Backlighted portrait of a nude

Playing with the light and the window for this artistic nude portrait of the series Catastrophe and the Cure - portraits of the Women I loved, taken on Kodak Tmaxx 400 and Hasselblad 500c/m

Back light Nude

Taking advantage if the back light to make this shot on Kodak Tmaxx 400 and Zeiss Planar 80 with 500CM

Still from Films. A possible light diagram of a scene from Piazza Fontana: The Italian Conspiracy

 

Cinematography: Roberto Forza

Camera:Arricam LT, Arricam ST

Aspect ratio: 2.35:1

Format: 35mm

Film Stock: Kodak Vision

Piazza Fontana: The Italian Conspiracy (Romanzo di una strage) is a film that deals with a bombing at a major bank back in 1969 and whose authors were never found: it was surrounded by the popular belief that the Italian Government was somehow involved. That's why its cinematography is full of contrasts and chiaroscuro, like the screen shot above. This is a one light setting: a lightly diffused HMI light  placed outside the door, not to high, just above the characters' head, producing a strong silhouette and deep large shadows, meaning that the truth, what is untold, is far bigger than people are really told. It is a theatrical light which definitely adds drama to the image while the slanted angle stresses out the tension of the scene.

Stills from Films. A possible light diagram of a scene from Django Unchained

Cinematography: Robert Richardson

Camera: Panavision Panaflex Milennium XL2
Lens: Panavision Primo, E  Series, ATZ and AWZ2

Aspect ratio: 2.35:1

Format: 35mm

Film Stock: Kodak Vision 5213 200T, 5219 500T, Ektachrome 5285 100D

Robert's Richardson's cinematography in Django Unchained is very much his style: theatrical and unjustified use of light, sometimes harsh and producing blown highlights.  Like the screen shot above. The Key Light, probably an HMI, is placed above on the right and tilted down, it's quite hard,

producing deep shadows on the two characters and blowing the right shoulder, neck and hand of the character on the right. It clearly imitates the sun light exaggerating it. As we can see from the shadows of the small stool and the objects hanging from the wall on the right side of the frame, two soft Fill Lights were used, both placed on the left, pointing down to light Jamie Foxx and the other one low, pointing up at Walton Goggins' face.

Stills from Films. A possible light diagram of a scene from Snow White and The Huntsman

Cinematography: Greig Fraser

Camera: Arriflex 235, Arriflex 435 Advanced and ES, Panavision 65 HR and Milennium XL2, Red Epic
Lens: Panavision Primo, E and G Series, ATZ, System 65

Aspect ratio: 2.35:1

Format: 35mm, 65mm, Redcode RAW

Film Stock: Kodak Vision 5201 50D, 5207 250D, 5230 500T

Greig Fraser did a great job with the cinematography of Snow White and the Huntsman, a film that neither critics nor audience liked very much, combining 35mm and 65mm, along with some shots with the Epic. This is one of the very few scenes exclusively lit by natural light and it is a beautiful example of back lighting. This shot would not have been the same if Panavision E Series anamorphic lenses hadn't been used with the lovely and gorgeous typical flares they produce.

Knowing Light. Lighting set-ups (IV)

Missed part III? read it  here.

Let's continue with more light set-ups.

Rim Lighting. If the Key light is placed behind the subject only the outline will be illuminated leaving the subject in shadow. It is used to create silhouettes and express a sense of mystery and intrigue in a very artistic way. You can choose to soften the effect by placing a Fill light or a reflector in font of the subject. Rim lighting is very often used in conjunctions with more lights because it helps to separate the subjects from the background and to highlight hair.

Back lighting. When the rim lighting is not that extreme we have a light set-up which is especially used for translucent objects like bottles and glasses. The key light is normally doubled: two lights of equal power are placed on both side of the subject. You can either choose to light directly the subject or bounce the light with a white background. In both cases you have to be careful with light spills: to prevent this you need to use flags and lens hood.

High key lighting. This set-up is characterized for very bright mid tones, intentionally blown highlights and very few shadows. The key light is positioned on one side of the subject at 45º, while the fill light in the opposite side at the same degree. The background has to be white and illuminated by two background lights of the same power.

All these lighting set-ups are really variations of the triangle set-up we seen in this post. These are the basis but you have to feel free to add or remove lights, change positions, directing the subject towards one light or another and move around: you'll see how light and its effects change by doing so. This is the best way of learning to master light: practise and experiment.

Knowing Light. Lighting set-ups (I) The basis.

Unlike natural light, artificial light can be controlled to our discretion in every way: direction, intensity, angle, colour... When in a studio, you have infinite options to light a subject; there are photographers who only light with one lamp, others use 6, 7, 8 different lamps. There's not really a rule to decide the number of light points to use: what is important is getting the illumination and shadows you wanted with a light setting you are comfortable working with. 

If you are getting started to studio light, it may help you to know that there are some basics lighting set-ups most of photographers work with. But before explaining them it is essential to know the types of light yon can employ in a studio.

Key light. It gives the direction of light and the level of luminance of the scene (it's the most powerful lamp lighting the scene).

Fill light. It is used to fill up the shadows and reduce contrast. It may fall all over the scene or just on a part of it. It can be replaced by a reflector bouncing the key light.

Rim light. It is positioned behind the subject pointed to the subject's back. It separates the subject from the background creating a halo around the subject's outline.

Background light. As it name suggests, it lights the whole background or some small parts of it we want to emphasize.  It can be also used for creating patterns of light on a Cyclorama. 

Hair light. Similar to rim light but positioned higher and pointed to the hair highlighting it.

Texture light. Positioned on one side of the subjects. It is a must in fashion photography  because it reveals texture and the nature of the material.

Colour light. A frontal light which helps with colour saturation.

Now that you know the basis you are ready for the following step: how to position them. So stay tuned for the next post!