Fotografieren mit nur einem Licht

Hello everyone, Matthias here. Welcome to a new video. Today with a special that we normally don't do that often. Artificial light. I've been asked a lot about how to approach setups and what you can do with it. And I thought, hey, I'll just show you a few little things how you can make really cool pictures with just one lamp. I know, of course, you may only have lighting, you may have studio lighting, you may have this light or something else. And yes, I will show you things that you may not be able to implement 100%. But just that you have a very rough direction in this regard. In the beginning, I would definitely recommend, if you have the opportunity, do it with permanent light. Permanent light has the gigantic advantage, as it is here now, you can see instantly what is happening in the picture. If we do that in the whole video, that you can see live how the light changes, how the light affects and stuff like that. It makes it so much easier. Therefore, just with a permanent light lamp. Otherwise, you don't have to worry too much. Yes, I will work with light forms here. I have larger light forms, smaller light forms or something like that. So yes, some studio terms will fall. Definitely clear, but you can do a lot of it with permanent light. With permanent light, some kind of softbox attachment or something like that. Or you just get a video lamp or a flash. It doesn't matter, it can also be a cheaper one. Not an issue at all. You get very, very far with so many things. Just by experimenting a little bit. Well, enough chit-chat. Let's start with the part that is very, very important in studio photography. Especially with artificial light photography. Okay, cool. We just have to get rid of the natural for the first time, so that we can see the right result with the lamps. That means the natural light has to come out. We start purely with artificial light, now just with the main light. Because we always need that in some way. We always need light from the front that illuminates our motif. Especially portrait photography. Although artificial light is also used in other situations rather rarely. Who is flashing on a landscape? You don't even have that many lamps. Well, another topic. Basically, from the construction, from the lighting setup, from the approach, we need a main light somewhere. This main light should come from the side. If it comes from the front, if it comes from, I don't know, below, above or something like that, it looks very, very strange. Here you can clearly experiment. But I like to have it from the side, from the left, from the right, a little bit. That's how it is with me in my videos. This applies to videography as well as to photography. In the end, everything is exact. Not 100% the same, but very, very similar. I'm just doing it here with continuous light so that you can see it in the video, of course. Don't worry, you can do the same with flashes. You can do the same with natural light. Sometimes you have to vary a bit. But it's all about how you approach artificial light. We already have the first story. We have a main light. Now, of course, the problem is that we have quite a lot of light in the back. It shines really well in the back. I also took a very large softbox, which distributes the light very, very well. And maybe I don't even want that back there. Maybe I want a completely black background. How do we get there? With a wick. The advantage of a light former with a wick is, of course, that we direct the light more. It can no longer go to the right, it can no longer go to the left, but it can only come out straight through this wick. And that makes sure that we illuminate our motif a bit more crisply. And secondly, that it doesn't come across as blatantly in the background. But let's just show that for a second. I'll exchange for a second. Second. I'm not allowed to snip so much anymore. It always comes like this. OK, the scattering is a bit out now. We don't have that much light in the background anymore. And I did a little trick, because the lamp actually shines to the right. So not so directly on me anymore. But I still get enough light to be correctly illuminated. Also a cool trick is to go in the background and just get more distance. Because the light scattering is of course the same for artificial light as for natural light. The more distance you take to the light source, the darker you get. Of course, this also applies to the background. That means, the further I go away from the background, the darker it gets at the moment. Good. What can we do next? The problem is, if I now photograph or film with a wick, that it happens very, very quickly that the face half becomes very dark. We could brighten that up. We're still at a light setup. We're still at a lamp. We don't need a second one. We can use a reflector to get a little bit of light in here from the right side. The reflector here actually only reflects the light that comes from the left side. To brighten up my face half here on the right side a little bit. I hope. Can you see that? So, fits. A little brighter. That was the goal I wanted to achieve at that moment. You have to vary a little bit. Here, the same rule applies as with everything else. The closer I get, the brighter I get. If I go further away, I get a little darker. You have to make sure that the angle fits accordingly. And then I also have a little bit of light on the right side. An important rule with a reflector. Unfortunately, I see it far too often that people come here and do such things. Or let it come down so blatantly. Make sure it's not so extreme. Yes, you can lighten up slightly from the side here. But look, especially with reflectors, even if you work outside with the things, to reflect the whole thing a bit with the sunlight, that it comes a little bit from above. Because light from below always looks a little bit strange. And especially when that gets a little more through the reflector from below, it looks even weirder. Okay, that was standard, what you can do with a lamp. What else is there? We can still get a little bit creative here. Of course, you can move the lamp in all three-dimensional spaces, how funny you are. I still want to give you one or two things on the way, especially in portrait photography. Directions that just look cool. Another very cool statement at this point. If we're already here, working with a reflector and something else, it sometimes looks really cool if you get a streak of light in here. I wanted to stay with a lamp now, but just as a hint. To let a flash come from the side or something, or to let a flash come from behind, from above, for example, can look really cool and separate from the background again. Depending on what you plan to do. Just to pour it in. But we stay with a light source. The first variant that we can do with one light is clearly the Rembrandt light. The Rembrandt light is, you may know it from the painter, he used it very, very much, that a triangle under the eye is created here. This is not 100% possible when filming, but in principle it works by letting the light come almost exactly from the side. Relatively hard light source. That fits here with the softbox and the beaver we just put on it relatively well. Just let it come from the left. You have the triangle in here and we still only have one light source. What also works now is the so-called split lighting. We just go here and let it come even further from the side. Second. I just have to go a little bit for it and let the light source come exactly from the side. Should now ensure that I have a brightness difference exactly on the nose. Right here in the middle of the face is the cut. Bright on the left, dark on the right. Can also look very, very cool. To whom this is now too extreme with the split lighting, he can of course also go here and can from the right side so a little bit again with a reflector or with a second lamp or something in the direction. That's not an issue at all. But that's a very, very cool story. We also have a third one. However, it is a bit difficult and we have to fake something with the ambient light. Or we just go straight to the silhouette. Namely the variant from behind. I can go here and for example, I hope you can see that in the video looks pretty good. I can go here and I can let the light come from behind and for example get a silhouette at the moment. Or if I work a little bit with a reflector from the front, we can do that right now. So, now you're in front of the camera. You can just let it come in a bit from the side. It's just that you can see that I can get a little brighter from the front. If you have a box with a certain size, you have the background from behind so slightly overexposed, a light hair light with it and of course the reflection from the front again, so that I don't completely drown out from the front. You can also combine it in two variants. Either you photograph it as a silhouette or you go here and say, we'll get a little bit of light from the front so that I'm just overexposed, but not completely. So you can get a white background without needing a white background. Because I have the softbox, which at the moment brings light into the whole topic here. Yes, as a reflector alternative, you can of course go here and say, we'll bring in another lamp from the front or something like that. But I wanted to stay with exactly one lamp and we're actually getting very, very far. We can do a lot, as far as the light setup is concerned. So don't worry, you can vary here. The whole thing can of course also be implemented with rising flashes. If you darken the room a bit, we did the same now. The whole thing can be implemented with studio flashes. The whole thing can be implemented with permanent light. That was my recommendation from before, that you go here. If you're at the beginning, don't have a clue yet, get a permanent light somewhere. You can do so much with it. You can just use a video lamp or something like that. It's basically the same thing I've shown you here. No matter if LED panels, no matter if rising flashes or something like that. There are also attachments for that, so that you can vary a bit. Or you can use the flash for the most part just like that. You have to look a bit, but you'll get behind it. If you want to learn more about light, you can of course take a closer look at my light. I'll show you how to move everything to the right. Wow, that was ground. That was... No, you can't do that. Definitely check out the course. You'll learn everything you need to know about light. Artificial light, natural light, it doesn't matter. We'll combine it a little bit. And yes, we'll see you in the next video. Bye!