• Today : Light, composition so we can lead The Art, Science and Algorithms into our workshop on Thursday using DIY “Light finders” ! of Photography ! • Focus today : Lighting angles & composition same principle for both natural (Natural) Light ! and artificial light (Chugh Garner nova.org) ! Direction of Light ! CSCI 4900/6900 ! – Reflector as fill light (lower strength light source) ! Maria Hybinette ! 1 ! 2 ! What makes ‘good’ light? ! What makes things look 3D? ! • We use three primary cues (there are others) ! • Soft and Hard Light: ! – Stereo Vision: ! – What does this mean? ! • We use stereo and that works only for 10 feet, if we need stereo at larger distances we need our eyes to be further apart. ! • Creating objects so they look 3D as we see it, – Occlusion: ! remembers the scene, and not the camera’s • Other reference subject occlude other subjects ! • E.g., I know the tale is further away because you occlude this ! 2D & flat. ! – Parallax: ! • Why is this hard? ! • Move your head side to side and watch a subject and its background. Things that are closer appear to move more than – We see in 3D, and we need to create a 3D things that are further away. ! – Other 3D Cues: Geometry/perspective, if you know the illusion. ! size of an object and see it as a distance you have an idea how far away it is. ! 3 ! 4 ! Natural vs. Flattering Lighting. ! Avoiding Raccoon Eyes ! • Outdoor natural light: ! • Change the direction of the light: Move the chin up, to lighten up the eye – direction of the light is from high angles (most of sockets. Bounce light, e.g., alleys ! the day time) ! • Soften (Fill): Shot into the sun – and use – Characteristics: Brow fill light - light up the face with artificial shades the eye socket ! light, sun creates rim light. ! • Other ‘Raccoon Eyes’ Culprits: Sky Lights, indoor ceiling lights. ! 5 ! 6 !
Making the 3D Illusion ! Cheapest & Simplest Setup ! • Angles of the light source(s) ! • North facing – E.g., you may see something like10 AM to 2 PM, “the sun hits object at about a 45 o downward angle and this window facing away is ‘normal’ ! from the direct rays • Caveat: Angle depends on the latitude and season. ! • Contrast patterns on the subject, shadows, midtones, and of the sun. ! highlights: ! – Light hardness (stark shadows) versus softness (wrapped, – Reflector at shadow feathered lighting) ! side reflecting – Control : ! window light into the • distance of the source, ! dark shadow on • size of the source, weather, ! subject as filler. ! • Angle, and ! • fill light to soften (secondary light source, reflector another light). ! 7 ! !"#$%%&'()*+*#&,*-(./0%)*+*%1.2345&6 8 ! Classic Lighting ! • Some terms to describe light patterns: ! • The BIG SECRET about lighting is revealed: ! – Short, Broad, Butterfly, Loop and Rembrandt ! – It's not the light, but rather contrast and relative • We will use Chuck Gardner’s approach to brightness of areas in the photo which triggers the brain to react and move the eye in a photo. ! lighting: ! • http://super.nova.org/DPR/COIforTHOU/ ! – Light up the eye and mouth areas. ! • Tool: Main light (key light) ! – Hide the nose (make it non-distracting) ! • Tool: Main light and fill light. ! – Find the most flattering camera angle ! 9 ! 10 ! Visualization: Light Rod ! Reference Point ! • Envision rod at bridge of nose with a key light • Classic: light relative to camera axis: ! at the end (nose as the compass rose, ground – E.g., Place the key light relative to the nose. ! zero) ! – Flattering position (Maintain 45R/40V relative to the • Watch/visualize the shadows of eye sockets nose) ! and the nose shadow as the rod angles/arcs • 45 degrees to the right of the (base) nose, and ! or moves. ! • 40 degrees higher than the eye line. ! – Goal: Light in both eyes, and non distracting nose • Gardner “Compass Rose”: light relative to the shadow. ! subject face, the spot between the eyes. ! – Rules of thumb: ! – 2 coordinates: ! • Vertical : Too high brows shade the eyes, ! • Horizontal : More than 45 degrees on either side eye on • (1) Place the light ! opposite side will disappear. ! • (2) Place the camera (e.g., 10 degrees above the eye line, • Brighter areas enlarge ! looking down at the nostrils instead of into the nostrils) ! 11 ! 12 !
Example ! • L: 45° R40°V ! • K45R+40V / C40L • C: 40° L10°V ! +10V key light placed 45° to the right of the nose and • Key Light: 45 degrees to the right of the nose 40° above the eye- and 40 degrees above the eye line ! line, with the camera • Camera: 40 degrees to the left of the nose and viewing it from 45° to 10 degrees higher than the eye line ! the left of the nose – Camera faces shadow. ! and 10° above the eye • Classic description: Short lighting ! line. ! 13 ! 14 ! • Position the light (key) then the camera ! – Once the face is oriented to the light in a flattering pattern illuminating the eyes, mouth and front of the face ! – Then make the face look different by changing the position of the camera relative to the face. ! 15 ! 16 ! • Symmetrical faces ! • Non Symmetrical (oblique angels C/L are more flattering) ! 17 ! 18 !
L 45 R 45V / C45°R+15°V ! 19 ! 20 ! L 45°L,+45°V / C 0°H+15°V . ! Classic Names ! • Short Lighting ! • Broad Lighting ! • Split Lightin ! • Butterfly Lighting ! • Loop Lighting ! • Rembrandt Lighting ! 21 ! 22 ! Short Lighting ! Broad ! • L 45H/+40-45 ! • Key Light greater than 45H, half the face is • C oblique/profile ! shaded ! • Camera at bright side ! 23 ! 24 !
Split ! Butter fly ! • Face cut in half, full face (similar to broad, • Shadow directly below nose, 0H, 45-60V ! but camera angle defines it) ! 25 ! 26 ! Loop Light ! Rembrandt ! • L 5-15 / > 45 V ! • Key light 50/60H/+45V all but a very small • Noose shadow, down and to the side over patch of highlight and a glint of catch light on the shaded side. ! the upper lip. ! 27 ! 28 ! Fill Light (Wednesday) ! • Key light creates the 3D effect ! • Fill light lifts the shadows and softens the light (and enables/eases the camera too see the full contrast range). ! 29 !
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