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Cancel anytime before your trial ends and you won't be charged. There's no complicated contract, no cancellation fees, and no commitment. Cancel online anytime, 24 hours a day. Watch anywhere, anytime, on an unlimited number of devices. Butterfly Lighting In the butterfly lighting pattern, we have the light directly in front of and above the subject Figure 1a.
Although flattering on fashion models, it adds weight to the subject because the full facial plane is illuminated.
Of course, fashion photographers are generally working with very slender subjects. We wedding photographers deal with a much wider range of body sizes and shapes. The unfortunate truth these days is that photographers who choose to bounce a flash directly off the ceiling above the subject, or use the various fill cards available, are basically creating this butterfly lighting pattern on their subjects, and many times, not very well.
Loop Lighting My favorite lighting pattern has always been the loop lighting pattern.
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The cheek shadow also gets progressively larger. As the cheek shadow gets bigger, the highlight area is reduced. The more I rotate the light around the subject, the more the shadow increases and the highlight area is reduced see Figure 2b. As we do so, we will have the nose shadow connect with the cheek shadow Figure 3b. This is how we minimize or reduce the weight of the person visually—simply by using light.
I mention the split lighting pattern because it needs to be included in our five classical lighting patterns. This crescent of light on the back of the subject is called rim or accent lighting.
Captured by the Light: The Essential Guide to Creating Extraordinary Wedding ...
The rim lighting pattern is an accent light, and is used when we want to separate the subject from a dark background. It will allow the subject to pop out from the background just a little bit more. Let me do a quick walk-through one more time:. The Rembrandt lighting pattern then becomes apparent, as I continue to rotate the light around the subject. Be careful not to photograph the light source in this instance.
But, there are all kinds of light sources we can use to illuminate our subject. Back in my early high school days, when I was just starting to learn about portraiture, I used the old Smith-Victor reflectors fitted with photofloods.
Granted, I nearly melted my subjects in front of those watt, super-bright, hot lights, but I could always see from which direction the light was coming. My lighting setup today is utter simplicity. It consists of a studio strobe within a Westcott Halo, positioned on one side of the subject, with a inch silver reflector placed on the other side and held in place by a light stand see Figure 7.
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The Halo which works with any studio light has been my choice for modifying my studio light for over 23 years.