3 POINT LIGHTING3 POINT LIGHTINGPhotographic Imaging 1Photographic Imaging 1

• in course of developing skills of lighting; lesson most important. in course of developing skills of lighting; lesson most important. • concepts covered will reappear in many other lighting setups concepts covered will reappear in many other lighting setups • more you understand them, both individually and in the way they work more you understand them, both individually and in the way they work

together to create an effective image, the easier it will be for you to adapt together to create an effective image, the easier it will be for you to adapt them as needed in a variety of situations; will help create your own them as needed in a variety of situations; will help create your own distinctive lighting style. distinctive lighting style.

• can turn on each light in the setup individually to see its effect; can view can turn on each light in the setup individually to see its effect; can view entire setup to see placement & choice of fixtures tooentire setup to see placement & choice of fixtures too

• 4 lights: Key, Fill, Hair, & Edge, form the basics of a well lit portrait4 lights: Key, Fill, Hair, & Edge, form the basics of a well lit portrait

Interview LightingInterview Lighting

• one light will do the work of both Key one light will do the work of both Key and Filland Fill

• second small light from behind to add a second small light from behind to add a little shine to the hair adds a finishing little shine to the hair adds a finishing touchtouch

• in example: 500-watt Omni-light in example: 500-watt Omni-light w/nylon umbrella worked well for the w/nylon umbrella worked well for the single Key / Fill light & 125-watt L-light single Key / Fill light & 125-watt L-light providing shine on hair & shouldersproviding shine on hair & shoulders

• *don't forget to make necessary *don't forget to make necessary changes in height of your stand & changes in height of your stand & exposure change to camera as adjusting exposure change to camera as adjusting position of lightsposition of lights

• Perhaps situation calls for more or less Perhaps situation calls for more or less powerful bulb or a different fixture; get powerful bulb or a different fixture; get feel of working w/small hard source feel of working w/small hard source (can really see where shadows are) (can really see where shadows are)

• then add umbrella & see by increasing then add umbrella & see by increasing relative size of the light source you relative size of the light source you increase its softnessincrease its softness

Simple Light SetupsSimple Light Setups

Single light (Omni-light 500 W) w/umbrella, positioned to function as Key light, w/enough softness to act as Fill light too; single light result

Background Light: Background Light: •lighting background of a set; a whole or lighting background of a set; a whole or specific areas. specific areas. •lighting objects in background that are lighting objects in background that are significant to imagesignificant to image•contributes to creating separation between contributes to creating separation between subject & backgroundsubject & background•often function of light is fulfilled by more often function of light is fulfilled by more than one fixture at a time & possible to use than one fixture at a time & possible to use multiple background lightsmultiple background lights

• slash Accentslash Accent• 'treat’ background using slash of light made by 'treat’ background using slash of light made by

putting two barndoors close together on hard putting two barndoors close together on hard light sourcelight source

• the image to the left shows a slash created by the image to the left shows a slash created by a focusable Omni-light. Focusing the light to a focusable Omni-light. Focusing the light to flood will give a larger and more consistent flood will give a larger and more consistent output level to the slash.output level to the slash.

• mix slash w/general background fill (less mix slash w/general background fill (less prominent) or use slash accent in darker prominent) or use slash accent in darker background to increase its effect; coloring background to increase its effect; coloring slash w/gel is common approachslash w/gel is common approach

Background Light OptionsBackground Light Options

Setup with Slash Accent Omni-light 500W focusable

• color Backgroundcolor Background• popular technique in news/magazine format; TVpopular technique in news/magazine format; TV• provides contrast of color & feel between provides contrast of color & feel between

environment & subjectenvironment & subject• added red gel to Omni-light; focused wide added red gel to Omni-light; focused wide

enough to cover background area of shotenough to cover background area of shot• use barn doors on fixture to trim any spill that use barn doors on fixture to trim any spill that

may fall on subjectmay fall on subject

Setup with Color background Omni-light 500W focusable

Highlight AccentHighlight Accent A more practical approach to adding visual A more practical approach to adding visual

interest to the background would be to add a interest to the background would be to add a highlight to an object in the setting.highlight to an object in the setting.

In this shot, we used a tiny L-light with 100 In this shot, we used a tiny L-light with 100 Watt lamp directed to place a small pool of Watt lamp directed to place a small pool of light on the flowers and the picture frame. The light on the flowers and the picture frame. The hard light character of the lamp created a hard light character of the lamp created a sharp shadow.sharp shadow.

The result looks like it have could come from The result looks like it have could come from track lighting or a recessed ceiling light, adding track lighting or a recessed ceiling light, adding to the natural feel of the effect.to the natural feel of the effect.

Background Light OptionsBackground Light Options

Setup with Highlight AccentL-light with 100W lamp Setup with cookaloris pattern Pro-light, 250W

How you deal with backgrounds depends on whether it is part of the story or How you deal with backgrounds depends on whether it is part of the story or just a neutral setting for your subject. Either way you may notice the just a neutral setting for your subject. Either way you may notice the background level is usually down, or less bright than the subject. However it is background level is usually down, or less bright than the subject. However it is not unusual to highlight something in the background for interest. A plant or not unusual to highlight something in the background for interest. A plant or dim lamp is a common set dressing.dim lamp is a common set dressing.

For the setup used in the Viewer above, we created a mottled shadow pattern For the setup used in the Viewer above, we created a mottled shadow pattern on the background by shining a hard light through a cookaloris (a random on the background by shining a hard light through a cookaloris (a random pattern cut into wood, foamcore, or black foil). It was lit by a 250W focusable pattern cut into wood, foamcore, or black foil). It was lit by a 250W focusable Pro-light, a hard source. If you look at the Setup shot in the Viewer, you will Pro-light, a hard source. If you look at the Setup shot in the Viewer, you will see the cookaloris, tho' the Pro is hidden from view by the Rifa Key light.see the cookaloris, tho' the Pro is hidden from view by the Rifa Key light.

By the time you've put up your Key, Fill, Hair and Edge lights you might have By the time you've put up your Key, Fill, Hair and Edge lights you might have light bouncing off the walls and ceiling lighting up the background too much. light bouncing off the walls and ceiling lighting up the background too much. You can try turning off any room lights, or by adding distance between the You can try turning off any room lights, or by adding distance between the subject and the background. In combination with these is the ability to control subject and the background. In combination with these is the ability to control the lights you've placed in the setting.the lights you've placed in the setting.

Setup with cookaloris patternPro-light, 250WSetup with cookaloris patternPro-light, 250W Since large broad sources tend to spill on the background consider using an Since large broad sources tend to spill on the background consider using an

Egg Crate on any softlights you use. Other lights should all have barndoors to Egg Crate on any softlights you use. Other lights should all have barndoors to direct light only where it's wanted. You can finesse more by specifically direct light only where it's wanted. You can finesse more by specifically flagging spilled light from where you don't want it.flagging spilled light from where you don't want it.

Background Light TechniquesBackground Light Techniques

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Key Light defined: The primary or dominant source Key Light defined: The primary or dominant source of light in a shot. It often suggests an out of frame of light in a shot. It often suggests an out of frame source. Choice of fixture (hard or soft) and its source. Choice of fixture (hard or soft) and its position will help set the mood of the shot.position will help set the mood of the shot.

KEY LIGHTKEY LIGHT

In the setup shown in the In the setup shown in the viewer, the Key light is a viewer, the Key light is a very soft Rifa-lite 88 fitted very soft Rifa-lite 88 fitted with a 1000-watt bulb and with a 1000-watt bulb and a soft Egg Crate to control a soft Egg Crate to control its spill.its spill.

Look at the cheek closest Look at the cheek closest to the camera. Notice the to the camera. Notice the effect; the shadow line effect; the shadow line running down the cheek. running down the cheek. Begin to notice how often Begin to notice how often you see this in movies, you see this in movies, television, and television, and photographs. It's photographs. It's everywhere isn't it?everywhere isn't it?

Soft Key LightSoft Key Light

Full lighting with Soft KeyRifa 88, 1000W Soft lightRifa with Fabric Egg Crate

Simple Light Setups

This is an example of a hard Key light, instead of soft. We are This is an example of a hard Key light, instead of soft. We are using a 250-watt Pro-light. Notice the difference? The transition using a 250-watt Pro-light. Notice the difference? The transition between the light and dark areas is more dramatic. If you move between the light and dark areas is more dramatic. If you move the key light until you see a light triangular patch under the the key light until you see a light triangular patch under the near eye, you've achieved what is referred to as Rembrandt near eye, you've achieved what is referred to as Rembrandt lighting.lighting.

Rembrandt actually experimented with having the main light Rembrandt actually experimented with having the main light coming from many directions but this is the look that stuck to coming from many directions but this is the look that stuck to his name. You may notice that both soft and hard key lights are his name. You may notice that both soft and hard key lights are approaching the face from the far side of the face, from the approaching the face from the far side of the face, from the camera. What is referred to as the short side.camera. What is referred to as the short side.

While it doesn't always have to be so, it is very common and a While it doesn't always have to be so, it is very common and a safe place to start. It might be so popular because it has a safe place to start. It might be so popular because it has a slimming effect on theslimming effect on the

Hard Key LightHard Key Light

Full lighting with hard KeyRembrandt van Rijn, Portrait of a Lady with an Ostrich-Feather Fan, c. 1658/1660Pro-light, 250W Focusing Hard light

When you practice placing the Key light on your subject, keep an eye on When you practice placing the Key light on your subject, keep an eye on the shadow it creates from the nose.the shadow it creates from the nose.

The nose shadow is easier to see if you use a hard light but blends more The nose shadow is easier to see if you use a hard light but blends more attractively when you a larger soft source. As a start, find the angle and attractively when you a larger soft source. As a start, find the angle and height for your Key light that places that shadow along the crease between height for your Key light that places that shadow along the crease between the nose and the corner of the mouth.the nose and the corner of the mouth.

Now try placing your light so the nose shadow is nearly gone. This will Now try placing your light so the nose shadow is nearly gone. This will happen when your light is anywhere from directly in front of the subject, happen when your light is anywhere from directly in front of the subject, assuming they are facing slightly away from the lens, to directly over the assuming they are facing slightly away from the lens, to directly over the camera. You will start to lose the shadow line on the cheek as you come camera. You will start to lose the shadow line on the cheek as you come around but the effect may be what you want.around but the effect may be what you want.

Bringing the Key light 'face-on' is effective for lightening the shadows from Bringing the Key light 'face-on' is effective for lightening the shadows from wrinkles. Used with makeup it is even more effective. While this position wrinkles. Used with makeup it is even more effective. While this position tends to allow light to spill onto the background it is usually more tends to allow light to spill onto the background it is usually more important to have the subject look good. If possible you could move the important to have the subject look good. If possible you could move the subject and lights further away from the back wall to allow the spill to fall subject and lights further away from the back wall to allow the spill to fall off. This position is very flat light so you need to balance the needs of filling off. This position is very flat light so you need to balance the needs of filling wrinkles or a slimming effect.wrinkles or a slimming effect.

Another look is what is sometimes called Hatchet lighting. Here the shadow Another look is what is sometimes called Hatchet lighting. Here the shadow line runs right down the center of the face. It can be a dramatic effect line runs right down the center of the face. It can be a dramatic effect when paired with little or no fill lighting or some edge lights. You may also when paired with little or no fill lighting or some edge lights. You may also have to adjust the height of the key light to better fill deep set eyes. A have to adjust the height of the key light to better fill deep set eyes. A larger softer light will be able to do this without causing the nose shadow larger softer light will be able to do this without causing the nose shadow to become distracting.to become distracting.

Key Light TechniquesKey Light Techniques

Bad nose shadowReduced nose shadowHatchet lighting

Fill light defined: Fill is used to lighten shadows and Fill light defined: Fill is used to lighten shadows and control contrast ratios (the ratio of amount of Key control contrast ratios (the ratio of amount of Key to Fill light). Combined with the Key light, Fill light to Fill light). Combined with the Key light, Fill light helps define the mood by lighting the shaded areas helps define the mood by lighting the shaded areas in a range of intensities. It can vary from none, to a in a range of intensities. It can vary from none, to a level equaling the Key light.level equaling the Key light.

Fill LightFill Light

More commonly, you may begin to consider light placement More commonly, you may begin to consider light placement positions near the camera to hide the shadows behind the subject positions near the camera to hide the shadows behind the subject or more off to the opposite side from the Key light.or more off to the opposite side from the Key light.

When the Fill is directly over the camera it adds to the Key light's When the Fill is directly over the camera it adds to the Key light's exposure so consider adjusting for it. The near-the-camera exposure so consider adjusting for it. The near-the-camera position can be considered when you want to both fill shadows position can be considered when you want to both fill shadows and still maintain a little modeling on the subject. You will most and still maintain a little modeling on the subject. You will most often need a less intense light for the Fill side.often need a less intense light for the Fill side.

As with the Key light you could adjust the distance to lessen the As with the Key light you could adjust the distance to lessen the intensity as well as by adding scrims or neutral density gels to the intensity as well as by adding scrims or neutral density gels to the light. While it could be most any kind of light, a Fill light is usually a light. While it could be most any kind of light, a Fill light is usually a soft source so using an umbrella or a softbox is common.soft source so using an umbrella or a softbox is common.

Images A & B to the right show differing levels of Fill light. Notice Images A & B to the right show differing levels of Fill light. Notice how image A looks more fully lit, while still maintaining the Key as how image A looks more fully lit, while still maintaining the Key as the dominant light source, and the reduced Fill in image B the dominant light source, and the reduced Fill in image B increases its dramatic effect.increases its dramatic effect.

A) Lower ratio of Key to Fill lightB) Higher ratio of Key to Fill lightC) A) Lower ratio of Key to Fill lightB) Higher ratio of Key to Fill lightC) Double Nose ShadowDouble Nose Shadow

Probably the only wrong way to do Fill is if it adds another set of Probably the only wrong way to do Fill is if it adds another set of visible shadows; visible to the camera that is (you only need to visible shadows; visible to the camera that is (you only need to worry about what's in your frame).worry about what's in your frame).

Image C shows a closer view with a double nose shadow. This is Image C shows a closer view with a double nose shadow. This is caused by having a Fill light that is almost as strong as the Key, caused by having a Fill light that is almost as strong as the Key, placed in a position so that the shadow the nose throws on the placed in a position so that the shadow the nose throws on the opposite side of the face, visible to the camera. Always look opposite side of the face, visible to the camera. Always look closely at your shot to see if your lights are creating unintended closely at your shot to see if your lights are creating unintended consequences.consequences.

Fill Light TechniquesFill Light Techniques

A) Lower ratio of Key to Fill lightB) B) Higher ratio of Key to Fill lightC) C) Double Nose Shadow

Fill light aloneRifa 44, 250W Soft lightFill light aloneRifa 44, 250W Soft light After setting the Key light, you may find that the darker side of After setting the Key light, you may find that the darker side of

the face is too dark for your tastes. There are several methods the face is too dark for your tastes. There are several methods for adding Fill light to reduce the shadows.for adding Fill light to reduce the shadows.

In the setup shown in the viewer at the beginning of this In the setup shown in the viewer at the beginning of this lesson, we have chosen a Rifa-lite 44 soft light, with a 250-watt lesson, we have chosen a Rifa-lite 44 soft light, with a 250-watt bulb, with a soft Egg Crate to control the spill.bulb, with a soft Egg Crate to control the spill.

This doesn't just apply to lighting faces. Anytime you are This doesn't just apply to lighting faces. Anytime you are treating the side left shaded by the Key light you are working treating the side left shaded by the Key light you are working on the Fill.on the Fill.

The amount of Fill that is added depends on your taste (or the The amount of Fill that is added depends on your taste (or the preference of the person who hired you). Keep in mind the preference of the person who hired you). Keep in mind the 'look' you are attempting; especially if you are shooting 'look' you are attempting; especially if you are shooting something that is dramatic.something that is dramatic.

Generally you can most easily alter the mood of a shot by Generally you can most easily alter the mood of a shot by raising and lowering the intensity of the Fill. In fact on some raising and lowering the intensity of the Fill. In fact on some soap operas the main difference in lighting between a daytime soap operas the main difference in lighting between a daytime interior scene and a night setting is they drop the Fill almost all interior scene and a night setting is they drop the Fill almost all together and light the background a darker than normal.together and light the background a darker than normal.

Fill LightFill Light

Fill light aloneRifa 44, 250W Soft light

Another method of providing Fill is by bouncing the Another method of providing Fill is by bouncing the Key light off of a reflector. A specular reflector (the Key light off of a reflector. A specular reflector (the shiny hard side) will kick back nearly as much light shiny hard side) will kick back nearly as much light as the Key light shining on it, in the same degree of as the Key light shining on it, in the same degree of hardness that strikes it.hardness that strikes it.

In the example shown, the soft Key light is being In the example shown, the soft Key light is being reflected. A stippled reflector surface will soften the reflected. A stippled reflector surface will soften the reflected light more and give less chance of reflected light more and give less chance of secondary shadows.secondary shadows.

Using a matte white card will provide a very soft Using a matte white card will provide a very soft reflected fill at close range. You may have natural fill reflected fill at close range. You may have natural fill already happening from light colored walls already happening from light colored walls reflecting back to the subject. Indeed you might reflecting back to the subject. Indeed you might even plan such a situation.even plan such a situation.

Note: In highly reflective rooms, if your lighting is Note: In highly reflective rooms, if your lighting is too flat, you might consider a technique called too flat, you might consider a technique called negative fill. This is often done by hanging a dark negative fill. This is often done by hanging a dark cloth or piece of black foamcore on the fill side to cloth or piece of black foamcore on the fill side to prevent stray light from providing too much fill. prevent stray light from providing too much fill. Experiment with different amounts of fill and see if Experiment with different amounts of fill and see if you can manipulate the effect to change the feel of you can manipulate the effect to change the feel of the lighting.the lighting.

Reflected Fill LightReflected Fill Light

Specular Reflector bouncing Soft Key light to create FillCloseup detail

Hair light defined: A light from Hair light defined: A light from behind the subject, often behind the subject, often weaker than the Key or Fill, weaker than the Key or Fill, aimed at the head & shoulders. aimed at the head & shoulders. It may also called a backlight. It It may also called a backlight. It creates a sense of separation creates a sense of separation between subject and between subject and background, and adds highlights background, and adds highlights & shine to hair, and is often & shine to hair, and is often widened to include a subject's widened to include a subject's shoulders. Working with Hair shoulders. Working with Hair light gets trickier with receding light gets trickier with receding hairlines, and may be done hairlines, and may be done without in that situation.without in that situation.

Hair LightHair Light

Along with Along with the amount of Fill light you use, you can continue to add finesse to the the amount of Fill light you use, you can continue to add finesse to the lighting to reveal the subjects form by using light from angles beyond what you use lighting to reveal the subjects form by using light from angles beyond what you use for the Fill. Both Hair lights and Edge lights fall into this category.for the Fill. Both Hair lights and Edge lights fall into this category.

Traditionally Hair lights are placed directly opposite the camera. It creates highlights Traditionally Hair lights are placed directly opposite the camera. It creates highlights and gives a nice shine to the hair. Small hard lights will make small hard lines and and gives a nice shine to the hair. Small hard lights will make small hard lines and edges, which are appropriate if you are implying the motivation for the light is a edges, which are appropriate if you are implying the motivation for the light is a hard source. Larger sources provide an even, gentle wash.hard source. Larger sources provide an even, gentle wash.

In the nineteen seventies the extreme backlight was the rage. Find a glamour photo In the nineteen seventies the extreme backlight was the rage. Find a glamour photo from the era and it will likely have a strong back light blasting directly at the back of from the era and it will likely have a strong back light blasting directly at the back of the head causing the lion's mane hair style in fashion at the time to glow. If this is the head causing the lion's mane hair style in fashion at the time to glow. If this is what you're after, just try to keep the light far enough back so it doesn't start your what you're after, just try to keep the light far enough back so it doesn't start your subject's hair on fire.subject's hair on fire.

If you are dealing with thinning hair or bald heads, you probably already have If you are dealing with thinning hair or bald heads, you probably already have enough separation from the background; either because of the contrast or color enough separation from the background; either because of the contrast or color differences, and only want to play with adding a subtle edge to the side of the head differences, and only want to play with adding a subtle edge to the side of the head and neck. You may just need an edge on the shoulders of a dark garment that is and neck. You may just need an edge on the shoulders of a dark garment that is blending into the background. See the Edge Light description below for more blending into the background. See the Edge Light description below for more information. For shiny heads you could have separate lights for each shoulder or information. For shiny heads you could have separate lights for each shoulder or put up a traditional hair light and block, or flag, the part of the light falling on the put up a traditional hair light and block, or flag, the part of the light falling on the head.head.

Hair light aloneRifa 44, 250W Soft lightHair light aloneRifa 44, 250W Soft light Since all backlights are aimed in the direction of the camera be careful to keep any Since all backlights are aimed in the direction of the camera be careful to keep any

light from shining into the front of the lens, causing lens flare. Wave your hand in light from shining into the front of the lens, causing lens flare. Wave your hand in front of the light and see if a shadow falls on the camera.front of the light and see if a shadow falls on the camera.

With the advent of modern cameras there is less need for the really heavy use of With the advent of modern cameras there is less need for the really heavy use of hair light unless it is to appear as motivated or logical in the scene. Watch for hair light unless it is to appear as motivated or logical in the scene. Watch for programs done in film or HD and notice how natural these highlights are compared programs done in film or HD and notice how natural these highlights are compared to older video programming.to older video programming.

Hair Light TechniquesHair Light Techniques

Hair light aloneRifa 44, 250W Soft light

Edge light defined:Edge light defined: A light from behind the subject, A light from behind the subject, often weaker than the Key or Fill, is placed to often weaker than the Key or Fill, is placed to create an edge of definition between subject and create an edge of definition between subject and background. Similar in practice to Hair light, it is background. Similar in practice to Hair light, it is also a form of backlight normally used to define also a form of backlight normally used to define one dark object from another, for example a dark one dark object from another, for example a dark jacket from a similarly dark background.jacket from a similarly dark background.

Edge LightEdge Light

Edge lights create subtle defining 'edges', and line-Edge lights create subtle defining 'edges', and line-like highlights, which can be added to your setup to like highlights, which can be added to your setup to delineate the edge of your subject. You may hear delineate the edge of your subject. You may hear them referred to as kickers, liners or edge lights.them referred to as kickers, liners or edge lights.

If your subject's dark hair or jacket seems to blend If your subject's dark hair or jacket seems to blend into a similarly dark background you can add an into a similarly dark background you can add an 'edge' to visibly separate, or cut them away, from 'edge' to visibly separate, or cut them away, from the background. You provide a clue to the viewer the background. You provide a clue to the viewer where the subject leaves off and the background where the subject leaves off and the background begins. If you have decided to use little or no fill an begins. If you have decided to use little or no fill an edge of some sort can enhance the dramatic effect.edge of some sort can enhance the dramatic effect.

To experiment with these effects start with small To experiment with these effects start with small fixtures and keep an eye on the shadow from the fixtures and keep an eye on the shadow from the subjects ear. It is popular to have a light edge along subjects ear. It is popular to have a light edge along the jaw line. Try hard sources at different distances the jaw line. Try hard sources at different distances and angles. Try using a small light with an umbrella and angles. Try using a small light with an umbrella or with a diffusion gel.or with a diffusion gel.

Edge lights are also aimed in the direction of the Edge lights are also aimed in the direction of the camera, so be careful to keep any light from shining camera, so be careful to keep any light from shining into the front of the lens, causing lens flare. Wave into the front of the lens, causing lens flare. Wave your hand in front of the light and see if a shadow your hand in front of the light and see if a shadow falls on the camera.falls on the camera.

Edge Light TechniquesEdge Light Techniques

Edge light aloneL-light, 100W

http://www.lowel.com/edu/foundations_of_lighting.html http://www.lowel.com/edu/

Works CitedWorks Cited