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The Dramatic Portrait, 1st Edition by Chris Knight

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SEEING THE PATTERNS

Before we begin, it is worth noting that any of these light patterns can be achieved regardless of the modifier or fill—the pattern is purely the shape of the light on the face created by the main (key) light. In fact, you will notice throughout this chapter I have used fill and flags extensively; it is important to separate these techniques from the ability to see the main lighting pattern itself. Whether one is using a softbox or a bare bulb, dark shadows, or lots of fill, the only focus is the pattern (or shape) of the light, not the specific position of the lights or subject in relation to the camera.

The “loop” pattern, for example, can be achieved whether the subject is facing straight forward, at three quarters, or ...

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