Hi, this is Jp. Morgan today on the slanted Lens
We're going to start a series called the laws of light these were principles were taught to me [by] Charlie Pots at Art Center
He was the head of the photo department our city college of design. [I] was taught these principles
I've been building on them for 25 years
And I'm now going to pass them on to you these truly are
The laws of light the things that happen every time you turn on the light [you] can't change them. You can't make them
Go [away], but you can control them and use them to your advantage, so let's see what they are. Let's see
How you can apply them to your work, and it's really see the laws of light in action
So let's get started see what we can do
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Remember [the] camera is not your tool
It's the object that simply records the light that you place in front of it
Without light the camera can't work. So our tool as photographers as videographers is
light
[everytime] photographer or videographer
Starts to light something they have to decide where to set the light
so let's talk about angle of light if I take this light right here, and I
set it at
Camera Angle which is 0-2 camera, and I turn it on I
get a
Very flat subject there is no dimension. It's a round circle without dimension
It's a white round circle. All I have to do is to move this light off from camera Axis and
Dimension starts to be created as I move it around off from camera Angle now
We've gone from 0 to about 60 degrees
We now have 5 things that have happened
Every time we turn on the light these five things happen
When I put the light at camera angle directly at the [light] the [5] things happened
But they happened away from [the] camera the camera didn't have the opportunity to see them, but when I move the light around
Into a nicer angle and turn it on the five things happen on our ball here. Let's talk about the five things
First off we have a high light side we have an incident high light. We have a core
Which is a transitional area from the [high] [light] to the shadow side, and then we have [a] cast shadow [those] are the five things
high light is simply that the area that is lit by our light the incident angle is the angle of
Our light off the subject and the incident angle to the camera the core is a transition from light light
to dark
It's the area where the transition starts to happen
Then the shadow side is after the transition has completed itself and now we are simply on a shadow side
the drop Shadow is a shadow dropped onto the surface that our subject sits on or
On to the subject surround it if there's more than one subject in this photograph
Those five things happen every single time you turn on the light
There's no way you can avoid it
But what you can do is use them to [your] advantage you can put this
Core where you'd like it to be you can change its position like I say as I move this light around
That core is there
But we get to change where and how it's used
We have our highlight our incident highlight our
Core our shadow side and our drop shadow. We still have that dimension our light is up and behind
Even if I get this light up really high and directly overhead all five of those things are still happening. We still have our
Highlight our shadow on our core
So this creates dimension it creates the shadow the ball that was absolutely flat when the light was right at the camera
Now has great dimension and circular
Photography is a two dimensional experience in a three-dimensional world. This is a three dimensional object
But if it's lit incorrectly it looks [one-dimensional] if it's lit correctly it now has a three-dimensional quality
Even though we're looking at it in a two dimensional experience
So now looking at these five things that happen every time let's look them in context of different qualities of light
this is a directional light a
Strong pinpoint light this light is a single small source
It's going to have a harder core and a fast fall-off from high light to shadow because it's very directional
[that's] how you can tell how hard a light is is
How quickly does it fall off from [highlight] to shadow?
The stronger and more pinpoint the sources the quicker it's going to fall off to shadow the softer and the more
Soft of sources it's going to fall off much slower, and it's going to become bright too slowly into dark
That's a much softer transition
That's how you can tell a softer or made it more diffuse light, so let's look at this with a diffused light
We now have that same wonderful five things that are happening. [they're] just happening here in a different way
We still have a high light?
We still have an incident high light?
We have a core
But look how soft this core is it is not very hard at all it's it's so hard to tell as that high light wraps
Around into the shadow side and our look at our drop shadow is very soft
It's got a bleed around it on both sides so all those five things are happening, but in a much softer sort of way
So that's a much softer light you know there are things that love both [of] these types of light
You know there are subject matters that love hard directional light they used to say
cars could only be shot in that that you [know] end of the day beautiful light and then photographers went out and said look I'm
Going to shoot cars in Direct Sun
And they look beautiful [that] sheet metal responds to Direct sun
If it's shot correctly so you can do some really interesting things [with] hard
Directional light and there are some subject matters that just cry for it they want it
there's others that need softer that need nicer light and so you have to make a
Decision as a photographer as what do I want to [communicate] about my Subby and what type of light am I going to use?
So we have our nice soft light from the side we can do the same thing by putting on soft light in from above
Look how soft this transition is we've got the high light. We got the incident high light. We've got that core
We've got almost have no
Transition it just kind of slowly falls off to that and then the drop shadow on the on the ground
but a beautiful light
I mean these are done with soft boxes with Octa domes these are things this is a type of light [that] is very common and
Certainly one that people use a lot
These days it really is
The go-to light for people they put up a Softbox makes you really soft light on people's faces because you see this beautiful soft highlight
[into] shadows
so let's talk about what creates different qualities of light a
Hard pin point source of light comes from a light bulb a bulb something very small and concentrated the sun is so far away
That's a small source of light a soft light comes with something large a large source this light right here
Sees around the ball the reason this is soft on the left-hand side is because this side of the reflector is reflecting light into this
Side of the ball if there's a pinpoint source it can't see around the ball
But a large source does it reflects around the ball because it's large so it's that large soft area that creates a soft light
Light can't look around Corners. It can simply have a bigger source that allows light to be able to spill around the corner
so there's a big difference a
pinpoint source can only see from one spot a big source allows you to see around and
Softens the light on the person's face or on the ball. So there's different ways to create soft light bouncing and
reflecting or
Pinpoint is just directional aimed straight at the source
So we've used a single light to create dimension using our [high] [light] instant high light core shadow and drop shadow
But now we may want to create separation using the same light?
We simply pan it onto the background and we've now created separation with our light
We have a high light side which is separated from the shadow side [of] the background
We have [a] shadow side that's separated from the high light side of the background so with that single light we've created
Dimension in our subject matter it. No longer looks flat
It's very round and we've created separation from our background so that [it] no longer sits in a one dimensional experience
But now has become more [3-dimensional] because it's separated from the background
So light creates separation we could easily do this as well
by adding a second light
This second light now does the very same things we have the highlight and shadow
We've got the highlight and shadow and it creates that separation from the background
[adding] a second light gives us the option to create separation, not just by value
But also by color we could change the color of that background light that would create separation as well
we also could turn light into a
Rim light and create separation by putting a rim on the side of our subject matter we still have our three-dimensional experience here
But we've got what's called a crossover core. I call it a crossover core
You've got your core here, but now you've got a core rolling in from the back that crosses over again
It's really important that you put that light in the right place [for] that to work. I think on this ball becomes too complicated
It's better have that simple highlight to shadow
but on people's faces
That rim light can look very nice as you get rim in the hair and an area that you want to give it a little
Rim light to separate from the background, so that's a way to separate as well now. We've got great separation
we may decide [you] know what I really want [the]
shadow side of my subject matter to be a little brighter all we have to do is simply bring in a
Fill card and we get to decide now how much what's the ratio?
We want a 1 to 2 ratio that means a one stop difference a 1 to 3 ratio
Which is three stops so the closer?
We get this in we [can] almost get [it] to where it erases our core almost erases our shadow side
But as we pull it out the ratio becomes stronger
We go to a 1 to 2 to [a] 1 to [a] 3 it becomes a little stronger [LI] take that fill card out
So we get to decide
How we want to communicate?
With [that] shadow side of our subject matter and how much [filler] want to have in there the easiest way for us to fill in
the side of our subject matter is with a bounce fill it takes the light that's coming in and
It just takes that same light and puts a portion of it back on to the subject matter
When we add a second light here
We add a second core that's going to cause problems for us so we don't want to create a second light and add a second
Light source, it's just easier [to] use a simple reflector
So that becomes almost a go-to, or a simple setup for a photographer for videographer. You've got a key light
You've got your shadow and your highlighting your core
then you add a reflector on that one light back in that creates the ratio that you like and then a simple light on the
Background [the] create separation for you
You can get away with this you turn it and as a single light doing both of those things
[but] it gives you two different ways to work [with] a [1] or [2] light [setup]. Let's look at some images to represent
photographing a sphere
There's the laws of light as they relate to a sphere you know everything in the world is a sphere a cube or cylinder
In our next lesson we're going to look at a cube
And how that relates to the laws of light eventually when we understand all three of these there isn't anything that we can't light?
So join us for the next in our [series] on the laws of light on how to light a cube
so keep those cameras Rollin keep on Clickin
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