All language subtitles for 5. ¾ Front Light

Another one of my go-to lights

is what we've got in this scenario now,

which is a light at about 45 degrees to me

and about 45 degrees off to the left.

And what it does is it not only gives a chin shadow,

it's hard to see with my beard, but you may see no shadow,

but it gives a definite shadow from about.

But it also, by being off to the side,

sort of sculpts cheekbones in the shadows.

It's just a light that works every time.

So this is probably the most common portrait light

in the world, which is a big soft box

with a grid on it at about 45 degrees to the subject.

It's recreating a window light at 45 degrees,

which is what the sort of master painters used to use.

So if you saw Rembrandt's painting studio,

it had been a north facing wall with approximately a window

at about 45 degrees.

The subject may be a little higher than it is now,

and it comes down and reins very soft light on your subject.

So a light at this angle,

whether it's a soft light or a harsh light,

which we'll also show in a while,

it models the cheekbones in a really good way

by being sort of 45 degree angle.

The thing with this,

what I described as the Rembrandt light,

it works particularly well on old bearded bastards,

as well as beautiful models.

So I suppose I would just shoot some pictures and show you.

So this is the exactly the same light

that I had the soft box on.

We've taken the soft box off

and so it's now just what we call a bear head

and it's a much, much harsher light.

So we got a particularly punky look here

with the sort of high gloss of the boots

and the whiteness of her hair,

it sort of harsh light works really well.

It feels like we're in a big building

and there is direct sun coming through a window from above.

By having the above doors the way they are,

they're creating a shadow on our background,

which means even though the whole picture is lit,

you kind of go to Daisy's face

because she sort of particularly stands out

from that dark background.

It's harsh light, you can see that

because the shadows are much sharper.

It's still quite a large light source

and it's still quite close to her.

So it's not as harsh to say a flash gun off of a camera,

but it's a harsh light,

but it feels much more like sunlight.

It behaves much more like sunlight.

And to me, it's the sort of why bringing sunlight

into the studio.

So this is the light up here.

And then give me number four only, please.

Thanks mate.

So then can I have them both up, please?

This for me, is not a light that I would ever choose to use,

but a lot of people do,

they like that sort of balance of two front lights,

I'll say I won't ever use it.

I've used it in a movie poster before,

but it's not my aesthetic to have two lights working.

But basically all it is is it's the same light repeated

that actually creates something quite,

it feels more of a modern light.

(camera clicks)

So now we've got the big, massive field as well,

which said 20K and now it's a real wraparound light,

but a front wrap light.

And that's one of the most common lights used in BT

where they don't want any shadow at all,

they just wanna see skin and stuff like that.