Copyright Goodheart-Willcox Co., Inc. 492 Journalism: Publishing Across Media illuminate your subject and not create harsh shadows or turn her into a silhouette as light from the side or the back will. When you cannot control the direction of the light on your subject, for instance in a classroom with overhead lighting or outside at high noon, you can bounce light back onto your source with refl ectors or use fi ll lights, less powerful lights, to fi ll in the shadows. Sometimes harsh shadows cast by just one light coming from above or at the side can create dramatic effects and make strong portraits. If you have the luxury of shooting a still subject, for instance in a formal interview, try using three-point lighting (Figure 16.6). The key light, the main and brightest light, is used to illuminate your subject’s face and should be placed in front and slightly to the side of your interviewee. Use a less-powerful fi ll light on the opposite side to illuminate some of the shadows so that you do not lose all of the subject’s facial details on the side away from the main light. The back light, usually the smallest of the three lights, goes behind your subject and toward him. It tends to separate him from the background, giving the video or photo a three-dimensional appearance. Angle Angle Rookies tend to shoot every photo from the same angle, usually by standing and pointing the camera at eye level. These become visually boring over time. Vary your shots by shooting from a high angle, from above your subject or a low angle, from below your subject (Figure 16.7). Be aware each angle can carry meaning. High angle shots can make the Key light Fill light Back light Figure 16.6 Together, the key, fill and back lights form a three-point lighting setup. When might you use a three-point lighting setup? Figure 16.7 Varying the angle of your shots creates visually interesting photographs and a new perspective. Photo by Valorie King, Buffalo, Haltom High School Photo by Hannah Kunz, The Featherduster, Westlake High School