A few things you must know about Studio Lightings
People who are just learning to play Studio Lightings in the studio see shadows instead of lights at first. Looking at the shadows on the MODEL's face, they would like to get rid of him as soon as possible, so they turn on another light, but there will be shadows with two lights, and the more shadows they use, the more shadows they will have. Finally, they play a large flat work. So the first thing to learn about learning shed flashing lights is.. Recognize the shadow, not destroy it.
One of the first things that comes to mind when a beginner first touches a shed flash is to hit a bouncing light, which will bounce back to the ceiling or wall anyway, so that the diffuse light bounces back and doesn't create shadows between subjects (there are still shadows, just not so obvious).
As long as it is in the studio, everyone will use no shadow, and it is taken for granted that.. The shadowless is a part of the studio, but have you ever wondered how photographers used to control the Studio Red Head Light and take pictures when there was no such thing as a shadowless? It was around 1987 that the so-called shadowless first appeared on film sets and was not yet a universal light control tool. Before this period of time, cameraman controls a lamp to shed inside much hit with standard cover straight or the way that sticks tracing paper to deal with luminous problem, but the smooth tune that standard cover plays how to do very hard, shadow is very heavy how to eliminate again? The solution is to play a light, or use a third light, the use of the light far and near strong and weak light ratio, let the shadow fade, so photographers at that time, playing the light is really kung fu.
If you are in grade 4.5.6, think back to when you went to the photo studio to take your id photo, what kind of lamp did the master use? At that time, the most commonly used is an arm frame, with rivets on the ceiling, 2 movable arm frame locked a shed flashing, above the inserted an umbrella (reflective umbrella). Then, the reflection of the canopy is used to make the diffusing light of the reflective umbrella produce a softer light quality, which is slightly harder than the shadowless light . In the age of digital photography, few people use reflective umbrella to control the light.
Nowadays, Studio Lightings wholesale shares that the use of shadowless has become the standard equipment of most studios, and many studio flash beginners mainly use shadowless light method, reflective umbrella or standard cover of the concept of light control for them, may be very strange. Modern photography studios, in addition to no shadow, and the combination of radar radome or honeycomb film, to form a main light and effect light collocation. Try to ask.. What would you do if you didn't use a shadowless light to take pictures? Maybe you should think again.
It is to improve type fluorescent lamp actually, design?? Its makers managed to keep the temperature between 5000K and 5000K, but oddly enough, the colors they produced had an indescribably off-color quality. This kind of light, which looks bright but needs to be turned on [high ISO] to shoot, is an option for many corporate art designers, because its continuous light can help those who have not learned photography to shoot something. But that's why business owners are now asking for more than one job when hiring. Art and photography). So cold light and art + photography, the question is which came first, the chicken or the egg?