اضواء إضافية ومصادر ضوئية متعددة للصور الوجهية -٢- مجلة فن التصوير اللبنانية _ ع٢٤

**Ali Abbass** · 03-16-2023, 07:54 PM

Additional lights and multiple light sources for portraits -2-

From one light source, we move gradually to two sources, then three sources, then four until we reach the required results, provided that we first decide on the impressions and ideas that we want to reach after each additional light, so that the results are not counterproductive.

In the previous issue, we reviewed the best methods for using a single light source, through which it is possible to obtain comprehensive lighting that is very similar to what is known about lighting in fully equipped studios.
It is true that we indicated the possibility of obtaining the best results with the use of a single light source, but when you learn how to use multiple sources - more than one light - we can increase control over the appearance of the subject, so while the single source works to bring about actual changes in the way light and shadow fall on the subject, multiple sources can produce Attractive differences in lighting, and with the presence of additional lights, you can also highlight some features in the subject, or hide others, depending on the effect you want.
As is the case with a single source, portraits can be the starting point for working in this atmosphere with multiple sources, to move on to paintings, utensils, and other static subjects at a later stage.
It first emphasizes that the photographer who wants to adopt multiple light sources in his studio or professional studio - perhaps a small room in the house - must have mastered the work with a single light source first, and after gaining good experience, he can start adding other lights in Try to reach other effects.

In order to reach good results with multiple light sources, it is necessary to start gradually by adding one light at a time, and after evaluating the results and making sure of success in the experiment, a second light can be added and then a third, with reference here not to add any light just for the sake of adding and without knowing the justification or benefit of Addition, while reiterating that the best shots can be obtained with a few light sources, and this always depends on having a complete idea of the type of shot required before starting to move the lights, to avoid wasting time or getting on the nerves of the subject that we want to deal with.
With direct facial images of the head and shoulders we have to sit our subject on a bench opposite a camera focused on a tripod. Here, we have to prepare the frame appropriately and carefully, while leaving the camera in its position, and only adjusting the lights to reach the desired idea or expression.

- Subject locations - Camera - Light

And because the best natural images come from one main source, such as the sun or a window, for example, despite the presence of secondary sources or other reflections, so this matter must be followed when photographing inside the studio, i.e. adopting one main light source that usually spreads with a broad and strong reflector directed towards the subject - according to the desired idea. And we should never direct another source to compete with him in terms of strength, as long as we want our subject to be natural and not distorted or distorted
Dramatic - as it sometimes occurs to us - and from here it is necessary to prepare the main source as required and often direct it towards the face at an angle of 45 degrees, and additional lights or additional light come to support here and to fill in the shadows.

Sometimes, with this measure, shots come devoid of expressions, and here it is preferable to move the camera to capture the subject diagonally, or to move the subject itself by turning his head slightly, and then moving the lights to match the new situation.
With the subject rotated, thus deviating from facing the camera, the effect of lighting changes by 45 degrees, so that the light falls on the side of the face that is far from the camera, and the lighting takes place sideways, which leads to bright lighting for the forehead, cheeks and nose, and pushes the face to appear narrower than usual, and so the effect of this method can be successful With the owners of wide faces, who want pictures in which their faces appear narrower than they are in reality.

And if it happens that the sparkle of light comes on the side closest to the camera, the effect will be reversed, so that the subject appears wider and flatter, as the details of the structure are absent, which means that this type of light contributes to obtaining soft features.
Exaggeration in any of these two methods can be adopted to reach exaggerated results by moving the light to different angles to control its fall on the desired side of the face.

First extra light

With the focus of the main light and the need to adopt another light to fill in the shadows and prevent them from appearing darker. It seems clear that the most suitable place for additional light is the location near the line that

It connects the camera and the subject, and by moving the light and following its effect, we can make sure of the appropriate location with the absence of shadows or their transformation into softer and less deep shadows.
The supporting light, or the additional light and fill, must be dispersed and not sharply focused on the subject, even if the main light is very sharp. If the power of the two lights is equal in terms of the ratio of radiation, the additional light should be placed at a distance greater than one third of the distance from the distance of the main light from the subject.. But if the radiation of the fill light is equal to half of the radiation of the main light, then the light can be placed at a distance from the subject equal to two thirds of the distance of the main light. .
To know the validity of the results of the additional light, measurements can be made according to the method of illumination with one light source - mentioned in the last issue - but with additional light we can also measure the effect of each light
Separately, and this is usually easier by triggering the main light and taking a light meter reading, then we turn off the main light and light the extra light and take the meter reading as with the main light and then we calculate the exposure difference in “F” stops to get an idea of the color contrast in the subject after adding the light the extra. Here, the range of color variation depends on the subject. With regard to subjects that need a soft effect, such as beauties or infants, the difference should not be more than one or one and a half stops. F. . As for men and the elderly, and in general with shots that want to emphasize the sharpness of their features, such as the advantages of masculinity and the like, a difference of 1/2 2 to 3 can be adopted.
Pauses and with dramatic effects arrives
The difference is four stops.

**Ali Abbass** · 03-16-2023, 07:55 PM

- other lights

After filling in the shadows with additional light, sometimes we need other lights for different effects, for example, adopting a special light to increase the prominence of the hair or to give it radiance, luster, and shine.
Here we have to put the third light - the first is the main one and the second is the additional one to fill in the shadows - directly above the head or above it to one of the sides, or at the level of the head to one of the sides as well..
Determining the location of the light is of great importance here, as placing it above the head on the side of the face may lead to it falling on the face, as it affects the shadow system followed, and if it is directly above the top of the head, it may lead to emitting a round halo that often does not have a positive effect on the image from here. The model is slightly behind the top of the head so that its rays are reflected through the shiny tufts of hair, as we have mentioned previously. Another topic is that hair lighting gives its effectiveness with those with thick hair and dark-skinned people, and it is cautioned to use it with people whose baldness seems to invade their heads, because that will double the appearance of this disease, which no one ever wants to appear.
With regard to the strength of this hair light, it is sufficient for a normal house light, and it can be kept in its location if it is attached to the ceiling and is lowered to the required level. So that we control moving the subject under it... As for the directed lamp known as Spotlight, it is the best, of course, but it is expensive.
Adding a light to the backlight after the light of the poetry is possible as a whole, and this will not be necessary unless we prepare a special idea and arrangement for this background. We point out here that this light background also has its drawbacks, as it will capture a different number of obstructing shadows caused by the headlights. These shadows will increase whenever the subject is close to the background, hence it is advisable to keep the subject as far as possible from the background.

In studios or small rooms, where there is no room for maneuver, and to escape from the background full of shadows. Background light becomes necessary to eliminate shadows, and this light must be very strong for a very bright background to appear.
Even when the background is as far as it should be, the background light can be used to enlighten and improve the appearance of the subject without stealing attention from it. The light diminishes as you go up, helping to surround the subject.
The background light can be placed in many locations provided the wires are not allowed to show in the picture. Here, too, a light can be placed behind a curtain to add effects
especially .

And according to these principles, we can add what we want from other lights towards one of the cheeks, for example, and the eye, and we can circumvent the topic, and try several measures whose results will appear relatively through the specific consideration before making the decision to capture it, and here we must bear in mind to satisfy the taste of our subject.

Other lighting plans from Karsh

There are multiple methods that can be reached through experiments, as we mentioned, but there are also other methods that have proven successful, and one of them is adopted by the most famous international photographer in the field of portraiture, Karsh. You see it usually, and this matter requires care and accuracy in placing the lights, and it should also be adhered to placing the lights in both directions at an equal distance, with equal strength, and with the slightest gag, as the results may be counterproductive, so we distort the shot that we planned to be a wonderful piece of art.

- the convenience of the subject

One of the most important things that we should pay attention to when conducting our experiments is that we care about the comfort of our subject and maintain his calm, relaxation and happiness, and we also have to appear
In front of him with complete confidence to ensure that he accepts everything we ask of him, with confirmation once again that there is a prior plan in our heads before we start dealing directly with our experimental or real issues.

⏺ Lighting face photos step by step

Appendix Lighting Measures Concerned: Three lights will suffice for most types of portraits.
1 - A main light with a wide reflector placed to one side of the model to illuminate important features.
2- The presence of additional light at the back and to the other side, adding more brightness and highlighting the shape more strongly, although this light with the main light may not be enough with the presence of several obstructing shadows.
3- The solution here is to add a third light, almost in line with the camera. This serves as a fill light to illuminate the shadows without overpowering the other lights.

اضواء إضافية ومصادر ضوئية متعددة للصور الوجهية -٢- مجلة فن التصوير اللبنانية _ ع٢٤

اضواء إضافية ومصادر ضوئية متعددة للصور الوجهية -٢- مجلة فن التصوير اللبنانية _ ع٢٤

تعليق

تعليق