Traditional Culture Encyclopedia - Photography major - What should I do if the background will reflect light when I take a portrait indoors? How to arrange the light? Studio space is relatively small.
What should I do if the background will reflect light when I take a portrait indoors? How to arrange the light? Studio space is relatively small.
Shooting portraits with three light zones is a common way to use light in portrait photography. When do you use three lights for portrait photography? How to determine the light level in Three Lamps District, how to deal with the light quality, how to control the color temperature, and how to take an ideal portrait photo with Three Lamps District are the lighting methods that professional portrait photographers must be familiar with and master. In this issue, I want to discuss the application method of three-lamp portrait with you through the research on four conventional lighting schemes of three-lamp portrait photography. First, the three-lamp flat lighting scheme in portrait photography is widely used in wedding photo studios, and the soft light of the flat is more suitable for bright and beautiful performance. Ideal and harmonious artistic atmosphere, but compared with three-dimensional lighting, the three-dimensional picture is worse, the subject is easy to be fat, and the possibility of shaping the subject with light is weaker. Three-lamp plane light distribution scheme is generally divided into two situations. 1.V-shaped lighting The so-called "V-shaped lighting" means that three light areas are located on the left and right sides of the camera respectively; In the lower light of the camera, three light areas form a V-shaped light level. As shown in figure (1), V-shaped lighting is suitable for subjects with thin face and strong stereoscopic impression, but not for subjects with fat face. The use of the bottom lamp helps to eliminate the bags under the eyes and laugh lines of the subject, making the subject look young. In studio portrait photography, the three-light area is generally soft with a soft light box, and the optical centers of the three lights point to the face of the subject in photography. The intensities of the three lamps are the same, and the color temperatures of the three lamp areas are the same. When you take a portrait with a V-shaped lamp, because there is no background light, if you want to truly show the color of the background, you can put the subject close to the background and illuminate the background with the back lights of the first three lamps. During exposure, the face should be properly overexposed, and the accurate exposure of light spots near the background should be fixed. If V-lighting pursues light quality on one of the lamps, the change of intensity and color temperature can produce a series of new lighting schemes. 2. Up and down light distribution The up and down light distribution scheme is a fashionable light distribution method in portrait photography. The light level of the light consists of two lights, one from the top and bottom of the camera, and three light areas are used as background light or light. As shown in Figure (2), the modeling feature of upper and lower clip light is that it is distributed in plane light compared with other types. The subject will be thinner. Generally, the first two kinds of light are soft light with soft frame, and the background light used to shape the background or the contour light used to shape the outline is generally hard light. Generally speaking, the light centers of the upper lamp and the lower lamp should face the face of the subject. The intensity of light is generally determined according to the depth of field and the actual situation of the future picture, and the intensity of background light is directly proportional to the intensity of the first two kinds of light. As shown in Figure (2), when the measured total exposure of the first two lamps is F 1 1.5, the actual exposure is F8.5. To truly restore the color of the background, the intensity of the background light should also be F8.5. If the background is to be brightened, the intensity of the background light is higher than F8.5, and vice versa. Second, the main light ten auxiliary light ten profile light distribution method The main light ten auxiliary light ten profile light distribution method is a more traditional light distribution method in portrait photography, as shown in Figure (3). The main characters are mainly represented, and the background and environment are only represented by the residual light of the main and auxiliary lights. In this light distribution scheme, the main light is generally from front light to side backlight (such as 45-degree front light). 90 degree sidelight. 120 degree side backlight). As shown in Figure (5), the light quality of the main light can generally be harder than that of the auxiliary light, but the classic usage should be to adjust the light quality according to the specific situation of the subject and the needs of the tone performance of the picture. The light level of the main light is flexibly determined according to the performance needs of the subject, the requirements of shaping the artistic atmosphere of the picture and the performance of the color tone of the picture, and there is no certain law. In general, the intensity of the main light in the picture is relatively strong. The actual dosage should be determined according to the actual exposure of the picture, the light ratio of the main light to the auxiliary light, the sensitivity of the photosensitive material and other factors. When the color of the contour part is dark, the intensity of the contour light can be higher than the main intensity. The color temperature of the main light should be determined according to the needs of the theme and subject performance. The main function of auxiliary light in this lighting scheme is to display darkness and control the contrast of the picture. The brightness of the auxiliary lamp is usually the same as that of the camera. The quality of auxiliary light should be flexible light, and the intensity of auxiliary light should be determined according to factors such as the color tone of the picture, the recording ability of the film, and the needs of the body performance of the subject. In this light distribution scheme, the side light is generally placed at the side backlight level, such as 120 degrees. The light quality of side light is generally hard light, and the degree of hardness is different according to different subjects. The color temperature of contour light can be determined according to the needs of shaping the artistic space of the picture. Generally, the intensity of side light is determined by the photographer according to experience, but it can also be determined according to accurate measurement. Third, the main light ten auxiliary light ten background light distribution method The main light ten auxiliary light ten background light distribution method is a classic light distribution scheme. Its main feature is that it can not only fully express the subject, but also effectively control the background color through the change of background light, which sets off the artistic atmosphere of the subject and the picture. This should be a lighting scheme that portrait photographers need to study seriously. Due to the change of light level and quality of main light and background light, this light distribution scheme is very rich. Below, the author would like to discuss several representative change schemes with you. 1, main light (smooth light) with ten auxiliary lights and ten background lights. This light distribution scheme is closer to the first three flat lights, except that the front flat lights are composed of two or three flat lights, and there is only one main light here. The light level can be high or low, and other factors are the same, so I won't repeat them here. 2. Main light (front light level), ten auxiliary lights and ten background lights. In this light distribution scheme, the main light is the front light. Part of the face of the subject is illuminated, and the size of the light receiving surface has a great influence on the shape of the subject, as shown in Figure (4). When the main light is at the light level of 45 degrees, it can generally show the fatness of the subject truthfully; When the main light is less than 45 degrees, the subject is fat; When the main light is above 45 degrees, the subject is relatively thin. No matter where the main light is, the height of the main light is also the main factor affecting the weight of the main body. The subject is thin at high light level and fat at low light level. In this light distribution scheme, the control of background light is also very important. At this time, from the change of light level, there are two typical light levels in background light. One is that the background light hits in the middle, which evenly shows the outline of the subject and highlights the image of the subject. Another light level is that the background light is on one side of the background. Part of the outline of the main body is prominent, and the other part is hidden in the background space. In portrait photography, photographers can make full use of this change of background light to show the hiding and revealing of contour shapes and highlight those beautiful and typical contours. 3. Main light (side backlight) Ten auxiliary lights and ten background lights. The main light is in the side backlight position, and the auxiliary light shows dark level. The three-lamp lighting scheme, as shown in Figure (5), has a strong sense of three-dimensional sense and space. Generally, the light quality of the main light is hard, so it is necessary to highlight the outline of the main body, and the color of the picture is heavy. The control of the intensity and quality of the main light must pay attention to the texture of the main outline. Auxiliary lights are usually near the camera. The intensity of auxiliary light should pay attention to the needs of color tone, contrast and hierarchical expression in the future. The nature of auxiliary light is flexible light. The light level of background light is generally divided into two typical cases. One is that the background light hits the middle of the background, and the other is that the background light hits the background on the other side opposite to the main light. The intensity and quality of background light are determined according to the size of background change. If the background changes greatly, the background light is strong and the light quality is relatively hard, whereas the background light is weak and the light quality is soft. When determining the exposure of a picture, it is best to measure the exposure value of the bright side and the dark side respectively, and then compromise the exposure, so that the layers of the bright side and the dark side are relatively richest, except for special picture effects such as Gao Fancha. Four. The main light has ten pairs of background lights and Three Lamps District. The main light is a single light, and two lights are used as background lights. As shown in Figure (6), in general, the background is a flat monochromatic background and a flat concrete background, and the light level of the main light varies greatly. When the picture is required to be brighter, the light level of the main light can be as close as possible to the camera; When the object is required to have a stronger stereoscopic impression. The light level of the main light can be about 90 degrees of front light. Side light equipotential; When a strong sense of stereoscopic space is required, the main light can be used as the side backlight level, but the background color at this time is better to be darker. There are many lighting schemes for three-lamp portrait photography. Due to the limited space, I can only grab a few typical lighting schemes for three-lamp portrait photography and discuss them with you. It should be said that in portrait photography, the more lights, the more fully the subject's performance. But if the photographer doesn't have enough lighting knowledge and experience, the more lighting, the worse the picture effect may be. Professional portrait photographers should know that the number of lights is determined according to the content of the performance and the needs of the main performance. Only by making rational use of the three lights, cooperating with each other and writing articles around the subject can we shoot a good portrait of the three lights.
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