Digital Concepts PORTABLE LIGHT STUDIO PS-101 Manuale d'uso - Pagina 3
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Stampa la paginaSETTING UP YOUR LIGHTING STUDIO TO TAKE PHOTOS
There are many, many ways for a photographer to arrange lamps when taking photos. There are
numerous books on photography which discuss this topic in great detail. One of the basic
concepts of lighting techniques involves three point lighting.
Three-point lighting is a very common lighting technique used when taking photos with digital and
35mm film cameras. By using three separate light sources, the photographer can illuminate the
shot's subject however desired, while also controlling (or eliminating entirely) the shading and
shadows produced by direct lighting.
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 lighting design.
In indoor shots, the key is commonly a specialized lamp, or a camera's flash. In outdoor daytime
shots, the Sun itself often serves as the key light. In this case, of course, the photographer cannot
set the light in the exact position he or she wants, so instead arranges the subjects to best
capture the sunlight, perhaps after waiting for the sun to position itself just right.
The fill light also shines on the subject, but from a side angle relative to the key. It balances the
key by illuminating shaded surfaces, and lessening or eliminating chiaroscuro* effects, such as
the shadow cast by a person's nose upon the rest of the face. It is usually softer and less bright
than the key light (up to half), and more to a flood. Not using a fill at all can result in stark
contrasts (due to shadows) across the subject's surface, depending upon the key light's
harshness. Sometimes, as in low-key lighting, this is a deliberate effect, but shots intended to
look more natural and less stylistic require a fill.
In some situations a photographer can use a reflector (such as the colored backgrounds of your
light box) as a fill light instead of an actual lamp. Reflecting and redirecting the key light's rays
back upon the subject from a different angle can cause a softer, subtler effect than using another
lamp.
The back light (a.k.a. the rim, hair or shoulder light') shines on the subject from behind, often (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 highlighting contours.
Back light or rim light is different from a kick in that a kick (or kicker) contributes to a portion of the
shading on the visible surface of the subject, while a rim light only creates a thin outline around
the subject without necessarily hitting the front (visible) surface of the subject at all.
*An element in art, chiaroscuro (Italian for lightdark) is defined as a bold contrast between light and dark. Chiaroscuro is
also used in cinematography to indicate extreme low-key lighting to create distinct areas of light and darkness in films,
especially in black and white films.
NOTES
1. Always store this unit in dry places.
2. To minimize shadows, point light down at your subject. This will cause shadows to fall
beneath rather than behind the subject.
3. For a softer effect, point the video light up, letting illumination bounce back into the
subject.