Lighting Demo: Two Light Setup
So this is something called one toe one lighting this is great if you have artwork you want to show off its basically put two lights at equal distance from your subject at about a forty five degree angle but it's also good for people if you want to totally light up their face and there really are going to be no shadows anywhere unless they're underneath here because I have the lights um kind of up like so I have this one about like that and the deal is one to one lighting ratio is you have both lights equal distance and pretty much merely mirroring each other on each side. Okay, here we go. This is called a one to one lighting ratio, meaning that each light is equal distance and at an angle from whatever whomever you're shooting so if you see her face now I'll take a picture it's just very even lighting you might even like sit up kind of towards me maybe I don't know we'll try something and turn on the screen so what I'm having her do is lean forward there's very even lighting on both ...
sides of her face it's a nice bright fun commercial looking shot so this is one place to start now what professional photographers do with with there are light meters maybe you might see people in a photo shoot going and measure the light and and see you know, measure it numerically and see exactly how much light is coming from each one of these. That it's perfectly, you know, one to one ratio. So I looked kind of cute for a second. So that's one to one. Now I want to show you what it looks like if I were to pull one light let's, take one more since this just came up. And maybe something a little bit different will try. Okay? And this is actually kind of the perfectly symmetrical, the perfectly symmetrical pose and there's a reason for it. And that the chair looks exactly the same on either side. And I did. There was a reason to place her in the middle because everything well, she's almost right in the middle. So you kind of play around with opposing. And as I mentioned, the hands could be a little tricky sometimes to bring into a photograph. But you can kind of play around with that. She did a good job with her hands right there, and they look good in the photograph. S okay, so that's a one to one lighting ratio. So here's, a way to kind of eyeball it. If you're playing around with two lights lighting someone, all you have to do is bring one light. Farther away and that's going to change the light that's showing up on that side of her face that's going to become a little bit darker. Now we do have some studio lights in here that are lighting up more of our scene and giving us more ambient light. You might see more of a difference in your home might be a little bit more shadow on one side of her face because I take this farther and farther away and I can feather it back and forth. Now I've got a little fill light and the shadows if I were to turn it off, you could see definitely shadows now on that side of her face, and now I'm using this light as a fill light. So that's, what happens with lighting? If you've got more than one light, one lights, the main light and that's often the life that's the closest to someone it's also called the key light, but the main light and then you've got your fill light, and this is in this lighting scenario because it's constant light these don't dim you can't make them brighter or or softer. They are what they are, so the only way that you can work with this is to pull one farther away. That's basically it you've got a one to one lighting ratio in the beginning, and then if you pull it a little bit further way, it might be if you were going to measure it numerically, you know, say, oh, I'm not doing it a two to one lighting ratio, meaning the lights twice is bright on one side of the face than it is on the other. In other words, there's a shadow on one side of the face and you can create a mood that way, so not only from placing it in one say, one light on one side of her face and playing with that, but then once you turn on a second light, you have even more to play around with something else you might consider is let's say we've got one light on her and we wanted to light up the background a little bit. A classic lighting scenario is called three point lighting, but right now, if I were just working with two lights, I could easily do that by just moving this light back here, and I could make the background a lot brighter and I could move this light around to maybe I could bring it down behind her, and it could be sort of a hair light behind her I could raise it up really high and maybe skim light right out of her shoulder but if I just wanted some light kind of behind her lighting up her hair in this image I still have one light on her in the front and then this light I can I can use back here either skim the background and make the background brighter or kind of hit her hair a little bit just want to make sure that I don't point it too much this way so I don't get lens flare you know where you've got light bouncing into your lens so like so and you can move this around, you know the direction we could move it up a little bit yes, the key word here is to play to play around but you have lost lots of possibilities and that's what? I like the possibilities okay, so right now I've got some light that's happening on the back of her group's there's a camera and I'm lighting up her face just a little bit okay, so look where the two lights replaced one they're both out of where I'm going to crop I'm not including the lights in the scene, I've got one that's lighting up the background in her hair and one that's lighting up the front of her face what I'd like you to do tammy is we can play around with a couple different poses, so if you're working with someone in front of the lens you want him to say ok, you know, right now I asked her to sit straight out because I wanted to show you the lighting great um but you might try playing around with, you know, just having a kind of move around a little bit and see what's comfortable with them if you wanted to traditionally oppose them I mean, I could I could ask her to well, let's try to get a shot of this, okay? So right now the way I'm composing this she looks nice, but check out one of her hands is coming out in a weird spot, right? I'm looking all around the shots I would ask her toe maybe just take that hand out of shot or put it behind the chair, your left hand there you go. Yes. Oh that's not a distraction and I can also move the camera. I'm coming from up above a little bit and shooting down and then she's got that nice hair light. Now we're working with as we talked about the quality and direction of light whether it's, natural light or studio light is really important, but just knowing where to place the lights. So right now what I'm what I'm trying to do is kind of work incrementally as faras using one light to lights but to know that you can light up different areas and then come in and key and on bringing the lights up or down and coming in from different directions. So it depends on how you like to learn. I mean, a lot of people kind of just like to play and experiment. And then other people really like to know. I want it. One, two, three. Exactly what I'm supposed to d'oh. And you can try it that way to just by learning thie lighting ratios and lighting patterns, how life falls upon the put on the face.