Use of artificial light exposure meter.

How to read the appropriate exposure for indoor shooting? Not difficult. You can do it with the photometric technique you learned in outdoor photography.

Put a piece of ash on the main body. Turn on the main lamp and the auxiliary lamp, and then read the measurement data of the reflected light. The background light has little influence on the measurement and can be ignored.

Measurement of light ratio with incident exposure meter

Sometimes, you will use a special light ratio. At this time, you need to make sure that what you see with the naked eye is as satisfactory as the photo itself. The incident light exposure meter can provide you with such a guarantee.

First, turn off the auxiliary lamp, and measure the brightness of the main lamp with the incident exposure meter at the main position. Write it down. Next, turn off the main light and measure the intensity of the auxiliary light in the same way. If the light ratio you need is 2: 1, adjust the position of the auxiliary light until the data displayed on the light meter is half that of the main light. If the required light ratio is 4: 1, adjust the position of the auxiliary lamp so that its brightness reading is 1/4 of the main light. In this way, once you take a satisfactory photo with a special light ratio, you can continue to use it in future shooting to achieve the effect once and for all.

The authors of two photos, Tu 1 1.34 and Tu 1 1.35, are both Manreen Lambray, from which we can see how photographers use light to express the emotions and personalities of characters. The film actor Roy Scheid (photo 1 1.35) has a strong personality strengthened by strong sidelights. This bright light cast an ominous shadow on one side of his face, and also portrayed the rough texture of his skin. The messy background outside the focus highlights the image of this tough guy in the real world.

Please look at the portrait of Woody Allen in figure 1 1.34. The lights in front and the bare white background show what Woody looks like in the movie Unwanted People. In the movie, he is the victim of the world around him. He is subject to external events, not the leaders of these events. The lighting effect makes people feel that the subject seems to face torture under strong light. The photographer arranged Woody on the edge of the left end, as if avoiding the strong light, suggesting that he was caught in a trap.

The lighting of these two portraits is relatively simple. When shooting for Scheid, the main light is placed on the right side of the main body, close to 90, and almost no auxiliary light is used. When shooting Woody, the main light is in front of him (this is usually where the auxiliary light is put), and a white background is obtained with the background light.

Although the lighting is not complicated, the pre-planning of lighting is quite painstaking. In the future portrait photography course, we will talk in detail about how to shoot wonderful portraits through lighting. Now use these photos to introduce the concept of portrait lighting for the time being. When you look at the two photos above or below, you might as well ask yourself a question: Why do you light up like this? Focus on why, and we will study how to match the light together in the future.

Please see the figure 1 1.36. When photographer SteveSchapiro was asked to photograph the two most familiar faces of Americans, the problem he faced was that the famous couple had been photographed many times, and their faces were not surprising. How can we make them different? Steve made them wear dark clothes to keep their attention on their faces. In order to keep their individuality, he decorated the couple separately. In addition, when he exposed the film, he regarded the darker areas as black. Please pay attention to how each subject becomes an independent individual and how to make them look like a pair of close partners.

Although Stersander's head Mario Velarde Ford is much lower, she is still attractive because she is in the dark area of Stersander's sweater. The clever arrangement of Redford's hands and unusual illumination make two independent individuals merge into one, and the strength of the photo is better. Imagine if the subject's clothes were as dazzling as his face, would this photo have such a big impact?

Please see the following figure: 1 1.37. It is not easy for David Sutton, a famous Hollywood photographer, to successfully take this portrait. He used the gray and almost white area above the model's head to give this black portrait a certain depth of field. The head and shoulders of the model are carefully outlined by silver light, separating her from the background. The main light from the left plays a dual role: it adds a silhouette light to the model's face to distinguish it from the background, and the light also gives the skin a soft texture. A small spotlight is arranged on the model's head to increase the depth vision of the picture. In a later portrait photography course, we will demonstrate how to add a contour lamp to the basic Three Lamps District lighting.

Please see figure 1 1.38. PhilippeHalsman is one of the most outstanding portrait photographers in the contemporary era. He worships Albert Einstein very much. Halsman once wrote: Of all the people I have photographed, Einstein is the person I admire most ... because of this, it is even more difficult to show the essence of Einstein. This portrait was taken in Einstein's study, and the lighting equipment was a portable floodlight. In the dialogue, Einstein fell into despair when he mentioned that his formula E-MC caused the atomic bomb to explode. Then he was silent and lost in sad thought. Just then, Haarman pressed the shutter and took this sad picture.

Einstein's evaluation of this photo is: I don't like any of my photos, but as far as this photo is concerned, I don't like it to a lesser extent. What's your reaction to this photo? I suggest you compare it with the portrait of Ernest Haas introduced in the previous course, which was taken with live light.

Please see the figure 1 1.39. Perhaps we can name this portrait taken by erich Lessing "Mysterious Beauty". The bright side light enhances the characteristics of the model's beautiful face, and the light leaks down along the model's neck, bra and roses, drawing attractive lines. You might as well compare the mystery of this kind of lighting with the direct and real lighting that Halsman used to take pictures of Einstein.

Please see the figure 1 1.40 on the next page. Many photographers like to take portraits of pets, and they need fine lighting when shooting. The photographer of this photo is LynnLennon. She didn't use the flash as a matter of course, lest the cat and the sofa chair be exposed to the same radiation, thus ruining the warm atmosphere of the room. She kills two birds with one stone. She placed a floodlight on one side of the camera, which not only kept the intimacy indoors, but also made the facial details of the cat clearly visible. If you cut things around the sofa in the dark, you can get a formal portrait that can be taken in the studio.

Please see the figure 1 1.45438+0. At the beginning of this lesson, you have seen how to make light jump in transparent liquid, which vividly shows the translucent characteristics of liquid. When taking this beautiful photo, the author used this shooting technique most professionally. This work appeared on the cover of the American magazine "Popular Photography" by Artsat White. Next, let's discuss how this photo was created.

Obviously, light will pass through the injected liquid. But in order to show the bubbles around strawberries and straws, photographers can't simply reflect the light from the bright background into the liquid. He must let the light spread around the liquid. In order to achieve such a shooting effect, he used a light table. We will also talk about this kind of light table in future courses. Here is a brief introduction. Imagine using a 0.25-inch (0.6-cm) thick curved milky white translucent Ricks glass plate instead of the original advertising poster board as a seamless background. Then put four legs on the ricks glass plate, so that it can stand independently. Such a portable table is made. Let me talk about its usage first.

Don't let the light reflect from the desktop, but put one or several lamps under the desk to let the light reflect through the milky Rieks glass plate.

If you shoot with the vertical side of the table facing the camera, the Ricks glass plate will diffuse the light, so the effect of light passing through the liquid will be similar to that of light reflected by the wooden board. Sartre White used this light behind the background. However, he also used a second lamp, whose light shone upward through the horizontal bottom of the table, so that the liquid was completely illuminated.

The light source used by Sartre White is an electronic flash. He also covered the back flash with a red translucent filter and put a blue filter and another green filter under the table. These filters add color to the background.

This is a very advanced lighting technology. Obviously, we are not asking you to raise these equipments now and make such works. We introduce this work to you just to convince you that you have understood the principle of shooting such a wonderful work. In future courses, we will study this technology and other complex shooting techniques in more depth.