Uporaba svetlobe za poudarjanje razpoloženja v portretni fotografiji

Kregar, Nejc (avtor), Starešinič, Marica (mentor)

V diplomskem delu je bil obravnavan vpliv svetlobe na zaznavo razpoloženja v portretni fotografiji. Namen raziskave je bil povezati tehnično-estetsko znanje o studijski razsvetljavi s sodobnim znanstvenim razumevanjem zaznavanja svetlobe ter na podlagi te povezave sistematično preizkusiti, kako spremembe svetlobnih parametrov vplivajo na čustveno sporočilo portreta. V teoretičnem delu je bila pregledana literatura s področij fizike svetlobe, psihologije barv ter zgodovine in sodobne prakse portretne fotografije. Posebna pozornost je bila namenjena osnovnim lastnostim svetlobe, kot so njena smer, kakovost, intenziteta in barvna temperatura, ter načinom njihove uporabe za ustvarjanje razpoloženja v portretu. Obravnavane so bile tudi klasične vrste portretne razsvetljave ter dela uveljavljenih portretnih fotografov, pri katerih je čustveni naboj podobe grajen s premišljeno uporabo svetlobe. V eksperimentalnem delu je bila izvedena studijska portretna serija iste osebe v šestih svetlobnih scenarijih, v katerih je bila sistematično spreminjana barvna temperatura, intenziteta, smer in kakovost svetlobe, druge spremenljivke pa so ostale nespremenjene. Za ovrednotenje čustvenega učinka je bila izvedena kvalitativno-kvantitativna anketa med 30 udeleženci, njeni rezultati pa so bili obdelani z deskriptivno statistiko in neparametričnim Friedmanovim testom za odvisne vzorce. Potrjeno je bilo, da je bilo zaznano razpoloženje portreta sistematično modulirano s svetlobo kot edino manipulirano spremenljivko; ocene med skrajnima scenarijema so se razlikovale za približno tri stopnje na sedemstopenjski Likertovi lestvici. Postavljene hipoteze so bile potrjene z izjemo podhipoteze o binarnem razmerju med toplo (pozitivno) in hladno (negativno) svetlobo, ki je bila ovržena na podlagi rezultatov. Ugotovljeno je bilo, da so čustveni odzivi vzbujeni z interakcijami med svetlobnimi parametri in niso pojasnjeni s posameznim parametrom. Podprta je bila teza, da fotografski jezik svetlobe ne temelji zgolj na estetski konvenciji, temveč na merljivih fizioloških in zaznavnih mehanizmih.

• Jezik: Slovenski jezik
• Ključne besede: portretna fotografija, studijska razsvetljava, barvna temperatura, zaznava razpoloženja, psihologija svetlobe
• Vrsta gradiva: Diplomsko delo/naloga
• Organizacija: NTF - Naravoslovnotehniška fakulteta
• Leto izida: 2026
• PID: 20.500.12556/RUL-187142
• Datum objave v RUL: 09.09.2026

Sekundarni jezik

• Jezik: Angleški jezik
• Naslov: Using light to emphasize mood in portrait photography

Izvleček

In this thesis the effect of light on the perception of mood in portrait photography was examined. The aim was to connect technical and aesthetic knowledge of studio lighting with contemporary scientific understanding of light perception and to systematically test how changes in lighting parameters affect the emotional message of a portrait. The theoretical part reviewed literature from the physics of light, the psychology of color, and the history and contemporary practice of portrait photography. Particular attention was paid to the fundamental properties of light such as direction, quality, intensity, and color temperature, and to the ways in which these are used to create mood in a portrait. Classical portrait lighting patterns were also examined, alongside the work of established portrait photographers whose deliberate use of light shapes emotional impact. In the experimental part, a studio portrait series of the same subject was produced under six lighting scenarios in which color temperature, intensity, direction, and quality of light were systematically varied while all other variables were held constant. To evaluate the emotional effect, a mixed-methods survey was conducted with 30 participants; the responses were analyzed using descriptive statistics and the non-parametric Friedman test for related samples. The results confirmed that light, as the sole manipulated variable, systematically modulated the perceived mood of the portrait; ratings between the extreme scenarios differed by approximately three steps on a seven-point Likert scale. The hypotheses were confirmed, with the exception of the sub-hypothesis positing a binary relationship between warm (positive) and cool (negative) light, which the data rejected. Interactions between lighting parameters elicited emotional responses that cannot be explained by any single parameter. The results support the view that the photographic language of light rests not on aesthetic convention alone, but on measurable physiological and perceptual mechanisms.

• Ključne besede: portrait photography, studio lighting, color temperature, mood perception, psychology of light