenting with reflections and edge lighting. In this photo, the photographer first used a reflective umbrella to reflect light onto a large white wall, which would create a huge light source. Then the resulting light is uniform and soft.

Then, instead of placing the flash on the side of the model, the photographer placed it on the front left. The light reflected in this way is not a complete side light, but is projected on the model from the front left, which looks like there is a large floor-to-ceiling window in the front left.

Softbox and Bare Light

The photographer used a 105cm diameter softbox, a bare light and a white background.

Many photographers may have a softbox, and a square one can also be used. If you don’t have one, you can use diffuser lamps at home, there are many options.

Bare lights can be replaced with overhead flashes, or even flashlights.

On a white background, the photographer used a projection screen at home. White cloth can also be used, white walls can also be used, and five-in-one reflectors can also be used. Of course, not pure white is also possible.

Swing the softbox forward a bit, and the light ratio is automatically adjusted.

Relatively backward, it becomes a small light source, forming a hard light. The right side makes a contour light through the reflection of the white background, and also lights up the background, which can be said to be a dual-purpose light.

Single Light + Reflector

This article introduces three main lighting methods, the main light is front metering, front light and side backlight. In order to create a soft light effect with a small light ratio, a number of auxiliary lights are arranged. The key to the combined lighting of multiple lights is to achieve a distinction between primary and secondary, natural light effects, and not deliberately or rigidly.

This group of works intends to use artificial light sources to create a high-key diffused light atmosphere in the studio, as the basis for the later realization of a fairy-tale scene atmosphere. Artificial light is the light and shadow effect arranged by the photographer according to the shooting intention. It is controllable and is one of the important methods of photographic expression.

The main light is arranged at 45° to the left and back of the character. The side backlight is conducive to shaping the contours and three-dimensional sense of the characters. Place a reflector on the right side of the character (diagonal position of the main light) to fill light, reduce shadows, and brighten dark parts.

Aperture: f/4.5 Shutter speed: 1/125s Focal length: 70mm ISO: 50

Dual Lamp + Reflector

The main light is a flash with a soft box, which is arranged at about 45° on the left and back of the character to provide side backlighting. The auxiliary light is a flash with a beam tube and a blue color film, which is arranged at a position of about 45° on the right back side of the character. The beam tube can make the light more concentrated, more directional, and can create a very three-dimensional figure outline. The blue color film creates the color of the environment and prepares for the post-processing.

Aperture: f/3.2, shutter speed: 1/125s, focal length: 42mm, ISO: 100

Three Lights Lighting

Three flashes of the same model are used for lighting, and the size of the softbox is 70×100. The main light is placed on the right side of the character, with a value of 1/32. The value of the auxiliary light on the right rear side of the character is 1/16, and the value of the auxiliary light on the left rear side is 1/64. The light of the three lamps is relatively small, forming an enveloping lighting, creating a high-key picture atmosphere.

Aperture: f/5, shutter speed: 1/125s, focal length: 67mm, ISO: 100

Portrait photography takes people as the subject of shooting, and uses light and shadow as the means of shaping, and uses the photographer’s unique understanding to explore the unique temperament of the characters. Using the combination of flash and soft box, the side light used to be the main light source is the most common modeling light effect. On this basis, it can be combined with a variety of light control devices to form a complete tone expression.

Single Lamp + Reflector

The main light is a flash with a soft box, arranged at 45° to the right of the character. Arrange a silver reflector on the right back side of the character (diagonal position of the main light) to provide contour light. The main light is very close to the character, and the light and dark levels of the face are less. The reflectivity of the silver reflector is high, thus forming a more obvious contour light, and the characters can also show a strong three-dimensional effect.

Aperture: f/2.8, shutter speed: 1/125s, focal length: 70mm, ISO: 200

Single Lamp Lighting

The main light is a flash with a soft box, arranged at 45° to the right of the character. When the light does not enter the lens, the closer it is to the person, the better. The lighting on the front side of the single lamp emphasizes the appearance and expression of the characters, and weakens the sense of space, in order to completely attract the viewer’s attention to the faces of the characters.

Aperture: f/2.8 Shutter speed: 1/125s Focal length: 70mm ISO: 200

Dual Lamp Lighting

The main light is a flash with a soft box, arranged at 45° in front of the character. It provides front side lighting to shape the three-dimensional shape of the character. The light is very close to the person to reduce the light ratio. Arrange a soft box as a contour light on the right side of the character. The brightness of the auxiliary lamp is higher than that of the main lamp to highlight the silhouette of the person.

Aperture: f/2.8, shutter speed: 1/125s, focal length: 70mm, ISO: 200

Multi-lamp Combined Modeling Creates Soft Light Effect

Photography is the art of using light. The law of regular light is extremely expressive, and we call it the modeling language of light. The role of light in photography is not only to illuminate the object, but more importantly, it can shape the object, shape the sense of space, and create a variety of environmental atmospheres.

Artificial light is a light and shadow effect arranged by the photographer according to the shooting environment and the modeling needs of the shooting object. It is controllable and is one of the important methods of photographic expression.

Three elements of light modeling

1. Light Quality

Light quality is a description of the luminous form of lighting.

The hard light source refers to direct spot light or light filtered through a condenser. The hard light source has strong directivity, strong modeling power, clear projection of the subject, strong edge, and small intermediate transition area. Soft light sources refer to large-area light sources, and artificial light can change the nature of the light through a filter.

In portrait photography, soft boxes are often used to constrain the light to change its light quality and illumination direction. The middle level of soft light is good. When the illumination angle is right, the model can show a good texture.

When the distance between the light source and the model is smaller than the diameter of the light source area, and the light source area is larger than the subject, the subject’s light-receiving surface is larger than the backlight area, the projection is smaller than the subject, and the projection edge is blurred and softer.

When the proportion of the light source area increases or the light distance decreases, the projection of the model will gradually disappear. The light and dark transition of the subject is soft, the light ratio is reduced, the layer span is weakened, and the three-dimensional feeling is not strong enough.

In order to obtain a softer light and shadow effect, photographers generally use the method of combining multiple lights to lay out the light.

2. Light Position

Light position refers to the shooting angle and position of the light source in the shooting area. It is based on the model as the center, the camera as the radius. And the angle relationship between the light source and the camera. The light position determines the three-dimensional modeling effect of the model, and determines the light-receiving part, dark part of the model. And the light-dark relationship between the main body and the background.

It needs to be emphasized that even in the environment of multi-lamp joint modeling, there can only be one main light. It is necessary to clarify the role played by each lamp. Such as the main light, auxiliary light, background light, contour light, etc., and do not reverse the primary and secondary.

Aperture: f/13 Shutter speed: 1/125s Focal length: 142mm ISO: 100

3. Light Ratio

The light ratio is the light-dark ratio of the model modeling light. That is, the contrast between the light-receiving part and the backlight part caused by the light received by the model and the environment.

The light ratio is related to the environment of the shooting scene, auxiliary light and the nature of the light source. Contrast directly affects the visual effects of photographic works and the three-dimensional sense of the model.

In fact, the light ratio reflects the contrast between light and dark. For example, the light with low light ratio is soft, suitable for shooting women and children. The light with large light ratio is tougher, and the strong light-dark pair is more suitable for shooting men.

A large area of ​​darkness reveals a small bright area with a sense of mystery. The high-profile small light ratio also expresses innocence. In short, Guangbi not only shapes images, but also expresses emotions.

When there is only one light source, factors such as the nature and strength of the light source. And the distance and angle from the model determine the light ratio. In the environment of multi-lamp joint modeling, the distance, relative position. And light intensity of the main light, auxiliary light, and modeling light jointly determine the light ratio of the scene. Generally speaking, the more lights, the smaller the light ratio, and the softer the light.

In addition, the use of light ratio to express skin texture is also a common technique used by photographers. Using the soft light quality with low light ratio, the skin will look fine. And the hard light with greater light ratio will make the skin texture rough. In short, the performance of details can be presented by adjusting the light ratio.

Lighting 1

The main light is a flash and a soft box, arranged at 45° on the right side of the model. On the left side of the model (diagonal position of the main light), a folding reflector is arranged to fill light. Arrange an octagonal soft box above the model to form a top light source. Tile a reflector on the ground in front of the model to eliminate the dark shadows formed by the top light. Arrange a soft box at the far front of the model (behind the camera) as a supplement to the top light and reflector, and form a catch light.

Due to the distance from the model, it can also reduce the light ratio of the entire light field. A grid soft box is arranged at about 45° on the left rear side of the model to provide contour light. Because of its wide range of illumination, the front folding reflector can also play a role in shading. Just let a narrow beam of light shine on the model. And that  can peel off the model and the background, create a sense of space in the picture. And its brightness is slightly higher than that of the main light to emphasize its light effect. In addition, the brightness of the three soft boxes is the main light, top light and front light in descending order. But the brightness difference is small to create a soft light atmosphere.

Aperture: f/18, shutter speed: 1/160s, focal length: 123mm, ISO: 100

Lighting 2

Compared with lighting 1, a grid soft box is added at about 45° on the right rear side of the model. Correspondingly, in order to control its illumination range, a light shield is arranged in the front. This ensures that the contours on both sides of the model are emphasized. And the model is separated from the background.

Aperture: f/16, shutter speed: 1/160s, focal length: 160mm, ISO: 100

Lighting 3

The difference with lighting 2 is only the position of the main light. The main light is located at a 45° angle on the left side of the model. And other auxiliary lights, modeling lights and other light positions remain unchanged. Generally, the model faces the main light source so that the face can get more light. The front side light is also conducive to expressing the contours of the face and the transition of light and shadow.

Aperture: f/14 Shutter speed: 1/160s Focal length: 142mm ISO: 100

Lighting 4

The main light is a radome, arranged about 50cm above the top of the character’s head. It forms an angle of about 45° with the ground, providing soft light with a small irradiation range. And form the light effect connection of the top light and the ground reflector.

Arrange folding reflectors on the left and right sides of the model. They can form a certain amount of supplementary light for the soft box, top light and radome from the back of the camera, thereby forming a symmetrical soft light effect. Two grid soft boxes are arranged at higher positions behind the two reflectors to provide the contour light of the model and separate the model from the background.

Symmetrical lighting is suitable for frontal portraits with very symmetrical left and right faces. The top light, radome, and front light form an enveloping light distribution to a certain extent. And the strength is different, the primary and secondary are in order. So that the model’s hair and facial details can be fully reflected. And the good-looking face can also be reflected.

Brief Introduction

Lighting is also an art. The layman sees the excitement, the insider sees the way. Each light has a different function. We all know that reflectors and flashes are used to create catch light when shooting outside. From the small details, the visibility of the photos is enriched.

Of course, the same is true for using shed lights. In addition to paying attention to the light on the model’s face, it is also necessary to consider the combination of the Model’s actions and the light, as well as the brightness of the background light. When necessary, small accessories such as honeycomb covers, diffusers, transmission umbrellas, etc. should be dispatched to change the light and increase the level.

Next, we will share with you what other methods can make the light from the studio lights more diverse!

Make Good Use of Background Paper and Contrast to Create Ever-changing Tonality

In addition to soft light shooting, another mainstream of studio shooting is the use of light. The most common use of this type of contrast light is on the background paper.

The photo below is a very standard work shot with the background paper in the studio.

Here, we used four lights. One is the main light on the model’s head, which casts the main shadow. One is on the front of the model with a front fill light with a transmissive umbrella. We also used another light to brighten the background so that it is not too dark and has more layers. Finally, we added a honeycomb lamp to the model’s feet to create light spots on the ground. This completes the photo.

In fact, it is not difficult to shoot the background paper. The focus is on the solidity of the model’s own movements and what is the focus of your lighting.

Details of Light Usage

Taking this picture as an example, the photographer just wanted a single diffuser work with pure light and shadow changes to show the cool personality of the model. In order to keep the light from being too hard, the photographer used a 150 cm octagonal mask. It’s just that because of the large lighting range of such a large cover, and in order to enhance the contrast of people, the photographer chose a higher and oblique angle for lighting.

But here comes the problem: In this way, the front of the model and the bottom of the face will have too much contrast due to insufficient light. Simply put, these parts will be too dark. Therefore, the photographer will add another light on the front. Then why add a transmission umbrella? Mainly because of the need for soft front fill light.

After adding these lights, we found that the background was too dark. That’s why we will add a honeycomb light with very little light to give the background some layers, but it will not be too bright and spoil the feeling of the whole photo. Finally, the light spots (honeycomb lights) added to the feet are to enhance the dramatic effect.

When you are lighting, you must know why each light is made. Even when you are shooting, you have to understand how the tone of the entire photo feels. In this way, you can arrange the lighting and complete a photo in the general direction you have set.

Use Light and Shadow to Complete a Rich Sense of Hierarchy

The same situation can also be applied to the photos below. When taking this photo, the photographer has probably understood that the light required by the model is light with layers and not too hard. So the photographer used naked lights to express from the beginning. Because some of the light of the bare lamp will be reflected by other media to get some soft light, and the direct light part has the characteristics of hard light, which just meets the needs of the model.

But after trying this lighting method for the first time, because the background is all white, it feels a little bit less layered. Therefore, the photographer added a fake frame between the lamp and the person, and used lighting to create a black shadow to increase the layering of the background.

In this example, the main light is also determined first, and then supplemented afterwards to meet our photo requirements. Therefore, the most important thing about lighting is not a technical problem, but to clarify one’s own purpose before arranging the light.

Make Good Use of Small Skills to Make the Light Feel More Natural

This is to create a natural light with a top light feel. In fact, in some studios, there are skylights on the roof, which is more convenient when shooting natural light. But because some studios do not have skylights, they had to use lighting simulation.

First, the photographer erected a wooden wall on the right side of the model, and then used the studio lights to jump off the lights to diffuse the light into the entire shooting space. Although the goal was achieved, I always felt that the light was a little too clean. So the photographer adjusted the direction of the lamp head to let part of the light into the lens. It creates some fogging phenomenon formed by obsidian light, and completed this work.

Conclusion

Behind these works, although some are some of the basics learned in the previous class, like the lighting of the background paper. But most of them are inspired by photographers’ observations in daily life. For example, when imitating natural light, the point is that you are indoors. Unless it is direct sunlight entering the window, in most cases we should get diffuse light instead of direct sunlight.

In addition, the use of false windows to express the sense of light and shadow is inspired by observing street lights while walking. And the last one, which imitates natural top light, is the idea that the photographer got in the auditorium one day when the photographer went to take a wedding record.

In fact, there are many light conditions in nature that we can learn from. And they can all be used in the basis of lighting. We may not have to learn too high-end lighting methods at the beginning. Because many light in daily life is our best learning object.