LIGHTING THEME: Cross lighting

[ellis_vener_photography]

Rim lighting is similar to cross lighting , except that generally it looks like there is only

one light source being used and it is placed at a much larger subject-to-camera axis line.

One type of rim light is the so-called "hair light".

 

Using your earlier analogy, if you had two "rim" lights, the diagram would be more like a

"Y" than a "T"

 

Rim lighting is usually an accent light (photographically speaking one can break down

lighting a subject into three types: main (AKA "key"), fill, and accent.

 

The key light sets the "mood" and strongest aesthetic effect.

 

Fill light reduces contrast and usually (but not always) comes from the direction of the

camera or from the angle opposite the key light. It is usually no greater than 1/2 the

brightness of the key light.

 

Accent lights are like fresh ground pepper on a hot off of the grill steak. They add a critical

bit

of flavor or sizzle to the shot and often make the difference between an okay shot and one

that

stands out. Rim lighting as an accent light is generally used to set off the subject

distinctly from the background with a brighter edge. Accent and fill lights can also ,

though not very frequently, be used as a shot's key lighting effect.

[garry edwards]

Here are a couple of examples of rim lighting where the rim light was the main or only lighting used.

 

http://www.photo.net/photo/2735491

 

http://www.photo.net/photo/2735489

 

And in this product shot, rim lighting was used as an effect light http://www.photo.net/photo/2091149

 

I must have hundreds of other examples, but computer problems make them difficult to find...

[ellis_vener_photography]

Garry I'd call all of those examples of side or cross lighting, but there's a certain point where

the language gets fuzzy describing what my eyes vs. your eyes see. Shades of grey I guess.

 

Any way this is a classic thread with excellent examples of well made light.

[garry edwards]

Ellis, as you say, shades of grey...

 

There comes at point at which side lighting can become rim lighting or rimlighting can become backlighting. Not easy to define in terms that everyone can agree on. But one thing we can definately agree on - this is a good thread.

[j.kivekas]

There is another thread in the lighting equipemnt about the the "Dutch light". I wonder how close does this actually get. Teh books tell that Caravaggio was a major forebild for Rembrandt. I dare to quote wikipedia here <a href="http://en.wikipedia.org/wiki/Rembrandt"><i>"Among the prominent characteristics of his work are his use of chiaroscuro, the theatrical employment of light and shadow derived from Caravaggio but adapted for very personal means; his dramatic and lively presentation of subjects, devoid of the rigid formality that his contemporaries often displayed; and a deeply felt compassion for mankind, irrespective of wealth and age."</a></i>. Come to think of it some of the works by Rembrandt and perhaps Rubens are like light painted, because the light isn't perfectly real. The ciaroscuro is very evident and often there are almost like rays of light visible.<p>

Ellis, thanks for the clarifications on rim lighting.

[ellis_vener_photography]

Notice the emphasis i ntheabove passage is not about technique but on personal vision

utilizing these techniques.

 

The only thing real about a photograph or a painting is the thing itself, everything else,

the the spatial and emotional relationships of the things depicted to each other,

perspective, color, lighting, gesture, etc. are nothing but constructs by the creator of that

image. Photographs can (and mostly are) reality based. but the finished work is only a

deliberately created abstraction of what the photographer or painter saw.

 

if you really want to learn about how photographers can direct light, buy and study

"Citizen Kane", and virtually all of Martin Scorcese's films.

[j.kivekas]

You mean the Orson Welles movie, last word "Rosebud" - the sledge. If I recall right it is B&W movie. Doesn't it acctually remind the Hurrell photo style. I've noticed that some movies are really pieces of art in regard with lighting but I find it hard stop a view in my mind in order to study the lighting in detail. Yes, I have to look into that. I guess because they use hotligts in the movies they are more often fresnells rather than diffusors.<p>

I am really after the ciaroscuro because of Jussi Aalto (done a couple of his workshops) and Rembrandt. I'd love to be able to create the sort of feeling <a href="http://www.abcgallery.com/R/rembrandt/rembrandt.html">Rembrand</a> had in his paintings. His portraits appear to have ciaroscuro, warm light/colors and vignetting very often.

[twmeyer]

Another beautifully lit Welles movie (with, I think, a more entertaining story line) is <a href="http://www.filmsite.org/touc.html"><u>A Touch Of Evil</u></a> in which Charlton Heston plays (in quite a credibility stretch, but admirable well) a virtuous and naive Mexican police detective (not a typo) against Orson Welles' corrupt American police detective with Janet Leigh as Heston's blond American wife (whooooa!). It is an amazing piece of work, be sure to get the Directors cut, only recently released... t

[twmeyer]

Look at Irving Penn's early portrait work, all basic chiaroscuro conceptually and done in available light studios all over the world. It's an easy effect to achieve by window light... t (also check out Vermeer)

[j.kivekas]

Irving Penn happens to be the forebild to Jussi Aalto and I've come to know Penns work quite well. Restudied some of his work, and yes, there is chiaroscuro here and there. He also has a lot of portraits with medium bg, that is, in between the hilite and dark of the subject.<p>

Vermeer - ok, I checked his work at <a href="http://www.abcgallery.com/"<Olga's place</a>. The window is very often present (visible) in his works. Compared to Rembrandt these appear in my eyes "one or two stops more open":) and there is frequently presence of yellow/lime light. Comparing Rembrandt and Vermeer - I guess you can see the evolution of the "dutch light" trend of that time (1600-1700). Great stuff!

[j.kivekas]

Grrr.. I wish it possible to rectify the errors in the postings. Should've been:"Vermeer - ok, I checked his work at <a href="http://www.abcgallery.com">Olga's gallery</a>...."