Types of light and light distribution techniques used in photography

Light is the basis of photography, and getting good light is half the battle. Then how to polish it is correct? The following is the information about the types of photography light and light distribution skills for your reference!

Types of photographic lamps

top light

The top light, that is, the light from the top of the subject, forms a vertical angle of about 90 degrees with the scene and camera. Use silver reflector or strongpoint to change the front light into auxiliary light, and the inappropriate situation will disappear immediately. It is the most unsuitable light for portraits.

Side lamp

Side light, that is, light from the left or right side of the scene, forms a horizontal angle of about 90 degrees with the scene and the camera. This kind of light can produce obvious and strong contrast. The shadow is slender and expressive, the surface structure is very obvious, and every tiny bump produces obvious shadow. Using sidelight photography can create a strong modeling effect.

Backlighting

One kind of backlight is because the subject is just between the light source and the camera, which easily leads to underexposure of the subject. Generally speaking, photographers should try to avoid shooting objects in the case of backlight, but sometimes the special effect produced by backlight can also be regarded as an artistic photography technique.

Although backlight conditions increase the difficulty of photography, backlight conditions can sometimes be used for some artistic creation. Skilled photographers often use backlighting to achieve some unusual visual effects, such as backlighting, especially good at vividly showing the outline of objects.

Positive light (also known as? Guang Shun? )

The photographer's back is facing the light source, that is, the light coming from the back of the camera, which is also called smooth light. Because all parts of the subject are bathed in direct light, there is light everywhere in the part facing the camera, and the result is an image without tone levels. It may not look good to pat your face with positive light, especially with high positive light.

Main lamp+auxiliary lamp

Auxiliary light is a kind of light that supplements other surfaces of the subject that cannot be illuminated by light to make up for the lack of illumination and play an auxiliary role. It must be used in conjunction with the main light, so it is also called auxiliary light. Generally, auxiliary light is used to balance the brightness difference between the bright and dark sides of the subject, reflect more shadow details, and adjust the light ratio (illumination contrast) of the picture.

In the use of auxiliary light, it should be clear that the intensity of auxiliary light is less than the intensity of main light, otherwise it will lead to the effect of usurping the role of the master and easily appear obvious auxiliary light projection on the subject, that is? Clip the light? Phenomenon.

Photographic lighting technology

Rembrandt lamp

The name comes from the lighting technique commonly used by the painter Rembrandt, and the triangular light level on his face is the mark. Different from circular lighting, the nose is connected with the shadow of the cheek, but more importantly, the eyes on the other side of the shadow still have eyes to keep the face bright and the photos are dramatic.

Butterfly lamp or paramount lamp

The name of this cloth lamp comes from the butterfly-shaped symmetrical shadow made under the nose. The positive light of the light source set behind the camera will create the shadow of cheeks and chin, so it will highlight the cheekbones of both cheeks, make the face look thinner and the chin sharper, which can enhance the charm of the object. However, sometimes a reflector or even the object itself is used to fill the light.

highlight

This is not a specific lighting setting, but a style that can be used by teachers, rings and Rembrandt. In fact, the method is very simple, that is, turn the light-receiving surface to the lens, so that the light-receiving surface will look wider, and then the whole face will look bigger and wider, suitable for people with thinner faces.

Ultra-thin lamp

Contrary to wide light, the darker side faces the camera, which makes the face look sharper, more stereoscopic and atmospheric.

Now you can try these different lighting methods. Don't worry too much about the texture of the light. Learn these skills first. Of course, the first thing is to learn the faces of the subjects, understand their requirements, and shoot beautiful works that can bring out the right mood and atmosphere. In addition, pay attention to the light source. If it is artificial light, it can be easily moved around. If it is natural light/window light, it is necessary to move the model and use these basic lighting as flexibly as possible.

Split light distribution

Gu Ming is incredible, that is, dividing his face into two parts, one bright and the other dark, will create a strong sense of drama, which is suitable for people with strong personality or temperament, such as artists and musicians. Of course, it will be more masculine.

In order to create this effect, the light source is placed at 90 degrees on the left or right side of the object and can be moved forward or backward slightly to adapt to different shapes. Note that the light must change with the face of the object, and the light will change with the rotation of the head.

Annular light distribution

This is to let the nose cast some shadows on the cheeks. To achieve this effect, the light source should be slightly higher than the eye level, 30-40 degrees inside the camera (according to the individual's face shape).

If the light source is slightly higher than the eye level, the projection of the nose is not connected with the shadow of the cheek, but slightly downward, and the light source should not be too high, so that the eye light is lost. The following picture shows the lighting schematic of the above photo. The black background represents the forest, and the photographer hits the sunlight on the object with a white mirror. This is a very common technique, but the common mistake is that the reflector is placed too low and the light hits the nostrils, which can not produce the ideal effect.

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