Advanced Photography

1. Advanced Photography Photographic Lighting

2. Photographic Lighting Basic Lighting Four types of Lighting

3. Basic Lighting • In addition to a good subject and good composition, we all know that successful photographs must have great lighting

4. Here Comes the Sun • In photographic lighting we try to recreate natural sun light both direct and indirect • In GENERAL the more light the better

5. 3 Qualities of Light • Brightness • Color • Contrast

6. BRIGHTNESS Simply put, The Brighter the better!

7. COLOR Most all pictures are created with white light, a mixture of red, green, and blue which the human brain perceives as colorless.

8. CONTRAST A light source has contrast determined by size and angles of a light source

9. Soft Light • SOFT LIGHT has no clearly defined shadows. It is hard to tell where the light is coming from. In this photo the soft light contributes to the mood or emotion of the photo. • Soft light is easy on the eyes, but does not work well for a photograph where the texture of something is needed.

10. Hard Light • HARD LIGHT - has harsh shadows and a defined direction that can be seen by where the shadow points.  Hard light will emphasize the texture of a subject.

11. Light Size – Large or Small • Flashlight • Light Bulb • Fluorescent Light • Outside Overcast Day • Outside Bright Sun

12. Types of Lighting Photography is the manipulation of LIGHT! Lighting is an essential element in every photograph.

13. Types of Lighting Learning to set up the best possible lighting for studio shots is a large part of the process of becoming a photographer rather than a snap-shooter.

14. Types of Lighting In any lighting set-up, natural or artificial, the dominant light source, (the one that provides the lighting direction), is known as the main orkey light.

15. Types of Lighting It can be a harsh (hard or small) or diffused (soft or large) source - whichever best suits the image you want to produce.

16. Key & Fill Light • The main or key lightestablishes where the highlights and shadows will be. • Sometimes, a main light is all that is needed to produce the desired effect. • More often though, a second light, known as thefill light,is used to direct light into the shadow areas and lighten (fill) them to the desired level. • The fill lightcan be a second, less-powerful or more distant light unit, or a reflector that directs light from the main source into the shadow areas. • The main light establishes the lighting direction; the fill light establishes the contrast (the difference in brightness between the highlight and shadow areas).

17. Direction Of Lighting • There are several factors in lighting.

18. Direction Of Lighting • There are several factors in lighting. • The direction of the lighting is probably the most important one.

19. Direction Of Lighting • There are several factors in lighting. • The direction of the lighting is probably the most important one. • Whether the light comes from the front of the subject, from the side, from behind, from above, from below, or from somewhere in-between, it determines the overall look of the photograph.

20. I See The Light • Lighting directions are generally specified relative to the subject, rather than to the camera. • For instance, front lighting means the light is falling on the front of the subject- the light therefore is coming from behind the camera. 

21. Front Lighting • Light that comes from directly in front of the subject produces a flat, shadow less effect. • The shadows are all cast behind the subject, out of sight. • That is easy to work with, but generally not too exciting. • Front lighting is useful for identification photos and overall views, because nothing is hidden in shadow. • However, it is generally not used for dramatic or artistic effect. • When it is used, front lighting generally should be soft.

22. Side Lighting Light that comes from one side of the subject produces shadows on the opposite side of the subject, emphasizing texture and form.

23. Side Lighting In portrait work, side lighting generally requires a second light source on the shadow side of the subject in order to fill (lighten) the shadows.

24. Back Lighting Light that comes from behind the subject casts shadows toward the camera producing a halo effect around the subject.

25. Back Lighting Since the background is brighter than the subject with backlit scenes, you must choose between exposing the background normally, and producing a silhouetted subject.

26. Back Lighting For people-pictures, some kind of fill light source is generally needed when back lighting is used

27. Top Lighting Light from above the subject emphasizes texture and form in vertical surfaces, but is bad portrait lighting, as the subject's eyes get lost in deep shadows creating a hollow effect.

28. Top Lighting As sunlight generally comes from above, lighting from above looks 'natural', and most lighting set-ups should come from some angle above the subject in order to appear natural and enhance the features of the subject.

29. Top Lighting However, lighting from directly above should generally be avoided.

30. Low-Lighting Angles • In nature, light seldom comes from below a subject.

31. Low-Lighting Angles • In nature, light seldom comes from below a subject. • Therefore, low-angle lighting most times should be avoided if a natural appearance is desired in the photograph.

32. Low-Lighting Angles • In nature, light seldom comes from below a subject. • Therefore, low-angle lighting most times should be avoided if a natural appearance is desired in the photograph. • However, for eerie portraits, such "horror lighting" it can be effective.

33. Combinations • In most studio work, light rarely comes just from the front or behind, to one side, above, or below a subject.

34. Combinations • In most studio work, light rarely comes just from the front or behind, to one side, above, or below a subject. • It generally is a combination of these lighting.

35. Combinations The "classical" portrait lighting setup starts with a light above and to one side of the subject (about 45o above and 45o to the side, varied as needed to tailor the lighting to a particular face).

36. Combinations A popular portrait lighting today is the "over-and-under, "with one large soft light just above the camera lens, and another (or a fill reflector) directly below the lens

37. Four Types of Lighting

38. Four Types of Lighting • Rembrandt

39. Four Types of Lighting • Rembrandt • Paramount

40. Four Types of Lighting • Rembrandt • Paramount • Loop

41. Four Types of Lighting • Rembrandt • Paramount • Loop • Split

42. Rembrandt • Rembrandt or 45o lighting creates classic shadows on the face.

43. Rembrandt • Rembrandt or 45o lighting creates classic shadows on the face. • It is characterized by a small, triangular highlight on the shadowed cheek of the subject.

44. Rembrandt • Rembrandt or 45o lighting creates classic shadows on the face. • It is characterized by a small, triangular highlight on the shadowed cheek of the subject. • The lighting in fact takes its name from the famous Dutch painter.

45. Rembrandt • Rembrandt or 45o lighting creates classic shadows on the face. • It is characterized by a small, triangular highlight on the shadowed cheek of the subject. • The lighting in fact takes its name from the famous Dutch painter. • It is more for masculine lighting and used commonly with a weak fill light to accentuate the shadow-side highlight.

46. Rembrandt

47. Paramount Lighting • Paramount lighting, sometimes called butterfly lighting or glamour lighting, is a feminine lighting pattern that produces a symmetrical, butterfly-like shadow beneath the subject's nose.

48. Paramount Key Light • Since the light must be high and close to the subject to produce the wanted shadow, it should not be used on women with deep eye sockets - or to illuminate the eyes.

49. Paramount Fill Light • Since both the key and fill lights are on the same side of the camera, a fill card must be used opposite the lights and close to the subject to fill in the deep shadows on the neck and shaded cheek

50. Paramount Hair Light • The hair light, which is always used opposite the key light, should light the hair only and not skim onto the face of the subject.