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
