What are the lighting techniques for studio photography?
The lighting techniques for studio photography were as follows: 1. ** Single Light Source **: Use only one light source to shoot, emphasizing the outline and structure of the subject. It can present a strong contrast between light and shadow, and has a strong visual impact. 2. ** Three-point lighting **: This is a commonly used lighting method. Through the combination of the main light source, auxiliary light source, and background light, the subject is more three-dimensional and the background is richer. It is suitable for most studio photography scenes. 3. ** Ring Light **: Use a ring light to shoot. The light is evenly surrounded by the subject, presenting a soft light effect. It is suitable for shooting portraits, makeup, and other scenes with rich details. When shooting with Rembrandt light effects, the shadow side of the subject's face could be faced to the camera, and the light could illuminate three-quarters of the face. The color reproduction of forward light was more realistic than side light. The front light was at a 45-degree angle to the character when shooting. In addition, different lights would have different effects on the shooting. For example, the main light was the preferred light that determined the lighting pattern of the subject. The main light of the modern studio was usually emitted by the soft light box. The light emitted by the soft light box was more uniform and easy to control. The auxiliary light was used to supplement the shadow. The light ratio of the auxiliary light and the main light could be adjusted by the illumination distance or output power. The background light was used to brighten the background, which could make the picture have a sense of space. Read more exciting novels for free
Lighting Techniques of Reflecting Plate in the Studio
Here are some lighting techniques for the reflective board in the studio: ** 1. Choose according to the characteristics of the reflective board ** 1. ** Silver Reflecting Plate ** - The silver reflective board reflected light and the color was cold. In the case of dim light in the studio, you can use the silver reflective board to reflect the light on the characters or objects, which can create a good eye light and make the eyes of the characters look more lively. However, it was necessary to pay attention to avoid the reflected light directly entering the subject's eyes and causing discomfort. It was necessary to adjust the appropriate distance and angle. 2. ** Golden Reflecting Plate ** - The reflected light was warm, suitable for shooting scenes that needed to create a warm atmosphere, such as shooting retro portraits or scenes that expressed a warm feeling. 3. ** White Reflecting Plate ** - The reflected light was gentle and natural. If you wanted to add a little light in the studio to perfect the details of the subject, a white reflective board was a good choice. 4. ** Black Reflecting Plate ** - The black reflective board was mainly used to absorb light. For example, when it was necessary to create a specific light and shadow contrast effect, the black reflective board could be placed on one side of the subject to create an obvious shadow, thereby increasing the layering and three-dimensional effect of the picture. ** 2. Use different reflection methods ** 1. ** Direct Reflection ** - Direct reflection occurs when the bright side of a silver, gold, or striped reflective plate is used to illuminate the subject. This method could reflect all the light absorbed by the reflective plate to the subject, but it might cause the subject to look directly at the light source. In portrait shooting, special attention should be paid to avoid direct light shooting into the model's eyes. The lighting operation can be carried out at a suitable distance. 2. ** Diffuse Reflection ** - When the light hits the less shiny white fabric (such as a white reflective board), it will be diffused, producing a softer, diffused light. This kind of light was more suitable for scenes that required a soft lighting effect, such as when shooting people's skin or object surfaces that needed to show a delicate texture. ** 3. Follow the shooting requirements ** 1. ** Filled with light ** - If the main light source in the studio produced a shadow on the subject, the light could be reflected to the shadow area by the reflective plate, so that the light would fill the subject evenly, thereby reducing the influence of the shadow and making the overall brightness of the subject more uniform. 2. ** Control contrast ** - By adjusting the angle and distance between the reflective board, the subject, and the light source, the contrast of the picture could be controlled. For example, when you want to increase the contrast of the picture, you can reduce the amount of fill light of the reflective board appropriately. Conversely, if you want to reduce the contrast, you can increase the amount of fill light of the reflective board. 3. ** Create the light in your eyes ** - The reflective board was placed in a suitable position so that the reflected light could form a bright spot in the eyes of the subject, thus creating a gaze light that made the character look more energetic and charming. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
Techniques and methods of exposure in studio photography
The exposure techniques and methods for studio photography were as follows: ** 1. Basic Mode Selection ** 1. ** Aperture priority (LV)** - First, he had to determine the size of the aperture he wanted. A large aperture (such as F2.8) had a large amount of light and a small depth of field, suitable for portraits or close-ups; a small aperture (such as F16) had a small amount of light but a large depth of field, suitable for landscape shooting. 2. ** Shutter priority (TV)** - By adjusting the shutter speed, the amount of light entering was determined. When the shutter speed is fast, the amount of light entering per unit of time is small, which can be used to freeze moving objects. When the shutter speed is slow, the amount of light entering per unit of time is large, which is suitable for shooting large depth of field images or displaying motion blur effects. 3. ** Manual Mode (m)** - Completely deciding the settings of the aperture, shutter, and other parameters required a deep understanding and mastery of the three elements of exposure. ** 2. Use of the three elements of exposure ** 1. ** Aperture ** - The size of the aperture directly affected the amount of light entering and the depth of field. A large aperture could get more light per unit of time, making the blurring effect obvious, while a small aperture was the opposite, making the blurring effect less obvious. 2. ** Shutter ** - The shutter speed controls the amount of time the light enters the camera. In the studio, if you shoot a static object, a slower shutter speed combined with the appropriate aperture and sensitivity can get enough exposure; if there are dynamic elements (such as the model moving slightly), you need to adjust the shutter speed according to the desired effect. 3. ** Light sensitivity (USB)** - The light in the studio was relatively controllable. In the case of sufficient light, the CPU should be reduced to the lowest to obtain fine image quality. Although a high IQ could make the image brighter, it would cause the quality of the image to deteriorate. Generally, raising the IQ was considered when there was insufficient light. ** 3. Other relevant factors ** 1. ** Metering Mode ** - ** Spot Metering **: Can be used to accurately measure the reflected light intensity of the object. It used the lens to measure the aperture size to determine the amount of light received and calculate the exposure value. - ** Average Central Focus Metering **: The average value is determined according to the distribution of the main light and the secondary light of a group of parallel light rays. This is a commonly used measuring method. 2. ** White Balance ** - Different white balance settings would affect the image. For example, when using a colored light source such as a tungsten lamp under sunlight, it is recommended to use a white fluorescent lamp. Incandescent lamps have a high color temperature and are close to the color of sunlight, which is suitable for simulating sunlight. 3. ** Use of Flash ** - It was decided whether to turn on the flash according to the situation on the scene. The flash was a tool to assist in the completion of special effects. In studio photography, the reasonable use of the flash could control the intensity and direction of the light. 4. ** Use of Soft Light Box (Elements that Affect Soft Light Effect)** - In a studio portrait shoot, the usage of the soft box affected the exposure effect. For example, under the same power flash, the larger the light box, the softer the light (the picture may be gray); the more layers of the light box cloth, the softer the light; the closer the light to the subject, the softer the light (the picture is not gray); the lower the light power, the softer the light (the picture is gray); the more the light is deviated from the subject, the softer the light (the picture is gray). 5. ** Exposure-compensation and Exposure-Histogram ** - In Aperture priority, Shutter priority, and P gear, the image would brighten if the exposure compensation was increased, and the image would darken if the exposure compensation was decreased. In the exposure Histogram, the distribution of light and dark is the best when the distribution of light and dark is concentrated in the middle; the distribution of light and dark may be overexposed if the distribution of light and dark is concentrated on the right side, so the exposure needs to be reduced. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
Lighting in the studio
There were many ways to light an indoor camera: - Single-light portrait shooting: Many photographers advocate single-light portrait shooting as if it was a sun. The light can be adjusted according to the subtle changes in the natural weather. Pay attention to the light, otherwise you can use the umbrella tool. Under strong light, the skin texture should be as good as possible. The position of the light should be on the person's head as much as possible. You can choose a soft umbrella to create a uniform light. - ** Multi-Light Portrait Shooting **: - In principle, there was only one main light source for multi-light shooting, and the other lights played a supporting role. For example, when two lights were used, one was the main light and the other was the supplementary light or auxiliary light; when three lights were used, one was the main light and the other two were the supplementary light or auxiliary light. - There were three points to note: First, soft light cover and reflective umbrella could be used according to the needs to soften the light; Second, due to the characteristics of the digital sensor, it may weaken the three-dimensional effect of the picture. In actual shooting, try to use a silhouette light to enhance the three-dimensional effect; Third, the actual shooting should be based on the distance and the characteristics of the light. - ** Double Lights Portrait Light **: A different way of light distribution from the traditional double lights is that the main light with a reflective umbrella is located at the upper left with 1/2 light output, and the auxiliary light with a soft light box is set on the right with full light output. The auxiliary light can emphasize the outline and the three-dimensional effect of the model, and the soft light can illuminate the rich details of the model. The exposure is based on the output light of the main light. This kind of light distribution was suitable for digital photography. It could make the main body of the model clear and three-dimensional. - ** Multi-light portrait lighting example (three lights)**: The traditional method is that the main light is softer on the upper left, there is an auxiliary light with a soft light box on the upper right, and there is a background light behind (suitable for a single-color background to make the background beautiful). The auxiliary light can enrich the details. This method of light distribution did not require high accuracy and was suitable for beginners. When shooting with many people or when the movement changes greatly, the main focus is on the direction and illumination area of the main light. Moving the main light can take photos with uniform light ratio. For example, two 1600W lights and a soft box were completely backlit. The front of the model was facing the direction of the mirror to illuminate the front and face. The backlit light outlined the outline of the model. The use of the mirror could make the model's face layered. When shooting, pay attention to the side light of the face and adjust it downward to prevent the outline light from disappearing and overexposing. - ** Common Light Type and Function **: - ** Main light **: It is the preferred light that determines the lighting pattern of the subject. It is usually emitted by the soft light box. The illumination distance and angle can be adjusted according to the needs. The exposure of the photographic image is determined by the main light. The main light could modify the face of the character, make up for the uneven skin color and the shortcomings of the face shape on the camera, and portray the appearance of the character to show the inner activities. - ** Fill-up Light **: It is used to supplement the lighting of the shadow part of the picture, making the shadow lighter. It is also emitted by the softbox. The photographer adjusted the power of the soft light box to control the depth of the shadow, so that the fill light and the main light formed the best light ratio. The soft box for fill light can be placed near the camera, on the other side of the main light, and at the same height as the lens to produce a uniform fill light effect. - ** Backlight **: Using the background as the light source. In most cases, there is a distance between the subject and the background. The function is to separate the subject from the background. The lamp should be behind the main body and higher than the main body. When using it, the color, distance, and lighting angle of the background should be fully considered and adjusted repeatedly. In addition, some special equipment could also be used for lighting. For example, when using a small portable projector as a light source, pay attention to its placement angle and strength. The projector is a hard light source. If you don't want the light to be too hard, you can use a soft light board in front of the projector, but it may sacrifice the clarity of the projected image. You can also use Christmas lights to hang it on the wall, so that the main character of the photo is in a position some distance away from the front. You can make shallow depth of field and beautiful bokeh effects by adjusting the aperture (f/1.4 - 3.5), using telephoto (50mm +), or close to the main character. There were also lighting techniques such as installing a 150B imaging lens and inserting an insert to emit window light, then adding a 500B ceiling light to make the light and shadow transition more natural, or using a 350W calfskin as a surface light, installing a spotlight in front of the lamp to emit window light, and then using foam boards to fill in the dark details. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
The lack of lighting in the studio
Low lighting in the studio could cause the following symptoms: - In terms of exposure, the details in the picture were covered by shadows. There were too many black parts, and there was insufficient exposure. - When shooting still life, the texture may be difficult to present, because the more light sources and the larger the light area, the better the texture of the still life. The lack of light may affect the texture performance. - When shooting with a single light, it might be affected by the environment and equipment. It would be difficult to find the angle of projection, and there would inevitably be shadows. Moreover, the light might be hard and lack flexibility, such as the lack of dark parts, face transition, background space, and three-dimensional effect. - In white studio shooting, the front fill light is easy to appear monotonous because of the small number of layers; when using a single light to arrange a specific light in the studio without other light sources (such as Rembrandt or Paramount light), it is easy to make the character appear cold and hard because of the large light and shadow. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
Jewelry photography lighting
There were many ways to set up lighting for jewelry photography. The following were the common ones: ** 1. Single lamp lighting method ** - Usually, the camera was shot from a side angle. This angle was more suitable for shooting jewelry such as diamonds, because the side angle did not have to worry about the camera lens creating shadows. A single lamp could make the light and shadow more three-dimensional and more penetrative. ** 2. Double Light Illumination Method ** - It was shot with two sheets of paper and two lights. When shooting, pay attention to adjusting the angle and distance of the lights to control the change of light and shadow on the surface of the product, so as to achieve the desired effect. Moreover, he had to pay attention to the light ratio between the two lights and make sure that the primary and secondary lights were clear. ** Three-lamp lighting method (Surrounding lighting method)** - The product was completely surrounded from three angles, leaving only the position of the camera to enter the light. Then, the light distribution was adjusted in three directions around the camera to capture the desired effect. The main light, auxiliary light, and outline light would change according to the subject of the shoot. This method was more friendly to newbies. There were different considerations for the lighting of different materials: - ** Diffuse reflective material **: For example, ancient gold, ancient silver, ivory, rhinoceros horn and other decorative ornaments. The material feature is that the light projected on the rough surface will be reflected in all directions. A beam of light will hit the product and reflect aimlessly. This kind of material was relatively easy to shoot, as long as the product was bright. - ** Fully reflective material **: Mainly made of pure gold, platinum, gold, platinum, silver, alloy, other synthetic metals, and other rare metals. The reflective surface is smooth, and the light is reflected in parallel. When a beam of light shines on the product, the light will produce a directional reflection characteristic according to the principle that the angle of incidence is equal to the angle of reflection. - ** Refraction material **: Most of them are gemstones, such as diamonds, red sapphires, emeralds, jadeites, corals, pearls, amber and other natural rare species. Tourmaline, turquoise, amethyst, agate, lapis lazuli and other semi-precious stones. When light slanted from one transparent medium into another, the direction of transmission would generally change. When a beam of light hit a product, a portion of the light would be reflected by the mirror, and a portion of the light would brighten the internal material. When setting up the light, they would usually use tracing paper, black, white, gold, silver reflective plates, spotlights, soft light boxes, and other tools to meet the needs of different jewelry. For example, for diamond jewelry, if you want to shoot a bright effect, you can use the fill light method to make the brightness of different sides and the highlight of different edges. If you want to completely eliminate the reflection on the jewelry, you can use tent-type lighting. Set up a "tent" on the top and around the jewelry with seamless paper to cover the surroundings, the top, and the front (only a hole that can be inserted into the lens and the light). The "tent" is illuminated softly and indirectly to make the light uniform. For gold and silver jewelry, most of them used direct light to make their color shine, achieving a golden effect. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
Model photography lighting
The following are some common lighting methods for model photography: 1. Butterfly Light (Paramount Light): - [Effect: It can achieve the effect of slimming the face. There will be a butterfly-shaped symmetrical shadow under the nose, which is a relatively beautiful and likable light.] - Light position setting: Place the light source above the model and point it at the model's cheeks, creating a dramatic shadow under the nose and chin. 2. Ring Light: - [Effect: The light effect created can be flat or narrow.] - Light position arrangement: Starting from the position of the butterfly light, the position of the light should be high enough to cast a perfect arc shadow under the cheekbone. Then, the light source should be moved slightly to the right or left to change the position of the light source until the shadow appears on the other side of the nose, forming a ring. 3. ** Rembrandt Light (Triangular Light)**: - [Effect: The transition is natural and smooth. The most important feature is the "triangle on the cheek." The picture looks both dramatic and natural.] - Light position arrangement: push the light slightly forward to the right or left of the ring light setting, and point the light at a steeper angle. When shooting, the shadow side of the subject's face is facing the camera. Use a light source and a reflective light source, or two separate light sources, to form a triangular light spot on the front part of the face (the projection of the brow bone and nose bridge, and the dark area of the cheekbone). 4. Split Light (Side Light): - [Effect: Easy to achieve indoors. It is suitable for creating a mysterious atmosphere. The scene will show a strong drama, showing the character's personality and temperament.] - Light position arrangement: The main light only illuminated half of the subject's face (the side of the subject, left in the shadows). 5. ** Edge Light **: - Effect: It is very suitable for separating the subject from the background and accentuating the outline. - Light position: Place a light source behind the subject and tilt it toward the back of the head. This auxiliary light source should be stronger than the main light source from the front to get more drama. 6. ** Revealing Light **: - [Effect: Prominent model's wide face.] - Light positioning: Turn the side that receives the light to the camera, or place the light source on the right or left side of the subject and tilt it towards her, and let the model move away from the light source and face the camera. 7. ** Skinny Light **: - [Effect: Makes the face look sharp and has a more three-dimensional feel.] - Light position arrangement: It was the opposite of the wide-light. After the wide-light photo was completed, the light source could be moved to the other side of the model. The model could also turn her body to the side of the light source and push the wide side of the face into the shadow. 8. ** Silhouette Light **: - [Effect: It is suitable for models who ignore the appearance of the model and pursue the outline of the body. It is suitable for models with three-dimensional facial features.] - Shooting method: Let the light part be exposed normally, and the natural dark part be exposed to black. 9. Backlight: - [Effect: It can create a hazy feeling. It is more effective for women.] - [Shooting requirements: It needs to be used with a reflective board, otherwise it will look like a silhouette shot.] 10. Narrow Light: - [Effect: The light can only be displayed at the edge of the model's face. When used with a reflective board, it can reflect a sense of mystery and concentration.] - Light position arrangement: The light position is behind the model. 11. [Contour Light]: - [Effect: Create a solemn and mysterious feeling, highlight the model's focused eyes, suitable for models with three-dimensional facial features.] - Light position arrangement: You can use it as a character's decorative light and place it behind the subject to make the hair have a high level of light, so that the face has a very good outline. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
Lighting for makeup photography
There were many ways to set up light in cosmetic photography: - ** Use natural light and auxiliary tools to light up **: The main light can be used to soften the bottle cap with a shadowless cover or create a bright effect. In the dark, without the use of a reflective board, the cosmetic picture can be shot with a more layered feeling. Pay attention to the position of the camera. For example, let the bottom of the bottle show a circular arc, and the camera lens is at the bottle cap to better show the shape of the bottle. - ** Multi-light combination and lighting arrangement **: - ** Lighting of specific products **: For example, when shooting cosmetics such as white plastic bottles and white painted aluminum tubes, in order to reduce the reflection and maintain the texture, soft light can be created by increasing the area of the light source and the distance between the light body and the diffusing layer. The methods to obtain soft light were to use tracing paper to shine, to use white fog to reflect light, to use shadowless cover, and to use tracing paper to shine light, and to maintain a considerable distance to achieve the required flexibility. After that, he adjusted the position of the light to make the product white and soft with obvious shadows. Next, light the bottom of the bottom plate with blue light. The intensity should make the shadow light blue but not too bright. Then, use the third light to apply the principle of reflective light. Put a light blue light paper on the light and hit it on the reflective plate to form a light blue to dilute the dark part of the product. The strength of each light is judged by the eyes. The blue light around and below cannot be stronger than the main light. In order to maintain the white impression of the product, it can be overexposed by about half a square. - ** Eye shadow tray lighting **: Take the Kazilan eye shadow tray as an example, you can use a flash plus a standard mask and a soft light screen to brighten the entire background; a flash plus a 30-degree beehive to brighten the eye shadow tray at the 2 o'clock direction of the camera; a flash plus a strip-shaped soft light box and soft light screen at the 11 o'clock direction of the camera to illuminate the side of the product to outline the structure of the right edge of the product and highlight the details of the dark side of the box; A white reflective cardboard was placed at the 1 o'clock position of the camera. It reflected the light from other flashes to illuminate the dark mirror area on the mirror. - ** Universal lighting settings (for reference only)**: If you use a Canon 6D camera and a 100mm 2.8 lens to shoot creative cosmetics scenes, you can use three SK400W, two radars, one standard mask, and two 145*250 soft screens. With the cube props, the setting parameters are: aperture: f13, shutter: 1/100, USB: 100, focal length: 100mm, white balance: 5200K, but when the lighting environment and light output are different, you should not completely copy the parameters. You should learn the lighting method and ideas. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
Lighting for macro photography
Lighting for macro photography refers to the technology and equipment used to illuminate small objects at close range. The goal was to create a perfect balance between shadows and highlights to highlight the beauty of the subject and reveal its subtle differences, allowing the photographer to evoke emotions and tell stories in the image by controlling the interaction between light and the subject. In macro photography, proper lighting was very important. Light affected all aspects of photography, such as color, contrast, focus, and depth of the image. The subjects of macro photography were often small and fragile. Some subjects were easy to disappear in the shadows or overexposed under strong light. Precise control of light could convey the beauty, texture, and details of the subject, giving the audience an intimate experience of the subject. The key concepts of macro photography lighting are as follows: 1. ** Strength **: It measures the intensity of the light shining on the subject. By adjusting the intensity, you can create a dynamic range of brightness and contrast in the macro photo, shaping the visual effect. 2. ** Direction **: The direction of the light is like the angle at which the performer on the stage projects the light. It determines the position of the shadows and highlights on the subject. Different angles will greatly change the mood and visual texture of the photo. 3. ** Diffuse **: Can be regarded as a natural light softening filter. Using a diffusing device or regulator to disperse light could reduce the glare of shadows and produce soft and uniform illumination on the entire subject. It was an important means to achieve a delicate balance between light and shadow. 4. ** Color temperature **: It is measured in Kelvin. It is similar to the filter in the photo application. It can determine whether the macro lens is warm (gold) or cold (blue). Mastering the color temperature helps to convey emotions and atmosphere through the interaction of light. 5. ** contrast **: refers to the contrast between the brightest and darkest areas in the image. The use of contrast can enhance the dramatic effect, emphasize the texture, and draw the audience's attention to specific details, thus creating a visual narrative. The lighting equipment used in macro photography included flashes. The flash at the top of the camera is more convenient, but pay attention to its strong shadows. You can use a diffusing device to soften its effect to achieve balanced lighting. In the actual shooting, different lighting conditions had different shooting techniques. For example, it was more suitable to shoot macro shots on cloudy days. The light was uniform, the light ratio was balanced, and the composition was good. On sunny days, due to the influence of clouds, trees, buildings, etc., there would be high and dark light areas. The subject should be selected to be shot with more uniform light. If it was all in the sun, the picture could be taken with less exposure to preserve the details, and the brightness could be repaired later. The lighting in the room was more complicated, and the principle of choosing a scene with uniform lighting was also followed. There were also some special lighting techniques, such as using fairy tale lights (miniature LED lights) for creative macro photography. Fairy lights came in many colors, and different colors would bring different tones to the photo. Because the fairy tale lights were not very bright compared to the ambient light, it was necessary to shoot later in the day. If the subject had shadows or it was cloudy, the shooting could start a few minutes before sunset. When using fairy lights, the lens aperture is usually selected to be as large as possible (such as f/2.8). After measuring the subject, the image can be deliberately underexposed. You can also use a macro lens or a fast lens such as 50mm f/1.8. When using the fairy tale lamp, the lamp can be placed directly behind or in front of the main body. When placed at the back, the shooting distance will be shortened if it is under high magnification or large aperture. The distance should be increased if it is further away from the subject or when using a narrow aperture. When placed in front, it should be close enough to the lens to maintain out-of-focus. In the case of insufficient light, using a flash is a better choice. When there is sufficient light, you can achieve pure natural light shooting, but sometimes in order to achieve certain shooting effects, you can use light even if there is sufficient light, such as to highlight the subject, simplify the messy background, or to make the subject appear special (such as when shooting a young ladybug that has just shed its skin). On the other hand, if there is enough light in the environment, do not use the light when it should not be used. You can judge whether the light is used from the perspective of the subject's eyes and legs. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
The general steps of lighting a studio are
There were the following steps to lighting a studio: 1. Confirm the camera position: This was the first step of filming in the studio. Only after confirming the camera position could the follow-up work be carried out smoothly. Otherwise, there might be other preparations that were ready but could not find a suitable camera position to shoot. 2. Order: - After confirming the camera position, the lighting operation was carried out. When shooting in the studio, the number of apertures was usually set at around T2.8 or T4. - Generally, different power lamps would be used, such as the main light of 5 Kilowatt or 10 Kilowatt and the effect lights of 2 Kilowatt and 1 Kilowatt. Their luminous intensity would determine whether the T2.8 or T4 light holes would be used. - For novice photographers who did not have an accurate grasp of the focus, they could reduce the aperture to T4 to reduce the difficulty of following the focus. - After determining the camera position and light control, the exposure point (middle exposure point) had to be determined. The position in the scene was determined according to the atmosphere and content of the performance. Then, the light and dark levels were controlled according to this exposure point. 3. Layered lighting: - Heaven Plate: - When lighting a traditional sky film, to give it a realistic feel, the light outside had to be two or even three notches above the exposure point. If there was a scene on the sky film, it could be adjusted to the second, third, or even fourth level of exposure. - When shooting night scenes, most of the brightness of the scenery was below the exposure point. The brightness of the sky film was at least below the exposure point to simulate the moonlight effect. - Base Light: - The base light was usually arranged by scattering light. In a large environment, a large area of soft light cloth could be hung up, and a large light source that formed an array could be used to hit the soft light cloth to form a scattering light area to complete the base light arrangement. - If the color of the furniture in the shed was dark and the surrounding environment was dark, a small lamp could be used to light up the furniture alone to brighten the furniture part in the picture and create a more realistic living environment. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
Illustration of sofa photography and lighting
The following is a sofa photography lighting method: 1. Four strong lights were used, two of which were in front, and the front light was measured from the left and right sides. This could illuminate the front part of the sofa from different angles, so that the entire front of the sofa had a more uniform light coverage. 2. Two strong lights were behind them, illuminating the painting on the wall and the coffee table from the left. Not only could it illuminate the painting and coffee table in the background, but it could also increase the layering of the sofa and the atmosphere of the environment by reflecting light or setting off the background. 3. A soft light was placed behind the shelf to illuminate the side of the sofa. This could fill in the light on the side of the sofa to prevent the side from being too dark. At the same time, the soft light could make the light transition more natural and reduce the shadows. 4. Each lamp was arranged at a bird's eye view angle, and the intensity of the light distribution was suitable for slight changes in the light and shadow. 5. If it was in the studio, the sofa could be placed in front of the seamless background wall, and multiple soft lights could be used to illuminate the ceiling without projection. The lights on the left and right sides of the front were lit at a lower angle. The lights on the right side were slightly brighter, and the lights on the left side were slightly dimmer. This not only increased the brightness of the bottom, but also made the sofa feel three-dimensional. He controlled the light ratio on both sides to be around 1:2. However, it should be noted that during the lighting process, it was necessary to avoid leaving reflective spots on the sofa, carefully adjust the angle of the light, and ensure that there were no shadows in the entire photo. Try to achieve a comprehensive flat lighting. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>