1. Lighting

2. Lighting Instruments Ellipsoidal Spot Light

3. One light fixture with a long barrel. This light projects light out in parallel lines, like a human eye.

4. Fresnel Light

5. Fresnel Lens – softens the light source

7.  A large bowl shaped light open in front. It provides illumination over a large area. Scoop Light

8. Use barn doors to shape light from a fresnel lighting instrument.

9. To change the color of the light, use a gel

10. To make your light source softer, use a diffuser. Some diffusers are freestanding. Some diffusers attach to the lighting Instrument.

11.  A type of illumination used in the studio that creates sharp, distinct, and very dark shadows Hard Light

12. Hard Light Examples

13.  Light which has a soft edge and produces subtle shadows and tones Soft Light

14. Soft Lighting

15. Examples of Hard and Soft Lighting

18.  You will start with a KEY light.  Also known as the Main or Source Light. This is the primary source of illumination and is customarily set first. Positioned to one side of the camera, creates hard Shadows. Setting Up Your Lights KEY Light

20.  The lighting instrument is placed at the twelve o'clock position above and behind the talent or object in a shot. This will separate the talent or object from the background. Back Light

23.  The lighting instrument that is placed opposite the key light to provide illumination on the other side of the talent's face or object in the shot Fill Light

25.  Anything used to bounce and filter light onto the subject. Reflector

28.  Basic lighting configuration consisting of key, back and fill lights. 3 Point Lighting

30.  A typical lighting composition using four lights; key light, fill light, hair light and backlight. 4 Point Lighting

31.  A grid with light positions drawn in. This is a written plan for studio lighting. Light Plot

33.  The amount of light from fill light to key light. The proportional relationship between the amount of light falling on the subject from the main light and other lights, expressed in a ratio, such as 3:1. Lighting Ratio

34.  Reflected light meter measures the amount of light being reflected from (off of) subject matter. An incident light meter can tell you how bright the light is that's falling on a scene from a specific light source. The information is used to correctly set camera aperture and shutter speed. Light Meter

35.  The relative blueness or redness of white light, measured in Kelvin degrees. Bluish light has high color temperature; reddish light has a low one. Color Temperature

36.  The visible light spectrum is scientifically described in terms of color temperature, and is measured in degrees Kelvin (K). The range for Kelvin on a pro digital camera is approximately 2,000-10,000.. These K settings are the scientific numbers behind the presets of WB on your camera. Kelvin

38.  Also known as the additive color principle. the process of combining the primary additive colors of red, green, and blue to create a new lighter color Additive Color Theory

39.  The primary colors of light (not of the inks used in printing) are red, green and blue, known by the acronym RGB. RGB

40.  Measurement for the amount of current in a circuit. When calculating power usage for a shoot, use the following formula.  Watts/100=Amps Amps

41.  If you have a 500 watt key light and a 500 watt back light, how many amps will you need?  500 + 500 = 1000  1000 / 100 = 10  The answer is 10 Amps Try it:

42.  A standard fuse or breaker is 20 amps. So plan accordingly or you could blow the fuse.  Running extension cords that are not heavy gauge wire from another room and breaker can lower voltage to lamps, resulting in drops in color temperature.