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Learn to Light BetterOnline ResourcesThe world of professional imaging is rapidlychanging. With new cameras creating higher resolution images, in lowerlight levels, some can be led to believe they no longer need to use lighting.Lighting is a creative process.The more in control of the its components you are, the more successful you canbe in realizing the needs of your production. Understanding the art & craft oflighting can help you do that.Good lighting can set a mood, and help createa sense of time & place. It can establish a sense of depth and help leadthe viewers eye thru the image, so that it is seen the way you want it to be.Lowel EDU is a free Lighting Resources Center atlowel.com. You will find a wealth of user friendly information for boththe new pro, and the experienced veteran. Take a look next time you are online.There is a lot to explore there, as you can see in these excerpts.Foundations of Lighting Placement (excerpt)Looking at the image player you will seethat the starting position for our Key lightis 6:00, the same angle that the camerashooting the closeups will also be placed.Lighting from this angle will be flat andstraight on, and there will be very littleshadow because the light source is comingfrom approximately the same angle as thecamera is seeing the subject. Notice theeffect on the subject as the Key light movesaround her. A normal position for the Keylight in conventional portrait or talkinghead type lighting is around 5:00 or 7:00.Which side you chose to light with theKey from depends on which one looksbetter on the subjects face for therequirements of the shot. Lighting fromthis position is sometimes called the"3/4 position", since the light is clearlyhitting 3/4 of the subjects face.This image player allows you to move the key light around the models face, to see the effect that lightingfrom different angles can have on an image.Some lighting angles are more flatteringthan others. Some angles are moredramatic with great contrast betweenthe areas of the face that are lit and thosethat are not, such as the 3:00 or 9:00positions. Some angles, such as the12:00 position behind her, are unsuitablefor most normal shots, unless you areinterviewing someone in the witnessprotection program. Keep in mind thatwe also had some low level ambient lighton, so you could see the positions inthe wide shots. Without that added light,the contrast effects would be even moredramatic. But, as you can see, there area number of creative possibilities thatone light can offer, just based on whereyou position it.Understanding Soft Light (excerpt)Outdoors, our subject is being lit by the sun, which, in reality, is much larger than thesubject. But, since its so far away, it appears smaller and therefore is light quality will be"harder". Note the sharp shadowsIndoors, our subject is being lit by a 250W Pro-light, which is much smaller than thesun, but also much closer. It still appears much smaller than the subject, and therefore islight quality will be "harder". These shadows are also sharp.Outdoors, our subject is now being lit by the overcast sky. Unlike the "point source"effect of the sun, the entire white cloudy sky is now the light source. In relation to oursubject, the source is much larger. It lights our subject from a very large angle, so its effectis ultra soft. Note how subtle the shadows are.Indoors, our subject is now being lit by a 750W Rifa eX 66. While its not as large asource as the overcast sky, it is a much larger source than the Pro-light, especially whenused this close. So the effect will be much softer than the Pro-light. Compare the shadowsbetween Pro & Rifa.78