良好的照明是一个重要组成部分的写照。It's also easily identifiable even by the casual observer. 这也是很容易辨认的甚至被随意的观察者。However, despite this apparent simplicity, knowing how to use light to achieve a desired look requires a much deeper understanding. 然而,尽管这显而易见的简单,知道如何使用光的实现需要一个很渴望的神情更深的理解。This introductory tutorial discusses the most basic scenario: portraits with one light source. 这种介绍性的教程将重点讨论最基本的情景:肖像一光源。Subsequent tutorials will discuss setups with multiple lights, but the same principles discussed here still apply.随后的教程将讨论多灯光设置,但同样的,我们讨论的原则仍然是适用的。

OVERVIEW: ONE LIGHT SOURCE简介:一个光源

The primary source of subject illumination is usually called the main or key light. 主体照明的主要来源通常被称为主要或关键的光。Although additional lights may be added to enhance a portrait, key lighting is usually performed independently. 尽管额外的灯光可以被加到一个肖像等,提高照明通常是由独立的关键。This is great news for those trying to learn portrait lighting, because it means one can ease into the process one light at a time. 这是很好的消息对那些试图学习肖像照明,因为它意味着一个可以减轻过程一盏灯。If and when you decide to include additional lights, everything learned here will still apply.当你决定加入额外的灯光,一切后天学到的将同样适用。

Only one trait controls the appearance of light on a subject: its distribution*. 只有一个品质控制灯的外观主题:其分布*。Even though some lighting may seem to have a magical quality, it's ultimately nothing more than this. 尽管一些灯光似乎有一种神奇的质量,这是最终都不如。However, for a given light source, we can separate this out into two more easily manageable characteristics:然而,对于一个给定的光源,这可以分开成两个更容易管理的特点:

1. Direction, which controls the location of shadows and highlights on the subject, and控制方向的位置,阴影和高光这个话题的
2. Apparent Size, which controls the appearance of these shadows and highlights.明显的大小,可控制出现这些阴影和高光。

While these characteristics might seem simple and controllable, their combinations can create an amazing array of different subject appearances. 而这些特性可能看起来简单、可控性、他们的组合可以创造一个了不起的一系列不同学科的外表。Lighting can easily become unpredictable without first developing an intuition for each.照明可以很容易变得不可预测发展一种直觉不首先对每一个。

*Strictly speaking, the*严格地说,white balance白平衡of the light source is another trait, but for this portrait intro we're going to assume that you'll want to keep the source looking like natural light.光源的另一个特点是,但对于这幅画像介绍我们要假设你就会想要保持源看起来像自然光线。

SIZE: HARD VS.尺寸:努力与。SOFT LIGHT

We'll start with apparent size, since this is perhaps the most common cause of poor portrait lighting. 我们一开始就有明显的大小,因为这也许是最常见的导致糟糕的肖像照明。When photographers describe light as being "hard" or "soft," or use the term "light quality," they're actually just referring to the size of the light source:当摄影师作为描述光“硬着陆”或“软”,或使用“质量轻,“他们只是指光源的大小:

Although too much of anything can be harmful, portraits usually benefit from softer lighting. 虽然太多的东西,通常是有害的肖像受益于软的照明。Try moving your mouse over the "harder" and "softer" options below to see for yourself how each influences the look of a portrait:尝试移动你的鼠标“努力”和“软”选项下面看到自己的样子都是影响一幅肖像。

Note how broader and narrower light sources are termed "soft" and "hard," respectively, because of how they render the edges of shadows and highlights. 请注意如何更宽广、更狭窄的光源被称为“软”、“硬”,因为他们如何分别渲染的边缘的阴影和高光。This happens because a larger light source spans a greater angle across the subject. 这一切发生的时候,因为一个大跨越大角度光源在主题。Any given region is therefore more likely to receive at least some direct lighting, causing the softer shadows. 因此,任何地区更容易接受至少一些直接照明,导致软阴影。Similarly, with a smaller light source, a given region usually receives either all or none of the direct light — producing much deeper shadows. 同样地,拥有一个较小的光源,给出区域通常要么全部或没有收到的直射光-生产更深的阴影。Also note how light size is equally transformative to the highlight transitions, particularly in the model's upper right hair.光是怎么也注意到同样的大小变化的突出,特别是在模型转换的右上角的头发。

However, light size doesn't just control the appearance of large-scale tones; it also determines the visibility of fine-scale texture. 不过,轻松的大小并不只是出现大规模的音调控制;同时也是决定的可见性的fine-scale纹理。Pores, blemishes, wrinkles and other facial details all become more pronounced with hard light. 毛孔,磨损,皱纹和其他颜色的细节都变成硬光越来越明显。Hard light also increases the likelihood of harsh direct reflections off a subject's skin.硬光也增加了人类感染的可能性的严酷直接反映了主体的皮肤。

The most important trick for achieving softer light is to understand that direct light is hard, but that whenever this light bounces off or travels through other diffuse objects, it becomes softer. 最重要的阴谋诡计实现软光是明白直射光很辛苦,但���,当这光反弹或穿越其他弥漫性对象,会变得更柔软。Photographers use this to make the most of otherwise harsh light.摄影师用这个来充分利用否则耀眼的光线。

Tips for achieving softer light:提示为实现软光。

• Diffuser. 扩散。Place a larger translucent object between your subject and the light source. 一个更大的半透明的地方你的主体与客体之间的光源。This might include using a lamp shade, or hanging a white sheet or curtain over an open window that receives direct light.这也许包括使用一个灯罩,或挂一条白色床单在一扇打开的车窗或窗帘接收直射光。
• Bouncing & Reflecting. 跳跃和体现。Place your subject so that they receive only bounced or reflected light. 把你的主题,他们只会反弹或反射的光。This might include moving them a little further from an open window (just outside the direct rays), or aiming your flash at a nearby wall or ceiling.这也许包括移动它们有点进一步从开着的窗户外面的光线(直接瞄准你的闪光灯),或在附近的墙壁或天花板上。

In either case, be careful because you'll end up with a lot less light — potentially requiring a longer exposure time or a brighter flash.在这两种情况下,要小心,因为你就会有一个更少——极有可能需要较长的光暴露时间或一个更美好的闪光。

At the other extreme, a light source may also be too soft (although much less common). 在另一个极端,一个光源也可能因为太软(虽然不是很常见)。Some might consider photos taken in the shade as appearing too flat, for example, if indirect light scatters in from everywhere. 有些人可能会考虑在树荫下拍的照片出现的过平,举个例子,如果间接光散射从无处不在。Such light is effectively enormous in size and erases all shadows. 这样的光有效地巨大的规模和抹去所有的阴影。Other examples include portraits in the fog, or outside on a fully overcast day.其他的例子包括肖像在雾中,或在阴暗的一天在一个完整。

However, just how soft is "too soft" really depends on the look you're trying to achieve. 然而,就怎么软是“太软“真的取决于看你想达到的目标。For example, even though the photo on the right uses softer lighting than any other example in this tutorial, many might still consider this a desirable look for glamour portraits.例如,虽然这张照片在正确的使用柔和的灯光比其他任何例子在这一课中,很多人仍然认为这是一个理想的寻找魅力头像。

DISTANCE & APPARENT LIGHT SIZE

At this point you've perhaps been slightly misled: it's not really the physical size of the light source that matters — just its apparent size relative to the subject.在这一点上你也许有些误导:这不是真正的物理尺寸问题的光源——只是其明显的大小相对的主题。

Closer light sources become softer, because this light strikes the subject from a broader range of angles — even if the light itself remains unchanged. 光源变得更柔和、更轻的罢工,因为这个主题从更广泛的角度:即使光本身不变。Similarly, the opposite is also true: direct sunshine is hard light even though the sun is physically enormous. 同样,相反也一样:阳光直射是即使太阳硬光身体巨大的。The sun is just so distant that its light reaches us from roughly one direction.太阳是太遥远,它的光线到达我们大约在一个方向。

On the other hand, moving a light closer also makes it brighter. 另一方面,移动光源移近一点也使它更亮了。If this was your primary source of light, then the look of your portrait likely won't change — your exposure time or flash intensity will just decrease to compensate. 如果这是你的主要的光源,然后看看你的肖像——你可能不会改变曝光时间只会减少或闪光强度进行补偿。However, if much of your subject's light was previously ambient, then moving a light source closer can decrease the influence of this ambient light — effectively making the overall light harder since more of it will come from one location.然而,如果你的许多学科的光环境,再将先前的一个光源的影响更可降低周围的光——这使得整体的光更有效,因为有更多都来自一个地点。

Closer light sources also illuminate the subject more unevenly, since different parts of the subject will become relatively closer or further from the light. 接近光源也让这个主题有不均,因为不同的部分的主题将成为相对接近或进一步从光。For example, the far side of the subject might only be 5% further from a distant light source, but could become 50% further when the light source is moved up close — causing it to become much darker relative to the other parts of the subject.例如,遥远的那一边可能只有5%主题进一步从一个遥远的光源,可能成为50%光源是进一步上升密切-使它成为黑暗许多相对于其它部分的主题。

However, this unevenness can also be used to your advantage. 然而,这种丛集性也可以用于你的优势。A closer light source may be able to achieve better subject-background separation, since the subject will become much brighter relative to their background. 近距离光源可以取得更好的subject-background分离,因为主题将变得更为美好的相对于他们的背景。On the other hand, this can also make matters worse if these were already well-separated.另一方面,这也可以让事情变得更糟,如果这些已经well-separated。

DIRECTION: SENSE OF DEPTH & REMBRANDT LIGHTING方向:深度感和伦勃朗的照明

Finding the right lighting direction requires the photographer to strike a balance between several potentially competing considerations. 找到合适的光源的方向需要摄影师之间找到平衡点几个潜在的竞争的考量。Typically, this includes both (i) portraying a sense of depth and (ii) depicting facial features as attractively as possible.通常,这包括(1)饰���一名深度感和(2)描绘面部特征作为精美越好。

(i) Sense of Depth. (我)深度感。Creating the appearance of depth is a key part of capturing realistic-looking portraits. 创造深度的外形的一个重要组成部分realistic-looking捕捉画肖像。However, our sense of depth doesn't work very well unless light is striking our subject from the right direction. 然而,我们的深度感不很好地工作,除非我们的主题从光引人注目朝着正确的方向发展。For example, a sphere is a reasonable approximation for the shape of our heads, and it only appears three-dimensional when light strikes it from a front upper side:例如,一个是一个合理的近似球体形状,我们的头,这只出现三维光从前面罢工上端:

Although sphere lighting is a good rough guide for portraits, a wide range of lighting angles could have been used to achieve the above sense of depth. 虽然球照明是一个很好的粗略肖像画、广泛的照明角度可以用来达到上述深度感。Faces, on the other hand, aren't quite as forgiving.面孔,另一方面,并不十分宽容。

(ii) Appearance of Facial Features. (二)外表五官。In addition to the head as a whole, each facial feature also has its own shadows and highlights — all of which deserve special consideration. 除了作为一个整体,每头面部特征也有它自己的阴影和高光——所有这些值得特殊考虑。This might include avoiding making the nose appear larger by having it cast a long shadow, or making the subject appear tired by portraying shadows underneath their eyes. 这也许包括避免鼻子出现较大的拥有就投下一条长长的影子,或使目标对阴影下面出现疲劳扮演他们的眼睛。Upper side lighting could cause these and other undesirable effects if not carefully positioned.边点燃能上引起这些和其他不良影响如果不谨慎位置。

One classical* way to achieve both a sense of depth and a flattering appearance is to place the light so that the far cheek depicts a triangle of illumination. 一个古典*的方式去达成某种意义上的深度和谄媚的外观是把光这样遥远的脸颊描绘的是一个三角形的照明。This style is often called "Rembrandt lighting" and we'll refer to this shape as the "key triangle." 这种方式通常被称为“伦勃朗照明”,我们就把这个三角形的形状,作为"键。”This restricts the lighting to a much narrower range of angles:这种方式限制了照明到一个更窄范围的角度:

Try moving the light source in any direction away from the key triangle lighting by moving your mouse over the options above. 尝试移动光源在任何方向离开关键三角形的光线,你的鼠标移动选择以上。With the exception of the lower lighting, each of these options could be considered "front upper side" lighting — yet the key triangle positioning is usually considered the best all-around representation. 除了降低照明,每一个选项可以被认为是”前面“照明上端,然而关键三角定位通常被认为的最好的所有代表。This is because the triangular shape is an indicator of several underlying principles of good portrait lighting.这是因为三角形的指标的几个基本原则好的肖像照明。

For example, when the key triangle is:例如,当钥匙三角:

• Too Big (Tall or Wide).太大(高、宽)。This means the light is too close to the subject's forward direction, and likely isn't creating a sufficient appearance of depth since most shadows are hidden from the camera's perspective.这意味着光太靠近主体的发展方向,并提出可能不是创造一个足够深度的出现,因为大多数阴影隐藏相机的视角。
• Too Narrow. 太窄了。This means the light is too far to the side of the subject, and could cause the nose to appear bigger by having it cast a longer shadow, along with potentially leaving a substantial portion of the face in shadows. 这意味着光太遥远的一侧的话题,会导致鼻子出现较大有质疑,随着长阴影可能离开一大块面阴影。However, this is perhaps the least adhered to of all the key triangle guidelines.然而,这或许是最坚持所有的关键三角指南。
• Too Short. 太短了。This means that the light is too high or low, and is likely causing shadows underneath the eyes or a lack of shadow definition along the jaw line, respectively. 这意味着光线过高或过低,而且可能会导致眼睛下面的阴影还是缺乏阴影定义,分别沿着下颚线。Lighting from below is often used for unsightly creatures in movies, or to create a frightening face when telling a scary story (by holding a flashlight under the face).点燃从下面是经常用来难看的生物电影,或创建一个可怕的脸时,切记一个可怕的故事(通过操纵一个手电筒的面孔下面)。

Also keep in mind that its exact appearance will vary greatly depending on the particular subject's facial structure and expression, so one should only use this as a rough guide.也记住它的具体外观相差甚远取决于特定主题的面部结构和表达,所以你应该只把它当成一个粗略。

*Note: "loop lighting" is another popular (and more commonly used) portrait style that is similar to Rembrandt lighting, except the shadow underneath the nose doesn't fully extend to the shadows on the far side of the face — producing a "looped" diagonal shadow under the nose.注:“* * *”是另一个流行的循环照明(而且更普遍使用)肖像风格相似,除了影子伦勃朗照明的鼻子底下的不充分伸展阴影的另一边的脸,制造出一个“影子”对角打鼻子底下。

However, with any rule there are exceptions, but usually only when this is in keeping with the spirit of that rule. 然而,任何规则也有例外,但通常只有当这是一致的精神与规则。For example, a side-view portrait might not need a key triangle to convey a sense of depth, but only if additional shadows have become visible on the side of the face (such as in the example to the left).例如,一个side-view肖像可能不需要一个关键三角设计一个能够传达一定的深度,但只要额外的影子已经成为可见的左脸(如实例左一)。

Furthermore, Rembrandt lighting is just one style amongst many, and each subject is a little different. 此外,伦勃朗照明只是一个风格在众多,每一个主题有点不同。For example, one might want hard side-lighting to accentuate a man's facial hair, or to convey symmetry by only illuminating half the face. 例如,一个可能要硬的side-lighting强调一个人的面部毛发,或者表达对称,仅仅照亮一半的脸。The key is knowing how to use light to emphasize depth, shape or texture — depending on your artistic intent.关键是知道如何使用光强调深度、形状或纹理-取决于你的艺术的意图。

Two other common styles include short lighting and broad lighting. 两个其他常见的风格包括简短的照明和广泛的照明。These are used when the subject's face is oriented at an angle. 这些被用在主题的脸是定位在一个角度。Short lighting illuminates the full face and leaves the near side of the head in shadow, whereas broad lighting illuminates the near side of the head and face but leaves the far side of the face in shadow. 短照明照亮全脸和叶的近侧头在影子里,而广泛的照明照亮的近侧头部和面部,不过有叶子的较远的一边的脸的影子。These and other portrait lighting styles will be the subject of a future tutorial.这些和其他肖像照明的主题风格将未来的教程。

CONCLUSIONS & FURTHER READING

In general, the goal of portrait lighting is to achieve softer light. 一般来说,目标是实现软肖像照明光。This makes a subject's features appear smooth and gradual, and makes skin texture appear softer. 这使得一个主题显得平滑,渐进的特点,使肌肤纹理显得更柔和。Achieving softer light requires making the apparent size of the light source bigger. 柔和的光需要获得明显的大小使光源的大。This can be done by either (i) moving the light closer, (ii) increasing its physical size, or (iii) bouncing this light off of or diffusing it through other objects.这可以通过(我)或移动光源移近一点,(2)增加物理尺寸,或(3)这光下跳跃扩散或通过其他对象。

However, the choice of lighting direction is definitely more subjective than that of hard or soft light. 然而,选择不同的光源的方向是很主观的硬盘或者柔和的光。Even so, two lighting orientations are usually considered undesirable: lighting from underneath and directly from the front. 即便如此,两个照明方向通常被认为是不受欢迎:点燃从下面,直接从前面。The former isn't something that appears natural, and the latter destroys the portrait's sense of depth. 这位前并不是像自然出现,而后者破坏画像深度感。In any case, one generally wants to portray their subject in a flattering light, but each subject is unique and may require a different treatment.在任何情况下,一般要塑造他们的主体在谄媚的光,但每一个主题是独一无二的,可能需要一个不同的治疗。

Regardless of the above choices, the key is to envision your artistic intent at the start, and then to adjust your lighting setup to achieve that goal.无论上述选择,关键是要想像你在艺术目的开始,然后来调整你的灯光设置去实现这个目标。

To continue reading on this topic, also see part 2 of this tutorial:继续阅读关于这个主题的第二部份,也看到这篇教程:
Portraits with Two Light Sources: Adding a Fill Light肖像和两个光源:增加一个充满光明