How to use the light outside the window to shoot portraits?

Lead: It is the photographer who can shine, and it is the photographer who can use natural light. Let's take a look at how to use the light outside the window to shoot portraits.

How to control the light: A small room with light walls reflects more light than a big, dark room, so the background is brighter.

The intensity of reflected light and the tone of background can be adjusted by opening or closing curtains. However, the most worth pursuing is the light efficiency of direct light. You can use blinds or thick curtains to simulate the effect of hard direct light according to your own wishes. You can use thin curtains to turn oblique light into scattered light and make it have a certain color. Light-colored window screens (without plaid) can be used as softeners to soften light. The sunlight on the colored curtains plays the same role as the thick colored film floodlight.

At noon one day, the change of light played the same color cast effect indoors as shooting color films outdoors. The light in the morning and evening is red and orange. Some problems that don't need attention in outdoor photography have an impact on the light in the window. For example, if there is a red brick wall in the sun near the window, the light will be red. There are gardens and tall trees outside the window, and the light will turn green. The window faces the blue sky, but it's a little blue. This effect may be more obvious indoors than outdoors, because windows are selective, unlike outdoor, which has generally balanced colors.

Make a reflector with white cardboard or newspaper, and use the reflected light to illuminate the shadow. When taking a full-length portrait, you can hang a whole piece of white paper on the window outside the picture close to the human body. Adjusting the position of reflector is promising for controlling the intensity and distribution of reflected light. But if this technology is used too much, it will lose the characteristics of natural Fu Guang.

There are windows on both walls of the room, and people are between them. This kind of cross lighting will cause all kinds of interesting light effect changes. When shooting, as long as the subject is required to rotate his body, a series of different changes will occur. The light of one window should be slightly brighter than that of the other window, and the light of the two windows is equal, which is the worst. Although the position of the subject can be adjusted, the light coming from the window is always uneven. This has little effect on close-up photos, but for full-length photos, either the upper body is black or the lower body is black, depending on the situation of the window and the position of the person from the window. The nature of light must be clarified. Electric lights can be used as auxiliary lights for window lights. But because of the different color temperatures, shooting color films will bring problems. The color temperature of flash is similar to that of sunlight, so it can be used with window light.

Location of people: Most of the indoor light comes from one direction, but it is influenced by the above factors to some extent. The main light comes from the window, and its intensity determines the contrast between light and shade of the photo. Moving a person's position can change the lighting conditions.

The illumination of window light is determined by many factors, and its intensity change is far greater than that invisible to the naked eye. The distance from the window to the main body determines the type of facial lighting. It also depends on the reflective ability of the walls and floors of this room. When the subject enters the dead corner of Fu Guang, the reflected light on the wall begins to play a greater role. At this time, the closer the subject is to the wall facing the window, the more light can be provided. Indoor, as long as the subject moves a few feet, the contrast between strong light and positive color will change greatly. Adjusting the distance can solve the problem of uneven light.

In the middle of the window, the figure is facing the window. His forehead, nose, cheekbones and chin all stand out in the high light. No matter what background, the outline can be clearly set off. The light comes from the side, and the cheek lines are obvious, but the cheeks and jaws are in the shadow. When the head is slightly away from the lens, the side light can produce the greatest subjective feeling. The best way to express a person's facial features is to turn his face away from the window a little and turn to the shadow direction, only the side is fully illuminated. But at this time, you need to use a reflector at the same time, or other aspects of indoor reflection.

On one side of the window. When the subject moves to one side of the window and faces the window, the side light and the side light will be weakened. The face looks round and symmetrical. When the face turned to the camera, a shadow appeared on the back window of the face, but the face farthest from the window was more or less illuminated by flat light. Away from the window, the whole face is in a dark plane light. The farther away from the window, the more insipid the tone. The effect of direct sunlight If the subject is in the sun beam in front of the window, glare may appear due to the sharp increase of contrast, unless exposed according to the bright part. At this time, the rest may be all black. Normal exposure will also increase the glare on the lens, or there will be light oozing around people. Use a soft mirror or an oiled glass filter to relieve it.

The eyes are extremely strong reflective light sources. If only a narrow strip on one side of a person's face is illuminated by sunlight, then the reflector can be used as a good auxiliary light source. You can adjust the position of the experimental object and reflector, and you can also use curtains, screens, etc. Reduce direct sunlight.