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PORTRAITURE
PURPOSE OF A PORTRAIT
Most people have their portraits made because they want someone else to see how they look. There is a personal satisfaction of keeping ourselves clean and well groomed and we want others to see us to the best advantage and to think as highly of us as possible. It is the duty of the to capture the personality of his subject. The photographer will want to enhance a woman’s beauty or make man appear masculine by posing correctly and by using the right type of lighting.
HOW TO LIGHT A PORTRAIT
The following lights may be used as a standard set up for lighting a portrait or still life object. The lights are listed in their order of importance and sequence when setting up the lighting. If necessary any or all but the main light may be eliminated.
THE MAIN LIGHT
It is most important of all lights. It should approximate the effect of the sun. It should be set up first to stud y the overall effect of the picture. It is the strongest of all lights in front of the subject. The closer the main light is to the camera, the flatter the lighting. The greater the distance (in an arc) the more contrast.
THE FILL-IN LIGHT
Its purpose is to slightly lighten the shadows cast by the min light—not to wash them out entirely. Its function is to reduce the overall contrast in the negative. It should be a well diffused photoflood and of lower intensity than the main light or at a greater distance from the subject. It is best placed close to the camera and slightly higher than the lens. Placing it to the side may produce shadows with the shadows (criss-crossing of the shadows) which must be avoided.
THE ACCENT LIGHT
Its purpose is to add highlights and sparkle to certain important areas—in portraiture usually the hair. It must be used sparingly and with care to prevent spill-over on the other lighted areas—to be sure that it does not create a flare in the lens.
THE BACKGROUND LIGHT
Its purpose is to illuminate the background to produce a separation effect between the subject and background to produce a separation effect between the subject and background gives depth to the picture. Care must be taken so that it evenly lights the background and does not produce an even shadow areas unless desired. In a portraiture, it should not produce the same illumination as the flesh tones of the subject.
PORTRAITURE
IMPORTANT POINTS TO REMEMBER
THE SHADOW—It is interesting to note that the shadow, which is produced by obstructing light, is perhaps, the most important key in understanding the effects of light. If we place a light behind an object a shadow will be cast in front; if we place the light in front of an object the shadow will be cast behind. Although this appears to be all too obvious, a common fault with beginners is to completely neglect observing the presence of the shadow. Without the existence of the shadow, it would be impossible to distinguish form and our concept of visible objects would be entirely changed.
Light produces tow types of shadows. The cast shadow and the natural form shadow. The cast shadow is either a partial or total absence of light for an area, caused by a more or less opaque object in a position between the sources of light and the surface on which the light falls. This is the type of shadow that we are most conscious of—our own shadow, that of a flagpole, a building. Cast shadows are important because they add the effect of dimension in our photography.
The natural form shadow is one that does not depend on an obstruction to produce it, but it formed by a falling off of light. Fore example, if light strikes a spherical object such as a ball, the falling off of light as it rounds the curves of the sphere produces a shaded area—or natural form shadow. It is because of this falling off of light, that we recognize the shape in diminishing tonal values, which give us separation of planes, perspective and sense of dimension.
APPLICATION OF THE MAIN LIGHT Our first consideration in photographic lighting is, therefore, the effect of a single light on the subject. This original light that we use is called the main light or the key light. In order to properly apply photographic lighting we must be able to practically observe, not only the light reflected from the subject as a result of this main light, but also the shadows produced because of a falling off of this light and the shadow cast as a result of the subject obstructing this light.
We must realize that a cast shadow is as much a part of the composition as the object itself—for is not our picture composed only of light and shade. We must realize that a falling off light on the subject can be increased or reduced, according to the placement of the main light. We are, therefore, able to alter the composition of a picture and control form and shape by the placement of the main light.
When photographing outside, we have no control over the position of the main light—the sun. About the only thing we can do is to wait for the sun to change position. If, however, the subject to be photographed is movable, its position can be altered in relation to the sun and the desired lighting effect may be obtained. In using artificial light, the position of the main light is entirely under the control of the photographer.
POSITION OF THE MAIN LIGHT
If we place the main light in front of an object, the shadow will be cast behind. If the light is raised the shadow will be shorter. If the light is lowered, the shadow will be longer. This same effect is observed in sunlight when a t noon the shadows are short and unimportant while when the sun is on the horizon the shadows are long and impressive. The placement of the main light is primarily a practical consideration and depends on the nature of the subject, the camera angle, the intensity of the light and the effect desired.
As mentioned before, strict rules should not be set down for the techniques of photographic lighting. We can, however, advance our knowledge of basic lighting by observing the effects of placing a min light in different positions.
While the camera and subject remain stationary, we will move the main or key light around the subject, starting at the position of the camera. The height of the main light and its distance form the subject are not specified as they do not influence this illustration.
The light unit occupies almost the same position as the camera and will yield a shadowless flat lighting effect, sometimes referred to as two-dimensional lighting.
Cast shadows, for the most part, are entirely eliminated. Modeling or form is attained by the natural form shadow, and the various colors and tones of the subject.
The main light is placed 45 degrees from the camera position. It is considered that the effect produced here is more natural than with any other type of lighting.
Due to the naturalness of the modeling and the shadows formed, it helps to create a third dimensional effect.
The key light is positioned at a right angle to the camera and to the side of the subject. This contrast lighting as it will only illuminate one side of the subject.
In portraiture, the term descriptive of this is hatchet lighting.
The light is placed to the rear of the subject and at a 45-degree angle. Here we must be careful to shield the lens from any direct light form the light source. A lens hood or more often a gobo or headscreen will suffice.
Another descriptive term applied to this dramatic lighting is line lighting, since just the outline of one side of the subject is lit.
The light comes directly from the back of the subject and will tend to put the subject in relief. It is used for extreme dramatic effect.
In portraiture it is known as halo lighting. In most cases, the subject will shield the lens form the direct rays of light.
THE SECOND LIGHT
Having established the position of the key light, we will want to introduce a second light to control the density of the shadows.
If only the key light is used, the cast shadow will reproduce a solid back and the form shadows will be contrasty. If this is the effect we want, then no further illumination is required. However, if we want to see into the shadows and produce a continuous tone gradation between highlights and shadow, then a second light is required to lighten these shadows.
The degree of shadow illumination depends on the effect desired. The shadows may be brightened almost to the point of invisibility or they may be lightened so that detail is just barely visible. The degrees of luminosity of the shadow is, of course, controlled by the strength of the second light, or its distance form the subject. Lighting the shadow with a second light so that tones of the picture are produced in pleasing gradation is called balanced lighting.
In placing the second light we have only two considerations:
Since the only reason for utilizing a second light is to illuminate the shadow, or skill in using this second light will be in preventing unwanted secondary shadows that would only distract and alter our composition. Double shadows will also produce an unnaturalness in our lighting.
AVOIDING THE DOUBLE SHADOW
The double shadow is avoided by careful placement t of the second light so that a second shadow is not produced in our picture or by using a second light source that is sufficiently diffused so that it does not cast a shadow, or the shadow is very faint. The most effective fill-in light for a shadow is cardboard reflector, arranged in position so that it reflects back some of the light from the main light source. Light reflected in this manner is scattered and so diffused that cast shadows are barely visible.
As previously explained, the shortest shadow results form lighting that is directly overhead, while the longest shadows are produced when the light is in a position along the horizon line of the subject. We will want to keep this in mind if double shadows occur as a result of our fill-in lights.
QUALITY OF LIGHT
Before we go further into the subject of light and shade, we will want to study the construction of different lighting units and the quality of light they produce.
Since for all practical photographic purposes the sun is a lighting unit, lets’ start our analysis by examining the effects produced by natural light.
Sunlight, on a bright, clear day will cast sharp, crisp shadows. I f the day is bright, but cloudy, the shadows will be less sharp and somewhat diffused. On a dull day, shadows are hardly visible. The sharp shadows cast by direct, unveiled sunlight are the result of a concentrated undiffused, the shadows lose definition and become less visible.
This effect, which occurs naturally in daylight, can be duplicated and controlled when using artificial lighting. Sharp, well defined shadows are produced when we use a spot light, which concentrates the light of the lamp and sharply focuses its rays. Various degrees of diffused light are obtained by the use of the flood light in different types of reflectors.
FLOODLIGHT
Floodlights are used to cover a wide area. The field of coverage is such that the intensity of light falls off to the outer portions of the fields, the center being more intense.
The light source is usually a photoflood or a projection type bulb, placed in an open reflector that assumes various shapes. The larger and more spheric reflectors give broader and softer light, while the parabolic type yield a harder and more concentrated beam of light.
The inside of the reflector has a reflective surface, so that the light is directed forward. The finish of this surface is also a factor in the resulting character of the light produced. That is, a higher reflective surface will produce a harsher light. While if the reflector is a matte surface, the light will be more diffused.
The position of the lamp in relation to the reflector is also important, as it will affect the angle of the resulting beam –that is, make it broader or narrower.
The quality of light emitted by a flood light may be soft or hard depending on the type of bulb and the reflector used. If a "raw" lamp is used—that is, one that is not frosted, but made of clear glass, the quality of light will be harder and the shadows produced will be sharper.
A flood may be used as a main light. It is nearly always used as a secondary or fill-in light. A frosted photoflood lamp in a matte surface reflector will emit light that will produce soft shadows—similar to the effect created outdoors on a bright but cloudy day. If we place a diffusion material over the front of the reflector (such as tissue paper, spun glass or cheese cloth) the result will be to diffuse the light further and the effect will be similar to that obtained on a dull day.
Because of their wide covering power, flood lights are used to illuminate backgrounds—especially when even, flat background lighting is required.
SPOTLIGHT
A spotlight is constructed so that it concentrates the light of the lamp and projects the light to produce a sharply defined circular spot of light. The quality of the light projected is similar to that of direct, undiffused unlighted. The shadows cast by the sunlight are sharp and clearly defined.
The spotlight is used extensively in all branches of commercial and portrait photography, when a main light is required to "accentuate" or produce brilliant highlight effects.
A projection type bulb is the usual source of light, with a small reflector positioned behind it, and a lens in front of it, all of which is included in a lamphousing.
The more versatile spotlights allow for adjusting the position of the lamp to bring it either closer to or farther away from the lens. The closer the light source is to the lens of the spotlight, the broader will be the beam of light.
On the other hand, a Fresnel lens, one that appears to have concentric prisms cut into it, will eliminate these faults, and produce a more even and defined spot of light.
ELECTRONIC FLASH
The most modern lighting employed by photographers is the electronic flash. These units frequently have a power-pack built in on the light stand and have a caster base to permit easy movement of the unit. Studio-type units are powered by standard 115-volt Alternating Current. Most of these units have a built-in modeling light in the flashtube envelope. This allows the photographer to make a visual arrangement of his lighting on the subject and this will then be duplicated by the intense flash from the electronic units when they are triggered in synchronization with the camera shutter.
Rim Light—This is an unusual lighting for people who have a dominant profile. It is accomplished by placing a high intensity spot light behind the subject, making sure that it is completely hidden form the view of the lens. The subject should be turned at a 90-degree angle from the camera, and generally a black background will be used.
Glamour Light—Generally used on women. The subject is again facing at a 90-degree angle to the camera, but this time the light is placed directly in front of the subject’s face. A hair light is added, but nothing else. Again the background is generally dark. This is primarily used in photographing beautiful women.
Lighting Ratios—Lighting ratio refers to the intensity of the light at the subject between main and fill lights. Generally it will be in the neighborhood of 3:1—that is, the main light is 3 times as strong as the fill light.
Establishing the ratio—Since most studios are now using strobes, which have variable power settings, place both lamps at the same distance from the subject, and have one on 100 watseconds and the other on 50 watseconds. If the studio is still using floods, for the 3:1 lighting ratio, have the dark side of the face 1 stop darker then the light side. This will generally work out so that if the main light is 4 feet from the subject, the fill will be 5.6 feet away.
For women, you will seldom use above a 4:1 ratio, but with men, who have stronger features, you may use 6:1 or possibly a 10:1 ratio.
The portrait photographer should have a "Bedside" manner just as a doctor should. Talk to your subject and make him feel at ease and comfortable. It is best to have a 15-30 minute talk session with the subject before beginning the shooting session, to get to know the subject. It helps to explain what you are doing as you move around your subject, rather than just moving in a dark area like a ghost. This helps put the subject at ease. When photographing children with parts of their family, i.e., the mother, make sure that the mother holds a good pose so you can then worry about the child. Work with you subject for the best results. Try to show the subject as he is, rather than, as he wants to be. You may starve, but you will be honest.
A portrait photographer should understand that the primary objective is to idealize the subject. The interrelated techniques of improving the subject’s appearance through judicious posing, lighting, and camera angle should be used when necessary and possible. In many instances, more than one of the following suggestions will have to be employed. You must evaluate each subject individually and decide what your total corrective treatments should be. For guidance the following generally accepted practices are suggested.
