lighting_principles of chiaroscuro
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Light & Dark CHIAROSCURO
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Cotan
LIGHT – ‘CHIARO’
DARK – ‘SCURO’
LIGHT – ‘CHIARO’
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LIGHT – ‘CHIARO’
DARK – ‘SCURO’LIGHT – ‘CHIARO’
DARK – ‘SCURO’
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The Distance between light and subject
Demonstrate / Illustrate
The relationship between:Light
SubjectBackground
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LIGHT – ‘CHIARO’DARK – ‘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 defines
the transition from the litarea to the unlit one,
smooth in the case of
most softboxes, and sharp
in the case of small
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 LIGHT’take 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 vs Soft light
Hard light Soft light
Comes from a single point source
Hard edged shadows - Maximum contrast
between light and dark
Light is reflected and diffused
Soft edged shadowsWide spread of light - low
contrast
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HARD LIGHT: DEFINITION
Looking 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 Richón
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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TASK #2 - SOFT LIGHT
Direction and distancetake 1 image with the light coming from the same direction as the camera –
‘FRONT LIGHT’take a 2nd image with the light coming from the side of your object –
‘SIDE LIGHT’
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SOFT LIGHT: DEFINITION
The 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 a small
cores hadow still exists. Small and fine details however do not
appear.The texture of our object is now shown in a lower contrastand 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 BroncolorBeing soft, our light source distance fromthe 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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Ansel Adams
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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 object’s 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 several‘polyboards’ . (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 Ru sch
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Rachel Ru sch
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ac ues Bachelier an 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 a
gradation, 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 ARRAY: KINOFLO
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Tungsten Halogen: Arri ‘Fresnel’ lights
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Fluorescent Array: Kinoflo lights
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Fresnel Lamp configuration
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(A) Flood and (B) Spot positions
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Stand configuration
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STUDIO LIGHTING: ELECTRONIC FLASH
• BRONCOLOR
• PROLITE: MONOBLOC
• PROFOTO
• HENSEL
• NORMAN
• METZ: LOCATION
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Broncolor Mobil Studio Packs
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Bowens Prolite monoblocs
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Control the quality of light withLight modifiers
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Shoot-through umbrella
Very soft light
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Spill-kill Prevents light from spilling.Possible usage: Bounced light off of abackground.
Hard Light
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Bounce umbrella
Soft light
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Pancake/Lantern
Soft light
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Softbox (Large)
Diffused through a series of...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-dish)
Medium/Hard, reflected light
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Regular dish (whats theangle of light?
Hard light, reflected in dish
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Honeycomb
Directs the light to produce aspot-light centre of differentdegrees depending on the sizeof honeycomb used.
Hard light, very directional
+
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Snoot
Hard light, but directional light
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Spotlight attachment
Focused light-beam
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TASK #2
Photograph your object:1. Using hard light
2. Using soft light
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Common types of light
used in photography Available light• Daylight
• Tungsten (indoors)Flash• Studio packs• Speedlights (portable hammerhead flashes)
Continuous lights
• HMI (daylight balanced)• Tungsten ( colour temp?)
E ip t il bl i th
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Equipment available in the
Rochester Photography resource
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Broncolor Mobil Studio Packs
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Bowens Prolite monoblocs
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Metz flashguns
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Arri Tungsten lights
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Redheads tungsten
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Shaping the lightusing flags (gobos), reflectors and diffusion material
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FlagsStopping the light from hitting certain areas
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ReflectorsPolyboards
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Diffusion materials Trace