3 point lighting, photography, photo class, head light, back light, key light

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3 POINT LIGHTING
Photographic Imaging 1

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Interview Lighting
 In the course of developing skills in the craft of lighting, this lesson
may be among the most important. Sometimes they are there on a
subtle level, but they are almost always there.
The more you understand the concepts, both individually and in the
way they work together to create an effective image, the easier it will
be for you to adapt them as needed in a variety of situations.
Using this interactive player, you can turn on each light in the setup
individually to see its effect. You can also view the entire setup to see
placement & choice of fixtures. These 4 lights: Key, Fill, Hair, & Edge,
form the basics of a well lit portrait

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

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Soft Key Light
 Inthe setup shown in the
viewer, the Key light is a very
soft Rifa-lite 88 fitted with a
1000-watt bulb and a soft Egg
Crate to control its spill.
 Look
at the cheek closest to the
camera. Notice the effect; the Full lighting with
Soft KeyRifa 88,
shadow line running down the 1000W Soft
cheek. This is effective in tv lightRifa with
shows, movies, and interviews Fabric Egg Crate

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Hard Key Light
 This is an example of a hard Key light, instead of soft. We are using a 250-watt Pro-
light. The transition between the light and dark areas is more dramatic. If you move
the key light until you see a light triangular patch under the near eye, you've
achieved what is referred to as Rembrandt lighting.
 Rembrandt actually experimented with having the main light coming from many
directions but this is the look that stuck to his name.
Full lighting with
hard Key
Rembrandt van
Rijn, Portrait of a
Lady with an
Ostrich-Feather
Fan, c. 1658/1660
Pro-light, 250W
Focusing Hard light

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Key Light Techniques
 When you practice placing the Key light on your
subject, keep an eye on the shadow it creates
from the nose. As a start, find the angle and height
for your Key light that places that shadow along
the crease between the nose and the corner of the
mouth. This will 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 camera.
 Bringing the Key light 'face-on' is effective for
lightening the shadows from wrinkles. While this
position tends to allow light to spill onto the Bad nose shadow Reduced nose
background it is usually more important to have shadow
the subject look good.
Hatchet lighting
 Another look is what is sometimes called Hatchet
lighting. Here the shadow line runs right down the
center of the face. You may also have to adjust the
height of the key light to better fill deep set eyes.

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Simple Light Setups
 Sometimes when power or time limitations are factors, one
light will do the work of both Key and Fill. A second small light
from behind to add a little shine to the hair adds a finishing
touch. Experiment by adjusting the distance between the light
and your subject to achieve the balance between your key light
and the ambient light.
Single light (Omni-light 500
W) with umbrella, positioned
to function as Key light, with
enough softness to also act
as Fill light.
Single light result

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Fill Light
 Fill is used to lighten shadows and control contrast ratios.
Combined with the Key light, Fill light helps define the
mood by lighting the shaded areas in a range of intensities.

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Fill Light
 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 for adding Fill light
to reduce the shadows.
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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 bulb, with a soft Egg Crate
to control the spill.
 The amount of Fill that is added depends on your taste (or the preference
of the person who hired you). Keep in mind the 'look' you are attempting;
especially if you are shooting something that is dramatic.
Fill light alone
Rifa 44, 250W
Soft light

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Fill Light Techniques
 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
position can be considered
when you want to both fill
shadows and still maintain a
little modeling on the
subject. You will most
often need a less intense Lower ratio of Higher ratio
light for the Fill side. Key to Fill of Key to
Fill light
 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
the dominant light source,
and the reduced Fill in
image B increases its
dramatic effect.
D
Double Nose Shadow

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Reflected Fill Light
 Another method of providing Fill
is by bouncing the Key light off
of a reflector. A specular
reflector (the shiny hard side)
will kick back nearly as much
light as the Key light shining on
it, in the same degree of
hardness that strikes it.
 Using a matte white card will Specular Reflector bouncing Soft
provide a very soft reflected fill Key light to create Fill
at close range. You may have Closeup detail
natural fill already happening
from light colored walls
reflecting back to the subject.
Indeed you might even plan such
a situation.

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Hair Light
 Hair light is a light from behind the subject, often weaker than the Key
or Fill, aimed at the head & shoulders. It creates a sense of separation
between subject and background, and adds highlights & shine to hair,
and is often widened to include a subject's shoulders..

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Hair Light Techniques
 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 edges,
which are appropriate if you are implying the
motivation for the light is a hard source.
Larger sources provide an even, gentle wash.
 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 differences,
and only want to play with adding a subtle
edge to the side of the head and neck
Hair light alone
 Since all backlights are aimed in the direction Rifa 44, 250W Soft
of the camera be careful to keep any light
from shining into the front of the lens, light
causing lens flare. Wave your hand in front of
the light and see if a shadow falls on the
camera.

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Edge Light
 Edge light defined: A light from behind the subject, often weaker
than the Key or Fill, is placed to create an edge of definition between
subject and background.

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Edge Light Techniques
 Edge lights create subtle defining 'edges', and line-like highlights,
which can be added to your setup to delineate the edge of your
subject. You may hear them referred to as kickers, liners or edge
lights.
 Edge lights are also aimed in the direction of the camera, so be careful
to keep any 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.
Edge light alone
L-light, 100W

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Background Light
 Used for lighting the background of a set, as a whole or specific areas.
It also contributes to creating separation between subject and
background. Often the function of the light is fulfilled by more than
one fixture at a time.

23. + Background Light Options
 Slash Accent
 It is also common to 'treat' the background using a slash of light
made by putting two barndoors close together on a hard light
source.
 The image to the left shows a slash created by a focusable Omni-
light. Focusing the light to flood will give a larger and more
consistent output level to the slash.
Setup with Slash Accent
Omni-light 500W
focusable

24. + Background Light Options
 Color Background
 A popular technique in news magazine format TV over the past 10
years has been to give the background a more obviously treated /
theatrical effect. It provides a contrast of color and feel between
the environment and the subject.
Setup with Color
background
Omni-light 500W
focusable

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