Rembrandt-lys

Rembrandt Harmenszoon van Rijn (født 15. juli 1606[1] – død 4. oktober 1669) var en nederlandsk maler, tegner og grafiker. Han betraktes som en av barokkens mest sentrale skikkelser, og den viktigste nederlandske maleren på 1600-tallet. Ved siden av at han er kjent for sine mange malerier, var han også en svært dyktig tegner og grafiker. (Les mer her)
Hva er «Rembrandt-lys»?
Rembrandt-lys er en vanlig måte sette opp lys på i studio for å ta portretter. Vi etterlikner det vakre og effektfulle lyset som finnes i Rembrandt sine malerier.

 

Det er tre viktige ting som skal være på plass for å kalle det «Rembrandt-lys».

1 –  Et tydelig lys på den ene halvdelen av fjeset (Gjerne satt på skrått ovenfra), og på den andre siden av ansiktet 2 – et trekantet lysfelt på kinnet. Dette kalles av fotonerdene for «chiaroscuro«, men vi vanlig dødelige kaller det for «trekanten med lys på kinnet». Hvis det er «ekte Rembrandt-lys» skal ikke trekanten på kinnet være bredere en øyet, og ikke lenger en nesen. Vær også oppmerksom på neseskyggen som fort kan lage uheldige formasjoner i ansiktet. 3 – Vi vil gjerne at neseskyggen skal treffe ned i munnviken på modellen




Utfyllende lesing fra andre nettsider:

What is Rembrandt Lighting?

http://photo.stackexchange.com/questions/6601/what-is-rembrandt-lighting-and-when-do-i-use-it

Rembrandt Lighting is one of the 5 basic lighting setups used in studio portrait photography. There are two things that make up Rembrandt Lighting… A light on one half the face, and a triangle of light on the shadowed side of the face (called a chiaroscuro, but only lighting nerds need to remember that… most of us just call it ‘the triangle shadow’). If it’s ‘real’ Rembrandt lighting, the triangle shadow should be no wider than the eye, and no longer than the nose. The thing that distinguishes Rembrandt Lighting from simple short lighting is the triangle of light (also see «In portrait photography, what is «broad» lighting? What is «short» lighting«). That’s the technical…

In the real world, when it comes to portrait photography, Rembrandt Lighting is often confused with Short Lighting and is used as loose shorthand for ‘using a single light source to light roughly half the face, while leaving the other half of the face in some level of shadow.’ This is because it can often be quite «fiddly» to get the triangle of light just right on a subject.

Rembrandt lighting at its most basic level is constructed with a single light source placed approximately 45 degrees offset from the subject and a bit higher than eye level, lighting the side of the face that is farthest from the camera.


One-light Rembrandt Lighting setup:

Basic one-light Rembrandt Lighting setup diagram Basic one-light Rembrandt Lighting setup example

Often times the single light source is augmented with a reflector or another light placed approximately 45 degrees offset to the shadowed side of the face and at ½ the power of the main light source (called the key light). This is used to lighten the shadows on the dark side of the face.

One-light with reflector Rembrandt Lighting setup:

Basic one-light Rembrandt Lighting setup with reflector diagram Basic one-light Rembrandt Lighting setup with reflector example

When do I use Rembrandt Lighting?

One of the reasons many photographers use Rembrandt Lighting is that it is relatively simple to set up, and requires only a single light source (though it’s often supplemented with a reflector in order to bring detail back into the shadows on the subject’s face). This lighting pattern works well for subjects will full or round faces (because it adds definition and slims the face), but is generally not a good choice for narrow faces. Often times ‘old school’ photographers will refer to Rembrandt Lighting as ‘masculine’ and some really old school portrait photographers will insist that a woman should never be lit with Rembrandt Lighting. This seems to be a relatively arbitrary distinction, however, and since Rembrandt himself painted women using basic Rembrandt Lighting, it’s safe to say that this ‘rule’ is a ‘guideline’ at best, and is something that many photographers regularly ignore.


One reason to use Rembrandt lighting is to contrast the subject lighting with the background to obtain a chiaroscuro effect (strong contrasts, shape defining light). The dark side of the face is defined in silhouette against a bright(er) background:

Here two lights are used, one for the subject and one for the background. The background light is placed close and to an angle so as to fade out across the subject. Here’s the setup:

This can be done with one light if you place it just right so that the subject itself shades part of the background. Here’s another example of the same set up:

And for contrast, here is a Rembrandt setup with no background light, notice how the unlit side is not defined and gets lost in the background. This gives the photo a different appearance, less striking due to the lack of background contrast and more withdrawn as the subject fades out.

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