Escolar Documentos
Profissional Documentos
Cultura Documentos
by Ian Codding
Copyright © 2010 Ian Codding
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Table of Contents
Light Behavior 3
How Light Behaves with Different Objects 3
Light Size & its Effect on Subjects 4
Light Sizes 4
Equipment Related to Lighting 4
Working with Different Materials 5
Formulas for Calculating Proper Exposure 6
Common Lighting Setups 6
Lighting Positions 7
Basic Light Setup for Portraits 7
Basic Light Setup 8
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Light Behavior
Understanding the basic characteristics of light and why certain light setups are preferred will help in
determining how to accomplish an artistic design and when it is appropriate to break the rules. The
tables, formulas, and diagrams below describe how light behaves with certain material, the effects of
different size lights, equipment used to control light, how to light different types of material, how to
calculate the correct exposure for a flash, and the best lighting positions to use for various
compositions.
How Light Behaves with Different Objects
Light Types of Objects where
Definition
Behavior this Occurs
Direct Direct transmission occurs when light passes through an object along a
Transparent glass.
Transmission predictable path.
Diffuse Translucent white objects
Diffuse transmission occurs when light paths are unpredictable.
Transmission like paper.
Visible in transparent
Light changes speed as it is transmitted through an object, which causes glass and water, but
Refraction
it to bend. occurs whenever light is
transmitted.
This is when an object converts the light to energy and is no longer Black objects like velvet
Absorption
visible. With such objects, neither diffuse or direct reflections occur. or fur.
This is light that bounces off of an object along an unpredictable path.
Diffuse Light colored objects like
The brightness is not affected by the light source size and is the same
Reflection white paper.
when viewed at different angles.
This is light that bounces off of an object along a predictable path. The
brightness of the reflection is constant regardless of the distance of the
light source; however, the size of the light source in the reflection will
Direct
change with distance. Brightness changes occur with different views,
Reflection
affecting the contrast of an image. The contrast of the image will Mirrors and metal
(Specular
decrease as the light source becomes visible. The angle of incidence
Reflection)
equals the angle of reflectance. The specular edge transfer (referring to
the clarity of a direct reflection) is affected by aperture, light distance,
camera distance and the subject's surface efficiency.
Water, electrical
This is similar to direct reflection. With an unpolarized light source, it
insulators like plastic,
is half as bright as a direct reflection Polarized light sources such as
glass, and ceramic, and
the open sky and a studio light with a polarized filter in front of it can
Polarized non mirrorlike surfaces
be manipulated with a polarized filter on the camera lens. Note that
Direct like polished wood, and
filtering polarized reflections will affect the white balance and possibly
Reflection painted materials. With
the contrast in an image. Contrast changes are the result of a filter's
polarized light sources,
inability to block direct reflections from unpolarized light that may be
all direct reflections are
present.
polarized.
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Light Size and its Effect on Subjects
As light is moved closer to a subject, contrast may increases due to the increased falloff rate of light. In
general, however, a small light source will produce an image with stronger contrast, because there is
less shadow edge transfer area* and more shadow. Also a soft box, umbrella, or wall that a flash or light
source is bounced off of (diffuse reflection) or through (diffuse transmission) increases the effective
size of the light source.
Light Sizes
Size Definition Effect on Subjects
The larger the light source is in relation to the size of A soft light has a wide
Large Light Source
the subject, the softer the light becomes. shadow edge transfer area.*
As a light source is moved farther away from a subject,
A hard light has a narrow
Small Light Source the light becomes smaller in relation to the subject,
shadow edge transfer area.*
producing a harder light.
* The area on the subject that transitions from where diffuse light illuminates (diffuse highlights) to
where light does not reach (shadow) is called the shadow edge transfer area. This area will reveal the
most color and texture variation in an image.
Equipment Related to Lighting
The following is not intended to be a complete list and covers only a few commonly used items.
Sweep
A sweep is a curved background—usually paper—that is also used as the surface on which a subject
rests. The purpose of a sweep is to eliminate a horizon line. Avoid casting shadows on the curve of a
sweep, because they will be distorted.
Grid
A grid is used on a light source to force the light to travel in only one direction rather than at angles
from the light source. The result is a light source with harder light than it normally would have.
Gobo/Flag/Snoot/Barn doors
These are items used to block and control light. They are usually black and go between a light source
and an object. Snoots and barn doors are used directly on the light source to shape the light's field of
view.
Fresnels & Optical Spot Lights
Fresnels and optical spot lights are used to focus and shape light sources.
Scrim
A scrim is used to soften/enlarge a light like the sun. It works by diffuse transmission.
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Reflector
A reflector is used to bounce light onto the subject. It is mostly used as a fill light and comes in white,
silver, or gold.
Softbox/Umbrella
These are used to create a larger light source. A softbox can be positioned extremely close to subjects.
Umbrellas are easy to set up and can use both diffuse reflection or diffuse transmission to create a
larger light.
Strobes & Flash Attachments
There are many types of strobes and diffusers available. They will each have advantages and
disadvantages. Choose the ones best suited to your style and the environment likely to be encountered.
Note that some diffusers can be set up to bounce light off a wall and reflect fill light onto a subject at
the same time. The possibilities are endless.
Color Filters for Lights
Use the appropriate color filter on a flash when combining different types of light. If two different color
lights are used, it will be impossible to correct the white balance.
Working with Different Material
Metal
Metal appears lighter with direct reflection and darker with diffuse reflection.
Glass
The edge of glass needs to contrast with the background. With a black background, light must come
from both sides of the background to produce direct reflection in the edges of the glass. The
background setup is reversed for a white background. An additional side light is used to create surface
definition on glass .
Glass with Liquid
Glass with liquid in it will reflect the color of its surroundings. Use a secondary white or silver
background in the shape of the glass to reflect the liquid's true color.
Light Skin
Skin appears smoother and thus more appealing with soft lighting. For artistic purposes, some
photographers shoot pictures of athletes, people in action, and men with scars or wrinkles with hard
light. Light skin has mostly diffuse reflections. When damp or sweaty, light skin will have more direct
reflections that create hot spots where detail is lost. Make sure light skin is dry in order to avoid a loss
of detail.
Dark Skin & Dark Material
Dark skin and dark material has less diffuse reflections, making detail and contour less visible. On the
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other hand, when glossy, moist, or covered with baby oil, dark skin and dark material will have direct
reflections that may help reveal more detail and contour. The light source will need to be positioned at
the right angle and large enough to completely cover the subject in order to take advantage of these
direct reflections.
Mixed Material
This refers to images that contain glossy objects that require direct reflection to reveal detail and glossy
object that requires only diffuse reflection. The best solution is to use a gobo to control the light.
Textured Surfaces
To reveal surface texture, position a hard light at a very shallow angle to the subject's surface so that a
highlight side and shadow side is visible on the surface at the same time.
Formulas for Calculating Proper Exposure
Note: Bouncing a flash tends to lose approximately 2 stops.
Determining Aperture *
N = G/d
N = Fnumber (Aperture Value)
G = Guide Number of Flash based on ISO 100
Determining Aperture for Multiple
d = Distance from flash to subject
Strobes
Gc = Combined guide number
Gc = √Q x G1 Q = Total number of strobes
G1 = Guide number for one strobe
Calculating Changes in Diffuse Light D = The number of times the distance of the light is
Intensity multiplied
1/D2 = I (e.g. A light source distance 3 I = Intensity of the original distance
times as far from object = 1/9 the intensity
of the original distance.)
* To balance the flash exposure with ambient light, first determine the best ISO for a manageable shutter
speed at the desired aperture. Use the flash guide number to determine a starting aperture for the flash
exposure and then count how many stops up or down to the desired aperture. Adjust the flash
compensation value and/or fine tune the ISO the same number of stops to maintain the proper exposure
for the flash. Readjust the shutter speed if needed. Remember not to set the shutter speed faster than the
flash duration or the exposure will be incorrect. In summary, the aperture controls the flash exposure and
the shutter speed controls the ambient light exposure.
Common Lighting Setups
In order for the brain to interpret an object in an image as threedimensional, there needs to be two
visual clues—perspective distortion and tonal variation. Distortion is visible in the increase in size of
near objects and the decrease in size of distant objects. As the camera moves closer to a subject,
distortion or perceived depth increases (objects in the background appear smaller and lines converge to
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a single point.). Focal length does not affect distortion. The idea behind tonal variation is to show a
different tone for each of a subject's three visible sides. There are three light positions that tend to best
produce the ideal tonal variations. They are side lighting, top lighting, and ¾ lighting. The table below
describes when each lighting setup is best employed.
Lighting Positions
The best light position to use depends on which details of a subject the photographer wants to highlight.
Light Position Uses
Side Lighting (Light coming from the
Side lighting is often used when photographing cylinders like bottles.
side of the subject.)
Top lighting is preferred for tabletop subjects. A fill card is often used on the
side of the subject to reflect some light onto the front. The top is the brightest
Top Lighting (Light coming from the side. The side opposite the fill card is the darkest. For a complete change in
top of the subject.) mood, horror pictures will use the opposite of top lighting—light coming from
below. Even though the tonal variation is still present, an unsettling mood is
caused by the unusual light direction and unfamiliar shadows that are cast.
¾ lighting is commonly used in taking portraits and pictures of architecture.
This lighting setup places the shadows in a less distracting location. With
¾ Lighting (Light coming from a
outdoor pictures, sunrise or sunset is also preferred, because the light is
direction in front of the subject that is
warmer. The decrease in tonal variation for a ¾ light position can be
between top and side lighting.
compensated with an increase in perspective distortion. See the diagram below
for more details on portrait setups.
Basic Light Setup for Portraits
The intent of the following diagram is not to establish a rule, but to help aid the photographer in
predicting how to best accomplish an artistic idea while still maintaining the visual clues needed to
portray depth. Not all of these lights are always necessary to create a good picture. Many different
effects can be created by changing which lights are used. For example a silhouette of a person may only
use a background light. Also keep in mind that the same effects can be created with any light source.
For outdoor portraits, the sun can be used as a hair light, the sky as a main light, and a reflector as a fill
light. When taking pictures at events, a flash that is bounced off a wall can be used as the main light
and the ambient light can be used as the fill light. Also understand that this light setup may not work for
some compositions. A large group portrait may require two main lights on each side of the group. For
moving around a room or action shots, dance floors, basketball courts, and large rooms can be lit with
two strobe flashes positioned in the corners of the room that are triggered remotely.
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Basic Light Setup
Perspective Distortion—A focal length of
Gobo—This is used to prevent lens
80 – 100 mm on a full frame camera will
flare.
place the subject at a distance that produces
Reflector Fill Light—The fill light is acceptable perspective distortion for
usually 1 2 stops darker than than portraits.
the main light. The fill light should
be placed in front of and slightly to Main/Key Light (softbox or
the side of the face. Don't put it umbrella)—The main light
directly to the side of the face, should be about 3 feet away
because this will cause crosslighting from the subject for typical
(the appearance of another main light portraits. By always using the
source) that is usually not desired. If same distance, calculating the
squinting is a problem (common proper exposure will be easier.
when the sun is used as the main For ¾ and full length
light), use a flash on the camera for portraits, the light is usually
the fill light. feathered so that the lower
region is approximately 1 stop
Face View—Basically, there darker.
should be a highlight triangle
(also called a key triangle or
Rembrandt lighting) on the same
side of the subject's face as the Kicker Light—This light is
fill light. This triangle includes used to add additional
the eye and comes to a point at illumination that helps accent
the lip line. Regardless of the the facial features. It is usually
view of the face, this triangle half as bright as the main light.
should be maintained. This
means that the position of the
main light and fill light will
change depending on the view of Background Light—The background light is usually
the face and type of pose. placed on the floor and feathered to illuminate the area
that surrounds the subject (This will create a vignette).
Hair/Rim Light—When this light is placed The purpose is to separate the subject from the
directly behind the subject, it is considered a background. Two or more background lights positioned
rim light, because it creates a rim of light on each side of the background are used to produce even
around the subject's head. This light is used illumination. The brightness of the background light
to keep a person's hair from blending into varies depending on what is desired.
the background. The brightness of this light
will depend on what is desired. Hair color,
background color, and the amount of hair
detail that is desired will affect how bright
to set this light.