There should be a small, bright reflection of the main light in the eyes of the subject. This is a catch light. The catch light adds life and brilliance to a portrait and

PHC Carl Hinkle 302.311

Figure 7-7. Effect of background light.

gives the eyes sparkle. There should be only one catch light in each eye, and it should be high in the iris of the eye. For broad lighting, the catch light should be approximately in the 11 o'clock position. The main light for short lighting should create a catch light at approximately the 1 o'clock position.

Lighting Ratio

The lighting ratio for portraits should usually be about 3:1 or 4:1-3:1 is about maximum for good color portraits. To refresh your memory on how to establish lighting ratios, refer to chapter 5.

Background Light

The third light in studio portrait lighting is the background light. A background light is usually placed on a low stand midway between the background and the subject. When adjusted correctly, the background light provides good tonal separation between subject and background. The intensity of the light falling on the background should not normally be greater than the intensity of the light from the main light falling on the

subject's face. By increasing or decreasing the intensity of the light on the background, you can control the tone or color reproduction of the background in the finished print.

To reproduce the background color to its true color in a color print, it must receive the same amount of light as the subject's face. When taking portraits for use on a roster board, you want the tone and color of the background to be consistent. When the backgrounds vary in color, the roster board does not appear uniform, and the attention of the viewer is distracted.

When a background light is used, it is wise to position it before setting up any other light. It is easier to determine its effect without the interference of the main and fill light. The background light should be positioned so the brightest area of the light illuminates the background directly behind the head and gradually falls off into the corners of the frame (fig. 7-7). When the background light is set in this manner, it separates the head from the body and draws the viewer's attention to the subject's face.