How to use the window light source to take a good indoor portrait

indoors, as long as the subject moves a few steps, the contrast between strong light and bright shadow will change greatly. Therefore, adjusting the distance can solve the problem of uneven lighting. Peizor pointed out that if the subject is in the middle of the window, facing the window, his forehead, nose, cheekbones and chin are all in white light, which looks very prominent, and no matter what background, the outline can be clearly set off. When the light comes from the side, the lines on the cheeks are obvious, and the cheeks and jaws can produce shadows. When the head is slightly turned away from the camera, the light energy on the side can produce the maximum stereoscopic effect. At this time, the best way to show a person's face characteristics is to turn the face slightly away from the window and turn to the shadow direction, so that only the side is fully illuminated. But at this time, we must also use the reflector, or other aspects of indoor reflection. If the subject moves to one side of the window and faces the window, the side light and profile light will be weakened, and the face will appear round and symmetrical. When the face turns to the camera, a shadow appears on the back window of the face, but the farthest side of the face from the window is more or less illuminated by the flat light. Away from the window, the whole face is in a dark flat light. The farther the subject is from the window, the more dull the tone is. When using window light to shoot portraits, a small room with light walls reflects more light than a large and dark room, so the background is brighter. The intensity of the reflected light and the tone of the background can be adjusted by opening or closing the curtains. However, Peizor believes that the most worth pursuing is the light efficiency of direct light. Photographers can use blinds or thick curtains to simulate the effect of hard direct light according to their own wishes. You can also use thin curtains to turn the oblique light into scattered light, and you can also make it have a certain color. Light-tone window screening can be used as a softener to soften the light. The effect of sunlight on colored curtains is the same as that of floodlights with color filters. The intensity and distribution of reflected light can be controlled by making a reflector with white cardboard and adjusting the position of the reflector. But if this technique is used too much, it will lose the characteristics of natural window light. During the day, the change of light plays the same role indoors as when taking color photos outdoors. However, some problems that need not be paid attention to in outdoor photography have an impact on indoor window light. For example, near the window is a red brick wall where the sun is shining, and the light in the indoor window will be red; There are gardens and tall trees outside the window, and the light will be green; If the window faces the blue sky, it may be blue. This effect may be more obvious indoors than outdoors, because windows are more selective, unlike outdoors, where there is a general balance of colors. If there are windows on two walls and the subject is between the two windows, the cross lighting at this time will cause all kinds of interesting light effect changes. As long as the subject turns his body when shooting, a series of different changes will appear. At this point, we should pay attention to trying to make the light of one window slightly brighter than that of the other window through adjustment, and it is the worst that the light of the two windows is equal. Ronald Spearman, a British photographer, believes that lighting can also be used as auxiliary light when shooting portraits with window light. He pointed out that the subject is illuminated by both sunlight and tungsten filament light, which can produce very satisfactory results on daylight slides, which is generally not realized by beginners. At this time, the only requirement is that the two light sources must come from different directions, so that they can shine on different planes of the subject. In other words, you can't let the subject be exposed to sunlight and light at the same time from the front. According to Spearman, the best effect can be achieved as follows: the window light enters a room which is usually illuminated by tungsten lamp, thus forming a cold beam in one case.