Imaging and Concept
Imaging and Concept
Wether you are in a lighting studio with a live model and a camera, creating an illustration from your imagination or working in digital 3D modeling software, this system will create strong dimension and volume as well as set the figure/object "in" the scene.
This is a systematic method that breaks down the lighting process into 5 components:
Whether you are in a lighting studio with a live model and a camera or creating an illustration form your imagination, this system will create strong dimension and volume as well as set the figure/object "in" the scene. Variations on this basic set-up can create different moods and situations. No matter the effect desired, considering all 5 of the lighting components outlined in this guide will provide convincing results. Start with the a generalized sketch of how the light will fall onto your character or object as shown below.
Set up the color, source and intensity of the ambient light in the scene. It will play a major role in defining the time of day, location and mood. In our example the ambient light is replicating a standard room ceiling light. Videographers will often choose certain times of day when shooting outdoors to get the type of light they need to tell the story. Illustrators and 3D modelers have the luxury of simply creating whatever they need.
If you are working in a lighting studio or 3D modeling environment, set up your main (brightest) light source first. This will determine the overall lighting scheme as shown by the sketch above. Use a warm color temperature light if you have one. If you are illustrating, create a 3-plane underpainting (or flats) as shown above. then render in the mid tones and bright planes.
Place a (dim and cool color temperature) fill light roughly opposite of the main light (this exposes shadow details). Use a cool colored light if you have one. If you are illustrating, render all of the visible details in the dark planes.
Place an edge light to the side and behind the figure/object to create a highlight on the dark edges. Use a light that is roughly the same color as the environment. If you are illustrating, add these highlights.
In a live studio or 3D modeling environment, shadows will be created automatically. If they are covering important features, you can adjust the lights to correct the problem. 3D modelers have the luxury of setting a custom color for the shadows. Illustrators have a lot of creative freedom in this area.
Here is a side by side comparison of the sketch and the finished work.
Here is a view showing the light positions. In this example, two edge lights were used to get an even effect along the length of the figure.
http://www.photoworkshop.com/pages/light_cage.html .. is a handy lighting tool from Photoworkshop.com that lets you play with 2 of the 5 components: main light and fill light.
Here is a side by side comparison of a front lit and upper right lit figure from Photoworkshop's Light Cage tool. The center lighted figure on the left has less volume than the upper right lit figure on the right. For this reason, avoid center lighting.
GLOSS: Hard edge shading with a large hi-light is appropriate for materials like metal and ceramics.
SEMI-GLOSS: Soft edge shading with a large hi-lite is appropriate for materials like polished leather and silk cloth.
MATTE: Soft edge shading with no defined hi-lite is appropriate for materials like rough leather and felt cloth.
from PortraitProfessional.com ... Click to enlarge and /or save image
Here is helpful video tutorial on setting up lights in a digital 3D environment (by Flipped Normals).
by Susan Bonner
Guide by Bill Fischer with Susan Bonner