CHIAROSCURO!

LIGHT & DARK!

JUAN SANCHEZ COTAN!

Still Life with Quince, Cabbage, Melon and Cucumber c.1600 !

LIGHT CHIARO!

DARK SCURO!

LIGHT CHIARO!

DARK SCURO! LIGHT CHIARO!

LIGHT CHIARO! DARK SCURO!

THE DISTANCE ! BETWEEN LIGHT AND SUBJECT! Demonstrate / Illustrate! ! The relationship between:! Light! Subject! Background!

LIGHT CHIARO! DARK SCURO! LIGHT CHIARO!

DARK SCURO!

EDGE TRANSFER! The edge transfer denes the transition from the lit area to the unlit one. Smooth in the case of most soft-boxes. ! Sharp in the case of small reectors ! and spots.!

COVERAGE! Coverage denes 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 may be a 'centre-weight' or central 'hot-spot'.!

SHADOW DEFINITION! This denes the sharpness of the shadow. It also denes any substantial difference in the shadows produced when the subject is close to the background, and when the subject is further away. !

SHADOW CONTRAST! This denes the density of the shadows, from pure black to barely perceptible. !

The Direction of Light!

Demonstrate / Illustration! ! From the camera axis! From the side!

EDGE TRANSFER!

FRONT LIGHT!

SHADOW DEFINITION!

Samuel van Hoogstraten, Trompe l oeil Pinboard, c.1666

TASK #1 - HARD LIGHT! Direction and distance!

take 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!

Hard light vs Soft light!

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 reected and diffused! Soft edged shadows. ! Wide spread of light - low contrast!

HARD LIGHT: DEFINITION!

Looking at the light of a point light source, we will see very clearly dened shadows. On a background or underground there is either light or shadow, but nothing in between, with no gradations.! ! Even the nest 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.!

An example of a Hard Light, modier: ! Broncolor P70 Reector & Honeycomb!

EDGE TRANSFER!

HARD LIGHT!

FRONT, SIDE LIGHT!

SHADOW DEFINITION!

Pieter Claesz 1628 Vanitas with the Spinario

EDGE TRANSFER?!

HARD LIGHT!

WHERE IS THE DIRECTION OF THE LIGHT?!

Olivier Richn

SHADOW DEFINITION?!

TOP, SIDE LIGHT!

SHADOW CONTRAST!

SHADOW DEFINITION!

Cotan!

TOP, SIDE LIGHT!

HARD LIGHT!

SHADOW CONTRAST!

SHADOW DEFINITION!

Ori Gersht!

SOFT LIGHT: DEFINITION!

The shadows on undergrounds and backgrounds are still clearly visible, even when they are not sharply dened anymore. Big parts of these shadows are graduated and shape of the subject still exists. Small and ne 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 nally is lowered, somewhere in between the one derived from a hard light (high) and a diffused light (low).!

An example of a Soft Light, modier: ! 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.!

TOP, SIDE LIGHT!

SHADOW CONTRAST!

SHADOW DEFINITION!

Jacques Bachelier!

TOP, SIDE LIGHT HOW FAR IS THE LIGHT SOURCE FROM THE SUBJECT? DOES DISTANCE EFFECT CONTRAST?!

SHADOW CONTRAST!

SHADOW DEFINITION!

Robert Mapplethorpe!

Karl Blossfeld!

DIFFUSED LIGHT: DEFINITION!

Now 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 at as possible, almost invisible and the color saturation is heavily reduced.!

An example of a Diffused Light, modier: ! Large Chimera Softbox mounted to a Broncolor Unilite! ! The following light shapers can be used as diffused lights:! ! Big softboxes at short distances for rather small objects.! ! Indirect lights reected/bounced by several polyboards . (These boards have to be neutral in color to avoid a color shift).! ! Light-tents wrapped around the object.!

TOP LIGHT HOW FAR IS THE LIGHT SOURCE FROM THE SUBJECT? DOES DISTANCE EFFECT CONTRAST?!

SHADOW CONTRAST!

SHADOW DEFINITION!

Fantin-Latour!

TOP LIGHT HOW FAR IS THE LIGHT SOURCE FROM THE SUBJECT? DOES DISTANCE EFFECT CONTRAST?!

SHADOW CONTRAST!

SHADOW DEFINITION!

Laura Letinsky!

Edward Weston!

The Distance between light and subject

Demonstrate / Illustrate Light falloff The relationship between: Light Subject Background

Rachel Ruysch!

Rachel Ruysch!

Jacques Bachelier!

Jan Davidsz de Heem!

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.

Laura Letinsky

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.

Vanities of Human Life' by Harmen Steenwyck

LIGHTING: SOURCES

LIGHTING: COLOUR TEMPERATURE

!

Natural light: (K) !! Noon sunlight on clear day Sunset ! ! ! "! Articial light: (K) !! Tungsten !2,650-3,400 !! HMI lighting ! ! Fluorescent ! ! Flash lighting (should normally be) ! Colour Film: (K) !! Standard daylight lm ! Standard tungsten lm ! ! !! "!

!5,400 - 5,800 !2,000 !!

!!

!4,500-6,750 !3,500-7,000 !5,500! !5,500! !3,200!

!! !!

THE LOWER THE TEMPERATURE THE WARMER THE LIGHT

!!

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

Tungsten Halogen: Arri Fresnel lights!

Fluorescent Array: Kinoo lights!

Fresnel Lamp configuration

(A) Flood and (B) Spot positions

Stand configuration

STUDIO LIGHTING: ELECTRONIC FLASH ! ! ! ! ! ! BRONCOLOR PROLITE: MONOBLOC PROFOTO HENSEL NORMAN METZ: LOCATION

Broncolor Mobil Studio Packs

Bowens Prolite monoblocs

Control the quality of light with

Light modifiers

Bounce umbrella! ! Soft light!

Spill-kill Prevents light from spilling.

Possible usage: Bounced light off of a background.!

! Hard Light!

Shoot-Through umbrella! ! Soft light, with greater contrast and direction than a bounced umbrella!

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

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

Dish (Beauty)! ! Medium to Hard, reected light shaper!

! Dish (Standard)! ! Hard, reected light shaper!

HONEYCOMB! ! Directs the light to produce a spot-light centre of different degrees depending on the size of honeycomb used. ! ! Hard light, very directional! ! 3 x sizes, Small, Medium, Large!

Snoot! ! Hard light, but directional light. ! Can cause hot-spots!

Focus Spot and Spotlights ! !

When using digital capture, the Bowens unit must ONLY be triggered by wireless!

Common types of light used in photography!

Available light! !Daylight! !Tungsten, Fluorescent (indoors)! ! Flash! !Studio packs! !Battery operated location packs! !Camera mounted units! Continuous lights! !HMI (daylight balanced) - Arri! !Tungsten Arri, Dedolight! !Fluorescent - Kinoo! !LED - Litepanels! ! ! !

Equipment available in the ! Rochester Photography resource!

Broncolor Mobil Studio Packs!

Bowens Prolite Monobloc!

Metz Flashguns!

Arri Tungsten lights!

SHAPING THE LIGHT:!

USING FLAGS (GOBO S), REFLECTORS AND DIFFUSION MATERIAL!

FLAGS:!
STOPPING THE LIGHT FROM HITTING CERTAIN AREAS!

LARGE FLAGS & REFLECTORS:!

POLYBOARDS!

DIFFUSSION:!
SILKS, TRACE & TOUGH SPUN!

TASK #2 - SOFT LIGHT! Direction and distance!

take 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!

TASK #2 Photograph your object:

1. Using hard light 2. Using soft light