1. FLIPPED CLASS ROOM ACTIVITY CONSTRUCTOR-USING EXISTING CONTENT
STYLES OF LIGHTING IN PHOTOGRAPHY

2. ABOUT THIS CONSTRUCTOR
This activity aimed at to provide knowledge on styles of lighting in photography.
The slides with white and black background are information sheets.
The slides with ????? heading require you to provide inputs.
Replace the text written in VIOLET with your input.

3. TABLE OF CONTENTS SECTION SLIDE CATEGORIES OF LIGHT 4
OUT OF CLASS SEGMENT 11
INSIDE CLASS SEGMENT 14
STYLES OF LIGHTING 21
EVALUATION 27

4. CATEGORIES OF LIGHT
Direct light flies straight from the light source to the subject.
Direct light typically creates shadows with high contrast and hard edges. Sunlight on a clear day is direct light. Light from an on-camera flash can also be direct light.
While direct light has many uses, photographers often prefer the softer look of diffused and reflected light.

6. Diffused light passes through a semi-transparent material on the way from the source to the subject .
Diffused light creates shadows with lower contrast and softer edges than direct light. Depending upon the amount of diffusion, it is possible that the shadows will be so light that you can barely see them. Clouds are a great example of how sunlight can be diffused.
The water vapor causes the light to bounce around and come at the subject from many angles rather than directly from the sun.
A sheer curtain over a window is another example of a light diffuser.

8. Reflected light bounces off of an opaque surface before it hits the subject. Sunlight bouncing off the concrete wall of a building is reflected light.
Sunlight bouncing off of clouds can create reflected light. Photographers can use white foam core panels or fabric reflectors in a variety of colors to bounce light.
Hotshoe mounted flashes often have the ability to tilt and pan so that the flash can be bounced off a nearby wall or ceiling. Like diffused light, reflected light is softer than direct light.

10. RADIANT:
A radiant light is a light source that is directly entering a lens such as flare, or a silhouette created by a backlight.

11. ??????
…………….is light traveling unimpeded from the light source to the subject, not filtered, diffused, reflected or altered.
…………..is like full sun on a clear day.
…………is light proceeding from a light source and bouncing off a remote surface and reflecting onto an object.
Light reflected into an umbrella with a black backing
Light can also be reflected off a white wall or a silver or white card and directed toward a subject.
……………..is less directional than an unimpeded source light.

12. ???????
………….light passes through a remote diffusion device or material prior to reaching the subject.
created by clouds or haze in the sky. This light becomes less directional and less contrasty.
An example of ………. is created through the use of a shoot through umbrella. The umbrella acts as a diffuser.
Other types of diffusers includes soft boxes and translucent white panels.

13. The Lighting Compass On-Camera or Aligned with the Camera (red):
Angled Towards the Subject (green):
To the Side of the Subject (orange):
Behind the Subject (blue):

15. VIDEO SELECTION https://www.youtube.com/watch?v=qAUBIJZJhgQ

16. Lighting terminologies
Key light: The main light hitting the subject, typically coming from the front, often angled in from one side.
Fill light: Light that is added to the shadows, can be created by bouncing light off a reflector or by adding a secondary light, such as a flash.
Rim or hair light: A light that comes from behind the subject and is seen by the camera as a thin outline of light along the edge of the subject.

17. EXAMPLE

18. Key light
The key light, as the name suggests, shines directly upon the subject and serves as its principal illuminator; more than anything else.
The strength, color and angle of the key determines the shot's overall lighting design.

19. Key light
In indoor shots, the key is commonly a specialized lamp, or a camera's flash.
In outdoor daytime shots, the Sun often serves as the key light

20. EXAMPLE

21. EXAMPLE

22. Different types of lights
Key light
Fill light
Background lights (also called a rim light)
Hair light

23. Key light
The main purpose of key lights is to illuminate all parts of a subject. The light(s) is set up directly in front of the model from where the camera is placed
It shines directly upon the subject and serves as its principal illuminator; more than anything else.
Softbox, and beauty dish are some of the lights that are used as key lights in the studio. Outside the sun acts as a key light

24. Key light placement EXAMPLE
It is placed at forty-five degree angle in front of the subject and to the side of the camera to provide some modeling. 
The light is positioned above the subject, but not too high, in order to shine into the face of the subject.
Key light placement
EXAMPLE

25. Fill light
The fill lights are used for erasing shadows produced by the key lights. They are usually placed on either side of the subject. They are also set above the head of the subject. Umbrella and other similar kind of soft light sources are used the purpose
Instead of a light you can use a reflector to fill in the shadows
A Fill Light should come from a generally opposite angle than the Key - if the Key is on the left, the Fill should be on the right - but don't make all of your lighting 100% symmetrical! The Fill can be raised to the subject's height, but should be lower than the Key.

26. EXAMPLE

27. EXAMPLE 1:2- good starting point 1:1 1:4 How much fill light to give?
1:1, where the key and fill are equal intensity.
1:2 the fill is ½ the intensity as the key
1:4 the fill is ¼ the intensity as the key
1:8 the fill is 1/8 the intensity as the key
1:2 is a good starting point, it produces subtle shadows
EXAMPLE
1:8

28. Fill light
Where is the key light in this picture?
Where is the fill?

29. Backlights
The Rim Light (also called Back Light) creates a bright line around the edge of the object, to help visually separate the object from the background.
From the top view, add a spot light, and position it behind your subject, opposite from the camera.  From the right view, position the Back Light above your subject.

30. Adjust the Rim Light until it gives you a clear, bright outline that highlights the top or side edge for your subject.  Rim Lights can be as bright as necessary to achieve the glints you want around the hair or sides of your subject.
EXAMPLE
No back light
back light

31. Hair light
A hair light is really important if you are shooting a model with dark hair against a dark background. It’s very easy to lose the model in the background without a hair light.
But even if you don’t have a dark-haired model on a dark background, hair lights still make a big difference in the photo by adding interest and highlights to the model’s hair.
A hair light is generally placed behind the model and about 3 feet above the head, with the light angled down and slightly forward to strike the top of the head and shoulders.

32. No hair light
With hair light
EXAMPLE

33. EXAMPLE