Movie Makers (Jan-Dec 1952)
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FIG. 3: Here are representative exposures with 2 new PH-375 watt lamps in bar light.
lighten the shadows cast by the key light. It, in turn, is known therefore as the "fill" light. A fundamental example of such a two-lamp lighting setup is shown in Fig. 1.
LIGHTING THE BACKGROUND
If the subject is some distance from the background, the background will photograph quite dark. For, when the subject is 4 feet from the lights and also 4 feet from the background, the intensity of light falling on the background is only one quarter of that falling on the subject. As a result, in the finished picture the background appears dark, for it has received the equivalent of two stops less exposure than the subject. This applies in any case where the background is as far back of the subject as the lights are in front of the subject.
However, if the subject is placed too close to the background, there will be sharp shadows of the subject cast on that background. These usually are undesirable.
The best way to cope with this problem is to light the background separately by using an additional flood lamp or two. This lamp often can be placed just behind the subject and near the floor so that it doesn't show in the picture. Or one or two reflector flood lamps can be placed at each side of the subject — just out of camera range — so that they illuminate the background obliquely.
BACK LIGHTING FOR GLAMOUR Now we have the subject lighted from the front and side, and the objectionable shadows on the background
either have been softened or eliminated completely. We can stop right here with this simple arrangement, if we want to; for the resulting pictures will be properly exposed and of good quality. However, if we want to increase the effect of naturalness, particularly in closeup portraits, we can go one step further and use some back lighting on the subject.
A back light usually is placed on one side to the rear so that it illuminates the subject's hair and places a rim of light on the cheek and shoulder. Such a back light should be shielded from the camera so that no direct rays from it strike the camera lens. For if it does show, it will cause lens flare and mar the quality of the finished picture.
In order to see exactly what the back lighting is doing,
TABLE 1
-NUMBER
OF LAMPS AND AREA
COVERED IN ILLUMINATING
AVERAGE
SUBJECTS
No. of No Lamps
2
Amps. Drawn
LamptoSubject Distance
Ilium, in
Foot-Candles
1 No. 2 Lamp
in Metal
Reflectors*
Size of Area In Sq. Illuminated Feet
Lens Aperture Requiredf at 16 Frames Per Secondtt
Kodachrome A
Super->
Super-XX
2
4
8.8 17.6
3'/2 ft.
1130
2'/2 x 3% 8% 3%x5 18%
f/4 and f/5.6
f/5.6 and f/8
f/11
2
4 6
8.8 17.6 26.4
5 ft.
550
3V2X4V2 15% 5V4 x 7 37 7 x 9'/2 66
f/2.8 and
f/4
f/4 and f/5.6
f/5.6 and f/8
2
4 6
8.8 17.6 26.4
7 ft.
270
5x7 35 7'/zxl0 75 10xl3'/2 135
f/1.9
and f/2.8
f/2.8 and
f/4
f/4 and f/5.6
2
4 6
8.8 17.6 26.4
10 ft.
130
7x10 70 10'/2xl4 147 14x18' 2 260
f/1.4
f/1.9 and f/2.8
f/2.8 and
f/4
2 4 6
8.8 17.6 26.4
14 ft.
65
10x14 140 15x20 300 20 x 27 540
f/1.4 halfspeed
f/1.4
f/1.9 and f/2.8
2
4 6
8.8 17.6 26.4
20 ft.
30
14x20 280 21 x 28 590 28x37 1040
f/1.4 halfspeed
f/1.4 and f/1.9
* Light Beam ±
f "and" means
tt For 24 frames
20°. Beams not superimposed but placed edge to edge overlapped slightly, midway between the two settings, per second, use one-half stop larger lens opening.
.,