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Welcome to light source, your
definitive guide to everything you need
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to know about studio lighting for
beauty and portrait photography.
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In this extensive course, I will be
guiding you through the fundamental
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knowledge on light itself
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to understanding types of studio
lighting, flash, duration, power and more.
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I will also be looking at the key
equipment and accessories that you will
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need to create the most impactful
images.
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Later in the program, you will be
guided through over 45 exciting
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lighting setups suitable for almost any
size studio space.
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I cover creative lighting examples with
just one light,
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right through to a maximum of four
lights.
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And all of this will be done using only
the most standard and affordable
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lighting modifiers.
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We also look at business portraits,
location lighting and mixed lighting scenarios.
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And I explain the emotion of light and
understanding how to create mood and
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feeling through the careful control of
light.
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So no matter whether you only have one
light and a small space, or if you
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already have a range of accessories and
studio lights, this course will bring
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you the knowledge and confidence to
excel with your studio lighting.
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And remember, you can discuss each
section of this course with other
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fellow photographers or members of our
team in the comments section as you progress.
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Plus stick with us for future live
shows with further examples related to
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this course,
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I'm Karl Taylor, and I look forward to
being your guide in this, the most
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extensive and in depth course ever
produced on portrait studio lighting
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light source.
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So before I can show you a number of
amazing lighting setups that you can
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use and demonstrating
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different lighting modifiers from
reflectors,
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soft boxes to umbrellas,
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we really need to understand the
fundamentals
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of light, the fundamental principles of
light,
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and how light works, so that you can
benefit from that knowledge when you're applying
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these different lighting modifiers and
using these different lighting
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modifiers later.
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Now to get started, we're going to
start off with the most
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simple fundamental of light.
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And that's to do with the size of the
light.
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Here I have two light sources.
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One of them
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is a very small point light source,
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and the other one is a large, big soft
box.
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Now both of these light sources give a
dramatically
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different effect to the lighting or the
lighting style.
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And it's very important that we
understand how and why that happens.
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So our basic first rule of thumb is the
hardness, or the softness of the light
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and the way that dictates the shadows
that are cast,
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all the lack of shadows that have cast
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here.
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With a point light source, we will get
dramatically strong shadows.
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With a large light source, we'll hardly
see any shadows at all.
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To demonstrate that, I'm going to turn
the lights off,
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and I'm going to run some tests
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on a few different objects so that we
can start to learn how we can control
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the light.
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Ok.
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So now that we've turned off our video
filming lights,
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we're just left with our two
photographic lights.
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That's our two studio flashlights that
we'd use for photography.
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Now to demonstrate
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the principles of hard light and soft
light, and large light sources and
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small light sources.
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Let's just start with one of the light
sources.
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So I'm going to turn the large one off.
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And that leaves us with this point
light source.
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Now I'm just going to adjust the
position of this light source,
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angle it down
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at our object.
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Let's just get rid of these.
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We don't need these at the moment.
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And let's just take a look to start
with this balloon.
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Position it here.
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Now,
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what do we have?
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Well, immediately
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you can see with the point light source
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that we have the object illuminated.
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But we have a very clear, well defined
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shadow being cast from the object.
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Now, because this object is translucent,
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we're also seeing some of that shadow
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lightning up on the inside here,
because light is actually getting
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through the object,
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on to the table.
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Now, if we compare that to a solid
object, an opaque object like this chair,
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you can see that the shadows remain
solid because the object itself is solid.
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The key thing, though, to start off
with, the first thing we're looking at,
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is the definition of the shadows and
the strength of the shadow, the
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sharpness of the shadow.
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Now let's move on to
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the solid object.
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Let's look at another factor.
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So we have strong shadows.
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And we can see where there's breaks in
the shadow, where the light is getting
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through the object.
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But you'll notice, on this particular
object,
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where the light is striking the white
surface, this is clearly illuminated.
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But in the shadow sides it's obviously
much darker.
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And that's whether even being a white
object, if this object was gray, or
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dark, brown, or black, or something,
then these shadows would be even
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denser.
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So we have what we call high contrast
light that's where one side is lit
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brightly, the shadow side is very, very
dark.
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We call those dense shadows.
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The shadows are very dense and very
dark.
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Now on the translucent object, that
doesn't apply, because it is obviously transparent.
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So there are no shadow sides as such,
only the shadow being cast by the
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object itself.
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Now we're going to come back to the
density of shadows and how we control
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the density of shadows.
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Because this is a very, very important
part of good studio photography, and
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it's something that in my experience,
in training, hundreds and thousands of
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professional photographers, many of
them don't actually understand.
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And when we can control the density,
the density of our shadows, independently,
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we can learn how to create some amazing
lighting setups.
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But we'll be coming to that later in
this course.
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So let's now compare
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the shadows that we get with a large
light source, instead of the point
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light source.
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So that I'm going to bring the large
light source into position,
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and I'm going to position it
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in approximately the same position
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as the point light source,
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and then I'm going to turn
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the point like source off, but I'm just
going to get this up
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and at an angle from above, so the
direction
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of the light will be the same,
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right?
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So we're going to turn this light
source off and move it out the way,
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and we're going to bring our large
light source on
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and into position.
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Now
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look at the huge difference.
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The object is still illuminated,
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but the shadow
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has almost disappeared.
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There is a very, very soft shadow
remaining here,
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but it has no defined edge, it has no
sharpness, it has no shape.
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And the shadows have no density
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because
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we've changed to a large light source.
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Let's, compare it with the little chair,
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even with the solid object, the opaque
object, like the chair.
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Again, our shadows have completely
changed.
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We can see
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that the density of the shadows has
dramatically decreased,
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but also the definition of the shadow,
the shape of the shadow, has
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disappeared, and were just left with a
general soft shadow.
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Now, if you think about this,
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try to identify
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situations where you may have seen this
before, because you see this in the
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natural world.
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This slighting that you're seeing now
simulates what you might see on a
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cloudy overcast day, where you've got a
large blanket of white cloud,
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and the sun is being diffused by that
cloud and its casting soft
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shadows.
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If there was no cloud cloud,
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and it was a beautiful clear day with
the midday sun, you would have hard,
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sharp shadows, very similar to our
single point light source, because the
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sun in the sky
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looks like a single point light source.
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Now, going back to our large, soft
light here, the other thing that you'll
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notice is that the density of the
shadows is also reduced, because we
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have a lot more light reaching to other
areas and bouncing back into the object.
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So that's the first
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key principle that we need to
understand between hard light
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and soft light.
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We call a pointlight source that casts
strong shadows.
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We call that a hard
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light source.
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We call a large light
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a soft light source.
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And there are, of course, a number of
differences
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in between.
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We can even combine
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hard light and soft light to get a
mixture of some shadow and softer
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shadows as well.
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And we'll demonstrate that in one of
our next examples.
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But first we're going to look at some
other principles and fundamentals of light.
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Ok?
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I've brought a couple of reflector
panels, a white reflector to bounce
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some light in, and a black reflector,
which isn't a reflector at all, it
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actually sucks light away.
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And we call this a negative film.
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And what I want to demonstrate next is
the density of shadows and how we can
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use reflectors or another light source
to actually control the shadows.
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Let me pop those down for a moment.
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So we're going to use our little white
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stool chair to start with.
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But I'm going to go back to the point
like source for this demonstration,
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so that we can clearly see the shadows.
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So let's put this one on,
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and let's turn this one off
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for a moment.
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I'll move this one out of the way as
well.
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Now,
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if we have
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the object illuminated like, so I'm
going to go a little bit higher,
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actually, let's point this out as well
while we're here.
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One of the key things to notice with
shadows
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is the position of the shadows is
obviously dictated by the position of
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the light.
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So as we move the light source,
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you can see, we dramatically change the
position of the shape.
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Shadows.
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Just as the sun moves across the sky,
midday sun, the shadows are more
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underneath the object when the sun is
directly above.
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But as we position the light into
different positions, the shadows will
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go in a different direction.
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And this is obviously key to
portraiture and the shape of the
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shadows on the face, and will be
looking at that with some of our
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lighting demonstrations
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later on in the course.
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So we'll just start with the light at
this position.
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And what I want us to observe at the
moment
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is how, if this is the correct exposure,
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that the shadows will be slightly
underexposed.
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As a matter of fact, we need to see
that with a dark object as well.
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Here
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with a black object.
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If we now look, the dark areas on this
object are very dark because it is black
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on this side.
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So when we get the exposure correct for
the light source, with a point light
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source on this side,
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then the object in the shadows becomes
very dark whereas the white object
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is lighter.
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Soviously, we can still see some detail
in there.
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But again, this is something to
consider depending on the type of
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object or subject, or the clothes, or
the model, or the person that you're photographing.
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For the moment we'll stick with just
the white object
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to demonstrate
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we can control light in the shadows.
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So right now we have one light source,
just a single, simple point like source.
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And if I want to get more light into
this area,
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then I've got two choices.
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I can add
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another light source,
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or I can introduce a reflector.
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00:14:24,431 --> 00:14:25,865
And the reflector is the simplest
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way to bring light in.
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So if we look at the density of the
shadows.
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00:14:32,972 --> 00:14:36,476
As I bring this reflector in, you'll
see those shadows
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become a great deal lighter.
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So I take it away,
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I bring it in,
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00:14:42,916 --> 00:14:43,983
I take it away,
247
00:14:45,51 --> 00:14:45,919
and I bring it in,
248
00:14:46,252 --> 00:14:50,890
and you can see this huge difference
that's been made to the shadow side of
249
00:14:50,890 --> 00:14:51,524
that chair.
250
00:14:52,492 --> 00:14:55,362
Now the interesting thing about
bringing a reflector in
251
00:14:55,695 --> 00:14:56,796
is that it doesn't destroy
252
00:14:57,397 --> 00:14:57,797
the shadows.
253
00:14:58,98 --> 00:14:59,566
The shadows are still visible.
254
00:14:59,933 --> 00:15:02,35
The definition of the shadows are still
visible.
255
00:15:02,502 --> 00:15:05,305
All it does is it adds some light into
the shadows.
256
00:15:05,638 --> 00:15:08,441
It reduces the density of the shadows.
257
00:15:09,75 --> 00:15:13,613
And what it's doing is simply bouncing
some of our existing point lights, or
258
00:15:13,613 --> 00:15:16,149
some of it, is bouncing off of this
reflector panel
259
00:15:16,750 --> 00:15:17,384
into the shadows.
260
00:15:18,518 --> 00:15:22,756
Now the light source is also bouncing
off the wall there, back into the
261
00:15:22,756 --> 00:15:22,922
shadows.
262
00:15:23,289 --> 00:15:27,327
But because the wall is much further
away, the intensity of light bouncing
263
00:15:27,627 --> 00:15:28,661
back isn't as strong.
264
00:15:29,129 --> 00:15:34,734
So when we bring the wall or a
reflector closer, then we can increase
265
00:15:35,1 --> 00:15:36,903
the amount of light going into those
shadows.
266
00:15:37,470 --> 00:15:42,409
And that can be controlled simply by
the distance of the reflector away from
267
00:15:42,409 --> 00:15:43,43
the subject.
268
00:15:43,309 --> 00:15:46,46
So if we look at my face right now it's
quite harshly lit.
269
00:15:46,279 --> 00:15:48,14
I'm lit on this side,
270
00:15:48,581 --> 00:15:51,151
this side will be in fairly strong
shadow.
271
00:15:51,785 --> 00:15:53,586
But as I lift up the reflector,
272
00:15:54,20 --> 00:15:58,24
that side of my face starts to become
illuminated in the shadows who bring
273
00:15:58,24 --> 00:15:58,391
that up.
274
00:15:58,892 --> 00:16:01,127
And that starts to become illuminated
in the shadows
275
00:16:01,928 --> 00:16:02,395
here
276
00:16:03,129 --> 00:16:03,830
and here.
277
00:16:04,431 --> 00:16:06,399
Now the opposite effect
278
00:16:06,733 --> 00:16:09,69
is to take light out of the shadows.
279
00:16:09,636 --> 00:16:11,838
And that's where we'd use a negative
filthy.
280
00:16:12,572 --> 00:16:15,208
Now I just explained that at the moment
281
00:16:15,475 --> 00:16:18,78
some of the light is bouncing off the
wall
282
00:16:18,678 --> 00:16:20,313
back into the shadows here,
283
00:16:20,814 --> 00:16:25,585
some of the light is bouncing off of
the white table surface back into the shadows.
284
00:16:25,852 --> 00:16:30,824
So if we actually want to decrease the
amount of light in the shadows, then we
285
00:16:30,890 --> 00:16:33,59
need to cut some of that reflected
light out.
286
00:16:33,159 --> 00:16:35,829
So if we have a look at the shadows
again, on the side of the chair,
287
00:16:36,196 --> 00:16:38,565
and then I bring the negative fill in,
288
00:16:38,898 --> 00:16:41,701
we can see that those shadows will get
darker.
289
00:16:42,435 --> 00:16:46,673
It's only slight on this effect here,
because we still have quite a lot of
290
00:16:46,673 --> 00:16:47,807
light bouncing off the table.
291
00:16:47,941 --> 00:16:53,113
But if I actually cover the table, you
can see the side of the chair get a lot darker.
292
00:16:54,114 --> 00:16:57,617
There we go, because at the moment a
lot of light is bouncing off of the
293
00:16:57,617 --> 00:16:58,685
table back into the shadows.
294
00:16:58,918 --> 00:17:00,20
Because the table is white.
295
00:17:00,420 --> 00:17:01,788
Light is bouncing off the wall.
296
00:17:01,855 --> 00:17:05,291
So if I block the wall and the table,
we can see
297
00:17:05,625 --> 00:17:07,360
the density of the shadows
298
00:17:07,527 --> 00:17:08,628
increases.
299
00:17:09,129 --> 00:17:10,864
We get stronger shadows
300
00:17:11,464 --> 00:17:14,868
on the shadow side of our object.
301
00:17:15,368 --> 00:17:20,974
So that's negative film and a positive
fill, which we just simply call a reflector
302
00:17:21,374 --> 00:17:22,275
being the white one.
303
00:17:22,575 --> 00:17:24,177
Now we do use different types of
reflectors.
304
00:17:24,577 --> 00:17:28,114
Sometimes we use mirrors, or we use
silver reflectors or gold reflectors,
305
00:17:29,149 --> 00:17:30,750
which all give a slightly different
effect.
306
00:17:30,984 --> 00:17:34,187
Obviously, a gold reflector or, a
colored mirrored reflector, would
307
00:17:34,254 --> 00:17:38,358
bounce a little bit of colored light
back into those shadows, and we can use
308
00:17:38,491 --> 00:17:40,493
that for creative effect.
309
00:17:41,394 --> 00:17:47,200
Now a reflector is one of the ways that
we can control light in our shadows.
310
00:17:47,634 --> 00:17:51,204
The other way is to actually use
another light source.
311
00:17:53,940 --> 00:17:55,775
Now by using another light source,
312
00:17:56,910 --> 00:17:59,846
we actually have a lot more control.
313
00:18:00,413 --> 00:18:02,449
Because a reflector
314
00:18:02,916 --> 00:18:03,983
is limited
315
00:18:04,517 --> 00:18:07,187
to the amount of light that it can
bounce back.
316
00:18:07,620 --> 00:18:11,858
It's limited by the power of the point
light source or the light source that
317
00:18:11,858 --> 00:18:12,192
it's reflecting.
318
00:18:12,892 --> 00:18:17,130
But if we actually introduce another
light source instead of the reflector,
319
00:18:17,464 --> 00:18:23,303
then we can control the power of that
light up and down on the flash power
320
00:18:23,636 --> 00:18:24,270
output settings.
321
00:18:25,71 --> 00:18:26,406
And we can dictate
322
00:18:26,673 --> 00:18:29,109
how much light we get into these
shadows.
323
00:18:29,876 --> 00:18:31,344
So at the moment,
324
00:18:31,611 --> 00:18:35,81
the power of this light is just the
modelling lamp we're seeing.
325
00:18:35,315 --> 00:18:35,682
If I just
326
00:18:35,849 --> 00:18:38,718
turn it off, you can see the light
disappear.
327
00:18:38,985 --> 00:18:42,889
But I'm just going to adjust the power
of that modeling lamp.
328
00:18:44,190 --> 00:18:45,925
Let me just go into the settings
329
00:18:48,628 --> 00:18:49,295
now,
330
00:18:49,929 --> 00:18:51,664
as I change the power
331
00:18:52,832 --> 00:18:57,103
of the modeling lamp, though that's the
light that you can see on at the moment.
332
00:18:57,637 --> 00:18:59,506
As I change the power of that light,
333
00:19:01,641 --> 00:19:04,411
you can see the amount of light in the
shadows changes.
334
00:19:05,545 --> 00:19:06,880
So I increase
335
00:19:07,313 --> 00:19:08,982
the light and the shadows become
brighter.
336
00:19:09,215 --> 00:19:10,717
The shadow is still there,
337
00:19:11,451 --> 00:19:16,423
but I have much more control over the
shadows than simply using a reflector,
338
00:19:17,57 --> 00:19:20,493
because I'm able to control the amount
of light
339
00:19:21,227 --> 00:19:27,33
from this direction, and therefore the
level of brightness in the shadows,
340
00:19:27,634 --> 00:19:28,968
let's take that down again,
341
00:19:29,536 --> 00:19:30,570
and those shadows
342
00:19:31,137 --> 00:19:31,504
will become
343
00:19:32,305 --> 00:19:32,972
darker.
344
00:19:33,540 --> 00:19:34,574
Take it up again,
345
00:19:35,208 --> 00:19:37,744
and those shadows will become lighter.
346
00:19:38,111 --> 00:19:41,915
But notice the definition of the
shadows, the shape of the shadows,
347
00:19:42,182 --> 00:19:46,353
everything there remains the same,
because this light is still the
348
00:19:46,353 --> 00:19:47,320
dominant light source.
349
00:19:47,454 --> 00:19:49,289
It's the most powerful light source,
350
00:19:50,657 --> 00:19:53,793
based on the settings that I have, the
two lights at the moment.
351
00:19:54,361 --> 00:19:58,498
And this is one of the key things to
photography is all about the balance of
352
00:19:58,732 --> 00:19:58,898
light.
353
00:19:59,399 --> 00:20:01,868
Sometimes you'll hear the phrase the
ratio of light.
354
00:20:02,35 --> 00:20:03,803
I prefer to call it the balance of
light.
355
00:20:03,937 --> 00:20:07,240
It's whether this light is more
powerful or that light is more
356
00:20:07,307 --> 00:20:07,474
powerful.
357
00:20:07,941 --> 00:20:11,77
At the moment, this light's more
powerful, so the shadows are more
358
00:20:11,144 --> 00:20:13,79
dominant from this side.
359
00:20:13,213 --> 00:20:14,280
And being cast this direction,
360
00:20:15,315 --> 00:20:17,617
this light is what we call a fill
light.
361
00:20:18,184 --> 00:20:19,953
It is filling in the shadows.
362
00:20:20,754 --> 00:20:22,255
And as you see here,
363
00:20:22,589 --> 00:20:25,592
you can see the density and strength of
those shadows
364
00:20:25,759 --> 00:20:26,893
changing
365
00:20:27,227 --> 00:20:29,596
as I change the power of
366
00:20:29,796 --> 00:20:30,597
the fill light.
367
00:20:31,131 --> 00:20:34,868
This is a key fundamental aspect of
368
00:20:35,135 --> 00:20:35,869
studio lighting.
369
00:20:36,169 --> 00:20:37,771
And studio photography
370
00:20:38,505 --> 00:20:42,876
it's even required when we are using a
soft source.
371
00:20:43,143 --> 00:20:46,913
So even with a soft light source, where
there are virtually no shadows, there
372
00:20:46,913 --> 00:20:49,749
is still a shadow side to the object.
373
00:20:50,116 --> 00:20:54,754
Especially if that object is a dark
object, a black or dark gray object,
374
00:20:55,155 --> 00:20:56,589
those shadows will be stronger.
375
00:20:56,890 --> 00:21:01,928
And we will need to use a reflector or
a fill light if you want to increase
376
00:21:02,729 --> 00:21:04,330
the shadow detail.
377
00:21:05,65 --> 00:21:05,231
Ok?
378
00:21:05,465 --> 00:21:08,568
Next we're going to look at contrast
and texture,
379
00:21:09,703 --> 00:21:11,538
so that we can explore and examine
380
00:21:12,672 --> 00:21:14,274
what type of light you might use.
381
00:21:14,507 --> 00:21:17,277
Four different types of objects or
subjects.
382
00:21:17,711 --> 00:21:22,816
For example, we might want to create
strong texture and strong shadows by
383
00:21:22,916 --> 00:21:26,519
using a point light source, or we might
not want strong shadows.
384
00:21:26,820 --> 00:21:29,289
So we'd need to use a large, soft light
source.
385
00:21:29,622 --> 00:21:33,626
We're going to bring in two objects
now, one that will benefit from soft
386
00:21:33,860 --> 00:21:37,430
light, and one that will benefit from
hard light, and compare the both.
387
00:21:41,267 --> 00:21:41,768
So
388
00:21:42,235 --> 00:21:42,869
to
389
00:21:44,504 --> 00:21:47,507
help us with this demonstration, I have
a sponge
390
00:21:48,8 --> 00:21:48,641
and
391
00:21:49,142 --> 00:21:49,909
a violin.
392
00:21:50,577 --> 00:21:50,744
The violin
393
00:21:51,778 --> 00:21:55,315
is glossy and has some large, glossy
surfaces.
394
00:21:55,949 --> 00:22:00,587
It does have some texture and small
areas of detail as well, but are more
395
00:22:00,754 --> 00:22:04,824
interested in the large, broader,
glossy surface in this example.
396
00:22:05,859 --> 00:22:06,993
And then I have a sponge,
397
00:22:08,28 --> 00:22:11,197
which is pitted with lots of small
holes.
398
00:22:11,531 --> 00:22:16,503
And we're going to take a look at how
those record differently with soft
399
00:22:16,736 --> 00:22:21,107
light and hard light and see which one
suits each object.
400
00:22:22,175 --> 00:22:24,811
Ok, so we'll start with these two
objects,
401
00:22:25,211 --> 00:22:27,947
and we're going to start with the point
light source.
402
00:22:28,181 --> 00:22:31,51
So i'll turn the large light source off.
403
00:22:31,451 --> 00:22:35,155
So we're going to go with hard light
from a small light source.
404
00:22:35,555 --> 00:22:38,658
But I'm just going to lower the
position of the light a little bit to
405
00:22:38,658 --> 00:22:40,160
create longer,
406
00:22:40,660 --> 00:22:41,461
stronger shadows.
407
00:22:42,262 --> 00:22:42,896
You can see there.
408
00:22:42,996 --> 00:22:44,998
As I lowered the light, the shadows got
longer.
409
00:22:45,131 --> 00:22:48,968
Let's just check that again, lights
higher, lights lower, and
410
00:22:49,636 --> 00:22:56,109
that will change the texture as we
graze our objects with light, then the
411
00:22:56,509 --> 00:22:58,411
texture will increase.
412
00:22:59,45 --> 00:22:59,512
Now
413
00:23:00,180 --> 00:23:04,150
the interesting thing is that each of
these items
414
00:23:04,651 --> 00:23:06,386
will look better
415
00:23:06,920 --> 00:23:08,655
with a different light source.
416
00:23:08,988 --> 00:23:14,427
If we start off with the sponge, we can
see the small craters or holes in the sponge.
417
00:23:15,628 --> 00:23:16,730
They are what define
418
00:23:17,864 --> 00:23:20,333
that it is actually a sponge.
419
00:23:21,134 --> 00:23:25,638
Without those holes in there, it would
be difficult to see the texture or see
420
00:23:25,705 --> 00:23:27,674
the effect of it as a sponge.
421
00:23:28,274 --> 00:23:32,345
So to properly describe this object as
a sponge photographically
422
00:23:34,14 --> 00:23:38,284
than lighting it with some form of
harder light or point light source,
423
00:23:38,918 --> 00:23:41,454
allows us to reveal that texture
424
00:23:41,721 --> 00:23:41,955
and detail.
425
00:23:43,156 --> 00:23:49,562
Now if we look at the violin, whilst it
might look ok, it wouldn't be my first
426
00:23:49,696 --> 00:23:55,301
choice of lighting for this particular
object, I probably want a broader soft
427
00:23:55,635 --> 00:23:57,137
light on the violin.
428
00:23:58,271 --> 00:24:03,209
But a broader soft light will not work
very well on the sponge.
429
00:24:03,343 --> 00:24:04,10
Let's
430
00:24:04,411 --> 00:24:05,445
demonstrate that
431
00:24:06,12 --> 00:24:08,481
as a comparison side by side.
432
00:24:09,382 --> 00:24:10,717
So we can see, in this
433
00:24:11,151 --> 00:24:14,387
side by side split screen comparison,
434
00:24:15,55 --> 00:24:15,989
the difference
435
00:24:16,656 --> 00:24:17,924
on the sponge
436
00:24:18,758 --> 00:24:20,627
whether we have hard light
437
00:24:21,227 --> 00:24:22,228
or soft light.
438
00:24:23,129 --> 00:24:24,764
So look at the two examples.
439
00:24:25,231 --> 00:24:29,936
You can clearly see how with the hard
light source, that's the point light source,
440
00:24:30,670 --> 00:24:32,172
we define the texture
441
00:24:33,239 --> 00:24:33,640
much better.
442
00:24:34,741 --> 00:24:38,44
With the point light source than we do
with the soft light.
443
00:24:38,345 --> 00:24:42,716
So for this particular object, the
point light source looks more appropriate,
444
00:24:43,149 --> 00:24:45,952
but we can also control the amount of
fill light.
445
00:24:46,353 --> 00:24:48,588
Remember, by bringing in a reflector.
446
00:24:49,289 --> 00:24:54,761
So in this example, you can see how the
shadow sides become slightly filled in
447
00:24:54,894 --> 00:24:56,629
as we bring that reflector in.
448
00:24:57,397 --> 00:25:02,836
So that shows the differences between a
large light source and a point light
449
00:25:02,902 --> 00:25:05,238
source on the very textured object.
450
00:25:06,272 --> 00:25:07,640
Now let's take a look at
451
00:25:07,874 --> 00:25:10,877
a split screen on the violin
452
00:25:11,711 --> 00:25:11,878
soul.
453
00:25:12,412 --> 00:25:14,414
Again, we can see, in this instance,
454
00:25:14,981 --> 00:25:21,154
the violin is better suited to the
large light source, to the softer light
455
00:25:21,321 --> 00:25:26,559
source, with the more broad lighting
illuminating those glossy, broad surfaces.
456
00:25:26,893 --> 00:25:30,363
And you can see in the side by side
comparison, how we have very strong
457
00:25:30,730 --> 00:25:33,433
dark shadows with the point light
source,
458
00:25:33,933 --> 00:25:34,434
but we have
459
00:25:35,468 --> 00:25:39,406
much softer shadows, or no shadows,
with the large light source.
460
00:25:40,40 --> 00:25:41,74
Now let's look at a comparison
461
00:25:42,175 --> 00:25:45,245
with and without a reflector brought
in.
462
00:25:45,311 --> 00:25:47,347
So we'll bring the reflector in,
463
00:25:48,915 --> 00:25:50,250
take the reflector away,
464
00:25:51,51 --> 00:25:52,786
we'll bring the reflector in,
465
00:25:53,620 --> 00:25:55,321
and we'll take the reflector away.
466
00:25:56,89 --> 00:26:00,260
So hopefully this demonstration gives
you a clear idea how in certain circumstances,
467
00:26:01,461 --> 00:26:03,863
we might want to use a broad, large
light source.
468
00:26:04,330 --> 00:26:04,998
And in other circumstances,
469
00:26:06,32 --> 00:26:11,304
we might want to use a point, small
light source to create texture and
470
00:26:11,471 --> 00:26:12,639
strong shadows.
471
00:26:13,306 --> 00:26:16,9
Next we're going to look at the three
dimensionality
472
00:26:17,310 --> 00:26:18,411
of objects
473
00:26:18,678 --> 00:26:20,747
and lighting objects to reveal that.
474
00:26:21,481 --> 00:26:23,149
Now every object is different.
475
00:26:23,450 --> 00:26:26,820
We've either got different surface
materials, different textures,
476
00:26:27,854 --> 00:26:28,254
different smoothness,
477
00:26:29,289 --> 00:26:30,357
or different shapes.
478
00:26:30,657 --> 00:26:33,793
So for example, the human face and body
has lots of irregularities
479
00:26:34,828 --> 00:26:38,31
and different features and different
shapes that will cause and cast
480
00:26:38,264 --> 00:26:38,431
shadows.
481
00:26:39,232 --> 00:26:44,304
The texture of skin is also quite
unique, and reflects light in a certain way.
482
00:26:44,838 --> 00:26:48,808
Here we have a cylinder, which is a
sort of semi gloss
483
00:26:50,410 --> 00:26:51,378
finish in metal.
484
00:26:51,878 --> 00:26:56,116
And here we have a painted texture,
which is a lot more mat, but still has
485
00:26:56,349 --> 00:26:57,617
a slight shine to it.
486
00:26:58,18 --> 00:27:02,188
So what I want to do is demonstrate how
using different types of light sources
487
00:27:02,989 --> 00:27:07,327
will reveal different things about the
objects and different things to do with
488
00:27:07,394 --> 00:27:07,861
their three dimensionality.
489
00:27:09,396 --> 00:27:13,633
Now we'll start off just briefly here
with the point light source again.
490
00:27:13,933 --> 00:27:18,738
And we can see how the shadows are
strongly affected by the position of
491
00:27:18,838 --> 00:27:19,239
the light.
492
00:27:19,539 --> 00:27:22,108
And wherever I move the light we'll see
the changes.
493
00:27:22,909 --> 00:27:23,777
But what I want you to notice
494
00:27:24,811 --> 00:27:27,781
more importantly at this stage is the
reflectance
495
00:27:28,815 --> 00:27:29,549
of the objects.
496
00:27:30,250 --> 00:27:33,720
So for example, if we look at the skin
tones here, and I know this is actually
497
00:27:33,787 --> 00:27:37,624
plastic, but if we look at the tones
here it's quite a mat surface.
498
00:27:37,957 --> 00:27:42,996
So there's not really any bright
highlights, apart from the glossy part
499
00:27:43,129 --> 00:27:43,997
there on
500
00:27:44,197 --> 00:27:44,631
the lips.
501
00:27:45,632 --> 00:27:48,335
But if we look at this metallic
surface, we can see this big
502
00:27:48,501 --> 00:27:51,538
stripe of light where we've got this
really bright highlight.
503
00:27:52,272 --> 00:27:53,773
And here on the semi
504
00:27:54,974 --> 00:28:00,180
sort of mat painted surface, we have a
highlight, but it's more spread out,
505
00:28:00,280 --> 00:28:05,218
it's more diffused because the actual
texture of the surface is changing the
506
00:28:05,318 --> 00:28:07,387
appearance of that reflected light.
507
00:28:07,954 --> 00:28:09,656
Now the reflectance
508
00:28:10,423 --> 00:28:13,293
of the surface of these different
objects
509
00:28:13,793 --> 00:28:19,399
is greatly affected by the type of
light source that we use and also by
510
00:28:19,466 --> 00:28:21,601
its distance away from the subject.
511
00:28:21,868 --> 00:28:25,305
So what I'd like to do next is do
another side by side comparison
512
00:28:26,339 --> 00:28:30,43
where we can see the effect of
different types of light sources.
513
00:28:30,744 --> 00:28:32,979
Let's have a look at the light sources
that I'm going to use.
514
00:28:33,713 --> 00:28:35,949
Well, we're going to use the point
light source
515
00:28:36,983 --> 00:28:38,84
that we've got here.
516
00:28:38,351 --> 00:28:42,255
But I'm also going to do a version
where we diffuse the point light source
517
00:28:42,822 --> 00:28:46,92
by using a role of diffusion material
518
00:28:47,227 --> 00:28:48,828
that is commonly used in photography.
519
00:28:49,229 --> 00:28:49,763
I use this
520
00:28:50,196 --> 00:28:50,730
a lot.
521
00:28:51,297 --> 00:28:52,265
And I can diffuse
522
00:28:53,400 --> 00:28:54,734
the point light source
523
00:28:55,135 --> 00:28:57,270
and make it a much bigger light source
524
00:28:58,71 --> 00:28:58,705
by
525
00:28:59,706 --> 00:29:02,175
shining the light through the diffusion
material.
526
00:29:02,742 --> 00:29:06,880
And if we look from this side, as I
change the distance of the light,
527
00:29:07,480 --> 00:29:09,749
we can see how I make that light either
bigger
528
00:29:10,116 --> 00:29:11,51
or smaller.
529
00:29:11,618 --> 00:29:13,286
Now, unlike a soft box,
530
00:29:13,620 --> 00:29:18,124
this is considerably different because
the light has a central radiating glow,
531
00:29:18,658 --> 00:29:20,827
and then it gradually dims out.
532
00:29:20,894 --> 00:29:22,429
It gradates away gradation.
533
00:29:22,996 --> 00:29:25,398
It forms a feathered type of lighting.
534
00:29:25,632 --> 00:29:27,400
Whereas a soft box is an evenly
535
00:29:28,435 --> 00:29:31,204
illuminated, what we call a homogenous
536
00:29:31,638 --> 00:29:32,472
light form.
537
00:29:32,839 --> 00:29:34,574
So we're going to compare
538
00:29:34,908 --> 00:29:36,309
the point light source,
539
00:29:37,77 --> 00:29:39,512
the diffused gradation light source,
540
00:29:40,13 --> 00:29:40,480
and
541
00:29:40,814 --> 00:29:42,248
the homogenous
542
00:29:42,582 --> 00:29:43,216
light box
543
00:29:43,950 --> 00:29:45,752
with these different materials.
544
00:29:47,454 --> 00:29:52,192
So here we can see, with the point
light source, how we have strong, well
545
00:29:52,425 --> 00:29:55,962
defined shadows cast by the nose and
the neck.
546
00:29:56,196 --> 00:29:59,366
And also you can see the strength of
the shadows on the side of the face.
547
00:30:00,33 --> 00:30:04,571
The other thing to notice is the
overall clarity of the light, but
548
00:30:04,571 --> 00:30:09,709
importantly are the specular highlights
on the glossy parts of the body, around
549
00:30:09,776 --> 00:30:12,846
the neck and the collar bone, and also
on the lips.
550
00:30:13,480 --> 00:30:14,914
And these are the characteristics
551
00:30:16,16 --> 00:30:17,384
of a point light source.
552
00:30:17,617 --> 00:30:20,787
Strong shadows and strong specular
highlights.
553
00:30:21,321 --> 00:30:24,124
With the soft box, we can see things
are completely changed.
554
00:30:24,424 --> 00:30:29,396
We have a broader, softer light, no
specular highlights, because we are now
555
00:30:29,629 --> 00:30:32,499
talking about a large, homogenous light
source.
556
00:30:32,999 --> 00:30:37,237
And the larger the light source than
the reduction in specular highlights,
557
00:30:37,704 --> 00:30:43,843
and also the reduction in the
intensity, or the sharpness of the shadows.
558
00:30:44,277 --> 00:30:47,947
Now we still have shadows, of course,
because the light is directional it's
559
00:30:48,14 --> 00:30:48,915
coming from one side.
560
00:30:49,949 --> 00:30:54,754
The strength of the shadows, I should
point out as well, are defined by the
561
00:30:54,754 --> 00:30:58,758
amount of reflected light coming in
from the studio around us.
562
00:30:58,992 --> 00:31:01,294
So this is why they're not completely
black.
563
00:31:02,28 --> 00:31:07,400
In this example, we have a point light
source behind a scrim and far away from
564
00:31:07,400 --> 00:31:07,701
a scrim.
565
00:31:08,34 --> 00:31:12,38
So effectively it is just creating a
very large light source, because the
566
00:31:12,105 --> 00:31:14,841
scrim is actually bigger than the soft
box.
567
00:31:15,308 --> 00:31:18,44
This is resulting in even softer light.
568
00:31:18,345 --> 00:31:22,916
Remember, the larger the light relative
to the subject, then the softer it will
569
00:31:22,982 --> 00:31:24,17
appear on the subject.
570
00:31:24,351 --> 00:31:26,586
So you can see here how the shadows
appear softer.
571
00:31:27,153 --> 00:31:29,723
The tone of the light overall is
softer.
572
00:31:30,23 --> 00:31:35,562
And we have this very soft, broad light
created with the point light source far
573
00:31:35,695 --> 00:31:37,263
away from the scrim.
574
00:31:38,665 --> 00:31:43,570
As the point light source comes closer
to the scrim, we still have
575
00:31:44,437 --> 00:31:48,508
soft light, but we also have the
inclusion of specular highlights.
576
00:31:49,142 --> 00:31:52,912
So you can see on the collar bone, the
neck and the chest area we have some
577
00:31:52,979 --> 00:31:54,914
specular highlights coming back again.
578
00:31:55,548 --> 00:32:00,120
But we still have relatively soft
shadows and a relatively soft broad
579
00:32:00,253 --> 00:32:00,420
light.
580
00:32:00,587 --> 00:32:02,188
Because we have a combination of light.
581
00:32:02,255 --> 00:32:06,126
Here we have light that is gradating
across the scrimmer, is illuminating
582
00:32:06,593 --> 00:32:07,327
the whole scrim.
583
00:32:07,861 --> 00:32:12,665
But we have a stronger central point
light source in the middle of the
584
00:32:12,732 --> 00:32:16,202
scrimp, basically a ball of radiating
light within the scrimp.
585
00:32:16,436 --> 00:32:21,7
So we have this mixed lighting, which
is what makes scrim lighting quite
586
00:32:21,74 --> 00:32:23,543
unusual and interesting to work with.
587
00:32:23,877 --> 00:32:27,614
In that by changing that distance of
the point light source away from the
588
00:32:27,614 --> 00:32:30,250
scrim, we can create some interesting
effects
589
00:32:31,217 --> 00:32:33,219
as we move to the different surfaces.
590
00:32:33,787 --> 00:32:36,489
Here we have the gloss metal cylinder
591
00:32:36,890 --> 00:32:38,91
and the semi mat
592
00:32:38,825 --> 00:32:40,26
gray metal surface.
593
00:32:40,593 --> 00:32:44,30
And with the point light source, you
can see we've created a very fine
594
00:32:44,431 --> 00:32:46,866
stripe of light on the gloss metal.
595
00:32:47,467 --> 00:32:50,970
But on the semi mat painted surface,
you can see how it diffuses
596
00:32:52,38 --> 00:32:53,139
that point light source.
597
00:32:53,306 --> 00:32:53,773
We have
598
00:32:54,107 --> 00:33:00,13
strong shadows cast across the table
from the objects, as you will see here.
599
00:33:02,182 --> 00:33:06,353
As we change to the soft box, those
strong shadows that were cast across
600
00:33:06,419 --> 00:33:11,157
the table have now become very diffused
and have almost disappeared.
601
00:33:12,425 --> 00:33:14,27
You can see the diffusion
602
00:33:15,61 --> 00:33:19,699
of the soft box in the gray paint has
changed considerably compared to the
603
00:33:19,699 --> 00:33:20,433
point light source.
604
00:33:21,0 --> 00:33:25,872
But the interesting thing to note is,
in the metal, glossy cylinder, we still
605
00:33:26,39 --> 00:33:29,275
have a very bright, highly reflective
light,
606
00:33:29,542 --> 00:33:34,347
but which now a much wider stripe of
light because it is simply reflecting a
607
00:33:34,347 --> 00:33:36,783
much wider broader light source.
608
00:33:39,319 --> 00:33:43,957
As we go to the light, far away from
the scrimmer, that's a point light
609
00:33:44,24 --> 00:33:45,58
source behind a scrimb.
610
00:33:45,291 --> 00:33:49,763
Far away, we have a very, very soft
light, very soft shadows
611
00:33:50,96 --> 00:33:54,434
and very soft lighting in the diffused,
gray painted surface.
612
00:33:55,235 --> 00:34:00,173
But interesting to note here, we have a
stripe of light in the metal cylinder,
613
00:34:00,507 --> 00:34:02,175
but it is a gradated light.
614
00:34:02,275 --> 00:34:06,179
Now the light is stronger on one side,
so you can see it stronger on the
615
00:34:06,179 --> 00:34:11,151
right, and then it gradually decreases
in strength as we move to the left of
616
00:34:11,151 --> 00:34:11,985
the cylinder.
617
00:34:12,419 --> 00:34:15,188
And this is the gradation of light that
you get with a scrim.
618
00:34:15,789 --> 00:34:21,161
Now, if the light was so far away from
the scrim that it was illuminate, the
619
00:34:21,161 --> 00:34:23,563
whole scrim evenly there wouldn't be
any gradation.
620
00:34:24,30 --> 00:34:27,0
Some of the gradation you're seeing
here could be because of the angle of
621
00:34:27,0 --> 00:34:28,968
the scrim to the cylinder,
622
00:34:29,369 --> 00:34:31,504
but also because the point light source
may be
623
00:34:32,272 --> 00:34:36,109
further away on one side of the scrim
than the other, so it's brighter on one
624
00:34:36,109 --> 00:34:39,212
side and glorates across the scrip.
625
00:34:40,513 --> 00:34:43,683
As we bring the point light source
closer to the scrim,
626
00:34:44,17 --> 00:34:47,153
we see the gradation of light again
even more effectively.
627
00:34:47,554 --> 00:34:50,924
You can see on the right side of the
cylinder, the glossy cylinder, the
628
00:34:50,990 --> 00:34:52,258
brighter stripe of light.
629
00:34:52,359 --> 00:34:53,927
And then it feathers away
630
00:34:54,94 --> 00:34:54,894
to a
631
00:34:55,61 --> 00:34:57,263
dimmer light as it goes across
632
00:34:58,31 --> 00:34:59,32
that cylinder.
633
00:34:59,466 --> 00:35:01,301
The diffused light on the metal
634
00:35:02,335 --> 00:35:04,471
painted metal still looks
635
00:35:05,305 --> 00:35:08,41
similar to the soft box and to the
636
00:35:09,209 --> 00:35:10,844
large skim version.
637
00:35:11,544 --> 00:35:16,416
But you can still see that there is a
stronger light on one side of that
638
00:35:16,916 --> 00:35:19,519
diffused reflection in that gray paint.
639
00:35:19,953 --> 00:35:25,325
So hopefully these various examples
have allowed you to see and understand
640
00:35:25,859 --> 00:35:29,562
better the differences between
photographing, something like skin
641
00:35:29,696 --> 00:35:34,834
texture compared to glossy or
intermediate textures, and how they all
642
00:35:35,235 --> 00:35:36,970
react differently to the light,
643
00:35:37,470 --> 00:35:41,608
and how they all react differently to
different types of lighting.
644
00:35:42,509 --> 00:35:46,279
In this next example, we're going to
look at one of the other fundamental
645
00:35:47,781 --> 00:35:50,917
parts of light and understanding light.
646
00:35:51,51 --> 00:35:52,786
And that is the inverse
647
00:35:53,53 --> 00:35:53,920
square law.
648
00:35:54,521 --> 00:35:57,323
Now there are two sections to this, if
you like.
649
00:35:57,957 --> 00:36:03,863
One is how the inverse square law will
affect the brightness range on one
650
00:36:03,930 --> 00:36:06,566
object compared to another object.
651
00:36:07,0 --> 00:36:08,835
And the other is how the distance
652
00:36:09,869 --> 00:36:14,607
from our subject, how the light source
distance and then the relative light
653
00:36:14,841 --> 00:36:15,775
size, will
654
00:36:17,210 --> 00:36:19,145
affect, or not affect, the
655
00:36:20,347 --> 00:36:23,983
change in the lighting style on the
main subject.
656
00:36:24,751 --> 00:36:30,590
Now if we take a look at the lighting
that I've got set up at the moment, you
657
00:36:30,590 --> 00:36:33,793
can see that I've got a very large soft
box.
658
00:36:34,194 --> 00:36:39,966
So this is the 120 centimeter by 180
centimeter soft box is a very big soft
659
00:36:40,100 --> 00:36:40,266
box.
660
00:36:40,734 --> 00:36:45,905
And you can see I've got it at about
arms' length away from our subject.
661
00:36:46,406 --> 00:36:47,40
Now
662
00:36:47,707 --> 00:36:51,845
let's just, compare that a moment to
how we perceive
663
00:36:52,412 --> 00:36:54,80
the size of the light source
664
00:36:54,581 --> 00:36:55,382
from the perspective
665
00:36:56,416 --> 00:36:57,584
of our subject.
666
00:36:58,184 --> 00:37:02,122
So at this position, the light source
looks about this size.
667
00:37:02,889 --> 00:37:06,426
Now what that tells me is that I could
actually introduce
668
00:37:07,560 --> 00:37:10,96
another light source, an alternative
one.
669
00:37:10,196 --> 00:37:11,664
Let me just put this one on a moment.
670
00:37:13,133 --> 00:37:15,535
And if I bring this light source
671
00:37:16,336 --> 00:37:16,670
into
672
00:37:17,937 --> 00:37:19,372
about this position
673
00:37:20,573 --> 00:37:21,775
at about here,
674
00:37:22,976 --> 00:37:25,445
then I could get this light source
675
00:37:26,513 --> 00:37:27,914
to emulate
676
00:37:28,281 --> 00:37:31,951
the same visual size, from my subject's
perspective,
677
00:37:33,153 --> 00:37:36,322
as the larger light source that was
further away.
678
00:37:36,890 --> 00:37:37,157
So effectively
679
00:37:38,258 --> 00:37:40,160
this light source looks
680
00:37:40,493 --> 00:37:43,997
as large as the other light source to
my subject,
681
00:37:44,431 --> 00:37:46,399
simply because it's closer,
682
00:37:46,866 --> 00:37:47,667
however,
683
00:37:48,668 --> 00:37:54,274
will be an effective change in what the
lighting does because of the inverse
684
00:37:54,574 --> 00:37:55,141
square law.
685
00:37:55,475 --> 00:37:56,810
And to demonstrate that,
686
00:37:56,976 --> 00:37:58,78
I'm going to shoot
687
00:37:58,278 --> 00:38:02,816
a number of pictures with the large
light source further away, and then the
688
00:38:02,816 --> 00:38:07,721
smaller light source closer to emulate
the same size as the light, a larger
689
00:38:07,954 --> 00:38:11,191
light source, and we'll see those key
differences.
690
00:38:13,626 --> 00:38:15,628
So let's start shooting a picture.
691
00:38:15,862 --> 00:38:19,699
Now before I get started, let me just
explain this light source here is not
692
00:38:19,799 --> 00:38:20,200
being used.
693
00:38:20,333 --> 00:38:22,736
This is just to illuminate me for the
video.
694
00:38:23,370 --> 00:38:28,441
The light st I've shown you so far have
had the modelling lamp on.
695
00:38:28,675 --> 00:38:32,512
That is the continuous light, but
that's not actually used to take the
696
00:38:32,512 --> 00:38:32,679
picture.
697
00:38:33,79 --> 00:38:37,450
Inside of these units is the flash
tube, which fires
698
00:38:37,550 --> 00:38:38,351
a burst of flush.
699
00:38:38,918 --> 00:38:43,556
We'll be explaining more about how
studio flashes work in one of the next
700
00:38:43,857 --> 00:38:44,24
chapters.
701
00:38:44,758 --> 00:38:46,893
So here we're going to use flash
702
00:38:47,293 --> 00:38:49,429
from the studio light to photograph
703
00:38:50,263 --> 00:38:53,233
the subject with the other camera
alongside.
704
00:38:53,633 --> 00:38:56,469
And the picture is going to come into
the computer
705
00:38:58,271 --> 00:38:59,806
so here's our first picture.
706
00:39:00,273 --> 00:39:01,274
Let's take a look.
707
00:39:02,8 --> 00:39:02,742
And there we go.
708
00:39:02,976 --> 00:39:05,278
So we can see immediately
709
00:39:05,712 --> 00:39:08,915
with the large soft box, we've got a
nice soft light.
710
00:39:08,982 --> 00:39:11,484
There are some shadows here, but
they're soft shadows.
711
00:39:11,785 --> 00:39:14,888
They're not harshly sharply defined
shadows.
712
00:39:15,455 --> 00:39:19,192
Now the things to look at here, and the
things that we're going to compare,
713
00:39:19,626 --> 00:39:21,761
are the lighting on our main subject,
714
00:39:22,28 --> 00:39:25,932
the lighting on this camera, and the
light level on the background.
715
00:39:26,332 --> 00:39:31,404
I'm now going to change the light
source for the smaller soft box, but
716
00:39:31,538 --> 00:39:37,77
bring that smaller soft box closer so
that it is visually the same size from
717
00:39:37,77 --> 00:39:39,45
the perspective of our subject.
718
00:39:48,254 --> 00:39:53,293
Now I'm just moving this light source
back so that when I'm looking from
719
00:39:54,194 --> 00:39:54,494
our dummy
720
00:39:55,695 --> 00:39:56,262
model's perspective,
721
00:39:57,630 --> 00:40:00,600
that this light source looks the same
relative size.
722
00:40:00,900 --> 00:40:02,569
This needs to go up slightly.
723
00:40:06,172 --> 00:40:07,507
We're just going to check
724
00:40:08,108 --> 00:40:09,142
that lines up there.
725
00:40:09,309 --> 00:40:12,12
That lines up there, probably coming a
little bit closer.
726
00:40:12,512 --> 00:40:18,284
So now, from our subject's perspective,
this light source looks the same size
727
00:40:18,585 --> 00:40:19,953
as the previous light source.
728
00:40:20,253 --> 00:40:23,690
So I'm going to turn the other light
source off now
729
00:40:24,824 --> 00:40:26,593
and just leave this one on.
730
00:40:26,993 --> 00:40:28,795
So that one goes off.
731
00:40:29,929 --> 00:40:32,198
And now we should have the same
732
00:40:33,299 --> 00:40:37,103
style of lighting in terms of the
relative softness.
733
00:40:37,370 --> 00:40:41,775
Now, one of the things I will have to
do is adjust the power of this light
734
00:40:42,409 --> 00:40:43,309
so that the exposure
735
00:40:44,511 --> 00:40:46,79
on our dummy
736
00:40:46,513 --> 00:40:49,616
is the same as the exposure in the
other shot.
737
00:40:49,783 --> 00:40:52,485
So that it's an equal and fair
comparison.
738
00:40:52,919 --> 00:40:54,721
I need to reduce the power on this
739
00:40:55,188 --> 00:40:55,855
flash
740
00:40:56,356 --> 00:40:57,123
a little bit.
741
00:41:03,863 --> 00:41:09,436
Ok, so taking the photo with the
smaller soft box, but in the closer position,
742
00:41:09,636 --> 00:41:10,437
and here we go.
743
00:41:10,503 --> 00:41:11,538
Here's an interesting result.
744
00:41:11,771 --> 00:41:15,508
This is exactly what I expected to see,
because we can't break the law of physics.
745
00:41:15,875 --> 00:41:17,310
And let's have a look at what we're
seeing.
746
00:41:17,477 --> 00:41:21,948
If we look at the lighting on the
dummy, on the face, the shadows, the
747
00:41:21,948 --> 00:41:24,984
contours of the shadows, and we compare
it to our previous shot.
748
00:41:25,318 --> 00:41:27,53
They're actually identical.
749
00:41:27,554 --> 00:41:32,25
They're exactly the same shadows,
exactly the same position, exactly the
750
00:41:32,25 --> 00:41:33,860
same sort of softness to the light.
751
00:41:33,960 --> 00:41:35,528
In terms of the shadows.
752
00:41:36,329 --> 00:41:42,602
The exposure on the skin of the dummy
is the same intensity because I've
753
00:41:42,669 --> 00:41:47,7
adjusted the power of the smaller light
down a little bit, because it's closer,
754
00:41:47,374 --> 00:41:49,776
so that the exposure ends up the same.
755
00:41:49,876 --> 00:41:51,845
So we have the same skin tone level
756
00:41:52,345 --> 00:41:53,747
on the two shots.
757
00:41:54,414 --> 00:41:58,818
What you will notice, because of the
inverse square law though is now that
758
00:41:58,918 --> 00:42:00,954
our light sources closer,
759
00:42:01,621 --> 00:42:06,893
you will see that the shadows are
darker and stronger than they were before.
760
00:42:07,794 --> 00:42:12,332
You will also see that the background
is darker than it was before.
761
00:42:13,466 --> 00:42:20,340
And you'll also see that this camera on
the left hand side is now darker than
762
00:42:20,440 --> 00:42:21,141
it was before.
763
00:42:22,175 --> 00:42:26,680
So whilst the exposure is correct and
equivalent here, although it looks a
764
00:42:26,680 --> 00:42:28,982
little bit different, it looks
different because of contrast, because
765
00:42:29,49 --> 00:42:30,16
the background is darker.
766
00:42:30,417 --> 00:42:31,484
We actually take a measurement.
767
00:42:31,851 --> 00:42:34,688
If I measure the light value, let's
just measure it on the nose.
768
00:42:34,921 --> 00:42:41,294
There we're running at 59 in the red,
53 in the green and 41 in the blue.
769
00:42:41,461 --> 00:42:42,328
So I was call out about
770
00:42:44,664 --> 00:42:44,831
41.
771
00:42:45,131 --> 00:42:46,733
If I go to the previous shot,
772
00:42:48,435 --> 00:42:49,602
we're running at
773
00:42:50,236 --> 00:42:50,437
554938.
774
00:42:52,972 --> 00:42:54,407
So very, very close
775
00:42:54,741 --> 00:42:56,176
in exposure there we've got
776
00:42:56,476 --> 00:42:56,576
585241.
777
00:42:58,745 --> 00:43:03,850
So pretty much identical in exposure
there on that measurement on the nose.
778
00:43:04,417 --> 00:43:08,288
And if we compare the two shots, you
can see the actual skin tone values are
779
00:43:08,355 --> 00:43:09,155
about the same exposure.
780
00:43:09,956 --> 00:43:12,659
But notice how everything else changes.
781
00:43:13,293 --> 00:43:15,995
And this is because of the inverse
square law.
782
00:43:16,262 --> 00:43:19,199
As that light gets closer to our
subject,
783
00:43:19,532 --> 00:43:23,203
its relative size is the same as the
large soft box.
784
00:43:23,370 --> 00:43:26,72
So the style of the lighting remains
the same.
785
00:43:26,573 --> 00:43:30,577
But the effect of the lighting on other
objects that are further away
786
00:43:31,144 --> 00:43:32,645
dramatically changes.
787
00:43:32,912 --> 00:43:37,384
And in this instance, as you can see,
the fall off of light, the power of the
788
00:43:37,450 --> 00:43:41,721
light reduces more quickly because the
light source was closer to our subject.
789
00:43:42,188 --> 00:43:45,291
And that results in near by objects
being darker,
790
00:43:45,625 --> 00:43:49,295
shadows being darker, and the objects
in the distance
791
00:43:49,696 --> 00:43:51,231
also being darker.
792
00:43:51,931 --> 00:43:52,999
So that is fundamentally
793
00:43:54,334 --> 00:43:56,436
the effect of the inverse square law.
794
00:43:56,670 --> 00:44:01,541
When you have a light closer to your
subject than a larger light of the same
795
00:44:01,641 --> 00:44:04,10
apparent size further away.
796
00:44:04,577 --> 00:44:07,347
And that the effect and the result that
you get.
797
00:44:07,614 --> 00:44:11,384
And this is very important to remember,
because when your lighting group shots
798
00:44:11,618 --> 00:44:15,722
or two people together, this person
would be correctly exposed, and this
799
00:44:15,789 --> 00:44:16,990
one would be too dark.
800
00:44:17,457 --> 00:44:19,359
So to overcome that problem,
801
00:44:19,559 --> 00:44:22,228
you would need to use a bigger, soft box
802
00:44:22,429 --> 00:44:26,666
from further away, so that they were
both more evenly illuminated.
803
00:44:28,34 --> 00:44:30,236
That is one of the most fundamental
parts
804
00:44:30,737 --> 00:44:33,640
in photography, terms of the inverse
square law.
805
00:44:34,40 --> 00:44:36,476
And hopefully that demonstration
806
00:44:36,676 --> 00:44:37,77
showed you
807
00:44:38,111 --> 00:44:39,45
it clearly.
808
00:44:39,379 --> 00:44:44,150
The next thing we're going to look at
now is the color spectrum of light.
809
00:44:45,151 --> 00:44:51,57
So to understand light further, we need
to explore a little bit about the
810
00:44:51,224 --> 00:44:56,429
physics of light, in terms of the
visible wavelengths of light.
811
00:44:56,896 --> 00:44:57,764
Visible light
812
00:44:58,98 --> 00:45:01,434
is part of the electro magnetic
magnetic spectrum.
813
00:45:01,801 --> 00:45:07,374
And by visible light, I mean light that
our eyes are receptive to, light that
814
00:45:07,374 --> 00:45:08,508
our eyes can see.
815
00:45:09,209 --> 00:45:10,577
But if we take a look at the
electromagnetic
816
00:45:11,611 --> 00:45:13,913
spectrum, we can see that it's just a
series of
817
00:45:14,80 --> 00:45:14,881
wavelengths,
818
00:45:15,448 --> 00:45:18,251
starting with short wavelengths in
cosmic rays,
819
00:45:18,518 --> 00:45:22,255
moving up through gamma rays, x rays,
ultraviolet, infrared,
820
00:45:22,589 --> 00:45:23,823
all the way up to
821
00:45:24,591 --> 00:45:25,759
radio Waves.
822
00:45:26,659 --> 00:45:31,631
Now the visible light section just
forms this small portion here, which
823
00:45:31,798 --> 00:45:35,769
expanded out into this block, we can
see, runs from about 317
824
00:45:36,970 --> 00:45:37,771
nanometers
825
00:45:38,171 --> 00:45:39,639
all the way up to about 713
826
00:45:41,74 --> 00:45:41,775
nanometers
827
00:45:42,676 --> 00:45:45,111
as it starts to go into the infrared
spectrum.
828
00:45:45,712 --> 00:45:47,380
Now our eyes are receptive
829
00:45:48,415 --> 00:45:50,316
to that
830
00:45:51,51 --> 00:45:52,952
frequencies, those frequencies of
831
00:45:53,153 --> 00:45:57,123
nanometers, those frequencies of
wavelengths as different colors.
832
00:45:57,557 --> 00:45:59,826
Each of those different set of
wavelengths
833
00:46:00,260 --> 00:46:02,28
we perceive as being color.
834
00:46:02,729 --> 00:46:05,465
So down here in the 400 to 45500
835
00:46:07,67 --> 00:46:11,37
nanometer end, we're looking at the
ultraviolet into the blues.
836
00:46:11,371 --> 00:46:15,642
In the 600 nanometers, we're seeing
things as yellow, and at 700 nanometers
837
00:46:16,109 --> 00:46:17,744
we're seeing them as red.
838
00:46:18,178 --> 00:46:19,946
But if we take a look at our next slide,
839
00:46:20,980 --> 00:46:22,882
and we can see how that
840
00:46:23,216 --> 00:46:23,950
spectrum of color
841
00:46:26,119 --> 00:46:29,956
depending on the light source that it's
coming from.
842
00:46:30,23 --> 00:46:33,126
And this is a very important thing to
note in photography.
843
00:46:33,560 --> 00:46:35,362
If we take a look at daylight,
844
00:46:35,528 --> 00:46:41,401
and this is assessed, or based on
midday sun, with a blue sky, we can see
845
00:46:41,401 --> 00:46:44,471
that we have a very broad spectrum
846
00:46:44,738 --> 00:46:45,939
of the frequencies.
847
00:46:47,73 --> 00:46:50,910
So a fairly even balance of blue light
through to green yellow,
848
00:46:51,945 --> 00:46:52,979
all the way through to red.
849
00:46:54,14 --> 00:46:58,351
Now daylight is coming from an
incandescent source, such as the sun
850
00:46:58,585 --> 00:46:59,219
heated source.
851
00:46:59,786 --> 00:47:02,756
And actually incandescent sources are
quite a lot warmer.
852
00:47:03,456 --> 00:47:08,28
But daylight also includes the light
from the sky, which has a lot of blue
853
00:47:08,194 --> 00:47:08,361
light.
854
00:47:08,495 --> 00:47:10,497
So we have this broad spectrum.
855
00:47:11,231 --> 00:47:11,865
And we use daylight
856
00:47:13,133 --> 00:47:16,736
with what we call color temperature,
Kelvin color temperature of about 500600,
857
00:47:18,104 --> 00:47:20,106
as the sort of benchmark for
photography.
858
00:47:20,907 --> 00:47:26,746
So all flash guns and studio flashes
and things like hmi lights are tuned
859
00:47:27,80 --> 00:47:28,515
and balanced to work at 500600
860
00:47:29,783 --> 00:47:31,851
Calvin with a full spectrum
861
00:47:33,153 --> 00:47:36,489
to give us the same lighting effect
862
00:47:37,157 --> 00:47:42,829
in terms of color and spectrum as
daylight is perceived here on this
863
00:47:42,896 --> 00:47:43,830
particular graph,
864
00:47:44,731 --> 00:47:49,803
if we move over to incandescent light,
so say, for example, a candle burning,
865
00:47:50,570 --> 00:47:55,709
we can see that it has a full broad
spectrum with no gaps in it.
866
00:47:56,343 --> 00:48:01,81
But it's very, much stronger in the
warm tones in the reds and the oranges.
867
00:48:01,848 --> 00:48:06,820
And that's why we perceive candle light
as being quite warm in color, quite
868
00:48:06,986 --> 00:48:08,21
yellow in colour.
869
00:48:08,421 --> 00:48:11,24
As you can see from the graph here.
870
00:48:11,624 --> 00:48:12,625
Halogen light
871
00:48:13,460 --> 00:48:16,96
also has a good full spectrum.
872
00:48:16,429 --> 00:48:20,600
There are no gaps in the spectrum, but
you can see, again, it's stronger in
873
00:48:20,600 --> 00:48:25,905
the reds and in the greens, in this
case, quite low in the blues.
874
00:48:26,973 --> 00:48:32,278
If we look at cool white LED lighting,
we can see it's got quite a peak of
875
00:48:32,412 --> 00:48:34,347
strength in the blue area.
876
00:48:35,148 --> 00:48:36,950
And if you're buying
877
00:48:37,717 --> 00:48:40,186
LED lighting for photography, you must
be careful
878
00:48:41,554 --> 00:48:47,160
on its ability to describe the spectrum
or its ability to show the full
879
00:48:47,227 --> 00:48:47,394
spectrum.
880
00:48:48,194 --> 00:48:51,698
LEDs have come on a long, long way in
recent years.
881
00:48:51,865 --> 00:48:55,201
And they now have LEDs with a very high
color index.
882
00:48:55,869 --> 00:48:59,139
If we're looking at a color index
suitable for photography, we're going
883
00:48:59,239 --> 00:49:00,440
to need above 9495.
884
00:49:03,76 --> 00:49:06,813
Otherwise, LEDs will look a little bit
on the blue side
885
00:49:07,947 --> 00:49:08,581
and missing
886
00:49:09,716 --> 00:49:11,851
certain parts of the spectrum.
887
00:49:12,986 --> 00:49:16,289
Now, the worst one for photography
888
00:49:16,990 --> 00:49:21,628
is fluorescent lighting, standard
fluorescent tubes that you might find
889
00:49:21,795 --> 00:49:23,29
in a warehouse or a
890
00:49:23,396 --> 00:49:28,268
factory or a supermarket or even at
home, if we look at the spectrum for
891
00:49:28,435 --> 00:49:33,239
fluorescent tubes, you can see that
we've got a peak of red, a peak of
892
00:49:33,306 --> 00:49:35,508
green and a peak of blue.
893
00:49:35,875 --> 00:49:38,545
Now if we mix red, green and blue light,
894
00:49:38,812 --> 00:49:40,947
our eyes perceive it as white.
895
00:49:41,548 --> 00:49:43,49
So to our eyes,
896
00:49:43,316 --> 00:49:47,187
we will accept light from fluorescent
lights as being white.
897
00:49:47,620 --> 00:49:51,791
But actually when we record it on
photographic film or on a photographic
898
00:49:52,359 --> 00:49:56,830
digital sensor, there is so much
missing from the spectrum that the
899
00:49:56,830 --> 00:49:58,865
color looks a little bit
900
00:49:59,32 --> 00:49:59,532
odd.
901
00:50:00,266 --> 00:50:01,935
So we talk about light
902
00:50:02,168 --> 00:50:03,636
in terms of usability
903
00:50:05,305 --> 00:50:10,243
or usefulness for photography, in terms
of the broadness of its spectrum.
904
00:50:10,810 --> 00:50:13,380
If we have daylight, we have a good
broad spectrum.
905
00:50:13,780 --> 00:50:18,351
So it means the colors in our pictures
will be vibrant and everything will be
906
00:50:18,351 --> 00:50:18,918
recorded appropriately.
907
00:50:20,120 --> 00:50:20,520
If we're using
908
00:50:22,88 --> 00:50:27,627
flashlight or hmi lighting, studio
lighting, it also has a full broad
909
00:50:27,861 --> 00:50:28,28
spectrum.
910
00:50:28,661 --> 00:50:32,432
But if we were to photograph something
using fluorescent lights, whilst it
911
00:50:32,432 --> 00:50:38,38
might look ok to our eye, the resulting
images would not be as clean and as
912
00:50:38,171 --> 00:50:43,410
bright or as colorful as we get with a
studio flashlight.
913
00:50:44,10 --> 00:50:47,313
To demonstrate that, I'm going to shoot
some examples
914
00:50:48,982 --> 00:50:53,720
underfluorescent lighting and shoot
some examples with broad spectrum flashlighting
915
00:50:54,754 --> 00:50:57,757
so that you can see the difference in
results.
916
00:50:59,159 --> 00:51:01,928
So to demonstrate what we could call
the cleanliness
917
00:51:03,296 --> 00:51:04,164
of the light,
918
00:51:04,664 --> 00:51:07,400
I'm going to use full spectrum studio
flashlighting.
919
00:51:08,435 --> 00:51:10,470
Now all studio flashlighting
920
00:51:10,737 --> 00:51:13,640
should give you a good quality full
spectrum
921
00:51:14,908 --> 00:51:16,309
equivalent to daylight.
922
00:51:16,976 --> 00:51:21,81
Some cheaper flash brands don't
necessarily give you it repetitively
923
00:51:22,248 --> 00:51:24,351
or as accurately on every flash.
924
00:51:25,51 --> 00:51:29,55
But here with this particular system,
we're going to get very accurate full
925
00:51:29,389 --> 00:51:29,856
color spectrum.
926
00:51:30,890 --> 00:51:36,596
I have a color test chart that we can
use as a reference, and I have our
927
00:51:36,663 --> 00:51:37,397
dummy in position.
928
00:51:38,498 --> 00:51:40,433
I have a large soft box to illuminate
929
00:51:41,468 --> 00:51:44,471
this area, and I have a smaller soft box
930
00:51:44,571 --> 00:51:45,438
to illuminate
931
00:51:46,39 --> 00:51:46,906
the wall behind.
932
00:51:47,474 --> 00:51:50,677
I'm going to take that as our reference
shot of a full spectrum
933
00:51:52,178 --> 00:51:53,613
daylight balance light.
934
00:51:54,14 --> 00:51:58,518
And then I'm going to turn these lights
off and just use the fluorescent lights
935
00:51:58,752 --> 00:52:01,321
that we have mounted in the ceiling
here in the studio,
936
00:52:02,655 --> 00:52:05,425
which are actually quite high quality
fluorescent lights.
937
00:52:06,26 --> 00:52:09,396
And we'll look at the difference
between the full spectrum daylight
938
00:52:09,696 --> 00:52:13,767
balance and the fluorescent, and have a
look at how it affects the colors
939
00:52:14,200 --> 00:52:17,270
of the skin tones and the colors on the
chart.
940
00:52:28,915 --> 00:52:30,550
So here's my test shot
941
00:52:32,118 --> 00:52:33,453
and if we take a look
942
00:52:33,853 --> 00:52:34,888
more closely,
943
00:52:35,622 --> 00:52:36,790
we can see
944
00:52:37,691 --> 00:52:39,359
the purity of the colors
945
00:52:41,695 --> 00:52:43,663
detailed in the test chart,
946
00:52:44,264 --> 00:52:46,232
the purity of the lighting here.
947
00:52:46,599 --> 00:52:48,968
And we can see that the color balance
is set at 500600,
948
00:52:50,837 --> 00:52:51,504
which is
949
00:52:52,172 --> 00:52:53,940
the color celvin temperature of
950
00:52:55,208 --> 00:52:56,9
daylight.
951
00:52:56,743 --> 00:52:59,946
And if we just take a couple of
measurements, just to have a look
952
00:52:59,946 --> 00:53:02,415
around here, this is almost neutral at
4344
953
00:53:03,616 --> 00:53:03,950
and 42.
954
00:53:04,351 --> 00:53:05,618
So it's slightly off neutral.
955
00:53:05,852 --> 00:53:06,386
I'm just going to
956
00:53:06,720 --> 00:53:07,520
correct
957
00:53:07,954 --> 00:53:08,822
for that here.
958
00:53:09,55 --> 00:53:11,24
So now we've neutralized the shot
959
00:53:12,659 --> 00:53:13,426
we have
960
00:53:14,227 --> 00:53:15,261
2829204444616061.
961
00:53:20,200 --> 00:53:21,534
So all good neutrals there.
962
00:53:22,669 --> 00:53:26,72
And then we've got the measurements on
the colors
963
00:53:26,506 --> 00:53:29,642
in the chart, and they all look as they
should.
964
00:53:30,110 --> 00:53:31,945
The purity of it all looks good.
965
00:53:32,512 --> 00:53:36,349
Our background is pretty much neutral,
which it should be as well, because
966
00:53:36,516 --> 00:53:39,452
it's a white background, and everything
looks clean
967
00:53:40,587 --> 00:53:46,226
and the right level in the right
contrast, as I would expect from studio lighting.
968
00:53:46,893 --> 00:53:48,495
We're now going to switch over
969
00:53:48,728 --> 00:53:51,531
to fluorescent lights as a comparison.
970
00:53:58,338 --> 00:54:00,206
So that's the fluorescent lights on.
971
00:54:00,573 --> 00:54:03,677
I'm going to turn the studio
flashlights off,
972
00:54:04,978 --> 00:54:06,413
and we're going to take
973
00:54:07,313 --> 00:54:08,481
the same picture,
974
00:54:09,449 --> 00:54:11,685
but we're going to have to adjust the
975
00:54:12,18 --> 00:54:14,387
exposure, because now we're not using
flesh,
976
00:54:15,955 --> 00:54:19,192
and that's going to require a longer
exposure.
977
00:54:20,93 --> 00:54:22,562
And we'll see if we get the exposure,
about the same,
978
00:54:23,630 --> 00:54:25,131
looks a little bit dark there.
979
00:54:25,532 --> 00:54:25,765
So I'm
980
00:54:25,932 --> 00:54:27,667
going to lighten that up a little bit
more.
981
00:54:35,542 --> 00:54:38,111
Ok, so we've lightened the exposure up
here.
982
00:54:38,745 --> 00:54:42,749
Now the angle of light is not the same,
but you can see clearly straightaway
983
00:54:43,216 --> 00:54:45,285
that the color of the light
984
00:54:45,785 --> 00:54:49,322
is completely different to the purity
of color here.
985
00:54:49,456 --> 00:54:51,958
So this is neutrally balanced for 500600
986
00:54:54,361 --> 00:54:56,329
celvin color temperature with the flash,
987
00:54:56,663 --> 00:54:58,832
and then leaving it at the same color
balance.
988
00:54:59,65 --> 00:55:03,303
You can see that this looks a bit sort
of peachy yellow.
989
00:55:03,636 --> 00:55:06,840
E, it's not easy to even really
accurately describe
990
00:55:08,174 --> 00:55:10,577
the color balance problem that we've
got there.
991
00:55:11,311 --> 00:55:16,983
But to give this a fair chance, what we
need to do is to neutralize to one of
992
00:55:16,983 --> 00:55:18,251
the gray tones,
993
00:55:18,518 --> 00:55:19,719
which I'm going to do now.
994
00:55:20,186 --> 00:55:21,755
And there I've neutralized.
995
00:55:22,22 --> 00:55:25,125
So I've set that gray to be a neutral
balance
996
00:55:25,692 --> 00:55:27,694
in the same way that I set
997
00:55:27,861 --> 00:55:30,96
the gray to be a neutral balance here.
998
00:55:30,430 --> 00:55:35,468
If we look at the colors, though, on
the cards, look at the lack of vibrancy
999
00:55:36,670 --> 00:55:41,441
on the color in the color test chart
when we're using fluorescent light
1000
00:55:42,175 --> 00:55:45,145
here with daylight balance, studio
lighting.
1001
00:55:45,879 --> 00:55:47,480
And then with fluorescent lighting.
1002
00:55:48,14 --> 00:55:52,952
We can see clearly, there is a big
difference in the saturation levels
1003
00:55:53,219 --> 00:55:54,721
of some of those colors.
1004
00:55:55,388 --> 00:56:01,294
Even the color in the skin tones of the
dummy look different.
1005
00:56:01,928 --> 00:56:04,330
And the overall feeling
1006
00:56:04,597 --> 00:56:07,667
of the color is actually wrong.
1007
00:56:08,268 --> 00:56:10,70
And the reason it's wrong is,
1008
00:56:10,437 --> 00:56:15,475
as explained with the charts, is that
there is a large part of the spectrum
1009
00:56:16,176 --> 00:56:21,781
missing from fluorescent lights, which
means that certain colors are not able
1010
00:56:21,948 --> 00:56:26,286
to reflect those parts of the spectrum
because they don't exist in that
1011
00:56:26,353 --> 00:56:27,387
particular light source.
1012
00:56:28,121 --> 00:56:32,425
There is enough part of the spectrum
from fluorescent lights in peak, in the
1013
00:56:32,425 --> 00:56:38,64
red, in the green and the blue, to give
us some impression of white light
1014
00:56:38,431 --> 00:56:40,200
or some reflection of color.
1015
00:56:40,734 --> 00:56:47,40
But it is nowhere near as pure and as
clean as the light we get from studio flash.
1016
00:56:47,474 --> 00:56:49,943
And this is something quite important
to keep in mind.
1017
00:56:50,10 --> 00:56:54,748
Because if you are using other forms of
lighting for studio lighting other than
1018
00:56:54,914 --> 00:56:57,317
flash, such as continuous lighting
1019
00:56:58,585 --> 00:56:59,52
or
1020
00:57:00,20 --> 00:57:04,924
continuous LED lighting, then you do
have to be careful that that type of
1021
00:57:04,991 --> 00:57:07,560
lighting has a full and broad spectrum.
1022
00:57:08,94 --> 00:57:11,398
Because as you can see here, when
you're missing parts of the spectrum,
1023
00:57:12,98 --> 00:57:13,266
you will lack
1024
00:57:13,466 --> 00:57:13,800
color fidelity
1025
00:57:14,834 --> 00:57:17,904
contrast and punch to the images
1026
00:57:18,571 --> 00:57:19,39
that's
1027
00:57:19,472 --> 00:57:23,943
the majority of what we need to cover
for understanding some of the key
1028
00:57:24,110 --> 00:57:25,78
principles of light.
1029
00:57:25,712 --> 00:57:29,883
We've looked at the hardness, the
softness of light, the density of
1030
00:57:29,949 --> 00:57:30,116
shadows.
1031
00:57:30,750 --> 00:57:34,988
We've looked at the inverse square law,
the change in apparent light source
1032
00:57:35,221 --> 00:57:36,790
size, and how that affects
1033
00:57:37,390 --> 00:57:38,191
objects that are
1034
00:57:39,392 --> 00:57:41,928
a certain distance away from our
subject or in the background.
1035
00:57:43,63 --> 00:57:46,366
And now we've also looked at the purity
of light.
1036
00:57:46,833 --> 00:57:49,436
When we're talking about the color
spectrum,
1037
00:57:50,103 --> 00:57:54,240
there is also one other factor called
color temperature.
1038
00:57:54,908 --> 00:57:56,309
And color temperature
1039
00:57:56,676 --> 00:58:01,381
is the overall color balance of the
light, whether it's warm light or cold
1040
00:58:01,548 --> 00:58:01,715
light.
1041
00:58:01,848 --> 00:58:05,952
So later in the day, when the sun is
setting, the color temperature is a lot
1042
00:58:06,19 --> 00:58:06,186
warmer.
1043
00:58:06,419 --> 00:58:07,153
It's around about 300200
1044
00:58:08,655 --> 00:58:08,822
or 300600
1045
00:58:12,492 --> 00:58:16,329
when it's the middle of the day, it's a
lot cooler, around about 500600
1046
00:58:17,697 --> 00:58:17,864
Calvin.
1047
00:58:18,431 --> 00:58:21,568
And on a cloudy day, it could be 9000
Kelvin.
1048
00:58:21,935 --> 00:58:23,203
It's a lot cooler as well.
1049
00:58:23,536 --> 00:58:25,472
It doesn't mean that it's missing part
the spectrum.
1050
00:58:26,39 --> 00:58:30,510
It just means that it's shifted more
towards the red end of the spectrum, or
1051
00:58:30,577 --> 00:58:33,646
more towards the blue end of the
spectrum that's a big difference
1052
00:58:33,880 --> 00:58:39,452
compared to this particular light right
now, which is actually missing part of
1053
00:58:39,452 --> 00:58:40,320
the spectrum
1054
00:58:40,754 --> 00:58:44,491
and will never reveal all of the colors
accurately
88437
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