How do photographers light up close-ups?

Close-ups of people's faces in the lens can attract the audience's attention most. Each character has different requirements for facial polishing.

The light efficiency of nose and orbit is the most important factor to be considered in facial lighting. If the shadow on the nose is too long, it will be ugly. Therefore, we can move the main light source to the front of human face and set it at a suitable height. In order to avoid deep orbital shadows in people's eyes, we can dim the main light source properly or install a soft lens in front of the camera lens. Eyes must brighten the whole eye socket and pay attention to your eyes.

Different light sources can also produce different facial contour effects.

If the actor's face is round, we need to raise the main light source slightly. Doing so can highlight the cheekbones of the face and make the chin look sharper. Joseph von Steinberg is a filmmaker. He designed the facial lighting effect for Marlene Dudret. He used a high front light source to create a butterfly lighting effect on Dudret's face. The light effect design presents a slender visual effect for the actress's round face.

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Wrinkles on an actor's face sometimes add a sense of maturity to the role, but an actress doesn't want her facial features to be photographed with wrinkles. We can regard the wrinkles on people's faces as a unique way of shooting, such as reducing the subtle shadows caused by wrinkles on their faces. In order to achieve the above effect, the position of the main light source should directly face the human face, and the light effect should be as soft as possible. In the actual shooting process, if you want to make the actress look younger, the above method is more effective than using the astigmatism filter.

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Background light can usually brighten the character's hair, but avoid using background light behind the bald actor's head. If the role of bald head also needs to increase the layering through lighting, then the best way is to use a softer and lower density lighting scheme. Instead of making the head contours of some actors whose ears are too prominent more obvious, it is better to keep the blur effect consistent with the background.

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Usually, before the dark background, we need to brighten the actor's face, which can enhance the three-dimensional sense of the face and the layering of the picture. In addition to using background light to outline the head of the character, you can also put the character in a brighter environment than him to achieve the same contrast effect.

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When setting the slap effect and background light effect of the actor, we should pay attention to the light distribution at the tip of the nose, and do not form a highlight effect in the middle of the character's face. Move the main light source to one side of the picture, control the light effect contrast between the face and the background, and eliminate the shadow around the nose. When the main light source is placed on both sides of the face, don't let the actor's thick eyelashes block part of the light and form a bad nose shadow. At this point, you can try to solve it with a soft light source.

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Similarly, you can adjust the light and shadow modeling of a person's face by changing the camera angle. Experienced actresses usually refuse to take pictures with cameras because it will highlight their jawbones and chins. Using telephoto lens (50~ 100mm) to shoot the face can avoid excessive deformation of the nose. Of course, if the director consciously needs facial distortion effect, it is also feasible to shoot close-ups of people's faces with wide-angle lenses.

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Camouflage lighting

Camouflage light distribution refers to a light distribution mode with constant light effect when the lens is moving, and how to arrange the lighting lamps reasonably is the primary problem of this light distribution mode. With the increase of the number of lamps, it is more difficult to light the scene. But not every shot needs to be rearranged. The purpose of dimming is to ensure the consistency of the light effect of the subject, and the photographer needs to pay attention to the contrast of the light effect of each lens and the direction of the light source.

When shooting close-ups of people's faces, you can soften the main light source and lower the position of the light source to weaken it at one time. Eye shadow has formed. This method can reduce the number of light distribution in the shooting process.

The rational use of documentary lighting needs some experience. When shooting a large-angle lens, you should plan the local lighting effect so as to shoot close-ups.

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The larger the lens change angle, the larger the scene scale, and the more comprehensive the camouflage lighting needs. The lighting effect seen through the camera is completely different from the scene seen by the naked eye. Therefore, when the lens moves from panorama to close-up, if the shooting angle is not changed, the light effect change of the subject will be amplified at the same time. Of course, if you change the shooting angle, such as rotating the camera around the subject by 90, you can adjust the light distribution effect relatively loosely at this time.

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