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THE SPECIFICITY OF THE INTERIOR
SPACE:A FILL-IN FLASH LIGHTING WORKSHOP
METZ FLASH SYSTEM
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WHAT WILL I NEED?
EQUIPMENT LIST
MEDIUM FORMAT CAMERA ( with LEAF
SHUTTER)
SEKONIC LIGHTMETER 308B TRIPOD
EXT. SYNC LEAD OR POCKET WIZARD/RADIO
SLAVE
MAGIC ARM & SUPER CLAMP TOUGH SPUN Studio 2 or 3
0.3 ND GEL (NEUTRAL DENSITY FILTER) Studio
2 or 3
PEN & NOTEBOOK
2
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ADAM AMENGUAL
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PHILIP-LORCA diCORCIA
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JOONEY WOODWARD
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KATE PETERS
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DOMINIK GIGLER
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BILL HENSON
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SIMEN JOHAN
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KATY GRANNAN
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KIRAN MASTER
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SAGE SOHIER
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LARRY SULTAN
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CHARLES FREGER
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Task: Using 1 roll of Colour Film make a set of portraits
in a interior space.
1. You must combine the available-light with the Metz
Flash, by using the Fill-In Flash technique.
2. Use the manual setting on the Metz 45 CT, Fill-In
Flash ratios of 2:1 and 3:1 must be evidenced.
3.Bounced and/or Diffused technique should be used.
4. Using the auto setting on the Metz 45 CT, Fill-InFlash must be evidenced.
CONTACT SHEETS: 4.00PM - STUDIO 2
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METZ FLASH 45CL
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The Powerof the Flash dictates how bright or dark the Model is rendered.
The Shutter Speed dictates how bright or dark the Space/Background isrendered.
TheAperture dictates how bright or dark the overall image is rendered.
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The decision about how much Depth of Field you wish to have, must
dictate the Ambient Light meter reading.
It is recommended that the Shutter Speed of the camera should be:
1.5 to 2 F-stops less than the Ambient
It is recommended that the Power/Aperture of the Fill-In Flash should be:
1.5 to 2 F-stops less than the Ambient
1:1 Ratio = 0 F-stop (no difference)
2:1 Ratio = 1 F-stop
3:1 Ratio = 1.5 F-stops
4:1 Ratio = 2 Fstops
When using the lightmeter in the flash mode, ensure that the lightmeter
speed is set to 500th sec.
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SARAH JONES
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DINU LI
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REVISIITING: LIGHTING AS ALANGUAGE
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CARAVAGGIO
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HARD LIGHT SOFT LIGHT DIFFUSED LIGHT
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HARD LIGHT SOFT LIGHT DIFFUSED LIGHT
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LIGHT QUALITY: THE CRITERIA
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1. The coverage
Here, the question is: how is the subject covered when the light is aimed on it. Is the
coverage totally even, or does it show a gradation, or even a centerweight ?
The answer to this question tells us what we can expect from the lightshaper and if we
can use it for our purpose.
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4. The shadow contrast
How deep are the shadows? Are they pure black, or only just visible ?
Here again the answer to this tells us what we can expect from the lightshaper and if we
can use it for our purpose. Of course, the shadow depth depends not only on the chosen
lightshaper and the straylight it generates, but as well on the environment of the set.
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LIGHTING: SHADOW CONTRAST
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2. The edge transfer
How is the transition from the lit area to the unlit one ?
The answer to this question tells us again what we can expect from the lightshaper and if
we can use it for our purpose.
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LIGHTING: EDGE TRANSFER
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3. The shadow definition
How sharp are the shadows ?
Is there a large difference between the shadows caused by objects being close to thebackground, and the ones caused by objects being further away ?
The answer to this question tells us, once more, what we can expect from the lightshaper
and if we can use it for our purpose. Furthermore it tells us about the size, the shape
(rectangular or round) and about the distance to the subject.
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LIGHTING: SHADOW DEFINITION
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Incident Light Reading Method Reflected Light Reading Method
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