Portrait Lighting Hard

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Lighting in the studio Split lighting Loop lighting Rembrandt lighting Butterfly lighting Split lighting is exactly as the name implies – it splits the face exactly into equal halves with one side being in the light, and the other in shadow Loop lighting is made by creating a small shadow of the subjects noses on their cheeks. To create loop lighting, the light source must be slightly higher than eye level and about 30-45 degrees Rembrandt lighting Rembrandt lighting is named this because the Rembrandt often used this technique of lighting in his paintings Butterfly lighting You can identify Butterfly lighting with the butterfly shaped shadow that is created under the nose.This is achieved by placing the main light above and the camera. Broad vs short lighting Broad lighting means that the face is slightly turned away from centre, and the side of the face which is toward the camera (is broader) is in the light. This produces a larger area of light on the face, and a shadow side which appears smaller. Broad lighting is sometimes used for “high key” portraits. This type of lighting makes a person’s face look wider. Short Lighting The shadowed side of the face is closest to the camera. It is great for making faces look longer and more slender. Task1: Studio You must Produce at least one of the lighting types Split lighting Loop lighting Rembrandt lighting Butterfly lighting You should: add in your own creative ideas and show your understanding of the use of different lighting situations You could: Show the character and consider the message and communication that your image has evoked. .

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Master Professional Portrait Lighting with These 20 Essential Studio Setups
LIGHTING GUIDE Master professional portrait lighting with these 20 essential studio setups REMBRANDT WITH A PORTALITE SOFTBOX REMBRANDT THROUGH AN UMBRELLA REMBRANDT WITH A HONEYCOMB GRID REMBRANDT WITH A SILVER UMBRELLA KIT: One D-lite RX4 head, one Clip-lock KIT: One D-lite RX4 head, KIT: One D-lite RX4 head, KIT: One D-lite RX4 head, Stand, one Portalite Softbox one Clip-lock Stand, one 16cm Reflector, one Clip-lock Stand, one 18cm Reflector one Clip-lock Stand, one 16cm Reflector, Position the light high and to the side to one Shoot-through Umbrella with Honeycomb one Silver Umbrella create a triangle on the model’s cheek. The Position the light high and to the side as with Position the light in the same manner as the Position the light in the same manner as the shadow of the nose should point towards the the ‘Rembrandt with a Portalite Softbox’ previous ‘Rembrandt’ techniques; the light previous ‘Rembrandt’ techniques. The light edge of the lips. The Portalite creates a soft setup. The light is slightly less contrasty, through the honeycomb grid is stronger and bouncing from the silver umbrella is more directional effect. because the light is less directional more dramatic. The grid makes it very easy direct and wraps around the features of the and there is always some reflection to direct the light on to the model and away face yet still creates the shadow from the from the studio surroundings. from the background, which becomes dark. nose towards the mouth. REMBRANDT SHORT REMBRANDT BROAD SPLIT SPLIT WITH FILL KIT: One D-lite RX4 head, one Clip-lock KIT: One D-lite RX4 head, one Clip-lock KIT: One D-lite RX4 head, one Clip-lock KIT: One D-lite RX4 head, one Clip-lock Stand, one Portalite Softbox Stand, one Portalite Softbox Stand, one Portalite Softbox Stand, one Portalite Softbox, one Use the principles of ‘Rembrandt’ lighting Use the principles of ‘Rembrandt’ lighting Position a light to one side of the model in small reflector to create the triangle of light on the face.
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Rembrandt Remembers – 80 Years of Small Town Life
Rembrandt School Song Purple and white, we’re fighting for you, We’ll fight for all things that you can do, Basketball, baseball, any old game, We’ll stand beside you just the same, And when our colors go by We’ll shout for you, Rembrandt High And we'll stand and cheer and shout We’re loyal to Rembrandt High, Rah! Rah! Rah! School colors: Purple and White Nickname: Raiders and Raiderettes Rembrandt Remembers: 80 Years of Small-Town Life Compiled and Edited by Helene Ducas Viall and Betty Foval Hoskins Des Moines, Iowa and Harrisonburg, Virginia Copyright © 2002 by Helene Ducas Viall and Betty Foval Hoskins All rights reserved. iii Table of Contents I. Introduction . v Notes on Editing . vi Acknowledgements . vi II. Graduates 1920s: Clifford Green (p. 1), Hilda Hegna Odor (p. 2), Catherine Grigsby Kestel (p. 4), Genevieve Rystad Boese (p. 5), Waldo Pingel (p. 6) 1930s: Orva Kaasa Goodman (p. 8), Alvin Mosbo (p. 9), Marjorie Whitaker Pritchard (p. 11), Nancy Bork Lind (p. 12), Rosella Kidman Avansino (p. 13), Clayton Olson (p. 14), Agnes Rystad Enderson (p. 16), Alice Haroldson Halverson (p. 16), Evelyn Junkermeier Benna (p. 18), Edith Grodahl Bates (p. 24), Agnes Lerud Peteler (p. 26), Arlene Burwell Cannoy (p. 28 ), Catherine Pingel Sokol (p. 29), Loren Green (p. 30), Phyllis Johnson Gring (p. 34), Ken Hadenfeldt (p. 35), Lloyd Pressel (p. 38), Harry Edwall (p. 40), Lois Ann Johnson Mathison (p. 42), Marv Erichsen (p. 43), Ruth Hill Shankel (p. 45), Wes Wallace (p. 46) 1940s: Clement Kevane (p. 48), Delores Lady Risvold (p.
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The Meanings of Rembrandt
Gary Schwartz The Meanings of Rembrandt On Friday, 27 October 1797 the National Council of the Batavian Republic (1795–1801), the successor to the Republic of the Seven United Provinces (1581– 1795), voted to accept a present offered to it by the Brabant printmaker Lambertus Antonius Claessens (1763–1834). “The first proof of a labor of three years, being an engraving depicting The Night Watch, un- dertaken in order to make the masterpiece of Rem- brandt, that outstanding painter of the fatherland, better and better known to the Batavian people and other art-loving nations” (figs. 1–2).1 The Council Opposite side: accepted the gift and ordered the maintenance com- Rembrandt Harmensz. mittee to find an appropriate place to hang the work. van Rijn This event had multiple meanings for Rem- Portrait of the Artist brandt’s posterity. Until now his civic guard portrait as Saint Paul (detail), of the company of Frans Banning Cocq had been one 1661 of the six paintings commissioned in the late 1630s for Rijksmuseum, the new hall of the Kloveniers (the musketeers and cepting and acknowledging Claessens’s compliment Amsterdam pikesmen), which since 1715 had hung together in the to the artist as a potent if undervalued representative town hall on Dam Square. Now it was singled out on of Dutch artistic culture in the world at large. Fig. 1 (to the right) its own as an immortal masterpiece, with the nick- The apotheosis had been in the making for thir- From the resolutions name by which it was here called for the first time, the ty years in select circles since the publication in 1767 of the National Council Night Watch.
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6 Portrait Lighting Patterns Every Photographer Should Know
Close 6 Portrait Lighting Patterns Every Photographer Should Know A Post By: Darlene Hildebrandt In classical portraiture there are several things you need to control and think about to make a flattering portrait of your subjects, including: lighting ratio, lighting pattern, facial view, and angle of view. I suggest you get to know these basics inside out, and as with most things, then you can break the rules. But if you can nail this one thing you’ll be well on your way to great people photos. In this article we’re going to look at lighting pattern: what is it, why it’s important, and how to use it. Perhaps in another future article, if you enjoy this one, I’ll talk about the other aspects of good portraiture. Lighting pattern I’d define as, how light and shadow play across the face to create different shapes. What shape is the shadow on the face, in simple terms. There are four common portrait lighting patterns, they are: Split lighting Split lighting Loop lighting Rembrandt lighting Butterfly lighting There are also Broad and Short lighting which are more of a style, and can be used with most of the patterns above. Let’s look at each of them individually. 1. Split Lighting Split lighting is exactly as the name implies – it splits the face exactly into equal Split lighting is exactly as the name implies – it splits the face exactly into equal halves with one side being in the light, and the other in shadow. It is often used to create dramatic images for things such as a portrait of a musician or an artist.
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Introduction to Documentary
…Corto ¿Cómo hacer un Documental…? Preparado por Julio Cabrera, Melvin Vázquez & Camilo Guadalupe Agenda 1ra Parte ¿Qué es un Documental? Definición Lenguaje Audio - Visual para contar historias Trasfondo Histórico del Documental Ejemplos de documentales contemporáneos ¿Un problema, una propuesta y un resultado…? ¿Un documental que dure un minuto…? ¿Sólo tengo un celular para grabar? ¿Cómo empiezo mi video documental ? Agenda 2da Parte ¿Ahora, Cómo empiezo? *******Lo más importante es el proyecto, no el documental********** 1. Establece tu equipo de personas para la filmación “Crew”” 2. Establece el Argumento - La idea principal del “Reto a la Juventud” 3. Establece el arco dramático de tu historia 4. El video debe mostrar claramente estos 3 elementos de forma breve a. ¿Cuál es el problema? b. ¿Cuál es la solución propuesta? c. ¿Cuál es el resultado de la propuesta? 5. Uso de entrevistas de Investigación previa del tema 6. Lugares y personajes a considerar y elementos visuales 7. Preparación para grabación y atento a imprevistos 8. El guión final se reescribe en la Edición 9. Los 10 consejos para grabar una entrevista efectiva Agenda 3ra Parte ¿Qué Aspectos Técnicos de filmación necesito conocer? FOTOGRAFIA Entendiendo la Luz Técnicas para Iluminación de Entrevista Reglas de encuadre de cámara “Rule of Thirds” “Over The Shoulders” Tiros de cámara Agenda 4ta Parte ¿Qué Aspectos Legales debo conocer al grabar un video Relevos y Permisos Talento Adulto Talento infantil Facilidad Uso de música Derechos de autor Formularios de Relevo Cierre- Práctica de filmación de una Entrevista para un proyecto del Reto a la Juventud ¿Qué es un Documental? ¿Qué es un Documental? • Un documental es un video real o basado en hechos reales que informa a los espectadores acerca de un tema de la vida real, de una persona, acontecimiento o un problema.
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Tricks of the Light
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Photographic Lighting CS 178, Spring 2013
Photographic lighting CS 178, Spring 2013 Marc Levoy Computer Science Department Stanford University Outline ✦ taxonomy of light sources ✦ lighting for portraiture ✦ studio lighting ✦ special lighting problems ✦ flash photography 2 © Marc Levoy Taxonomy of light sources [Langer and Zucker, CVPR 1997] 3 © Marc Levoy Geometry for table on previous slide (contents of whiteboard) ✦ hx and hy give spatial extent of light source (zero or infinity, i.e. point or area), and hp and hq give angular extent (zero or infinity, i.e. parallel beam or fan beam) 4 © Marc Levoy How were these two shots lit? 5 (Hunter) © Marc Levoy Leonardo, study of umbra and penumbra Lighting for portraiture ✦ conventional studio lighting ✦ unconventional lighting ✦ available light ✦ narrative light 7 © Marc Levoy Yousuf Karsh (1908-2002) Yousuf Karsh, Winston Churchill, 1941 Yousuf Karsh, Audrey Hepburn 1956 Yousuf Karsh, Peter Lorre, 1946 Yousuf Karsh, Pablo Picasso, 1954 Yousuf Karsh, George Bernard Shaw, 1943 Photography in available light ✦ challenging ✦ worthwhile ✦ requires patience and luck ✦ always carry your camera 13 © Marc Levoy Yousuf Karsh, Georgia O’Keeffe, 1956 Richard Avedon, Oil Field Worker, 1980 Avedon working outdoors Richard Avedon, Sandra Bennett, 1980 Richard Avedon, for Christian Dior, 1956 Caravaggio, The Calling of St. Matthew, 1599 Robert Mapplethorpe, Skull, 1988 Studio lighting floodlight spotlight with reflective umbrella lights with diffusers (a.k.a. softbox) (Kodak) spotlight strobe 21 © Marc Levoy Adjustments on studio spotlights goniometric
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Rembrandt Lighting BRIDGETOWN CAMERA CLUB Rembrandt Lighting
Rembrandt Lighting BRIDGETOWN CAMERA CLUB Rembrandt Lighting Rembrandt lighting in photography is an easy way to create more dramatic, but natural images with minimal equipment. It is mostly used in portrait photography, as well as film making. Origins of Rembrandt lighting This type of lighting originates with Dutch master painters such as Rembrandt van Rijn. Rembrandt introduced the art world to his signature form of lighting subjects in his paintings. The style of lighting was copied by filmmakers and photographers, and named after Rembrandt. Rembrandt self-portrait How to achieve Rembrandt lighting? Rembrandt lighting usually uses one light and a reflector or two separate lights. It is characterized by a lit-up triangle underneath the subject’s eye on the less illuminated area of the face (fill side). This is known as the Rembrandt triangle. Traditionally, the triangle should be no wider than the subject’s eye and no longer than the nose. But many filmmakers adjust this rule slightly. You can alter the dramatic quality of this technique by adjusting the distance between the lights and the subject. Example of Rembrandt lighting using one light Set up example Here’s a basic Rembrandt lighting illustration of how to set up the shot. • Step 1: First, place your light source (key light) at a 45-degree angle with respect to the model’s nose. If using window light, you probably need to move the model around to achieve this. • Step 2: Make sure the light is just above the subject’s head, angled down. Don’t be afraid to make adjustments to the light by raising or lowering it as needed throughout the shoot.
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Rembrandt Lighting
Rembrandt the master... Promoter Lighting and advocate of what we call "Old Master's" or "Rembrandt" lighting. In the example to the right we see the classic sidelighting that begins to define the style. Continuing into the present day, successful modern portrait artists are familiar with and adept at this classic lighting technique. Combined with the three-quarter view of the face, this light- ing creates a very flattering effect (especially for women), slimming the face and highlighting the cheeks. In this Rembrandt original—Portrait of a Lady With an Ostrich- Feather Fan—note that the "narrow" portion of the face is turned toward the light, with the "broad" portion of the face falling into shadow, hence the term: "narrow lighting". During her bridal portrait session, Suzanne stated she wanted something "different" from the demure, standard bridal look... So we adjusted the lighting to accentuate the drama and we worked with some "high-fashion", contemporary poses. She was very pleased with the results—but guess what? This is simply a variation on the "Old Masters" lighting techniques that help the artist utilize light to create interest in the shadows. Many wags in the photography business say that we don't really capture the light—we capture the shadows. In reality it's a little bit of both. The interplay of the light with the subject allows us to shape the shadows (any way we like in a studio setting) for the needed drama and impact that makes for interesting images. Note in the images above the distinctive triangular patch of light under the eye on the shadow side of the face.
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Chiaroscuro Windmills
CHIAROSCURO WINDMILLS MATERIALS • White and black pastels (cabinet) • Black/blue paper or cardstock • White chalk • Drawing pencils and erasers • Paper windmill (cabinet) and black box- put on high podium for best viewing • Flashlight • PREP Cover tables with white paper and lay out white chalk, white and black pastels, pencils, erasers and paper per station. (while still seated in front) We are going to be learning more about a technique Rembrandt made famous called CHIAROSCURO. You are going to become a master of light and shadow by creating art depicting something Rembrandt could see from his house on the Breestraat, a WINDMILL. Before we begin, let’s learn a little more about windmills. (See HISTORY OF WINDMILLS). Now let’s look at the lighting Rembrandt made famous in his paintings. In fact, photographers use a lighting technique today called REMBRANDT LIGHTING in studio portrait photography. The light source is directed just under one eye, so half of the face is in light. (show example). In order to create the strong light-dark we will need to turn off the lights and use our flashlight to illuminate one side of this windmill. (flashlight can be jammed into hole from the inside of the box and tilted to hit on side of windmill- someone may want to hold it tilted). The lighting transforms the windmill into something exciting. (Can show dramatic effects on fake skull, as well.) (now go to your seats to create the dramatic version of the windmill) CHIAROSCURO WINDMILLS The term CHIAROSCURO refers to a strong juxtaposition of light and shade which results in a stunning visual effect on a work of art.
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Assignment 3: Rembrandt Lighting & Loop Lighting
Assignment 3: Rembrandt Lighting & Loop Lighting Art 328/Photographic Lighting Professor Julie Mixon Spring 2016 Overview: (repeated from Assignment 2) One of the classic styles of studio lighting is Rembrandt lighting. It is named for the master Dutch painter and etcher Rembrandt van Rijn because a particular way of depicting light on the face, which results in a triangular, shaped highlight underneath one eye. Rembrandt was a master of light and shadow and is often remembered for his use of chiaroscuro (Italian word for light-dark). To create this style of lighting a key light is placed near 45 degrees from the subject. The light passes over the nose. The nose creates a shadow and meets the shadow on the cheek (on the opposite side of key light). Rembrandt lighting can be created with a minimum of one light. However, a reflector is often used opposite the key light the fill in the shadow so that some texture can be seen on the shadow side of the face. This style of lighting is dramatic and is desirable for such a mood. Objective: The objective for this assignment is to create Rembrandt lighting with an “accent light” by using two lights. The key light will make the Rembrandt lighting pattern and of course, will be your main light. Remember, they key light (traditionally speaking) will be your most powerful light. You will meter the key light for your exposure. Use a second light source to accent the hair line of your subject. This second light will be less powerful than your main light (as the name accent light implies).
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Basic Photography Lighting.Pdf
What is Lighting Lighting Natural Artificial Styles of Lighting • Broad Lighting. • Short Lighting • Narrow lighting. • Butterfly Lighting. • Rembrandt Lighting. Broad Lighting • Broad Lighting The main light is positioned to illuminate (Brighter) the side of the face that faces the camera. • Used for corrective purposes • It will de-emphasize facial features Broad Lighting Broad Lighting Short Lighting Short Lighting The main light illuminates the side of the face that is turned away from the camera Broad Lighting VS Short Lighting Narrow lighting • Narrow lighting good for use in low-key portraits. • Short lighting has a narrowing effect Narrow lighting Butterfly Lighting • Butterfly Lighting Position the main light directly in front of the subjects face. • And adjusting the height to create a shadow directly under, and in line with, the nose. • Suited best for women. Not recommended for men since it tends to highlight the ears. Butterfly Lighting Butterfly Lighting Rembrandt Lighting • Rembrandt - Influential Dutch artist (1606- 1669) • Rembrandt Lighting Obtained by combining short lighting and butterfly lighting. • The main light is positioned high and on the side of the face that is away from the camera Rembrandt Lighting Rembrandt lighting • This lighting technique is used in studio portraiture. • The key in Rembrandt lighting is creating the triangle or diamond shape of light underneath the eye. • One side of the face is lit well from the main light source while the other side of the face uses the interaction of shadows and light Rembrandt Lighting • Rembrandt Lighting The triangle will illuminate just under the eye and not below the nose. • The positioning of the main light is usually about 45 degrees from the camera-subject axis and should be slightly higher than the subject.
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