Lighting_Principles of Chiaroscuro

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Light & Dark  CHIAROSCURO

Transcript of 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