Download - Lighting Basic Principles Chiaroscuro
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CHIAROSCURO
LIGHT & DARK
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JUAN SANCHEZ COTANStill Life with Quince, Cabbage, Melon and Cucumber c.1600
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LIGHT CHIARO
DARK SCURO
LIGHT CHIARO
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LIGHT CHIARO
DARK SCUROLIGHT CHIARO
DARK SCURO
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THE DISTANCE
BETWEEN LIGHT AND SUBJECT
Demonstrate / IllustrateThe relationship between:
LightSubject
Background
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LIGHT CHIARODARK SCURO
LIGHT CHIARO
DARK SCURO
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COVERAGECoverage defines how the subject is illuminated when
the light is aimed directly at it. The coverage can be
totally even, or it may show a gradation, or there maybe a 'centre-weight' or central 'hot-spot'.
SHADOWDEFINITIONThis defines the
sharpness of the
shadow. It also
defines anysubstantial
difference in the
shadows produced
when the subject isclose to the
background, and
when the subject is
further away.
EDGE TRANSFERThe edge transfer definesthe transition from the lit
area to the unlit one.Smoothin the case of
most soft-boxes.
Sharpin the case ofsmall reflectors
and spots.
SHADOWCONTRASTThis defines the
density of theshadows, from pure
black to barely
perceptible.
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The Direction of LightDemonstrate / Illustration
From the camera axisFrom the side
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Samuel van Hoogstraten, Trompe loeil Pinboard, c.1666
FRONT LIGHT
SHADOW
DEFINITION
EDGE TRANSFER
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TASK #1 - HARD LIGHT
Direction and distancetake 1 image with the light coming from the same direction as the camera
FRONT LIGHTtake a 2nd image with the light coming from the side of your object
SIDE LIGHT
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Hard light vs Soft light
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Hard light Soft light
Comes from a single point source Hard edged shadows - Maximum contrast
between light and darkLight is reflected and diffused
Soft edged shadows.Wide spread of light - low contrast
Hard light vs Soft light
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HARD LIGHT: DEFINITIONLooking at the light of a point light source, we will see very
clearly defined shadows. On a background or underground there
is either light or shadow, but nothing in between, with no
gradations. Even the finest details provoke a clear shadow. The structure of
any object (e.g. textile, skin) is pointed out very clearly. A very hard lightsource is the only one that does not change its
characteristics if we vary the distance (but according to the
inverse square law it does change the power).
The shadows remain the same: very sharp.
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An example of a Hard Light, modifier:
Broncolor P70 Reflector & Honeycomb
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Pieter Claesz 1628 Vanitas with the Spinario
FRONT, SIDE
LIGHT
SHADOW
DEFINITION
EDGE TRANSFERHARD LIGHT
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Olivier Richn
WHERE IS
THE
DIRECTION
OF THE
LIGHT?
SHADOW
DEFINITION?
EDGE TRANSFER?HARD LIGHT
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Cotan
SHADOW
CONTRAST
SHADOW
DEFINITION
TOP, SIDE LIGHT
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Ori Gersht
SHADOW
CONTRAST
SHADOW
DEFINITION
TOP, SIDE LIGHTHARD LIGHT
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SOFT LIGHT: DEFINITIONThe shadows on undergrounds and backgrounds are still clearly
visible, even when they are not sharply defined anymore. Big
parts of these shadows are graduated and shape of the subject
still exists. Small and fine details however do not appear.
The texture of our object is now shown in a lower contrast and
is therefore not as clear as in a hard light. Soft light still
increases the contrast of the object a little, but less than a hard
one.
The colour saturation finally is lowered, somewhere in between
the one derived from a hard light (high) and a diffused light
(low).
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An example of a Soft Light, modifier:
Chimera Lantern mounted to a Broncolor
Being soft, our light source distance from the subject
becomes very important:
The closer we get, the bigger the light source becomes
(seen from the perspective of the object or model).
This means that our light becomes softer, when we get
closer, and harder, when we use it over larger
distances.
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Jacques Bachelier
SHADOW
CONTRAST
SHADOW
DEFINITION
TOP, SIDE LIGHT
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Robert Mapplethorpe
SHADOW
CONTRAST
SHADOW
DEFINITION
TOP, SIDE LIGHT HOW FAR IS THE LIGHT SOURCE
FROM THE SUBJECT? DOES DISTANCE EFFECT
CONTRAST?
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Karl Blossfeld
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DIFFUSED LIGHT: DEFINITIONNow the light source is huge. Shadows no longer exist as the
light is big enough to shine all around the object or model.
The light does not show any direction anymore, the only
contrast remaining in the photograph is the contrast of the
object itself.
The structure of the objects surface is as flat as possible,
almost invisible and the color saturation is heavily reduced.
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An example of a Diffused Light, modifier:Large Chimera Softbox mounted to a
Broncolor UniliteThe following light shapers can be used as
diffused lights:Big softboxes at short distances for rather
small objects.Indirect lights reflected/bounced by severalpolyboards . (These boards have to be
neutral in color to avoid a color shift).Light-tents wrapped around the object.
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Fantin-Latour
SHADOW
CONTRAST
SHADOW
DEFINITION
TOP LIGHT HOW FAR IS THE LIGHT SOURCE FROM
THE SUBJECT? DOES DISTANCE EFFECT CONTRAST?
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Laura Letinsky
SHADOW
CONTRAST
SHADOW
DEFINITION
TOP LIGHT HOW FAR IS THE LIGHT SOURCE FROM
THE SUBJECT? DOES DISTANCE EFFECT CONTRAST?
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Edward Weston
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The Distance
between light and subjectDemonstrate / Illustrate
Light falloff
The relationship between:
LightSubject
Background
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Rachel Ruysch
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Rachel Ruysch
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Jacques Bachelier Jan Davidsz de Heem
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COVERAGE
Here, the question is: how is the subject covered when the light is
aimed on it. Is the coverage totally even, or does it show agradation, or even a center-weight ?
The answer to this question tells us what we can expect from the
lightshaper and if we can use it for our purpose.
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Laura Letinsk
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HIGHLIGHT
Is the highlight small or large ? If larger, is it rectangular or
round, even or centerweighted?
The highlight can be considered the most important: it tells
us about the shape, the illumination / coverage (in case of a
softbox) of the diffuser, the size.
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Vanities of Human Life' by Harmen Steenwyck
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LIGHTING: SOURCES
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LIGHTING: COLOUR TEMPERATURE
Natural light: (K) Noon sunlight on clear day 5,400 - 5,800 Sunset 2,000 Artificial light: (K)
Tungsten2,650-3,400 HMI lighting 4,500-6,750 Fluorescent 3,500-7,000 Flash lighting (should normally be) 5,500Colour Film: (K) Standard daylight film 5,500Standard tungsten film 3,200THE LOWER THE TEMPERATURE THE WARMER THE LIGHT
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LIGHTING SOURCES: CONTINUOUS DAYLIGHT TUNGSTEN HALOGEN: ARRI, DEDOLIGHT HMI: ARRI, DEDOLIGHT LED: LITEPANEL FLUORESCENT: KINOFLO
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Tungsten Halogen: Arri Fresnel lights
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Fluorescent Array: Kinoflo lights
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Fresnel Lampconfiguration
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(A) Floodand (B) Spotpositions
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Standconfiguration
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STUDIO LIGHTING: ELECTRONIC FLASH
BRONCOLOR PROLITE: MONOBLOC PROFOTO HENSEL NORMAN METZ: LOCATION
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Broncolor MobilStudio Packs
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Bowens Prolitemonoblocs
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Control the quality of light withLight modifiers
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Bounce umbrellaSoft light
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Spill-kill Prevents light from spilling.Possible usage: Bounced light off of a
background.Hard Light
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Softbox (Large)Diffused through a series of... Very soft, but directional light
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Softbox (Small)Diffused through a series of... Soft, but directional light
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Dish (Beauty)
Medium to Hard, reflected light shaper
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Dish (Standard)
Hard, reflected light shaper
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SnootHard light, but directional light.Can cause hot-spots
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Focus Spot and Spotlights
When using digital capture, the Bowens
unit must ONLY be triggered by wireless
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Common types of light used in photography
Available lightDaylightTungsten, Fluorescent (indoors) FlashStudio packsBattery operated location packs Camera mounted units Continuous lights
HMI (daylight balanced) - Arri Tungsten Arri, Dedolight Fluorescent - KinofloLED - Litepanels
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Equipment available in the
Rochester Photography resource
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Broncolor MobilStudio Packs
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Bowens ProliteMonobloc
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Metz Flashguns
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Arri Tungsten lights
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SHAPING THE LIGHT:USING FLAGS (GOBOS), REFLECTORS AND DIFFUSION MATERIAL
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FLAGS:STOPPING THE LIGHT FROM HITTING CERTAIN AREAS
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LARGE FLAGS & REFLECTORS:POLYBOARDS
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DIFFUSSION:SILKS, TRACE & TOUGH SPUN
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TASK #2 - SOFT LIGHTDirection and distance
take 1 image with the light coming from the same direction as the camera
FRONT LIGHTtake a 2nd image with the light coming from the side of your object
SIDE LIGHT
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TASK #2
Photograph your object:1. Using hard light
2. Using soft light