What is the lighting method of Rembrandt?

Shooting profile portraits is very attractive to the subjects, because people generally have little chance to study their own image from this angle. American photographer m? Richard believes that if you want to take a good portrait, you must not only ask the subject to pose, but also use special lighting methods to give the photo a special aesthetic feeling, strong charm and deep sense of space.

Richard's experience is that, first of all, the side shoulder of the subject should make an angle of 45 degrees with the lens optical axis, but not parallel to the lens optical axis. And let him sit higher so that his nose is perpendicular to the optical axis of the lens. When shooting portraits of men, Richard likes to make their chins slightly lower and their heads slightly closer to the background. But no matter which direction the female profile head tilts up or down, left or right, the effect is very good. The direction of the eyes is also important. The pupil of the subject's eyes should be perpendicular to the optical axis of the lens, looking up when the head is slightly tilted and looking down when the head is low.

Richard's general idea is to arrange strong light from eyebrows to cheeks to avoid "burning" the forehead, eyes and hands of the subject. When taking side photos, three light areas and a mirror are usually used to illuminate the face of the subject.

The first lamp is a 4-inch spotlight (D), which is used as a modeling lamp for facial contours. When this lamp is turned on, the portrait in the photo can be more beautiful than the actual appearance of the subject. The eyes closest to the camera often reveal the expression of the dispatched person. Try to avoid light hitting the subject's ears. Then, the reflector (C) is placed in front of the nose of the subject, so as to finely display the shadow part of the subject's face and enhance the smooth aesthetic feeling. The reflector can reflect soft light from the modeling light. This soft auxiliary reflected light can also act as a lens light barrier, so that the light does not directly hit the lens and glare is avoided. This is crucial, because glare will destroy the saturation and contrast of colors. 25W/s electronic spotlight (E) with hood and soft lens illuminates the hair and plays the role of sketching. Put the background light (F) in a proper position, so that the light behind the subject is strong, and then gently sprinkle it on the face. Finally, an elliptical vignetting mirror is added in front of the camera to produce the effect of sending people out. Using the vignetting lens and the light barrier, the photographer can carefully distribute the light to the subject and accurately shoot the ideal portrait. Rembrandt is a world-famous Dutch painter. Rembrandt lighting is a special lighting technology specially used to shoot portraits. When shooting, the shadow face of the subject's face faces the lens, and the light illuminates three quarters of the face. The portrait shot by this light method resembles Rembrandt's portrait, hence the name.

Rembrandt lighting technology relies on strong side light to make any side of the subject's face show a triangular shadow. It can split the subject's face in two and make the two sides of the face look different. If you use uniform overall lighting, both sides of the subject's face will look the same. This lighting technique is quite effective because it highlights the subtlety of each face, that is, the two sides of the face are different. The lighting effect can also be adjusted arbitrarily with auxiliary light according to the photographer's wishes. Although Rembrandt's Gao Fancha lighting is very interesting, it can enhance the whole portrait by properly using the reflector and auxiliary light to minimize the contrast, thus making extraordinary works. Generally speaking, Rembrandt lighting needs two lamps, and the improved Three Lamps District area is used to adjust the contrast. Among the two lighting lamps, a 650-watt timely main lamp (A) is placed on the photographer's upper left, directly illuminating the right side of the subject's face, just like a soft light auxiliary lamp (B) is placed in front of him, except that the latter is placed on the photographer's left side and a white strip reflector is placed on the subject's left side.

It can reflect some light to the case that the face is not illuminated. The lighting lamp (C) can shine light on the face of the subject through the reflector, which weakens the obvious Rembrandt triangle and brightens the overall tone of the portrait. When shooting, first turn on the 650 watt main light (A) and adjust its angle, so that the Rembrandt triangle light is projected on the dark side of the subject's face. Then turn on the main soft light (B) on the front and aim directly at the bright side of the subject's face. It can illuminate the face of the subject and increase the depth, but the triangular bright area is still obvious. Try to turn the subject's head until the light from Rembrandt Triangle shines on his cheek just right. And asked the subject's chin to tilt downward. The next step is metering, choosing the combination of aperture and shutter of the camera. Finally, check the background to see if the lighting will leave a bright spot on the background, causing the camera lens to glow. It is also important to talk with the subject easily at the beginning of shooting, so that he can relax and smile. It must be remembered that in portrait photography, it is important not to let the effect of a skill exceed the expressive force of the subject's face.