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USING LIGHT
The two most common types of indoor photography that use photographic lighting ( as opposed to available light ) are portraits and still - life . Although there is an infinite number of ways of lighting either of these subjects , the most common methods use diffusion and reflection . Here , we use them as practical examples for the lighting equipment just described .
PORTRAITS
The lighting set - up shown here ( right ) is probably the most reliable of any . Most portraits are taken with the idea of making the sitter look as attractive as possible , and the quality and direction of the light can help enormously . If however , you are trying to convey , for example , the sense of character in a deeply lined face , you might consider harder lighting .
The main light is softened by using a reflecting umbrella , placed in a three- quarter position on a stand . This light gives the basic modelling . On the oppo- site side , a second light is used to fill in shadows , and is bounced off a larger reflecting surface so that its effect is both softer and weaker . Other optional lights are used to light up the background separately , and to highlight the hair
ABOVE A typical lighting set - up for a head - and- shoulders portrait ; the umbrella diffuses the main light , and the fill - in light is bounced off a large white board . The effects light is fitted with a ' snoot ' to concentrate the beam . The background light gives a graduated effect on a seamless roll of paper .
STILL - LIFE
Good still - life photography depends very much on precision in the lighting - exact control to suit both the ideas of the photographer and the particular qualities of the object . Many still - life photographers use a ' window ' light to give type of diffusion that has soft but distinct shadows . These can be bought from photographic dealers , or made from wood , card or metal . Essentially , it is a kind of box , fronted with a textureless sheet of diffusing material . More often than not , the most appropriate position is over the subject , for which a boom lighting stand or a kind of ' goalpost ' arrangement is useful . By varying the position of this single light , a surprising range of effects is possible . Note that , because the box - like fitting encloses the light , it can safely be used only with a flash unit , and will not work with one of the incandescent lamps described on the following pages .
ABOVE Window lights can either be bought ready - built from photographic dealers , or constructed at home from wood , card or metal . The result should resemble a kind of box , fronted with a sheet of diffusing material .
The diffused illumination from a ' window ' light should give soft but distinct shadows ( above ) . The softer light is ideal for still life work when reflective subjects are involved ( above left ) . A common technique is to use the window ' light to backlight a still life set ( left ) .
USING LIGHT
The two most common types of indoor photography that use photographic lighting ( as opposed to available light ) are portraits and still - life . Although there is an infinite number of ways of lighting either of these subjects , the most common methods use diffusion and reflection . Here , we use them as practical examples for the lighting equipment just described .
PORTRAITS
The lighting set - up shown here ( right ) is probably the most reliable of any . Most portraits are taken with the idea of making the sitter look as attractive as possible , and the quality and direction of the light can help enormously . If however , you are trying to convey , for example , the sense of character in a deeply lined face , you might consider harder lighting .
The main light is softened by using a reflecting umbrella , placed in a three- quarter position on a stand . This light gives the basic modelling . On the oppo- site side , a second light is used to fill in shadows , and is bounced off a larger reflecting surface so that its effect is both softer and weaker . Other optional lights are used to light up the background separately , and to highlight the hair
ABOVE A typical lighting set - up for a head - and- shoulders portrait ; the umbrella diffuses the main light , and the fill - in light is bounced off a large white board . The effects light is fitted with a ' snoot ' to concentrate the beam . The background light gives a graduated effect on a seamless roll of paper .
STILL - LIFE
Good still - life photography depends very much on precision in the lighting - exact control to suit both the ideas of the photographer and the particular qualities of the object . Many still - life photographers use a ' window ' light to give type of diffusion that has soft but distinct shadows . These can be bought from photographic dealers , or made from wood , card or metal . Essentially , it is a kind of box , fronted with a textureless sheet of diffusing material . More often than not , the most appropriate position is over the subject , for which a boom lighting stand or a kind of ' goalpost ' arrangement is useful . By varying the position of this single light , a surprising range of effects is possible . Note that , because the box - like fitting encloses the light , it can safely be used only with a flash unit , and will not work with one of the incandescent lamps described on the following pages .
ABOVE Window lights can either be bought ready - built from photographic dealers , or constructed at home from wood , card or metal . The result should resemble a kind of box , fronted with a sheet of diffusing material .
The diffused illumination from a ' window ' light should give soft but distinct shadows ( above ) . The softer light is ideal for still life work when reflective subjects are involved ( above left ) . A common technique is to use the window ' light to backlight a still life set ( left ) .
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