Hi, this is JP Morgan
Hey harima
And it's time for another episode of the Mazda light here on the slanted lens
The last episode you should reference for this one is the five lighting portrait positions
That'll give you a good foundation of what a one light setup is today
We're going to expand that into a three light setup
everyone should understand a three light setup know how to set it up and to use it because
You'll use it in interviews you use it for portraits and you'll use it for just about everything you do and there's several reasons
Why you use it? I'm going to talk about each one of those. So let's get started and see what we can do
So, let's break down a three light setup first off for most people
It's very difficult to know where to set the first light
Go back to the five portrait lighting positions and choose a place that's going to give you a nice light on her face right now
I've got the light up slightly. I'm allowing the shadow to break from her nose and to cross into her cheeks
She has beautiful cheekbones. So it's really easy to get a nice Rembrandt light on her face
We're using a 300 d for our key light here the aperture 300 d which is a fabulous
Continuous light in the background we have 120
D not quite as powerful as the 300 D but it has that same bones mount. It allows me to put reflectors grids and
soft boxes whatever you need to on these kinds of lights because they have that Bowens mount that allow them to
interface with all the different modifiers are used to but now the very first thing that I always attack when I'm in this position is
I have shadows. Well, we talked about this in the one light if I want to resolve my shadows here
I can simply slide a light in it. They reflect her in with that single light
I've now lit her face and I have brought a lot of light into the shadows and it looks nice on her face
But the next reason we add a light is because we need to separate her from the background
Now you can do it for interest as well
But usually the first reason we do it is because we want to separate her from the background
So we can do that one of two ways. I can turn the light on the background
And that just simply means that I have now separated her from the background because the background is brighter and
She is I get complete separation on her hair from the background. That's one way to do it or I
Can turn on a rim light the rim light will separate her from the background
Usually I use a combination of these two
I like the rim light I like what it's doing on her shoulder. Now if we turn our light on the background
We can decide how we want to place this and there's several different thoughts on placing this light
I can just simply Pan it in from the side and
Just do a little bit of light on the side there
Kind of separates her from that one side just gives me a little glow from left to right or from right to left. I
Can take and make it down on the floor and just let it come up
So close behind her show holder's a little bit starts to separate her
Depending on how much of that I like you can put a spotlight right behind her
Just spotlights her completely on that background from behind
it's just important that that background light is dark enough that it doesn't overpower the foreground and
Yet it's a powerful enough that it separates her from the background
The reason you add light is to separate and create dimension and depth and to create interest
Those are the things you want to do. You want to separate create dimension and depth and to create interest
So in this case, we've created separation with our rim light
We've created depth with our background light and then we've opened up the shadows with our reflector
it's really important to understand that in this process if you're shooting inside in any kind of a studio kind of
Situation or in a room where you're going to set up artificial lights
One is the further you get her away from the background the more control you have of the background
Now that's gonna be controlled by certain things. If you put a seamless up, you can only get her so far away
Before you get off in the seamless
Although the longer the lens you put on
then that means it's gonna keep you on to your background because it brings a background in closer and a small background is going to
Cover on a longer lens, but it means you have to get your camera further away from the subbing
So wider lens means you get closer to the subject
So in a small room you can get closer and you have room to work
Longer lens means you get further away from the subject
So you have to have a larger room
But the further you can get her away from the background
The more control you're going to have the light from the background and from on her face because then you have the ability to control
The light on the background and it doesn't affect her face
If you've got someone smashed up in there three or four feet away from the background
It becomes impossible to light the background separate from her face
so that's really the principle the principle of the three light setup is
allowing you to have complete control the lighting you're working on and the way you do that is by getting her as far away from
The background as possible
Now some things I use to mitigate that problem of spilling light is I always put grids on the softbox
now that keeps that light right on her face if I pull this grid off I
Got light all over the background and that's a really difficult thing to control. So we talked about interest one way to introduce
Interest to the image is to add gels to your light you can I gel to the backlight?
That's the rim light on our hair
You see the red in her hair now if it makes sense and it works for your subject matter
That's a way to add a little bit of interest and add a little bit of depth. Generally speaking
I don't go as red on a rim light on her hair because it's just
Was there something on fire back there or what's going on? But I usually use something that's a little more organic. Maybe some blue
So there's a blue light from the background now you can see this on here
It's not as strong one
Other thing I can do is I can add glue to the shadow area of her face by just simply putting blue over the reflector
Knot and I'll push that reflector in when I do that
This is very simple and subtle this is not a heavy-handed use of gels
It just allows you to give you a little something makes a little interesting this three light setup is very very similar to a lot
Of things I do when I shoot corporate kinds of portraits. It gives you a great separation gives you a little bit of interest
Okay, what if you don't have?
Three lights. Is there a way to do a three light setup if you don't have three lights. Well, let's see
So here are back to our key light only we only have one light going
Remember the principle I said if you want complete control of your light
You've got to get your subbi as far away from the background as possible. I've got a pretty dark background back here
So the first thing I'm going to do is I'm gonna get her closer to the background because that allows me to light the background
With my one light. So let's move you back to about there. I
Will bring this light to here
I'm gonna take off my grid
So there is light on her background still dark I bring the light in the background starts to brighten up
I'll now bring in my reflector
and
open up the side of her face and
Then the last thing I'll do is with a dollar 95 mirror
Then I get from Home Depot
I'm gonna give myself a rim light
On her on her hair now, it's not as pronounced
It's not as nice as when you have three lights to set that up because you have to make a lot of compromises
This lights going to just have to blast the background and make it to come up
You can't feather it a little bit, but you can't feel the light off from in front of her
It just means you're gonna have to make a lot of compromise your rim light and her hair is not gonna be near as bright
Because it's not as efficient coming off from this light. So we make a lot of compromises
But a three light setup is really basics for a lot of what's done in photography and video
Now you may say to yourself. Well how creative can you be with that?
Well, most all people are the same but they are all completely different
Basically, we're all the same but we all are very unique
So how you apply a three light setup is the same way the way you light the background the ratios that you choose to use
The colored gels you use the things that you use to mix this thing up really becomes a foundation for making that three light
Setup grow and become what you want to do with it and become your creative style
So there you have it a three light setup the basics for just about every lighting setup that you'll do in video and still photography
Portraits interviews all those kinds of things evolve around a three light setup. So keep those cameras rollin keep on clickin
Don't estimate alone. Don't stand out on the cold all by yourself
Try to put together an estimate go to the slanted lens comm slash estimating
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