"Getting Lit" with Three-Point Lighting!

A mainstay of photography, videography, film, and television is three-point lighting. It uses three separate light sources: the key light, which is the main and strongest light that defines the subject’s overall form; the fill light, which softens shadows created by the key light and adds balance; and the back light (or rim light), which shines from behind to separate the subject from the background and create a sense of depth. 

Below are images and descriptions of how I use three-point lighting on my fellow classmate, Shamari Blanding. 

WIDE SHOT WITH NO LIGHTS

Shamari Blanding (right) is at the center of this popular, widely-used lighting concept. You see the video camera's position in front of Shamari and the three lights surrounding her. The key light (tallest light on the left) is positioned at a 45-degree angle from the camera. You do not want it right behind the camera because it could be blinding to Shamari. 

CLOSE-UP WITHOUT LIGHTS

This close-up shot of Shamari is without the lights on. Without the lights, the photo is darker and not highlighting her facial features. The background also looks dull and no shadows are casted behind her. 

KEY LIGHT

Here is Shamari with the key light only. You see how it illuminates her face, especially her left side. So there's a big improvement already in the photo/video quality with just the 500-watt key light. 

But notice too how the right side of her face is shadowed. This leads us to the fill light (shown in the wide shot photo above along the right side). This light should not be as bright as the key light. If it is the same wattage, then the move is to pull it back from the subject because all we want the fill light to do is remove that shadow from the right of Shamari's face. 

KEY LIGHT AND FILL LIGHT 

Here is Shamari with both the key light and the fill light. Now the light is more evenly distributed and not leaving a shadow casted upon her face. The background is also more brighter in contrast to the key light only photo.

Next, we use the backlight. Scroll up a bit to see the wide shot (lighting placed behind Shamari). Note that the backlight is behind the subject on the same side as the key light. 

KEY LIGHT, FILL LIGHT AND BACKLIGHT

Here is the final photo with all three-point lighting. See how the backlight gives subtle illumination to Shamari's hair, clothing, and her left side temple area. The background also is much brighter in contrast to the photo above.

     WIDE SHOT WITH NO LIGHTS

Here's Shamari Blanding imitating the figure seen in the helpful diagram of the three-point lighting arrangement. Shining like the star she is!

What I learned from this project was how to use three-point lighting to properly light a subject and what each of the lighting does and how they capture the subject in photos.