lighting basic principles chiaroscuro

8/13/2019 Lighting Basic Principles Chiaroscuro

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CHIAROSCURO

LIGHT & DARK


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JUAN SANCHEZ COTANStill Life with Quince, Cabbage, Melon and Cucumber c.1600


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LIGHT CHIARO

DARK SCURO

LIGHT CHIARO


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LIGHT CHIARO

DARK SCUROLIGHT CHIARO

DARK SCURO


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THE DISTANCE

BETWEEN LIGHT AND SUBJECT

Demonstrate / IllustrateThe relationship between:

LightSubject

Background


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LIGHT CHIARODARK SCURO

LIGHT CHIARO

DARK SCURO


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COVERAGECoverage defines how the subject is illuminated when

the light is aimed directly at it. The coverage can be

totally even, or it may show a gradation, or there maybe a 'centre-weight' or central 'hot-spot'.

SHADOWDEFINITIONThis defines the

sharpness of the

shadow. It also

defines anysubstantial

difference in the

shadows produced

when the subject isclose to the

background, and

when the subject is

further away.

EDGE TRANSFERThe edge transfer definesthe transition from the lit

area to the unlit one.Smoothin the case of

most soft-boxes.

Sharpin the case ofsmall reflectors

and spots.

SHADOWCONTRASTThis defines the

density of theshadows, from pure

black to barely

perceptible.


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The Direction of LightDemonstrate / Illustration

From the camera axisFrom the side


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Samuel van Hoogstraten, Trompe loeil Pinboard, c.1666

FRONT LIGHT

SHADOW

DEFINITION

EDGE TRANSFER


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TASK #1 - HARD LIGHT

Direction and distancetake 1 image with the light coming from the same direction as the camera

FRONT LIGHTtake a 2nd image with the light coming from the side of your object

SIDE LIGHT


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Hard light vs Soft light


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Hard light Soft light

Comes from a single point source Hard edged shadows - Maximum contrast

between light and darkLight is reflected and diffused

Soft edged shadows.Wide spread of light - low contrast

Hard light vs Soft light


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HARD LIGHT: DEFINITIONLooking at the light of a point light source, we will see very

clearly defined shadows. On a background or underground there

is either light or shadow, but nothing in between, with no

gradations. Even the finest details provoke a clear shadow. The structure of

any object (e.g. textile, skin) is pointed out very clearly. A very hard lightsource is the only one that does not change its

characteristics if we vary the distance (but according to the

inverse square law it does change the power).

The shadows remain the same: very sharp.


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An example of a Hard Light, modifier:

Broncolor P70 Reflector & Honeycomb


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Pieter Claesz 1628 Vanitas with the Spinario

FRONT, SIDE

LIGHT

SHADOW

DEFINITION

EDGE TRANSFERHARD LIGHT


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Olivier Richn

WHERE IS

THE

DIRECTION

OF THE

LIGHT?

SHADOW

DEFINITION?

EDGE TRANSFER?HARD LIGHT


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Cotan

SHADOW

CONTRAST

SHADOW

DEFINITION

TOP, SIDE LIGHT


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Ori Gersht

SHADOW

CONTRAST

SHADOW

DEFINITION

TOP, SIDE LIGHTHARD LIGHT


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SOFT LIGHT: DEFINITIONThe shadows on undergrounds and backgrounds are still clearly

visible, even when they are not sharply defined anymore. Big

parts of these shadows are graduated and shape of the subject

still exists. Small and fine details however do not appear.

The texture of our object is now shown in a lower contrast and

is therefore not as clear as in a hard light. Soft light still

increases the contrast of the object a little, but less than a hard

one.

The colour saturation finally is lowered, somewhere in between

the one derived from a hard light (high) and a diffused light

(low).


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An example of a Soft Light, modifier:

Chimera Lantern mounted to a Broncolor

Being soft, our light source distance from the subject

becomes very important:

The closer we get, the bigger the light source becomes

(seen from the perspective of the object or model).

This means that our light becomes softer, when we get

closer, and harder, when we use it over larger

distances.


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Jacques Bachelier

SHADOW

CONTRAST

SHADOW

DEFINITION

TOP, SIDE LIGHT


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Robert Mapplethorpe

SHADOW

CONTRAST

SHADOW

DEFINITION

TOP, SIDE LIGHT HOW FAR IS THE LIGHT SOURCE

FROM THE SUBJECT? DOES DISTANCE EFFECT

CONTRAST?


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Karl Blossfeld


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DIFFUSED LIGHT: DEFINITIONNow the light source is huge. Shadows no longer exist as the

light is big enough to shine all around the object or model.

The light does not show any direction anymore, the only

contrast remaining in the photograph is the contrast of the

object itself.

The structure of the objects surface is as flat as possible,

almost invisible and the color saturation is heavily reduced.


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An example of a Diffused Light, modifier:Large Chimera Softbox mounted to a

Broncolor UniliteThe following light shapers can be used as

diffused lights:Big softboxes at short distances for rather

small objects.Indirect lights reflected/bounced by severalpolyboards . (These boards have to be

neutral in color to avoid a color shift).Light-tents wrapped around the object.


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Fantin-Latour

SHADOW

CONTRAST

SHADOW

DEFINITION

TOP LIGHT HOW FAR IS THE LIGHT SOURCE FROM

THE SUBJECT? DOES DISTANCE EFFECT CONTRAST?


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Laura Letinsky

SHADOW

CONTRAST

SHADOW

DEFINITION

TOP LIGHT HOW FAR IS THE LIGHT SOURCE FROM

THE SUBJECT? DOES DISTANCE EFFECT CONTRAST?


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Edward Weston


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The Distance

between light and subjectDemonstrate / Illustrate

Light falloff

The relationship between:

LightSubject

Background


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Rachel Ruysch


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Rachel Ruysch


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Jacques Bachelier Jan Davidsz de Heem


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COVERAGE

Here, the question is: how is the subject covered when the light is

aimed on it. Is the coverage totally even, or does it show agradation, or even a center-weight ?

The answer to this question tells us what we can expect from the

lightshaper and if we can use it for our purpose.


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Laura Letinsk


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HIGHLIGHT

Is the highlight small or large ? If larger, is it rectangular or

round, even or centerweighted?

The highlight can be considered the most important: it tells

us about the shape, the illumination / coverage (in case of a

softbox) of the diffuser, the size.


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Vanities of Human Life' by Harmen Steenwyck


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LIGHTING: SOURCES


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LIGHTING: COLOUR TEMPERATURE

Natural light: (K) Noon sunlight on clear day 5,400 - 5,800 Sunset 2,000 Artificial light: (K)

Tungsten2,650-3,400 HMI lighting 4,500-6,750 Fluorescent 3,500-7,000 Flash lighting (should normally be) 5,500Colour Film: (K) Standard daylight film 5,500Standard tungsten film 3,200THE LOWER THE TEMPERATURE THE WARMER THE LIGHT


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LIGHTING SOURCES: CONTINUOUS DAYLIGHT TUNGSTEN HALOGEN: ARRI, DEDOLIGHT HMI: ARRI, DEDOLIGHT LED: LITEPANEL FLUORESCENT: KINOFLO


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Tungsten Halogen: Arri Fresnel lights


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Fluorescent Array: Kinoflo lights


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Fresnel Lampconfiguration


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(A) Floodand (B) Spotpositions


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Standconfiguration


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STUDIO LIGHTING: ELECTRONIC FLASH

BRONCOLOR PROLITE: MONOBLOC PROFOTO HENSEL NORMAN METZ: LOCATION


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Broncolor MobilStudio Packs


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Bowens Prolitemonoblocs


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Control the quality of light withLight modifiers


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Bounce umbrellaSoft light


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Spill-kill Prevents light from spilling.Possible usage: Bounced light off of a

background.Hard Light


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Softbox (Large)Diffused through a series of... Very soft, but directional light


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Softbox (Small)Diffused through a series of... Soft, but directional light


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Dish (Beauty)

Medium to Hard, reflected light shaper


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Dish (Standard)

Hard, reflected light shaper


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SnootHard light, but directional light.Can cause hot-spots


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Focus Spot and Spotlights

When using digital capture, the Bowens

unit must ONLY be triggered by wireless


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Common types of light used in photography

Available lightDaylightTungsten, Fluorescent (indoors) FlashStudio packsBattery operated location packs Camera mounted units Continuous lights

HMI (daylight balanced) - Arri Tungsten Arri, Dedolight Fluorescent - KinofloLED - Litepanels


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Equipment available in the

Rochester Photography resource


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Broncolor MobilStudio Packs


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Bowens ProliteMonobloc


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Metz Flashguns


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Arri Tungsten lights


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SHAPING THE LIGHT:USING FLAGS (GOBOS), REFLECTORS AND DIFFUSION MATERIAL


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FLAGS:STOPPING THE LIGHT FROM HITTING CERTAIN AREAS


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LARGE FLAGS & REFLECTORS:POLYBOARDS


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DIFFUSSION:SILKS, TRACE & TOUGH SPUN


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TASK #2 - SOFT LIGHTDirection and distance

take 1 image with the light coming from the same direction as the camera

FRONT LIGHTtake a 2nd image with the light coming from the side of your object

SIDE LIGHT


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TASK #2

Photograph your object:1. Using hard light

2. Using soft light

lighting basic principles chiaroscuro

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