Graphics Programs Reference
In-Depth Information
Figure 10.6
A fill light is now
included.
key light. Figure 10.6 shows the still life with an added fill light. Notice how it softens the
shadows and illuminates the dark areas the key light misses.
Typically, you place the fill light in front of the
subject and aim it so that it comes from the opposite
side of the key light to target the dark side of the sub-
ject. Even though the still life in Figure 10.6 is still a
fairly moody composition, much more is visible than
with only the key light in Figure 10.5.
Back Light
The
back light
,
or
rim light,
is placed behind the
subject to create a bit of a halo, which helps to pop
the subject out in the shot. Therefore, the subject has
more presence against its background. Figure 10.7
shows how helpful a back light can be.
The back light brings the fruit in this still life out
from the background and adds some highlights to the
edges, giving the composition more focus on the fruit.
Don't confuse the back light with the background
light, which lights the environment behind the subject.
Using Three-Point Lighting
The three-point lighting system is used for the pri-
mary subject of the scene. Because it's based on posi-
tion and angle of the subject to the camera, a new
setup is needed when the camera is moved for a dif-
ferent shot in the same scene. Three-point lighting is,
therefore, not scene-specific but shot-specific.
After the lighting is set up for the subject of a shot,
the background must be lit. Use a directed primary light source that matches the direc-
tion of the key light for the main light, and use a softer fill light to illuminate the rest of
the scene and soften the primary shadows.
Figure 10.7
A back light makes
the subject pop
right out.
Practical Lighting
Practical lighting
is a theatrical term describing any lights in a scene that are cast from
lighting objects within the scene. For example, a desk lamp on a table in the background
of a scene would need practical lighting when it's on. You never want the practical light-
ing to interfere with the main lighting of the scene, unless the scene's lighting is explicitly
coming from such a source.
