I used another Lupolux 1000 LED and a ScatterGel on the right at the top of the stairs. The third light in the set is lighting the back wall. This is a Lupolux LED 1000 in full-spot mode rigged two floors up and pointing down over the balustrade. The light at the top of the sketch plan shows the back light. I started by rigging the model’s key light, a Lupolux LED 650 with a ScatterGel, and made sure it picked up on the lion and stairs too. The previous shot was a commission for the Bristol Museum events department, and I used just three lights. As Fresnel spotlights have a long throw, they can be used to light large areas from a distance. Take the Hollywood look on location to bring a space to life.
#BLACK PRO MIST VS HOLLYWOOD BLACK MAGIC SKIN#
On the down side, hard light can emphasise skin surface blemishes, but that’s what Photoshop’s for, isn’t it? Crisp, beautiful, hard light energises photos and takes them to a level of fantasy. Hard light has been rediscovered by advertisers. The crisp light from these spotlights closely resembles natural sunlight and makes skin come alive. Hollywood is not all about the past, though, as there is a new genre taking hold among social photographers that fuses classic Hollywood lighting with modern fashion styles. This helps to set the mood and for that energy to come through in the photograph. If I’m shooting a vintage look, I pop some Ella Fitzgerald or Etta James on the hi-fi in the studio. If you’re more than touching distance from your subject, you’ll be fine. I used the moderately wide 23mm lens on my Fujifilm X-T1 set to f/1.4, which equates to a 35mm lens on a full-frame DSLR. For the big wide scene that I shot in Bristol Museum at night. Lens choiceĪ medium telephoto or a standard lens is best for these kinds of shots. The quality of the final print will be governed by the control of the deep shadow detail. I like to create dark shadows that still have significant detail. Shadows reveal shape, and the crispness of a shadow edge is determined by the relative size of the light source. So rig your key light as high as you can while retaining a highlight in each eye. The steeper the light, the more chiselled the face becomes with clearly defined cheekbones and jaw lines. Shallow-set eyes can get away with high, steep key lights. Deep-set eyes or ones with false eyelashes need a shallower key light. The steepness of a key light is determined by the subject’s eyes. The bedside light gives the motivation for the back light and sets the base exposure This model is lit with a classic two-light tungsten set-up, with the Arri 300 as a key light to the left of the camera and the Arri 150 as a back light on a boom arm. The most distant parts of the scene have the lowest contrast and black is shown as grey. Landscape and portrait painters use the same trick. These all give the artist a presence in the scene and separate them from the background.
#BLACK PRO MIST VS HOLLYWOOD BLACK MAGIC TV#
Pretty much every shot of an actor in a high-budget film or TV drama has a back, rim or kick light. Subjects closer to the camera were, and still are, lit to a higher contrast than the environment they are in. This was achieved by separating the foreground and background using tones. Old Hollywood faced the problem of making the three dimensions of real life look good in two dimensions. Claudia, my make-up and hair artist, created the look with classic hair curls and well-defined eyes Three into two The boom arm allows me to place the stand out of the shot to the right of frame. The rim lighting for this shot comes from an Arri 150 light on a boom arm. Soft light by comparison widens faces and flattens texture. It falls away around the sides, giving a more slender look. Notice how hard light narrows the model’s face. The LED revolution is exciting for stills photographers because we can tap into the kind of lighting that was once the reserve of film crews with mega budgets. Lupolux LED spotlights are now available with bi-coloured LEDs so they have an adjustable colour temperature from 3,200K to 5,600K. Now they have largely replaced HMI and the hot tungsten lights of old. Five years ago LED Fresnel spotlights weren’t even dreamed of. The look needs Fresnel lens lights for authenticity and it’s easy to spot the classic lighting style of the past masters when lit with these luminaires. These luminaires produce a crisp, hard light that is controllable using a flood/spot system and by the shaping of the barn doors. A unique characteristic that makes Hollywood lighting so special is the use of traditional spotlights with Fresnel lenses and barn doors. This Hollywood system works well on location too, and with the right lighting any location can look like a film set. I used a piece of light frost gel attached to the barn doors of the lamp to subtly diffuse the light The perfect lighting Just one Lupolux LED 650 spotlight was used to create this Marilyn-style image.