By Rosanne Olson
Every thing we see is lit via one resource or one other. The questions are: what and the way? that's what this e-book is designed to coach you. via Rosanne Olson’s tried-and-true direction on lights rules for images, video, and artwork mostly, you will find how the angles and heights of your mild assets have an effect on your images. you are going to how one can paintings with gentle modifiers to alter the standard of your mild, and the way to regulate mild to create a sense of intensity and dimension—whether you’re taking pictures with traditional mild, non-stop synthetic mild, studio strobes, committed flash, or a mixture of assets. Assignments are integrated that will help you placed every one inspiration into perform as you ideal your talents and teach your eyes to determine the subtleties of sunshine. you are going to by no means examine a photo or portray within the similar approach once you learn this book!
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Additional info for ABCs of Beautiful Light: A Complete Course in Lighting for Photographers
If you look back at the section on light positions (see pages 34–35), the light we were maneuvering to produce butterfly, loop, and Rembrandt lighting was the key light. The key light is the light against which any other light sources in the scene are measured. ), the edges of the light can be either hard or soft. But for all sources, whether hard or soft, there will always be a highlight side and a shadow on the opposite side. The difference between the amount of light on the key-light side and the amount of light on the shadow side is called the light ratio.
Moved to a position directly beside the subject, the light falling from a 90 degree angle illuminates only one side of the face—so the effect is called split lighting. Rim lighting produces an appealing outline of the edge of the subject’s profile. of Possibilities, loop lighting is created. This is named for the small loop-shaped shadow produced below and slightly to the side of the nose. Comparing loop lighting to Rembrandt lighting, you can see that the nose shadow is smaller and does not extend to touch the shadow on the cheek.
Create overhead diagrams of your lighting. Part 2: Indoor Lighting. Photograph a mannequin head using soft window light (such as north light). Position your model close to the window and yourself adjacent to the same wall so you are shooting down the wall toward the window that lights your subject. Explore how the model looks side lit (split light), looking directly at camera. Do this with and without fill. Try turning the head toward the window to produce short lighting, then turn it away from the window to produce broad lighting.
ABCs of Beautiful Light: A Complete Course in Lighting for Photographers by Rosanne Olson