What is the light of Rembrandt?

The Light of Rembrandt is named after the world-famous Dutch painter Rembrandt. In nature, it means that when the sun is covered by dark clouds on rainy days or cloudy days, the sun shines radially on the ground from the gap or edge in the dark clouds, and the light is like a light beam and as gorgeous as a god or an angel. In painting, photography and other works, Rembrandt light relies on strong side illumination, so that any side of the subject's face presents a triangular shadow, which 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, by properly using the reflector and auxiliary light to minimize the contrast, we can achieve the effect of enhancing the whole portrait, thus making extraordinary works. Generally speaking, Rembrandt needs two lamps for lighting, and the former Three Lamps District area is used to adjust the improved contrast. Among the two lighting lamps, a 650-watt timely main lamp (A) is placed at the top left of the photographer and directly shines on the right side of the subject's face, just like the one in front of him? The soft light auxiliary lamp (B) is the same, except that the latter is placed in the photographer's left picture example C, and the white strip reflector is placed on the left side of the subject. It can reflect some light to the case that the face is not illuminated. And the light-emitting lamp (C) can shine light on the face of the subject through the reflector? In fact, it weakens the obvious Rembrandt triangle and highlights the overall tone of the portrait.

The basic arrangement of Rembrandt lighting is to illuminate 45 degrees upward and sideways in front of the characters. If the light is not set with astigmatism, a triangular spot will be formed on the cheekbones of the backlit characters. But it is mainly suitable for westerners with high cheekbones, high nose and low eye sockets, and is not suitable for oriental faces. The experience of others can only be used for reference, not directly copied.