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التصوير الفوتوغرافي الحديث
فن البورتريه
الإضاءة المتقدمة للصور
ADVANCED PORTRAIT LIGHTING
To be most effective in your use of lighting , cultivate the ability to see the light on the faces of your subjects simply as highlights , halftones and shadows .
You know that the head is roughly spherical in shape and that the different features and parts of the face offer a variety of curved surfaces . This knowledge is so firmly established in the mind that you can see roundness ( modeling ) in a flat photograph which does not have these curves and contours . However , the likeness obtained in this way is not truly accurate . A portrait without good modeling is incomplete . A correct understanding of lighting and its influence on the modeling of the face in a portrait is essential to success in portraiture .
Although each portrait must be individually lighted , since no two people are exactly alike , the more usual lighting arrangements can be grouped into just a few general classifications . Each classification can then be named for better identification . It is customary to describe portrait lighting in relation to its direction , such as 45 ° lighting , back lighting , side lighting , and so on . This is not only a convenient system but a descriptive one as well .
45 - DEGREE LIGHTING
Forty - five degree lighting is the basic lighting used far more frequently by portrait photographers than all other lighting arrangements combined . The main light comes from an angle of 45 ° to the side and 45 ° above the subject . This lighting is shown in the lighting diagram of Figure 10. Examine the subject closely . First , by looking with your eyes in the position shown by the camera in Figure 10 , and then by actually setting up the camera and looking through it . A reflex camera or a camera with a groundglass back will be helpful here .
Figure 11 shows what you ought to see . There should be a highlight on the forehead just over the eye on the lighted side of the face . A line of highlight should be seen on the ridge of the nose . There will be a bright spot of light called a catch - light in each eye and highlights on the cheek , the chin and the lips . There will also be a triangular patch of light under the eye on the shadow side of the face . This V - shaped patch of light shows whether or not the head is turned at about the right angle in relation to the light . If the head is turned too much toward the light , this patch will be too broad and will not be V - shaped . If the head is turned too far away from the light , the patch will be too small .
The V - shaped patch of light is caused by the light catching the curve of the cheek . The sides of the V are the shadows of the nose and the dark side of the cheek . If you get these two things about right - the catch - lights in the eyes and a good V highlight on the cheek - the other highlights on the face will take care of themselves .
Figure 10 Lighting diagram for 45 ° portrait lighting set - up .
Figure 11 Portrait resulting from lighting set - up in Figure 10 .
Study the effect of moving the light slowly from side to side or changing its height in order to change the basic 45 ° angle . If you cannot raise the light , move it closer to the subject instead . This also has the effect of increasing the angle . Notice how you can make the shadow of the nose increase and decrease in size and change direction at will ..
If the shadow of the nose spreads horizontally across the cheek instead of going toward the corner of the mouth , the light is too low . Usually the effect is more pleasing when the nose shadow angles down toward one corner of the mouth . Moving the light will also change the position of the catch - lights in the eyes . They should be a little above center and this position is achieved if the nose shadow angles down correctly .
PROCEDURE FOR 45 - DEGREE LIGHTING . Standard lighting procedure is to set up the main light and the camera first . Move them around slightly to get just the effect you want . Disregard the darkness of the shadows at first , but note their size and direction . When the correct lighting angle has been established for the main light , you can bring the shadows up to the correct brightness level .
Since we have already discussed fill - in lighting , we won't go into it in detail here . We must emphasize , however , that the fill - in light must always be placed so it lightens those shadows which are seen by the camera . There is no point in lighting any other shadows . The fill - in light is , therefore , always placed quite close to the camera , and is aimed in the same direction as the camera ..
There is no strict rule about how much fill - in light to use . This depends entirely upon your subject and the effect you are striving to achieve . Portraits of children , for example , are usually best when lighted to give them greatest possible softness and delicacy of tonal gradation . In that case you would bring the fill - in light fairly close to the subject . This would lighten the shadows considerably . On the other hand , if you are photographing a man with a strong weather - beaten face , you would want to emphasize the character lines and so would use fairly weak fill - in light to minimize its effect .
One rule which you must never forget is that fill - in light must always be weaker than the main light . If the fill - in light is brought in so close that it kills the shadows completely , the portrait will be flat and lacking in modeling . A good way to determine whether or not the fill - in light is too close is to watch the triangular patch of highlight on the cheek as you change the location of the fill - in light . If it disappears , the light is too strong .
Only experience will tell you the best distance for the fill - in light . As a start , however , you can try a distance which will give the shadows about 1/3 the illumination of the highlights for black - and - white portraits , and from 1/3 to 1/2 for color portraits . You can use an exposure meter to determine their relative light . intensities , or you can calculate it as follows : If the fill - in light is the same distance as the main light from the subject , use a light with the wattage . If the fill - in light has the same wattage as the main light , simply move it back until it is 1½ times the distance of the main light to the subject . Since light from an open source diminishes as the square of the distance , doubling the distance will reduce it to % 4 . Move it back to a little less than 1½ times the distance of the main light to the subject to reduce its strength to half .
USING A REFLECTOR . Although a fill - in light is now the predominate tool for fill - in shadows , a reflector has some advantages in the hands of a skilled portrait photographer . It usually provides a much broader fill - in light source , and it seldom over - balances the main light . This makes it particularly useful for portraiture . A good reflector can be made by covering one side of a sheet of plywood or hardboard about 2 or 3 feet square with aluminum foil which has been heavily wrinkled and straightened out again . The wrinkling broadens the reflected beam of light so it is more suitable for portraiture .
A reflector of this kind is rather directional . It must , therefore , be aimed very carefully to throw the light exactly where it is needed . The best way to use it . is to set up the main light first , then place the reflector where you think it will bring the shadows up to the correct intensity . Swing the reflector slightly from side to side , watching the shadows from the camera position as you do so to make sure the reflected beam of light is being directed where you want it .
In using a reflector , you must be careful not to get it too far to the shadow side of your subject . Used in that way it will illuminate the deep shadows more strongly than the lighter ones . This will destroy the lighting balance and make it appear that two distinct light sources were used , which is usually bad lighting .
USING A HEAD SCREEN . A very important piece of equipment in portraiture is the head screen . You can easily make one like that shown in Figure 12 , or you can simply have someone hold a piece of heavy cardboard in the right position during the exposure .
The head screen is used to hold back light where it isn't wanted . The most common use is to shade the side of the head nearest the light . In a successful portrait , the interest should be centered on the fore part of the face , which should receive the strongest illumination . However , with ordinary open lighting , the side of the head nearest the main light will be more strongly illuminated . This is wrong because attention will shift from the center of the face to the more brightly illuminated side . Lighting balance is restored by placing the head screen in front of and quite close to the light so it casts a well - diffused shadow on the near side : of the head and tones down its illumination .
Another very important use of the head screen is for toning down protruding ears . If the subject is posed so the ear on the brightly lighted side of the head appears in the picture , it usually will be quite difficult to prevent it from appearing too prominent . If the ears are larger than average , or if they jut out slightly , the one that is brightly lighted becomes a disturbing element in the portrait . Placing the head screen in front of the light so it throws a shadow over the ear is the best remedy .
Figure 12 A homemade head screen . The base and upright are from a light weight floor lamp , the upper part of the upright is a flexible gooseneck from a table lamp and the screen itself is a sheet of black cardboard approximately 10 x 12 inches .
فن البورتريه
الإضاءة المتقدمة للصور
ADVANCED PORTRAIT LIGHTING
To be most effective in your use of lighting , cultivate the ability to see the light on the faces of your subjects simply as highlights , halftones and shadows .
You know that the head is roughly spherical in shape and that the different features and parts of the face offer a variety of curved surfaces . This knowledge is so firmly established in the mind that you can see roundness ( modeling ) in a flat photograph which does not have these curves and contours . However , the likeness obtained in this way is not truly accurate . A portrait without good modeling is incomplete . A correct understanding of lighting and its influence on the modeling of the face in a portrait is essential to success in portraiture .
Although each portrait must be individually lighted , since no two people are exactly alike , the more usual lighting arrangements can be grouped into just a few general classifications . Each classification can then be named for better identification . It is customary to describe portrait lighting in relation to its direction , such as 45 ° lighting , back lighting , side lighting , and so on . This is not only a convenient system but a descriptive one as well .
45 - DEGREE LIGHTING
Forty - five degree lighting is the basic lighting used far more frequently by portrait photographers than all other lighting arrangements combined . The main light comes from an angle of 45 ° to the side and 45 ° above the subject . This lighting is shown in the lighting diagram of Figure 10. Examine the subject closely . First , by looking with your eyes in the position shown by the camera in Figure 10 , and then by actually setting up the camera and looking through it . A reflex camera or a camera with a groundglass back will be helpful here .
Figure 11 shows what you ought to see . There should be a highlight on the forehead just over the eye on the lighted side of the face . A line of highlight should be seen on the ridge of the nose . There will be a bright spot of light called a catch - light in each eye and highlights on the cheek , the chin and the lips . There will also be a triangular patch of light under the eye on the shadow side of the face . This V - shaped patch of light shows whether or not the head is turned at about the right angle in relation to the light . If the head is turned too much toward the light , this patch will be too broad and will not be V - shaped . If the head is turned too far away from the light , the patch will be too small .
The V - shaped patch of light is caused by the light catching the curve of the cheek . The sides of the V are the shadows of the nose and the dark side of the cheek . If you get these two things about right - the catch - lights in the eyes and a good V highlight on the cheek - the other highlights on the face will take care of themselves .
Figure 10 Lighting diagram for 45 ° portrait lighting set - up .
Figure 11 Portrait resulting from lighting set - up in Figure 10 .
Study the effect of moving the light slowly from side to side or changing its height in order to change the basic 45 ° angle . If you cannot raise the light , move it closer to the subject instead . This also has the effect of increasing the angle . Notice how you can make the shadow of the nose increase and decrease in size and change direction at will ..
If the shadow of the nose spreads horizontally across the cheek instead of going toward the corner of the mouth , the light is too low . Usually the effect is more pleasing when the nose shadow angles down toward one corner of the mouth . Moving the light will also change the position of the catch - lights in the eyes . They should be a little above center and this position is achieved if the nose shadow angles down correctly .
PROCEDURE FOR 45 - DEGREE LIGHTING . Standard lighting procedure is to set up the main light and the camera first . Move them around slightly to get just the effect you want . Disregard the darkness of the shadows at first , but note their size and direction . When the correct lighting angle has been established for the main light , you can bring the shadows up to the correct brightness level .
Since we have already discussed fill - in lighting , we won't go into it in detail here . We must emphasize , however , that the fill - in light must always be placed so it lightens those shadows which are seen by the camera . There is no point in lighting any other shadows . The fill - in light is , therefore , always placed quite close to the camera , and is aimed in the same direction as the camera ..
There is no strict rule about how much fill - in light to use . This depends entirely upon your subject and the effect you are striving to achieve . Portraits of children , for example , are usually best when lighted to give them greatest possible softness and delicacy of tonal gradation . In that case you would bring the fill - in light fairly close to the subject . This would lighten the shadows considerably . On the other hand , if you are photographing a man with a strong weather - beaten face , you would want to emphasize the character lines and so would use fairly weak fill - in light to minimize its effect .
One rule which you must never forget is that fill - in light must always be weaker than the main light . If the fill - in light is brought in so close that it kills the shadows completely , the portrait will be flat and lacking in modeling . A good way to determine whether or not the fill - in light is too close is to watch the triangular patch of highlight on the cheek as you change the location of the fill - in light . If it disappears , the light is too strong .
Only experience will tell you the best distance for the fill - in light . As a start , however , you can try a distance which will give the shadows about 1/3 the illumination of the highlights for black - and - white portraits , and from 1/3 to 1/2 for color portraits . You can use an exposure meter to determine their relative light . intensities , or you can calculate it as follows : If the fill - in light is the same distance as the main light from the subject , use a light with the wattage . If the fill - in light has the same wattage as the main light , simply move it back until it is 1½ times the distance of the main light to the subject . Since light from an open source diminishes as the square of the distance , doubling the distance will reduce it to % 4 . Move it back to a little less than 1½ times the distance of the main light to the subject to reduce its strength to half .
USING A REFLECTOR . Although a fill - in light is now the predominate tool for fill - in shadows , a reflector has some advantages in the hands of a skilled portrait photographer . It usually provides a much broader fill - in light source , and it seldom over - balances the main light . This makes it particularly useful for portraiture . A good reflector can be made by covering one side of a sheet of plywood or hardboard about 2 or 3 feet square with aluminum foil which has been heavily wrinkled and straightened out again . The wrinkling broadens the reflected beam of light so it is more suitable for portraiture .
A reflector of this kind is rather directional . It must , therefore , be aimed very carefully to throw the light exactly where it is needed . The best way to use it . is to set up the main light first , then place the reflector where you think it will bring the shadows up to the correct intensity . Swing the reflector slightly from side to side , watching the shadows from the camera position as you do so to make sure the reflected beam of light is being directed where you want it .
In using a reflector , you must be careful not to get it too far to the shadow side of your subject . Used in that way it will illuminate the deep shadows more strongly than the lighter ones . This will destroy the lighting balance and make it appear that two distinct light sources were used , which is usually bad lighting .
USING A HEAD SCREEN . A very important piece of equipment in portraiture is the head screen . You can easily make one like that shown in Figure 12 , or you can simply have someone hold a piece of heavy cardboard in the right position during the exposure .
The head screen is used to hold back light where it isn't wanted . The most common use is to shade the side of the head nearest the light . In a successful portrait , the interest should be centered on the fore part of the face , which should receive the strongest illumination . However , with ordinary open lighting , the side of the head nearest the main light will be more strongly illuminated . This is wrong because attention will shift from the center of the face to the more brightly illuminated side . Lighting balance is restored by placing the head screen in front of and quite close to the light so it casts a well - diffused shadow on the near side : of the head and tones down its illumination .
Another very important use of the head screen is for toning down protruding ears . If the subject is posed so the ear on the brightly lighted side of the head appears in the picture , it usually will be quite difficult to prevent it from appearing too prominent . If the ears are larger than average , or if they jut out slightly , the one that is brightly lighted becomes a disturbing element in the portrait . Placing the head screen in front of the light so it throws a shadow over the ear is the best remedy .
Figure 12 A homemade head screen . The base and upright are from a light weight floor lamp , the upper part of the upright is a flexible gooseneck from a table lamp and the screen itself is a sheet of black cardboard approximately 10 x 12 inches .
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