After the last course Repeated reference was made to basic courses, I decided to take this now with the program.
parallel, I would like to put on the blog from time to time, short articles dealing with various photographic basics and imaging techniques.
today to kick off this and therefore I have in my archive old recordings dug out, which serve well as negative examples ... They come from my own first studio shoot, which I photographed at the beginning of my education. Based on these recordings - which actually was only because my model Julia still quite beautiful - shows some Rookie mistakes.
This post will deal with the concept of "clearing" something. While most beginners can not anfgangen with the term, he seems to somewhat more advanced amateur photographers to immediately pull Styrofoam plates, emergency blankets, folding reflectors and co before the inner eye ...
When lightening is called the lifting of the shadow brightness. This requires, therefore, that we have another light source that produces this shade. These shadows producing light source, the sun, a lamp, a flash or the like to be - and we must here now but make no further thought.
The brightening again - like many now expect good - caused by reflective surfaces such as folding reflectors, etc., but also by an additional light source or by the inclusion of ambient light. All we want is to raise the brightness of the shadow!
A common example is the case, often ignited automatically fill the camera. This is to compensate only sharp contrasts in the scene by raising the Schattenhelligket.
but now we want to brighten up with a reflector, this raises another question: namely, the placement of the brightener! In many Internet videos and shown us by many photo studios, these fill-in the areas frequently opposite the main light source - there is after all the shadows. This leads quickly to the fact that we have a - let's say "strange" - getting brightness distribution in the face of our model.
In the above example to the right of this error is clearly visible. The main light source, a medium softbox was just behind Julia, resulting in a separation light is along their nose. To brighten the dark side of the face, I then put a white Styrofoam plate right of the camera in about a 90 degree angle to the light. At Julia's left cheek, we see well these whitening. However, we have also seen our main error: During the cheek and nose are brightened beautiful, the area remains dark under her eyes and the front of her chin. This leads to a bad or false contouring of the face
In the left example is the whitening set better: The polystyrene plate was standing right next to the camera and therefore almost exactly parallel to Julia. Thus we achieve a brightening or from near the camera axis, so that the contouring of the facial features by remain the same Hauptlich, however, the shadow intensity was lightened. Now we have the classic "Rembrandt lighting", which is characterized by very deep shadows and the bright triangle under the eye of the dark side.
So here again for a short summary: I strongly advise people to brighteners (regardless of whether the lamp, reflector, foam board or similar) in place near the camera axis! That this is ALWAYS a better solution, one may say in photography not so, but at least this setting prevents light very well in the error contours of the face.
- Martin -
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