Lighting 101

Lesson 18 of 65

3 Primary Subject Patterns

 

Lighting 101

Lesson 18 of 65

3 Primary Subject Patterns

 

Lesson Info

3 Primary Subject Patterns

We've talked about key and secondary light patterns and positions. Now let's talk about the subject's position in relation to the light. We have basically three common kind of subject placements or positions in relation to a light. And the first is going to be short lighting and then we have direct or flat. And then we have broad lighting, each one of these do different things. And because this is probably the last videos that I can use, I need his help. I want needed to come help me. I need to come out here real fast. Then I'll just put this led like that. We don't need bad guy. Okay, so let's start with direct flat or some symmetrical light. Ok. Now, there's, lots of different symmetrical light patterns were going to show you. We have paramount. We have clam shell with a fill underneath. Paramount. We have square. We have flat. Those are all examples of basically a flat, a direct or symmetrical style light. Why this medical? Because on both side of the face, it's on every side, it's,...

all equal lighting, so we refer to it as basically a symmetrical light. This type of light is wonderful for creating extremely flattering types of portrait's. Okay, because again, that's, symmetrical light is going to light everything evenly if fills in all the wrinkles, all the imperfections and it creates a very beautiful flat look to it that's great for beauty and fashion and portrait's and so forth but it's fantastic for showing symmetry interface. And if somebody lax symmetry, I mean, we all lack symmetry to an extent if you guys actually take a photo of yourself, take a photo cut and a half and then put the left side's together and then put the right sides together, you'll notice that you look like two completely different people with the left side's connected on both sides and then with the right side on both sides, you look very different. Looks scary. We all have a little bit of dysentery to the face, but if someone has a lot of the cemetery, then what ends up happening is by using these types of lighting this type of shot, you're exaggerating that, and so you want to make sure you avoid a symmetrical flat shot and that kind of lighting if the person does not have at least a average symmetrical face otherwise you're really doing them an injustice so let's talk about short or slimming type lighting. Now, short lighting is basically in reference to the position of the face in reference to the lighting okay, so if I turn my face into the light a little bit like this okay, so my chin just basically moves towards that light. It leaves the broadside, so from the camera right now, the broad side of the face is this side, right? Because the short side is kind of away from us. The short side is what lit and the broadside falls in the shadow. Now, right now, we have quite a bit of fill light coming from here, so you don't see his extreme of shadows, but if you look on olivia's face, you can see the short side being lit on the left side, falling pretty deep in the shadows. The effect that this has is generally a slimming effect on the face, which you can imagine that for most people for ninety five percent of us it's actually going to be more flattering than the opposite. Short lighting has a slimming effect and that's why we kind of placed it on this little scale here as you go to this side, you're going to slim down the face now someone has most of us want to look a little bit skinnier and photos, but if someone has a very narrow face to begin with, you probably don't want to short light it. You want to either use direct or flat lighting or even brought in the face by using broad lining, so here we have broad, which means gain short, not broad, which means game abroad equals the effect that it has is kind of gaining or large inning enlarging the face short equals slimming the face okay, how do we position? Well, we have our same key lie right there and this time the subject is basically looking away from the key light so the broad side of the face this side that you see the most of in camera is the side that's basically lit okay? And the short side the face is the one that falls in the shadow so we see the exact same thing here and you can see if you compare these two photos side by side this one is going to be a little more flattering is going to make olivia's face look a little more narrow little more slim this one is going to broaden the face a little bit again ninety nine percent of the time ninety five percent whatever percentage you guys like okay, just ah hi percent of the time your short side is going to be the better and more flattering angle to shoot somebody. So remember, the simplest way to think about it is just short means that their chin is facing towards the light and broad means that their chin is basically going away from the light okay in relation to where the camera is in the light and so forth so that's, really it. This is going to be one of the last things that we kind of play into when we're positioning our subject in relation to where our primary archy light is coming from. Is considering this and considering the overall effect that we want to have any image, if we want symmetry, if we want to show off and get that beauty in that perfect look, well, direct, flat and symmetrical light techniques are wonderful. If you want a short and slim the face a little bit too kind of slim down a person's, ah, figure or face, then short lighting is fantastic. And if you want to broaden someone who already has a very narrow features and very narrow face, then we would use broad lighting to open it up a little bit. Hopefully that I'll make sense. Let's, head on now to the next video.

Class Description


Lighting 101 follows in Photography 101's footsteps. Photography 101 takes students up through Manual Mode mastery and provides a foundation in natural light techniques and modifications. Lighting 101 picks up by teaching all about flash and light modification. But, just like Photography 101, we want Lighting 101 to be the most accessible lighting course available. So we teach you everything about flash lighting, light modification, ambient to flash balance, lighting patterns, off-camera lighting and even multi-point off-camera light setups. But, what makes Lighting 101 truly special is that we do all of this with nothing but your on-camera hot shoe flash. Every image shown and created in this course was created with a DSLR and just a single on-camera hot shoe speed light. 

Lessons

  1. Chapter 1 Introduction
  2. Why Just One On-Camera Flash
  3. 5 Reasons to Use Flash
  4. Common Flash Myths
  5. What Makes Flash Challenging?
  6. Chapter 2 Introduction
  7. Flash-Strobe vs. Ambient-Constant Light
  8. Flash vs. Ambient Light Exposure
  9. Flash vs. Ambient Demo
  10. Flash and Ambient Balancing for Natural Effect
  11. Flash and Ambient Balancing for Dramatic Effect
  12. Flash and Ambient Balancing for Creative Effect
  13. Understanding Flash Duration
  14. Chapter 3 Introduction
  15. 5 Common Key Light Patterns
  16. 5 Common Key Light Patterns w/ Diffusion & Fill
  17. 5 Common Secondary Light Patterns
  18. 3 Primary Subject Patterns
  19. Light Qualities
  20. The Inverse Square Law
  21. Inverse Square Law in Practice
  22. Corrective White Balance
  23. Creative White Balance
  24. Chapter 4 Introduction
  25. On Board vs. Hot Shoe Flash
  26. Full Feature vs. Manual Flashes
  27. TTL vs. Manual Control
  28. TTL vs. Manual Recycle Times
  29. Flash Power & Zoom
  30. HHS vs. ND Filters
  31. FCS vs. RCS
  32. Chapter 5 Introduction
  33. 4 Tips When You Must Use Direct Flash
  34. Bare Bulbing Done Right
  35. Grid Snoot + Direct Flash
  36. Mini Beauty + Direct Flash
  37. Ring + Direct Flash
  38. Understanding Modifiers
  39. Direct Flash + Shutter Flash
  40. Chapter 6 Introduction
  41. Ambient vs. Direct Flash vs. Bounce Flash
  42. Silver Bounce
  43. More Light Silver
  44. Soft White Bounce
  45. Overhead Bounce
  46. Overhead Bounce + Fill
  47. Event Bounce
  48. Chapter 7 Introduction
  49. Natural vs. Dramatic Light
  50. Filling and Refining Existing Light
  51. Coloring Light for Corrective Effect
  52. Coloring Light for Creative Effect
  53. Chapter 8 Introduction
  54. Case Study 1 - Dramatic Sunset
  55. Case Study 2 - Desert Sunset
  56. Case Study 3 - Sinister Headshot
  57. Case Study 4 - Family Portrait
  58. Case Study 5 - Athlete Portraits
  59. Case Study 6 - Working Angles
  60. Case Study 7 - Drag + Composite
  61. Case Study 8 - Less is More
  62. The Good Karma Jar
  63. Favorite Feature Flashes
  64. Favorite Manual Flashes
  65. Favorite On Camera Flash Modifiers

Reviews

Sid
 

The best class for understanding light and lighting there is bar none. Pye is an excellent teacher and the quality of the material provides for a rich and very informative experience. Pye breaks down the fundamentals in easy to digest packets and then elaborates as needed. If there is one class that you watch this is it! Worth purchasing and saving for future use. I would also HIGHLY recommend downloading the saving the PDF of slides that accompany the videos. Again, and can't say it enough, this is THE BEST video to lighting on Creative Live. A must watch for the novice and the expert.

George Gan
 

Pye...it was well worth your b.tt...Great training. I have learned some key lighting techniques from this training. His voice and training is clear except for his attempt at making jokes and singing...you should hire a new script writer for your Jokes...ha ha ha ha. With that said, if you are not a professional in lighting, you do gain a lot going through this training from front to end. Remember this is lighting 101 so don't expect too much...you want more technical and complexity, wait for Lighting 201, 301 or 401 ...

user-cf400f
 

AMAZING course. Great information for people just starting out with using a flash and manipulating light. Pye has a great sense of humor so he keeps you interested but still explains everything really well.