By Christopher Grey
Очень качественная книга об освещении в портретной съёмке известного американского фотографа. Много цветных иллюстраций, так что знать английский необязательно
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Extra info for Master Lighting Guide For Portraits Photographers
I raised the camera again and set up a Photodisc reflector 3 feet from my subject to open up the shadows. At this distance the ratio was 1:4 (images 93 and 93B). 5 feet toward my subject, gaining 1/2 stop of light, making the ratio 1:3. I also moved the camera up so my point of view was on an even level with his face, which made him automatically appear friendlier (image 94). Second Rembrandt Build. For this Rembrandt scenario I set my key light, an 18-inch dish with a 40-degree grid spot, aimed at my subject from high on camera left.
The hair lights were 6-inch dishes, also with 40degree grids, powered to 1/2 stop over the key (images 120 and 120B). Thinking that my client's face would be better framed with brighter light, and wanting to show the curl of her hair even deeper into the shadows, I increased the two hair lights to 1 stop over the key. Her skin color THE DIGITAL ADVANTAGE Since I made the jump to digital, I've found the process of getting a perfected image to be a creative exercise full of great photographs—a definite win-win situation.
A Image 70: Medium soft box. A Image 71: 36-inch umbrella. 5. Classic Lighting Styles LOOP LIGHTING The nose shadow is what distinguishes loop lighting from other lighting styles. To create a loop light pattern, the key light is set to throw a nose shadow that follows the lower curve of the cheek opposite the light (images 64-71). When it is in the correct position, the shadow from the key light covers the unlit side of the nose but does not extend appreciably onto the cheek. If this is allowed to happen, the nose shad- A (TOP) Image 72 A (BOTTOM) Image 72B > Image 73 37 ow will become too wide, making the face look broad and flat.
Master Lighting Guide For Portraits Photographers by Christopher Grey