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Shaping Light for Video
in the Age of LEDs

A practical, hands-​on guide to lighting for video, this book explores how LEDs are changing the
aesthetics of lighting and provides students with an indispensable guide to the everyday techniques
required to produce professional-​quality lighting in the age of LEDs and wireless control options.
The book focuses on first-​hand application of technical knowledge, beginning with simple lighting
setups and progressing to more complicated scenarios, and features accompanying diagrams, illustrations
and case studies to demonstrate their real-​world application. Key topics covered include basic three-​
point lighting, lighting moving actors, set lighting and exposure, instrument selection, bringing style to
your lighting, color temperature and the Kelvin scale, exterior lighting, lighting categories and genres,
green-​screen techniques, money and budgeting, and electricity and electrical distribution. The book also
provides guidance on career paths including what a grip does, case studies with photos and diagrams,
and an extensive glossary of set terminology to introduce students to the language of filmmaking.
A must-​have resource for film and media production students taking classes in lighting and/​or
cinematography.
Alan Steinheimer has 30-​plus years of filmmaking experience, with 25 years of lighting as a gaffer and
lighting director in the San Francisco Bay Area. His resume includes feature films such as The Darwin Awards,
documentary and corporate work, commercials, and music videos such as Britney Spears’s Oops, I Did It
Again. He appears regularly as a guest expert in the Meet the Gaffer series on YouTube.
 Shaping Light
for Video in the
Age of LEDs
A Practical Guide to the Art
and Craft of Lighting
Second Edition

Alan Steinheimer
Second edition published 2021
by Routledge
2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN
and by Routledge
52 Vanderbilt Avenue, New York, NY 10017
Routledge is an imprint of the Taylor & Francis Group, an informa business
© 2021 Alan Steinheimer
The right of Alan Steinheimer to be identified as author of this work has been asserted by
him in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988.
All rights reserved. No part of this book may be reprinted or reproduced or utilised
in any form or by any electronic, mechanical, or other means, now known or
hereafter invented, including photocopying and recording, or in any information
storage or retrieval system, without permission in writing from the publishers.
Trademark notice: Product or corporate names may be trademarks or registered trademarks,
and are used only for identification and explanation without intent to infringe.
First edition published by Arhus Publishing 2018
British Library Cataloguing-​in-​Publication Data
A catalogue record for this book is available from the British Library
Library of Congress Cataloging-​in-​Publication Data
A catalog record has been requested for this book
ISBN: 978-​0-​367-​81913-​2 (hbk)
ISBN: 978-​0-​367-​81909-​5 (pbk)
ISBN: 978-​1-​003-​01079-​1 (ebk)
Typeset in Joanna
by Newgen Publishing UK
This book contains information about electricity and electrical equipment designed for the film business. Although
every effort has been made to be as accurate as possible, there is no way for this information to be completely
comprehensive nor a substitute for proper training and professional guidance. The author assumes no responsibility
for misinterpretation of this information or for accidents caused by the misuse of this information.
On the cover: The cover photo is from a corporate lifestyle video segment styled to look like a nightclub or possibly
a music video. It was shot at an employee meeting area and is an example of how lighting can transform a mundane
room into an atmospheric set. Lights used: ARRI S360 in party-​color mode on right for an edge light, two S60
SkyPanels for steep key and top light, four Astera Titans positioned in picture, and an ARRI M8 for the bar pattern
on wall. Some solid flags utilized to reduce nearby ambient lights.
Photo by Alan Steinheimer.
Contents

Acknowledgments xii

Introduction 1

1 Why we light 3
The evolution of motion-picture lighting 3
The LED revolution 4
Working with what you have 5
Aspirations and reality 5

2 Lighting basics 6
Three-​point lighting 6
Motivated light 6
Key light placement 7
Key light softness 8
Age vs. beauty 11
Lighting test with three subjects 12
Fill and fill light 14
Low fill light 14
Backlight 14
Edge light 15
Eye light 18
Eyeglasses 19
Bald and balding heads 20
Looking for far-​side/​off-​side lighting 21

3 Grip equipment basics 24

What is a grip? 24
C-​stands 25
History of the C-​stand 26
Cutting light 26
The division of labor 28
Gobo heads and arms 28
Learning to grip 30
Dollies and dolly gripping 32
Grip trucks 34
The education of a grip 34
vi | Contents

4 Electricity 35
Electrical basics 35
The mystery of how duplexes were wired 36
Tips on searching for separate circuits in an office setting 36
Tips for searching for circuits in homes 37
Plugs and wires 38
20-​amp pin connectors 40
Ohms 40
LEDs rule, tungsten drools 40
Costly trip 41
Running power cords 41
Overall strategies for running power 41
Troubleshooting minor electrical problems 43

5 Exposure and compression 46

Exposure 46
F-​stops and T-​stops 48
Issues of scale and geometric progression 48
Foot-​candles and lux 49
Log shooting 50
Darker skin tones 50
LUTs and the difficulties of monitoring picture 51
Analyzing the video image 51
Gamma curves and log 53
Rec. 709 and Rec. 2020 53
LUTs 53
RAW 54
Color and LEDs: Thoughts from Kino’s Frieder Hochheim 54
LUTs and color: A DP’s perspective from Joseph Seif 55
Art and craft inputs 56

6 Color temperature, the Kelvin scale, and gels 58

Color temperature scale 58
Mixed light 59
Plus Green and Minus Green 59
Why bother using a color temperature meter? 60
Trick question about moonlight 62
Film vs. video 63
Dealing with overhead green-​tinged light 64
Gels and color correction 66
Plus Green/​Minus Green gels 66
Theatrical gels 66
Diffusion gels 67
Smoke/​fog as diffusion 68
Neutral density gel 68
Wrangling acrylic ND panels 70
Windows 70
ND gel for windows 71
 Contents | vii

Shootable double net 71

The art and the science of putting up window gel 71
Additional notes on windows 72

7 Refining portrait lighting and cross keying 74

Far-​side key and Rembrandt lighting 74
Contrast ratios for green screen 76
Cross keying 78
Cross keying for three cameras 79
Cross keying for drama 81
Softening the key 82
Softer backlight 83
Negative fill 84
Key placement for drama 84

8 Planning for motion on set 86

Moving actors 86
Moving camera 89
Using bigger lights for action 91
Vérité style for docs 93
Summary 93

9 Background lighting 94
Framing the shot 94
Choosing instruments 95
Single-​source lighting 97
Practicals 97
Windows 98
Set design 99

10 Choice of lights: 3200K and Kino Flos 102

Budgets and negotiation 102
Overview on choosing lights 103
Lighting selection for a 3200K shoot 104
Baby vs. junior 105
Kino Flo bulb lights 108
Sign of the times 108
More tungsten 110
Chimera banks 112
Dimming for tungsten 113
High-​speed shooting with tungsten 113
Tungsten summary 114

11 LED lights 115

LED revolution 115
Big LEDs arrive: the ARRI S360- C 118
LED dimming control 120
LED soft light spill control 121
viii | Contents

Dedo LEDs 121

The LED explosion 121
LED Fresnels 122
LED spacelights 123
Feature creep 124
LED lanterns and China balls 124
LED PARs 125
LED lekos 126
LED tubes 126
The Plus/​Minus Green feature 127
Chimera and DoP light banks 127
High-​speed shooting 128
LED summary 129

12 HMIs 131
HMI history 131
Safety issues 132
Flicker-​free work with HMIs 134
HMI problems 134
HMI summary 136

13 DMX and controlling lights 137

What is DMX? 137
DMX for tungsten 137
Dimmer packs for tungsten 140
Camlok connectors 141
DMX for LEDs 141
Luminair, Blackout and LumenRadio 142
Astera pixel control 142
Strategies for DMX control of lights 143

14 Green and blue screen 144

A bit of history 144
2K spacelights 144
Pollution of the green-​screen frame 145
Daylight stage shoots 146
LED spacelights 146
Good and bad cycs 148
Digital green vs. Chroma key green 148
Making your own cyc with soft goods 148
Edge light with head to toe 149
Floor light 149
Creating a silhouette on green 149
Tilting towards daylight shoots on green 150
The battle for stage superiority: LED vs. tungsten 151
Location issues 151
Feet/​shoes framed out 151
Feet/​shoes in frame 151
 Contents | ix

Myths and half-​truths 154

The future 154

15 Daytime exterior lighting 155

Scaling and crewing 155
Reflectors outside 156
Quality and cost 157
Skinning frames 158
Taking your shower curtain outside 160
Tips for day exteriors 160

16 Nighttime exteriors 163

Scaling 163
Condors 165
Dealing with street and ambient light 165
Problems with working all night 165
Tips for night exteriors 167

17 Types and genres of lighting 169

Trends in lighting 169
Broadcast 169
Sitcoms 170
Long-​form TV drama 170
Feature films 170
Survival strategies for movie-​making 171
Commercials 171
Tabletop 172
Angle of incidence factor 175
High-​speed cinematography 175
Music videos 177
Fashion lighting 178
Corporate videos 178
Documentaries 180
My personal approach 181

18 Advanced electrical 183

Single-​phase vs. three-​phase power 183
Order in the electrical universe 183
Is single-​phase power better than three-​phase? 184
Hertz 185
When do you need big electrical distribution? 185
Laying out power cords 186
Balancing the amperage draw 186
Paper amps 187
ARRI T12s and 120V vs. 220V 187
The actual cable and distro order 188
What is banded cable? 188
Distro boxes 190
x | Contents

Electrical distro for location work 191

SO cable 191
Voltage drop and line loss 191
Banded and distro 191
Running 60A/​220V cable 193
Troubleshooting with banded and distro boxes 193

19 Generators 195
Sizing generators 195
Hertz 195
Balancing the load 196
Generators and sound issues 197
Troubleshooting generators 198

20 Advanced gripping 199

Key grips 199
Protocol for cutting and shaping light 200
The importance of sizing gear 203
Knots you should know 203
Speedrail 205
The Cardellini clamp 207

21 Introducing style to lighting 208

Where to start 208
Feedback 209
The yin and yang of lighting 211
Bokeh and depth of field 212
Booklights 214
How LEDs are conquering the lighting world 214

22 Set safety 217

Common sense 217
The sleepless elephant in the room 218
Working conditions 219
Crew solidarity 220

23 Money vs. aesthetics 221

Who has the money? 221
The first conversation 221
The second conversation 223
The budget presentation for lighting and grip 224
Feedback 224
Scaling up 225
Trying to get it done on time and on budget 225
$ vs. $$$$ 226
Oops! 228
Aftermath and what is remembered 228
Mistakes and compromises 229
 Contents | xi

24 Freelancing 231
Scouting and crewing 231
Deal memos 233
Super-​sizing the shoot 233
Buying lights vs. renting lights 233
Big-​picture thoughts 234
Career paths 235
20 reasons to love and hate freelancing 236
A code for freelancers 238

25 Case studies #1–​5 240

Case #1 Green screen for an indie film 241
Case #2 Interview in a theater lobby 243
Case #3 Roundtable discussion 246
Case #4 Interviews in a chem lab 248
Case #5 Spaceship set for a commercial 250

Glossary and set vocabulary 253

Index 297
newgenprepdf

Acknowledgments

Many people provided valuable insights for this project. I would like to thank the following individuals:
• Thanks to my partner Dawn for all the encouragement and for posing at below minimum wages.
• Rick Siegel in NYC for giving me my first production job.
• Nick Despota in San Francisco for helping me restart my career here.
• Len Levine for bringing me on my first big feature films.
• David Claessen for trusting me to do bigger jobs in Los Angeles.
• Brent Cyr, Charles Griswold, and Ernie Kunze for being the best Best boys I could have ever imagined.
• Jan Seerveld and Dave Bolick for copy-​editing.
• Luke Seerveld for his ongoing encouragement, for sharing work and clients over the years, and for
including me in his Meet the Gaffer series on YouTube.
• Joseph Seif for his contribution on ACES Color.
• Frieder Hochheim for his insight into LED color.
• Tyler McPherron for the illustrated drawings.
 Introduction

Lighting for video production, like most other technical skills, is best learned by doing. This book is
designed for those of you who want to do lighting, not simply study it. To this end I have designed the
book chapters as a series of lessons that enable a beginner to start to improve their lighting proficiency as
quickly as possible.
This book also covers technical elements of lighting that apply to more advanced students. These topics
are placed later in the book so that a beginner doesn’t have to struggle through dense material such as
large electrical distribution before getting started with basic lighting setups. The reader of this book
doesn’t need to become an expert; it may be that he or she just wants a good working understanding of
how lighting works and the everyday terminology. Many of the camerapersons and directors I work with
leave most of the nitty-​gritty lighting decisions to me after a brief discussion of the basic parameters.
The lighting process always goes more smoothly after opinions and viewpoints have been discussed,
especially those of the director and director of photography (DP). My work as a gaffer is to implement
their vision, and clear communication helps me understand that vision and translate their ideas into
an actual plan. One of the major obstacles for student productions is creating an organized period of
collaboration; it takes time to learn how to communicate quickly and efficiently and develop a game plan.
The LED (Light Emitting Diode) revolution in lighting has arrived. The ease-​of-​use factor has eclipsed
tungsten lighting on smaller shoots and is making steady inroads into smaller HMI usage. Kino Flo
fluorescent technology is holding out as a cheaper alternative to LEDs, but as a company Kino Flo is
pushing hard into the LED world and no doubt envisions a future dominated by their new LED product
lines. Some readers may wonder why I even bother to cover the gamut of tungsten instruments. I would
answer that there is still residual value in learning how to use tungsten as covered in this book:
• College and high school classes continue to use tungsten lights.
• Most stage shoots, especially larger ones, still rely on tungsten for cost savings as well as a superior
scalability.
• As LED usage surges, tungsten rental rates become more negotiable. You can purchase used tungsten
lights very cheaply.
• The wide variety of tungsten luminaires created over the past 100 years offer a huge selection of
specialized solutions that LEDs may never address. There may never be a 5K Skypan LED equivalent.
• Tungsten still has a great CRI (Color Rendering Index), color consistency between different fixtures,
and tungsten fixtures are easy to own and repair.
• Tungsten lights are literally available across the globe; if you want to learn the principles of lighting
these are the easiest lights to access.
• In the beginning it is more important to light with whatever is at hand; you can gradually finesse your
lighting technique and later improve upon actual instrument selection.
2 | Introduction

I use a lot of LED lighting in my current work and consequently LED instruments are in many of my
lighting plots in this book. The Case Studies in Chapter 25 are presented in chronological order so you
may notice the creeping increase of LED usage. Keep in mind that video production in general and
lighting in particular is the art of the possible. If your biggest instrument is a 4’ x 4 Kino Flo then that
will be your key light. Make it happen with what you have available; don’t pine for lights you can’t afford.
Words in bold are listed in the glossary and may be in bold again when they reappear in a later chapter.
Italics denote an ordinary word that has become part of the set vocabulary and may have a non-​standard
English meaning. There is a language to making films, and since time is of the essence on set, you need
to learn the vocabulary to communicate ideas quickly. Some terms embody the irreverence and history
of the business so it can be fun to learn the language of filmmaking. Like other aspects of filmmaking,
lighting is an art, a craft, and a business. Successful lighting is the result of deliberative minds working
together. It is this collaboration that makes filmmaking so fascinating.
 CHAPTER ONE
Why we light

T he evolution of motion -​p icture lighting

Today’s video cameras are so fast that it is entirely possible to shoot in true vérité style with available
light. For some documentaries, in which lighting would be too intrusive, this is a major breakthrough.
However, most productions can still benefit from some sort of lighting design sensibility. To put it bluntly,
many YouTube videos look like crap. Even the most intriguing, witty, outrageous, and engaging video
loses its impact if it has poor lighting.
Designing lighting draws you into the craft, art, and science of film and video making. It is a marriage
of aesthetics to practicality. Controlling light for the purpose of capturing images has a long history.
Leonardo da Vinci and his camera obscura were the likely origins of photographic reproduction. Although
da Vinci described the camera obscura in a notebook in 1502, the first know public drawing was
published in 1545.
Fast-​forward to the twenty-​first century, and you will find an enormous variety of visual imagery,
carefully designed and presented to sell products and viewpoints, and to tell stories. Nowadays I see great
lighting in all genres. HBO, Netflix and Amazon have pushed out even the artistic boundaries of the TV
series.
I love the intersection of aesthetics and machinery. My goal in this book is to share techniques, practical
tips, workplace philosophy, and terminology for manipulating light to create images. My intent is
to present lighting concepts in digestible chunks to allow production personnel to tool up for more
intelligent and consciously designed lighting.
Several years ago I might have included “film” in the title of this book, but I haven’t lit a film set in years.
Video cameras have replaced film cameras even in major movie productions. The theory and techniques
are still the same, so if you’re looking for film lighting know-​how, everything you’ll read here still
applies. Film lighting precedes video by 50–​60 years. The apprentice-​based learning style that dominated
film production worked well for film shoots, but when the TV age began it was too inflexible for the
multiple levels of quality inherent in video production. Filmmaking no longer requires actual film, as
evidenced by director Steve Soderbergh recently shooting an entire feature on a phone.
Think of filmmaking as a medium with a specific language and nearly infinite range of methods for
conveying mood and content through lighting. Hollywood features use lighting to enhance feeling and
story line, elevating ordinary life into a symbolic drama of the human condition. Like any language you
can continue to improve your lexicon and add to your bag of techniques. Every single production day
calls for finding the lighting style best suited to your available equipment, overall aesthetic, available crew,
and the time given to create it.
4 | Why we light

Figure 1.1 The oldest-​known published drawing of a camera obscura from 1545 showing how to
study a solar eclipse.

Figure 1.2 An artist drawing from life

with a circa 1850 camera
obscura. From a 19th-​century
dictionary illustration.

T he LED revolution

The first LEDs were prone to a green tint, which wasn’t great for skin tones. Many commercial LEDs
in buildings and cheaper, older film LED lights still exhibit a green tint. But now on my average shoot
75% of the instruments are LED, and some are 100%. On the issue of accurate color rendition most DPs
(Directors of Photography) have come to accept a 92+ CRI (Color Rendering Index) as acceptable. The
main impediment for beginners is the cost: LEDs cost more to buy and to rent. Lesser-​known brands such
as Westcott, Aputure, Dracast, and Fiilex are starting to fill out product lines that hit a “prosumer” middle-​
market price. Old-​line companies such as ARRI, Mole, Lite Panels, Cineo, LiteGear, Dedo, and Astera will
continue to put out the expensive top of the line products I prefer. Are these lights better? Generally yes,
but like in other areas of film production you might be paying 50% more for the final 10% improvement
factor. I buy and use top-​end lights such as ARRI because my upper-​end corporate clients expect it and are
willing to pay for it. There are other solutions, and some of them are not even LEDs, so don’t despair if
you are a student still eating Top Ramen regularly.
 Why we light | 5

W orking with what you have

If there is a Zen aspect to lighting for filmmaking it is all about making do with what equipment you
have available. Lots of LEDs? –​great! A box of Kinos –​make the film magic with those fixtures. I lit
many sets for 15+ years with Kino Flos. I still do tungsten shoots on stages; daylight stage shoots are
prohibitively expensive unless it is a small set.
If you are a student get familiar with whatever lights are accessible. Resist the temptation to buy too early.
Better to try out a variety of luminaires and find what works best. When you are working on student
productions or indie projects never pay list price, instead haggle and make offers. Even with 30 years in
filmmaking I am still regularly making deals. This art form is one of the most expensive to produce.

A spirations and reality

Even the film crews working on masterpieces such as Gone with the Wind (1939), Blade Runner (1982), and
the Terminator series probably had moments of “what the heck are we doing?” Behind every great vision
there is some gritty reality to get a film made. Try to harmonize the vision of art with the money and gear
available. Some of the best short films I have seen were brilliantly simple:
• A student film in New York City consisting of a continual loop of a man’s hands washing with soap
with a voice-​over rationalizing his money-​grubbing real estate schemes and victim-​blaming the
people he was evicting to make way for higher rents.
• A video short by well-​known dog photographer William Wegman with his Weimaraner Man Ray. The
camera is on the ground facing a tall glass of milk, the dog enters frame, and quickly starts drinking.
Towards the end his tongue becomes unbelievably elongated. The dog finally knocks the glass over and
finishes off the spilled milk. It embodied the striving for food and ridiculous nature of our rush for
satisfaction while providing some entertaining comic relief.
On occasion I am hired on student productions, which are characterized by two common features: too
much ambition and too little collaboration. Often one or two strong personalities drive the entire
enterprise, which can lead to train wrecks and failed projects. The great joy of film production is
collaboration. It takes years to master the art of contributing without too much ego, and being able to
absorb the flow and direction of a production and improve upon it.
There are popular buzzwords and trends that can enslave you –​beware! There is no need to shoot 4k for
an indie YouTube video. You don’t need LED lights on every shoot. Dolly moves on track are expensive;
Dana dolly moves are cheap. Learn to innovate and above all work with what you have. Keep your dreams
but keep an eye on reality and realize that every film is a compromise. When I read Masters of Light (1984,
2013) about feature DPs I was struck by how many times they said they had to improvise and make do
even though millions of dollars were being spent for the production!
Remember your first thought or plan may not be the best one. Practice collaboration and find like-​
minded people to populate your sets. Adjust the scope of production to the budget and the gear
available. Make the compromises needed to finish the project and you’ll have started on a long career in
filmmaking.
For a sobering view of what can go wrong on movie sets every student should watch Burden of Dreams
(1982) by Les Blank about the making of Fitzcarraldo (1982), as well as Hearts of Darkness (1991) and Lost in
La Mancha (2002).
 CHAPTER TWO
Lighting basics

As human beings, our interactions with each other revolve around interpreting facial expressions and
understanding the complex emotions they reveal. Therefore, it’s no surprise that lighting human faces is
crucial to controlling the aesthetics and impact of your production. When you look at most TV and film,
you will find a large percentage of scenes are devoted to close-​ups of people’s faces. Learning how to light
faces effectively is the lighting student’s first priority. Fortunately this task can be accomplished with only
a few basic pieces of equipment.

T hree -​p oint lighting

The most basic soup of lighting has three lights: key, fill, and backlight. A more modern interpretation of
the troika might swap edge light for the backlight. The key light is usually defined as the brightest light
falling on the subject’s head or on an object in product lighting. Occasionally the backlight or edge light
can be the brightest light depending on the desired effect, e.g., in a dramatic or feature film as opposed
to a straightforward interview scenario. For the moment, however, we’ll discuss lighting for an ordinary
talking head (an interview subject or spokesperson). In two simple diagrams (figs. 2.5 and 2.35) you
can see that the key light, backlight, and edge light have zones of possible positions. There is no one spot
that is perfect; every interview subject is unique and the mood and intent of the film will dictate lighting
as much as the actual physical skull and hair of the talking head.
Often the location of the key light is dictated by the set location. There may be physical limitations on the
placement of lights or you may need to consider motivating sources. Often we swap the key side when
shooting a collection of interviews just to introduce variety to the framing and avoid repetition.
In most interviews the key light is the brightest light and thus usually the brightest or biggest luminaire.
Frequently the key is diffused and softened to render a more pleasing portraiture. One of my go-​to key
lights is a ARRI SkyPanel S120-​C (12” x 51”) behind an 8’ x 8’ full grid. I can roll the S120 behind the
diffusion to find the spot I like. In previous years I might have used a 4’ x 4 Kino Flo or Kino Flo Image
80 behind a similar diffusion. I usually have at least a 4’ x 4 diffusion in front of the key and often a
larger diffusion. A soft key almost universally makes faces look better and more handsome or pretty.
My first lighting kit comprised three Lowel D-​heads and two 650w Omni lights. The only diffusion I could
muster was 1’ x 1’ diffusion on the barndoors. It was a fairly hard light and I shudder now at the thought.
Bouncing harder lights off white or walls is a possible choice, but in general bounce light requires more
grip equipment to control and it is often simpler for novices to place key lights behind diffusion.

M otivated light

Motivated light is the second holy tenet of lighting after soft-​key light for faces. If you read Masters of Light
(Dennis Schaefer and Larry Salvato, 2013, University of California Press) it is one of the most common
 Lighting basics | 7

themes with all the DPs. In essence, if you see a light or a source of light in the frame such as a window,
that gives you a motivating reason to place a movie light to simulate (fake) light coming from that
source. In simpler terms, if you see a large window on the right side of frame you might want to place
the key on the right side to suggest that the source of lighting is the window. Of course the actual source
is your movie light, which is far more controllable both in terms of light level as well as placement. With
the exception of some dark dramas and superhero movies, modern filmmaking is all about motivated
lighting. Many DPs will ask the art department to help out with a lamp or create a window in a wall to
provide the inspirational source.
There are nuances to the interpretation. If you see a window way deep in the scene that might motivate
an edge light but you might also justify a key from that side as if there is a whole bank of windows there
just out of sight. Why not use the window light? Invariably by the time you adjust the f/​stop for the
window there may not be enough actual foot-​candles of light on the talent.
Certainly one of the first conversations while collaborating on an interview setup is where to place the
key light and is there a justifiable motivating source? There is no hard and fast rule; just a consideration.
Let’s examine three-​point lighting in more detail.

K ey light placement

Is the person looking into camera or off-​camera at the interviewer or at another actor?
If off-​camera, the traditional approach is to place the key light on the off-​side, broadly illuminating the
cheek that is farther from camera (see figs. 2.1 and 2.2) An easy way to remember this is to put the key
on the same side as the interviewer or the other facing actor. I follow this rule 80–​90 percent of the time
when lighting faces.
Look at these two images carefully. The off-​side key offers better modeling on the subject’s face and is
more aesthetically pleasing. This concept is one of the most important in lighting faces for video and stills.
There are exceptions to the rule, such as a strongly motivated source seen on the other side, issues with
glasses and reflections, physical limitations of a room, etc., but in most cases I place the key light on the
off-​side (aka far-​side key).

Figure 2.1 Off-​side key. Note the Figure 2.2 Overhead diagram of off-​side key.
key light is on the same
side as the off-​camera
interviewer.
8 | Lighting basics

Figure 2.3 On-​side key. Figure 2.4 Overhead diagram of on-​side key.

As my colleague and DP Art Adams notes:

A far-​side (off-​side) key is necessary for Rembrandt modeling, where the nose shadow touches the cheek shadow and traverses
the “smile line,” or the line that connects the corner of the nose and the corner of the mouth.The classic rule is to connect the
shadow for women but not for men, which suggests slightly more frontal lighting for women.1
If the subject is looking directly into the camera lens then there is no preferred key light side, and
ease and practicality rule. Another factor to consider is if an actor or talking head has a better side or
a blemish to minimize. Experienced movie actors usually know which is their better side. I do find
stage actors are less cognizant of a better side, after all on stage they are essentially acting in a continual
wide shot.
Although most faces are not perfectly symmetrical, it’s not critically important to identify the better side
for a single interview. Interviewees are typically already uncomfortable with all the lights and crew and
activity, and you don’t want to increase that discomfort by making a big fuss over which side of their face
looks better. On a longer project, however, such as a feature film, the DP will often do a lighting test to
figure out the best lighting for each major actor and actress.
Generally there is a zone where the key light lands for conventional portraiture: 30° to 45° away from the
key if you imagine a 360° birds-​eye view of the set. The key light is usually elevated, often 30° to 60° to
the subject.

K ey light softness

Faces generally look better with softer light, which spreads the light source over a larger area. A bare
Fresnel light or open-​face light (also described as specular light) is hard light, epitomized by the
high-​contrast style of film noir. At the other extreme, celebrity-​style lighting is diffused and has
more wrap (coverage) around the nose, and often improves a face’s attractiveness, contributing to an
impression of beauty and/​or honesty. When dramas call for harsh lighting you can skip the diffusion
and let the lighting reveal wrinkles and weathered skin. I suspect that little or no diffusion was used
for Clint Eastwood’s early westerns, for example, where emphasizing the texture of his beard stubble
was a plus.
The key light is usually elevated 30–​45° off the ground. Key lights set at head height have a slightly
unnatural feel, as if there’s a low window nearby or light from an artificial source such as a lamp or TV.
Low keys are used much more in drama. They’re often more ominous and can create a feeling of existing
 Lighting basics | 9

Figure 2.5 Typical key zones: 30° to 45° away from camera and elevated 30° to 60° above the
subject’s head. These are not mandatory, just common parameters.
10 | Lighting basics

Figure 2.6 
Consider the merits of a soft-​key light. What exactly is soft light? To some degree, it’s
a relative value. The farther it is from the subject, the harder the light becomes even
when the source is big (picture the very large sun and the hard shadow at noon).
A smaller source close to the subject may have the same softness as a larger source
farther back. There’s no real science to this –​this illustration shows some rough
equivalencies.

Figure 2.7 Key light on the left, with subject looking

into lens. This is classic Rembrandt
lighting. Note the inverted triangle of
light on the camera-​right cheek. You can
still aim for that modeling even when the
subject looks into the lens.

in an artificial man-​made environment. When the bounce light is big and soft from down low it can feel
more like sunshine.
The traditional or textbook key light creates an inverted triangle of light on the opposite cheek from
the key side. This is easier to discern with hard light, but we usually light portraits with soft light, so
you might as well get used to seeing the inverted triangle as a fuzzy patch of light (see Fig 2.7). When
portraiture subjects are over age 40, you’ll see more lines, even with a soft light, especially around the
mouth and neck. If your intention is to eliminate every visible wrinkle (as in glamour lighting), then the
key should probably be soft and right over camera. For years, fashion photographers have shot top models
with bounce light umbrellas or soft boxes right over the lens. In fig. 2.8 you can see the key light moved
over camera.
 Lighting basics | 11

Figure 2.8 The key light moved over the camera lens.

Age vs. beauty

In the US we live in a youth-​oriented culture that often equates beauty with youth. Hi-​def
video has the potential to show every line in a face with 40+ years. I had one famous aging
actress tell me with no irony and a touch of aggression, “Make me look great!” The tired
trope is to light women more flatly to enhance beauty and save harsher lighting for men.
I try to balance this convention with a careful evaluation of the subject we are lighting that
day. Balancing the tools at hand with the needs of production and creative interpretation is
the delicate dance of art and commerce.
Many years ago, I had a job lighting an older US Senator running for office. We built a
Croney cone of foamcore with three layers of diffusion two feet apart and placed it above
camera. It looked like a giant megaphone. When the subject came in for a quick sit-​down
look, you could still read wrinkles. She left for makeup, and the producer begged us to “get
rid of the wrinkles.” We brought out a 4’ x 4’ frame of heavy diffusion and put it in front of
the Croney cone as close to her as we could and still keep it out of shot. It didn’t eliminate
all the wrinkles but with four offset layers of diffusion it was probably the softest, most
frontal key I have ever made. Consider the merits of a soft-​key light unless you’re working
on a western, or a horror or zombie flick.  

Every face reacts to light differently, so although there are basic rules, you’ll need to probe gently each
time you light a new face. This will help you figure out what lighting best suits the mood and general
level of attractiveness desired, and how to imbue the shot with a pleasing aesthetic.
Ultimately, you have to weigh practicality into making decisions about how big and soft a key needs
to be. Consider the action area, amount of space available to position lights, desired softness for the
subject, required f-​stop, available fixtures, available diffusion, psychological space for the subject to feel
comfortable, etc. In our lighting test on the following pages (figs. 2.9–​2.32) note how all three faces have
the exact same lighting but each has a different feel. You have to find what works with each face. Skin
color, complexion, hair, glasses, and clothing all factor into the final result.
12 | Lighting basics

L ighting test with three subjects

Figure 2.9, 2.10, 2.11 Subject looking into camera lens. Key light over camera.

Figure 2.12, 2.13, 2.14 Subject looking off-​camera right. Key light off-​camera 15°.

Figure 2.15, 2.16, 2.17 Key light off-​camera 30°.

Figure 2.18, 2.19, 2.20 Key light off-​camera 40°.

 Lighting basics | 13

Figure 2.21, 2.22, 2.23 Key light off-​camera 90°.

Figure 2.24, 2.25, 2.26 Key light off-​camera 45° (Rembrandt position).

Figure 2.27, 2.28, 2.29 Key light off-​camera 45°, plus fill, plus edge light.

Figure 2.30, 2.31, 2.32 Key light 45°, plus fill, plus edge light, plus backlight.
14 | Lighting basics

Figure 2.33 Near the end of the series of

portraits, with a Rembrandt key,
4’ x 4’ fill card, 4’ x 8’ bounce
backlight, and no edge light.

F ill and fill light

The expression fill light or “fill” is commonly used as a category: it can range from an actual luminaire,
often bouncing into a card, to a small or large passive fill card. Fill light is used to reduce the darker
areas on set, especially as applied to lighting faces. It is generally located near camera to avoid creating
additional shadows. Decide how much fill light is necessary to fill the shadow side of the face. This could
be negative fill (for example a 4’ x 4’ solid floppy unfolded to make a 4’ x 8’ black duvetyne solid);
nothing (but keep in mind nearby walls may contribute bounced fill light); a small, passive white fill
card; a larger white card; or adding another light to control the contrast ratio of the face. Softer is better
so as not to contribute secondary shadows. In my experience the range of applicable lighting styles is far
narrower for talking heads selling products than for drama. Advertisers want bright, happy faces hawking
their goods. However, I have noticed that the more technical and abstract the product (networking, cloud
services, etc.) the greater the allowance for a bit of drama in portrait lighting; in high-​tech interviews, we
often use little to no fill.

L ow fill light

Sometimes low fill light from underneath is appropriate, especially when you are using a top center key
light. Certain DPs I work with will often ask for a passive low fill, especially for women, to help flatten
out the age lines under the chin. I tend not to do this in a documentary situation because it is fairly
intrusive for the person being videotaped. In the past for low fill I often used showcard with its matte
white surface, but now I have 18” x 24” and 2 ’x 3’ Ultrabounce whites that are easier to adjust with a
low C-​stand.

B acklight
Decide whether backlight is needed. Unless you have a cubicle wall immediately behind your subject,
this is often the most challenging light to place. The classic approach places backlighting about 30–​60°
above the horizon, in line with the camera and subject. This often means hanging the light over an empty
space. Some options include: putting up a ceiling scissor clamp for the light if you have a drop ceiling,
using a menace arm, goal-​posting a piece of pipe, spring-​clipping a showcard for a bounce surface, etc.
 Lighting basics | 15

This complicates things and slows down the production, often requiring someone skilled enough to
make the hanging light safe. Many camerapersons scorn the backlight as old-​fashioned, but I find it useful
to pop the subject from the background, or to add dimensionality to the head by delineating the subject’s
hair. Backlighting can be subtle; not necessarily the heavy-​handed techniques of TV talk shows or news.
One modification of the backlight that I use for men in suits is to slow down the light on their hair.
I place a 2’ x 3’ silk shelving it (placing parallel to the ground), making it work only on the top of the
subject’s head, softening the light on the subject’s hair while allowing the full beam to rim their suit. The
suit is almost always a darker shade, and the soft cut of the 2’ x 3’ silk puts a glow on the head, while
allowing all the light to fall on their shoulders/​dark suit to define it from the background (see fig. 2.42).
Traditionally, small Fresnel lights have been used for backlighting, but I find that bigger soft sources, such
as a 4’ x 4 Kino Flo with #216 or #129 diffusion on the doors, or a Litemat 4+ with the heavy Chimera
white/​Magic Cloth diffusion, produces a more subtle backlight that wraps around the sides of the head
a bit and glows. In the few instances where I’ve used a Fresnel for backlight, I’m often spotting it in on
the subject’s shoulders and wire down (put metal scrims in the light to reduce the output) the light for
correct exposure. A little bit dribbles onto the hair, but mostly it delineates the shoulders. I just don’t like
a lot of hard backlight on hair; it looks like TV news.
On a bigger set I super-​size not only the key to allow for greater movement but also the backlight.
Sometimes a 4’ x 8’ sheet of foamcore rigged up high behind the subject as a bounce, with a couple of
PAR 64 cans with MFL bulbs or a Joker HMI PAR if in daylight, gives a similar glow (see figs. 2.38 and
2.40). It’s much easier and quicker to rig a card up high than a light. With the light on the ground, I can
quickly spot or flood, then wire down if there’s too much light.

E dge light

Edge light: also known as rim light, aka kicker, aka liner, and aka scratch. As befits a light with so many
names, the edge has many variations and much personality. The edge light has also replaced the more
traditional backlight for many DPs, as it feels more modern and natural. An edge light can be on either
side of the head or on both sides, but it often lands on the fill side, opposite the key, where you see
it more.
The classic portraiture approach places the edge light approximately 45° off the back edge of the subject.
Although the edge light is occasionally raised up, I find it most effective at head height. It can be soft or
hard. In the past I’ve used vertical Kino Flos for the edge, but now I use LEDs, such as an Astra through
2’ x 3’ diffusion, an ARRI SkyPanel S-​30, or Kino Flo Freestyle 31, because the LED dimming function
makes the fine-​tuning go faster. It is best adjusted by eye, preferably with the DP or myself at camera
or monitor. Even small movements can make a huge difference –​how shiny the subject’s skin, whether
their hair is shading the cheek from the edge light, how much the head moves or turns, and so on –​all
of these impact the net effect. This light frequently needs more time to finesse, and even after 25 years
I find myself searching for the perfect placement. In addition to the option of no edge light, you can also
choose to have one or two edge lights. This is mostly a question of taste and style: you can rationalize the
decision, but there really aren’t any rules beyond whatever is needed to create a harmonious composition.
Of course, motivational sources in the background such as windows, lamps, bright walls, etc., can all be
good reasons to use an edge light. An edge light can also contribute to the sense of dimensionality or
“3D-​ness” of the subject.
Sometimes it’s easier to see the edge light and fine-​tune it if you turn off the key and fill, so you can
see exactly where the edge light is landing. To adjust intensity, you’ll have to turn those lights back on.
Needless to say this is a lot easier to accomplish with two people. This technique is especially helpful
when trying to keep the edge light off the nose.
16 | Lighting basics

Figure 2.34 A 4’ x 8’ white foamcore serves as a bounced backlight.

Figure 2.35 Possible positions for backlight and edge lights.

Another random document with
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tenants and followers 100 men. He and his people the same as to
religion as his neighbours of Appin.
[Lochiel’s Country]
To the north east of Glencoe, an arm of the sea runs up from the
Sound of Mull called [Loch Leven], which I now cross to describe the
country of Mamore, inhabited by Camerons and belonging heritably
to the Duke of Gordon, but a good part of it feued off to Locheil. The
people all Protestants, but of the same kind with Appin and Glencoe.
To the north east of Mamore lies Fort-William and a small Glen
called Glennevis, above which stands the largest and the highest
mountain in Scotland, called Ben Nevis.
On the north side of the River Lochy lies the rest of Locheil’s
estate, viz., Locheil, Strathlochy, and Locharkaig. The first and
second of these, six miles long each; the last, twelve miles.
On the north side of the Loch of Arkaig (the south side being all
wood and desert) mostly inhabited by thieves, the minister of
Killmaly preaches to them once a quarter or twice at most, and then
the half of them cannot be present if they were willing to attend. In
Winter the snow and storm hinders, and in Summer they are
scattered through the hills with their cattle. The Camerons boast of
their being Protestants, and Locheil hindered his brother the
priest[284] to preach among them, when he told him he would bring
them from that villainous habit of thieving, if he would allow him to
preach, and say Mass among them: his answer was that the people
of Glengarry, Knoidart, Arisag, etc., who were profest Papists, were
greater thieves than his people, and if he would bring these to be
honest and industrious, he would then consider his proposal as to
the Camerons, and till he would bring that good work to a bearing he
positively forbad him to middle with his people. But Locheil and the
gentlemen of his clan were great encouragers of the Nonjurants and
as far as they could they perverted the Commons.
[Keppoch]
The South of the River Lochy is the property of the Duke of
Gordon for 6 miles benorth Fort William: inhabited mostly by
Camerons. And then begins the country of McDonald of Keppoch,
partly the property of the Duke of Gordon; and partly the Laird of
M‘Intoshes, Keppoch having but a small interest in it. Anno 1687
McIntosh wanting a great arrear of rents of Keppoch, and getting no
satisfaction, went to that country to poynd their cattle, and brought in
his train above 500 men. Keppoch, with the assistance of Glencoe
and others, his good friends, paid him his rents by giving him battle,
[285] killing great numbers of his men, and taking himself prisoner,
and getting such good conditions as he pleased before he released
him. The whole ended in a famous Highland song, mocking
McIntosh, and placing the true property of the country in Keppoch,
as worthier to possess it. Next year Keppoch and his men came
northward within 4 miles of Inverness, and sent a message to that
town, to find him and his men, money, clothes, and provisions; with a
threatening if they scrupled this, he would plunder the town. The
town sent out three or four of their Top Burghers to commune with
him. These he detained close prisoners, and sent another message
demanding 4000 Merks in Specie, and a suit of their finest scarlet
mounted with gold for himself with a certification that if this was not
done next day, which happened to be the Sabbath, he would hang
up their ambassadors, and then plunder their town. Accordingly the
town redeemed themselves at the rate he was pleased to prescribe,
and his fine and rich suit was finished on Sunday. Then the
Ambassadors were released after a severe reprimand for their
insolence in prescribing anything to him further than to ask his
pleasure.
Keppoch’s people and the Duke of Gordon’s tenants in the
neighbourhood are mostly Popish;[286] the greatest number of them
were perverted in the Reigns of Queen Anne and George the first.
They deal pretty deep in the thieving trade.
[Glengarry]
The next country to the north east is Glengarry, the people
Papists and better at thieving than the worst of the other tribes. Their
gentlemen found a way to put most of their neighbours under Black
Mail which raised them some hundreds of pounds Sterling, for
several years back.
[Abertarff and Stratherrick]
The next country still eastward is Abertarff, mostly the property of
the Lovat Family: some of it feued out to Glengarry: all betwixt Fort
Augustus are Popish: the few villages of Abertarf, be-east the
Garrison, are inhabited by a mixture of Papists and Protestants: the
people not free from theft.
Here lies Lochness, the country on the South side is called
Stratherrick the property of the Lovat Family. The people
Protestants: they submitted to the Established Clergy for many years
back. The Commons went to the late Rebellion with great reluctance,
and most of them violently compelled. The first country on the north
side of the lake is called Glen Morrison, the property of Grant of Glen
Morrison.[287] The old man with his men were in the Rebellion: the
young Laird is an Ensign in Lord John Murray’s Regiment.[288] The
people a mixture of Papists and Protestants, much given to theft.
[Urquhart and Glenmoriston]
Forward to the north east is the country of Urquhart, belonging to
the Laird of Grant. Their neighbours, the McDonalds and Frasers,
raised most of the men and carried them off to the Rebellion.[289]
These and the Glen Morrison men after the Battle of Culloden
surrendered to the young Laird of Grant, and were brought by him to
the Duke of Cumberland to Inverness to deliver their arms; but by
some mistake in the Report, as if they were taken in arms rather
than surrendered, they were made prisoners and sent off by sea to
England. The people are Protestants, though none of the most
civilized.
[The Aird]
Next is the country of the Aird belonging to Lord Lovat, and
where his house stood. The people Protestants, and of our
Communion, save very few.[290] The Commons here are an honest,
civilized sort of people if left to themselves.
 [Strathglass]
Next, to the North, is the country of Strathglass, mostly inhabited
by Papists. I do not hear much of their thieving, though they suffer
much by the Glengarry thieves. This country belongs mostly to
Chisholm of Comar (whose men were in the Rebellion, though he
himself was not)[291] and partly to the Frasers.
[Seaforth, Munro, and Cromartie’s Country]
Next is Seaforth’s country, all along pretty low and level, till you
come to Ferrindonall, the country of the Munro’s; (the Highland part
of his estate, I described on the first sheet as it lies on the North
Sea). The Gentlemen and Commons of the McKenzies are
Protestants save very few, but very much devoted to the Nonjurant
Episcopal Clergy. The Seaforth family embraced the Reformation in
the Minority of James the sixth. Coline, then Earl, entertained the
famous Mr. Robert Bruce[292] at his house with great respect and
esteem when he was banished to Inverness and the country beyond
it. I saw the subscription of Earl George, brother to the said Colin, to
an original copy of the Covenant ingrossed on parchment, but he
was afterward excommunicated by the Church for breach of trust. I
am not sure if this family turned Popish before James the seventh’s
time, but the then Earl, whose name was Kenneth, was Popish, as
was his son the late Earl. The present Earl was very faithful to the
Government all the time of the Rebellion.[293] The Munros and
Rosses, I say nothing of, as their good affection to Church and State
is well known.
Next is the Earl of Cromartie’s Estate. In the low country the
people well affected to our Constitution in Church and State; and
very few of his Low Country tenants went with their Lord to the
Rebellion.
[Mackintosh Country]
Having in the first sheet described all be-north the broad Ferry of
Sutherland at which I have arrived, I come to McIntoshes country,
viz., Strathnairn, Strathdearn,[294] and Badenoch. The people are all
Protestants, not given to thieving, but strangely poisoned by the
Nonjurant Clergy. Their dissatisfaction has sufficiently appeared by
their rising with the Lady against the King, rather than with the Laird,
their Chief who was a captain in the King’s pay, yea, McIntoshes own
company, which he had newly levied, deserted from him and listed in
what was called the Lady’s Regiment.[295]
[Strathspey, Strathavon and Glenlivat]
The next country, Strathspey, the property and seat of the Laird of
Grant: this Clan raised a Regiment at the Revolution and were firm
to the interest of King William, but they suffered so much by the
depredations of the Camerons and McDonalds that they became
rather too cautious in time of the late Rebellion; the truth is they were
’twixt two fires, Lord Lewis Gordon to the east, and McIntoshes,
Camerons and MacDonalds to the west, so that their country must
have been severely plundered if they had been more than Neuters.
[296] Besides the emulation ’twixt Grant and the President in former
Elections for a member of Parliament was said to have made the
Grants too [cautious]; however their good affection to the Revolution
Interest has not been questioned, and they are firm Presbyterians.
Theft is scarcely known in this country, though they have been great
sufferers by the thieving clans to the West.
To the east of Strathspey is Strathdown[297] and Glenlivat mostly
the property of the Duke of Gordon: the people mostly Popish, also
the Enzie and Strathbogy, a mixture of Papists and Protestants.
From these countries Lord Lewis recruited the most of his men, and
in their neighbourhood is Braemar and Cromar the country of the
Farquharsons: the people Protestants, with a small mixture of
Papists: the Gentlemen much devoted to the Nonjurant Clergy. I am
not particularly acquainted with this country; therefore, though it be
large and populous, I say little about it.
I can say little of the country of Angus and Mearns, only I know
dissaffection prevails there: nor am I much known to the country of
the Duke of Atholl; the Stuarts and Robisons there are bigoted
Jacobites, as are some of the Murrays. And as little do I know of the
Drummonds and McGregors, but their Dissaffection is Notour.
Therefore I conclude this paper with two lists as near as I can guess
of the strength of the Dissaffected, and Well affected Clans in the
Highlands and North Country. Which Lists you have in another sheet
of this date.
[Caetera desunt]
 AN ACCOUNT OF THE LATE
REBELLION FROM ROSS AND
SUTHERLAND WRITTEN BY DANIEL
MUNRO MINISTER OF TAIN
We had notice in this country of the Young Pretender’s arrival in
Lochaber, about the middle of August 1745. The friends of the
Government generally despised the Attempt, and the Jacobite party
showed then no open disposition to join him. It is said the first notice
of his arrival was sent by the Laird of McLeod to the Lord President,
[298] and that the President wrote insolently to Locheil (at whose
house the Young Pretender was said to be, dissuading him from a
Rising to Rebellion). Locheil was under great obligation to the
President, on account of the President’s endeavours to get him
reponed to his estate, which had been forfeited in the year 1715. The
return Locheil made was, that he had been long in search of an
important paper relating to that affair, which he now sent him
enclosed: this is all he wrote, and the paper enclosed was the
Pretender’s Declaration.
The first Rising in this Country was under the Earl of Cromartie,
the Earl had waited on Sir John Cope at Inverness with others: he
professed a steady adherence to the Government, for though he had
been bred a Jacobite, yet he married young into a Whig family.[299]
He had a post and pension of the Government, and was universally
thought a Government Man in grant of interest, and was so looked
upon in point of Principle, having so often qualified to the
Government. He and family joining the Established Church and
having educated his eldest son in Revolution Principles.
The first step he took towards joining the Rebels (though it was
not so construed at the time) was declining to accept of a
Commission for his son Lord McLeod[300] to be Captain of one of the
independent companies, offered him by the Lord President. He
pretended for so doing a disobligement, being refused by the
President the nomination of the Subalterns of said companie. After
this he was observed to associate with Lord Lovat, and in the
meantime Lord McLeod, his eldest son, repaired to the Highlands of
Lochbroom and Cogach, where his Lordship has a considerable
estate, vassalage, and superiority, being Heritable Sherriff. Lord
McLeod raised the men there; but it was yet pretended this rising
was for the defence of his house and person, as Lord Lovat had
raised his people and kept them about him under the same pretext.
Soon after the Battle of Preston, McDonald of Barisdale[301]
came to this country and was with my Lord openly at his house at
Newtarbet, which gave the first rise to any suspicion about the Earl,
especially as there was such preparation, as the making of Highland
clothes, providing of Arms, and ammunition: but to cover this, it was
pretended his Lordship intended a journey to Edinburgh, and must
have a strong guard. However early in November he openly declared
himself, and went from his house at Newtarbet to West Ross, where
a part of his estate lies, and was joined by his son Lord McLeod, with
twixt two and three hundred of his men, taken from Lochbroom and
Cogach and off his Estate in West Ross, having got none to follow
him from his estate about Newtarbet which is in East Ross, but about
ten men who were his menial servants and a young gentleman
Roderick McCulloch of Glastalich,[302] one of his vassals, and whose
family and friends had no connection with Jacobitism, and whom it is
generally allowed the Earl decoyed into the Rebellion. He then
marched to the Lord Lovat’s house, where he was joined by the
master of Lovat, with 300 Frasers and both went to Perth.
Upon the Rebels coming North after their retreat from Stirling and
their arrival at Inverness, they were joined by the whole Posse of the
Frasers, who were formed into three Regiments under the command
of the Master of Lovat,[303] Fraser younger of Inverallachie,[304] and
Fraser of Foyers;[305] by the Chisholms,[306] all of them under the
command of two younger sons of their chief[307] the Chisholm of
Strathglass; by considerable numbers of the McKenzies reckoned
about 400, besides the Earl of Cromartie’s own Regiment. These
McKenzies were of the Estates of Redcastle, Culcoy, Lentron,
Applecross, Coul, Fairburn, Gairloch, Balmaduthy and Allangrange.
Under the leading of McKenzie of Lentron, a younger brother to
McKenzie of Fairburn[308] and a brother to McKenzie of Culcoy
formed into a regiment under McDonald of Barasdale with some of
the Banditti Highlanders formerly with him. The Earl of Cromartie
when Commander in Chief benorth Beullie affected to be chief of the
McKenzies. It is certain the men of the above estate were actually in
arms under him and I am well assured he threatened Military
Execution against McKenzie of Scatwell (a loyal family of that name)
if he did not give his men also, which he absolutely refused at all
hazards, and reckons himself happy his Lordship did not return with
the same power from Sutherland. It is also fact that when the Rebels
were exacting Cess and Levy money of all the estates of the
gentlemen in Ross in the most vigorous manner, the gentlemen of
the name of McKenzie whose men were in arms were excused from
paying their proportion of Levy money. The Rebels were joined by
the McIntoshes who had not joined formerly, by the McIlivraes and
McBeans under the command of McIlivrae of Dunmaglass,[309]
commonly called the Ladie McIntoshes Regiment,[310] as she was
known to be extremely active in raising them:[311] there were also a
mixt multitude from Aberdeen and Banffshire under the command of
Lord Lewis Gordon and Mr. More of Stonnywood.
The arts and methods by which the Jacobites endeavoured to
raise and spirit people into the Rebellion, and by which they were too
successful, were the spreading all sorts of false news to the
advantage of their own cause and party; particularly such as related
to a French landing, and a junction in England; the venting gross
misrepresentations and slanders against the King, Royal Family and
Administration; pretending intolerable grievances and confident
promises of relief from them: but above all, the indefeasible right of
the family of Stuarts, the native interest all Scots men had in them,
with the Pretender’s Declaration, were most commonly insisted
upon, and this was done with all possible zeal and address, by those
Jacobites of power and station who did not think it safe to risk their
persons or estates in the cause; though their brothers or sons or
other relations and tenants had joined openly. In this view we have
been told the Rebellion was a well conducted scheme not like that in
the 1715; when all the Jacobite Grandees took the field, but now
when their common men were only exposed, though the attempt
should not succeed the same Jacobite interest would still subsist.
As to characters all above mentioned whose relations or tenants
had joined were regular Jacobites, the Earl of Cromartie, Lord
McLeod and the Master of Lovat excepted.
As to the well affected: Mr. Harry Munro Younger of Foulis now
Sir Harry who had been newly nominated a Captain in the Lord
Loudon’s Regiment having speedily raised a company of Munroes to
serve in the said Regiment met Sir John Cope at the Water of Nairn
and upon their arrival at Inverness, Capt. George Munro of Culkairn,
[312] Sir Harry’s Uncle, waited on them, where it was concerted that
the Munroes should instantly take arms and join the King’s Troops,
which was done accordingly. Three Companies were raised under
the Leading of Culkairn, Hugh Munro of Teaninich and William Munro
of Achany, and marched with General Cope as his advanced guard
to Aberdeen, where they stayed till the Army took shipping. Sir
Harrie and his company went along and were at the Battle of Preston
where they were taken prisoners with the other Highland Companies
there. At the same time Captain Alexander M‘Cay, son to Lord Reay
and Captain in Lord Loudon’s Regiment, raised a company of
McCays in Strathnavar and upon notice of General Cope’s arrival at
Inverness marched speedily to join him and missing the General at
Inverness followed him and being informed that Gordon of
Glenbucket was in arms for the Pretender, took boat upon the
Murray Coast and came up with the General at Aberdeen, was at the
Battle of Preston and taken prisoner, none of his men or the
Monroes when prisoners would be prevailed upon to enlist for the
Pretender.[313]
Culkairn upon his march homeward from Aberdeen was apprised
by a friend from Banff that Glenbucket with 400 men waited to
intercept him. He made his best preparation and resolutely went on;
when Glenbucket thought proper to withdraw, which must have been
owing to the known bravery of Culkairn.
Lord Loudon and the President
Immediately after the Battle of Preston, the Earl of Loudon took
post for London, and without loss of time came down in a King’s
Sloop to Inverness, where he took upon him the Command for the
North, and acted always thereafter in concert with the President. The
President disposed of the independent companies for raising of
which he had blank commissions, in the following manner: A
company to Captain Munro of Culkairn, two companies to the Earl of
Sutherland, two to my Lord Reay, four companies to the Laird of
McLeod, one company to Hugh McLeod of Guineas, four companies
to Sir Alexander McDonald whereof only two came to Inverness, a
company of Grants, two companies to the Lord Fortrose, a company
to the Master of Ross, and a company from Inverness, commanded
by Mr. McIntosh, late baillie here. The Munroes, Sutherlands,
McCays, and McLeods came to Inverness upon the first call: there
was difficulty in raising the McKenzie companies, though Lord
Fortrose[314] exerted himself all he could to get it done and showed
abundance of zeal for the Government. The best service he was
able to do was preventing a more general rising of his numerous
Clan, in which he was successful, there being only about 700 of
them in Rebellion including Cromartie’s Regiment. The Clan will at
least amount to 1500.
As the Master of Ross was not in the country, the Laird of
Inverchasley bestirred himself much to raise a company of Rosses
for the Master, and a company of the Highlanders of the name of
Ross were accordingly raised; but Malcolm Ross, younger of
Pitcalnie,[315] Ensign in Sir Harrie Munroe’s Company of Loudon’s
Regiment, and who had been taken prisoner at the Battle of Preston,
having come to the country upon pretence of being on his parole, but
in reality to serve the Rebel interest, as sufficiently appeared
afterwards, got the said company dismissed in the following manner.
Mr. Bailey, factor to the Lord Ross in this country, ordered the
company to attend at his house at Ardmore, in order to be received
by Mr. Ross of Inverchasley and others. The night before the Day of
the Review the said Pitcalnie lodged at the house of Mr. Baillie (Mr.
Baillie not being in the knowledge of his design) and when the men
appeared ready for the intended Review, Mr. Ross younger, of
Pitcalnie, ordered them to follow him, which they did, and he lead
them back to the Highlands. Mr. Ross of Inverchasley coming up
soon thereafter, and joined by Mr. Baillie went after them and having
come up with them, very seriously expostulated with Pitcalnie for his
conduct, and dealt earnestly with the men to return, and engage in
the intended service for the Government; which Pitcalnie refused
and the men also at that time (but they absolutely declined entering
to the Rebellion and when the Master of Ross came to the Country
they appeared for the Government), upon which Pitcalnie repaired to
Lord Lovat’s, openly joined the Rebels attended only by his servant,
after the President who is his grand uncle had been at the utmost
pains to reclaim him. He was debauched with the hopes of being
made Laird of Balnagowan, nor were his family formerly tainted with
Jacobitism.
The President’s house of Culloden was attacked in October by a
body of Frasers, commanded by Fraser of Foyers, to the number of
about 150 in the night time: they were repulsed and one of their
number found wounded in an adjacent wood next day, who was
brought to the President; and upon examination he discovered who
were of the party. After which the President ordered him to be carried
to Inverness to be cared for by a surgeon, gave him a piece of
money and liberty after his cure to go where he had a mind. Some
time thereafter the Earl of Loudon marched from Inverness with a
body of 800 men, and apprehended Lord Lovat at his house of
Castledownie and carried him prisoner to Inverness, where he was
kept under a guard in a private house and in a few days found
means to make his escape.
My Lord Loudon by the junction of the independent companies
and the remains of his own Regiment, made up a body of about
2000 men at Inverness. Lord Lewis Gordon, who had been an officer
in the Fleet, was at the same time very active in raising men for the
Pretender in Aberdeen and Banffshire, and the Earl of Loudon being
informed by intelligence from Aberdeen, and called upon by the
friends of the Government there, ordered seven of the Independent
Companies, viz., the four McLeod Companies commanded by the
Laird of McLeod in person, the Munro and Inverness Companies,
and that commanded by Captain McLeod of Guineas;[316] who
accordingly marched for Aberdeen and were joined by 400 Grants at
the Water of Spey who marched with them to Strathbogie 18 miles
from Spey; where they again left them, and returned to their own
country. The Companies continued their march for Aberdeen, and
having upon the [23rd] day of December come to Inverury within 10
miles of Aboin, they were attacked in the night by Lord Lewis Gordon
and his party, who had been reinforced by some companies of Lord
John Drummond’s French Regiment sent for that end from the North.
The attack was sustained by the Laird of McLeod and Culkairn with
great bravery, who finding the superior number of the enemies, and
then first observing the French Reinforcement they had got, ordered
a retreat, which was managed with good advantage, having only
seven private men killed and a few taken prisoners, among whom
was Mr. Gordon younger of Ardoch, Culkairn’s Lieutenant. There
was considerable execution done upon the Rebels as our men had
the favour of the houses, garden dykes, etc., and the Rebels made
no pursuit.[317]
The Master of Ross, having come by sea to Inverness, was
joyfully received by the loyal Clan of the Rosses, when he
immediately repaired to this country with the concurrence of the
gentlemen of his name, particularly the Laird of Inverchasley, he
raised an independent Company with which he joined Lord Loudon.
Upon the Young Pretender’s retreat Northward, Lord Loudon
being informed of his being at the House of Moy, the Laird of
McIntosh’s seat, within 8 miles of Inverness, he marched from
Inverness in the dead of the night with about 1200 men with a view
to surprise the Pretender, but as to the particulars of this attempt and
how it came to miscarry, it is referred to a more particular
information.[318]
 The Rebels being upon their march to Inverness both those who
came the low way by Aberdeen and those who came by the
Highland Road with the Young Pretender; the Earl of Loudon
furnished the Castle of Inverness, which Major Grant commanded,
[319] with a company of Red Coats, with stores of provisions, and
added two independent Companies, the Grants and that
commanded by the Master of Ross, and by the defences he made
about the town he seemed disposed to maintain Inverness against
the Rebels: but upon their approach and considering their numbers
and that the place was not tenable, he made a well conducted
retreat over the Ferry of Kissack towards Ross-shire. When the
retreat was a-making the Rebels carried a field piece to the shore
below Inverness and having planted it upon a rising ground within
flood mark, they discharged it several times, at the Boats on their
passage, without doing any execution, though the bullets lighted very
near the Boats, particularly that in which was Lord Loudon which
was the last that passed, and one of them among the men drawn up
on the other side after their landing.
The Rebels immediately took possession of Inverness, and laid
siege to the Castle, which was surrendered the third day; but as to
the particulars of this sort of siege you are referred to the proceeding
of the Court Martial which condemned and cashiered the Governor.
Before Lord Loudon left Inverness, and upon the approach of the
Rebels, he called upon the Lord Sutherland, Lord Reay and the
Master of Ross, to get up to Inverness all the men they could make.
Whereupon my Lord Sutherland marched in person at the head of
400 men. The Master having called upon the Laird of Inverchasley
and his other friends, four companies of Rosses were ready and
upon their march to Inverness their advanced party met Loudon
immediately as he landed in Ross. They were astonished to find the
Master of Ross their leader had been pent up in the Castle of
Inverness, however they waited Lord Loudon his orders: some of
them he advised home, to others he gave arms and pay, and they
were with him in Sutherland. My Lord Sutherland by Loudon’s orders
retreated to his own country, his four hundred men last mentioned,
continued under arms. The McCays, by reason of the distance of
their country, would not come up with Lord Loudon, till they found
him retreated to Sutherland where they joined him.
The day after Loudon’s retreat from Inverness, he marched down
from East Ross where he continued for three or four days: and upon
intelligence that a strong body of the Rebels under the Earl of
Cromartie, Commander in chief benorth Beully had come to West
Ross and were upon their way to attack him. He with the Lord
President and several gentlemen who had taken flight from Murray
to Ross, and all the men under his command (excepting the two
McKenzie Companies who dispersed themselves immediately after
the retreat from Inverness and not one of them having followed him)
he retreated to Sutherland with a resolution to guard the Passes to
that country against the Rebels. Several gentlemen of this country,
particularly Inverchasley and ministers who had been so active in
raising men to join Loudon, thought fit to repair at the same time to
Sutherland. Lord Fortrose left his troup at Brahan and took flight to
the Highlands of his own country,[320] where he remained with a
body of his men about him till after the Battle of Culloden.
The Earl of Loudon when he got into Sutherland posted his men
along the Firth of Tain which divides Sutherland from Ross: from
Dornoch to Lairg the difference of ten miles.
The remains of Loudon’s Regiment being about 200 were posted
at Dornoch: the McCays being 300 at the Muckle Ferry, three miles
above Dornoch: the two McDonald Companies at Pulrossie, a mile
above the Ferry: the Inverness Company at Spengadale, two miles
above the McDonalds: the Munroes at Criech, two miles above
Spengadale: McLeod of Guineas his Company at the Bonar, a mile
above Criech: the Laird of McLeod with his 400 men at the Pass of
Invershin, three miles above the Bonar; and the Sutherlands to the
number of 600 at Lairg and thereabout.
Tayne, Feb. 13, 1747.
 MEMOIRS OF THE REBELLION IN
1745 AND 1746, SO FAR AS IT
CONCERNED THE COUNTIES OF
ABERDEEN AND BANFF
Gordon of Glenbucket rises
The first man in these countys that rose in this rebellion, was
John Gordon, Elder of Glenbucket. Immediately on the Young
Pretender’s landing, he went to the Highlands to meet him and
returned directly with a Commission as Major-General and some
money to raise men, and he soon got together about 300 mostly
from Strathdawn[321] and Glenlivet and some too from Strathboggy,
all parts of the Duke of Gordon’s Estate.
Is assisted by Skeleter in Strathdon
His son-in-law, Mr. Forbes of Skeleter,[322] also brought him
some of this Corps from Strathdon, a country belonging mostly to
gentlemen of that name, formerly vassals of the Earl of Mar, now of
the Lord Braco.[323] In consequence of this vassalage most of this
country had been engaged in the Rebellion in the 1715, and formed
a very good body of men, and as their new Superior, Lord Braco,
had not yet acquired great authority over them and Mr. Forbes of
New (a family all along well affected to the Government)[324] was
abroad, being an officer in the army, the Rebels flattered themselves
that by Skeleter’s means the rising at this time would be no less
considerable; but in this they were greatly disappointed. For Mr. Leith
of Glenkindy, who had lately come to that neighbourhood, being a
very firm friend of the Government, and Mr. Forbes of Inverernan
(whose predecessor in the 1715 was known by the name of Black
Jock) much contrary to the Rebels’ expectation, declaring the same
way; and Mr. Lumsden, minister of Towey, who had a small estate in
that country, managing the whole with a great deal of address, as he
was entirely well-acquainted with all their tempers and situations,
Skeleter found his measures so effectually traversed, that he had
difficulty enough in raising his own Tenants. Mr. Gordon of Avochy,
Glenbucket’s Nephew, a very resolute, active lad, assisted him
considerably in his Levys about Strathboggy, where he had a small
estate. He, Glenbucket, had also two sons joined him, but the eldest
having drunk himself blind could not attempt to march along and was
of little use to him at home: the other, too, was but an insignificant
creature.
Glenbucket was at Strathboggy when General Cope came to
Aberdeen,[325] where the Jacobites gave out that his numbers were
at least triple of what they were in reality, and there was so great
apprehension of his surprizing the town, and the Magazines there,
provided for the Army, that the General thought proper to order most
of his Highland companies to march from Old Meldrum in the midst
of the night and take possession of Aberdeen. Why General Cope
was so many days at Aberdeen before he embarked, why he refused
the most expeditious way of embarking his troops which was
proposed by the Magistrates, of bringing about their Fish Boats from
John’s Haven, and as well as using the Torry and Foothy[326] boats
which would have gained him a day at least (as the Transports when
the Soldiers came not out to them in boats, behoved to come up to
the harbour with one tide, and go out with another) let those that
know the reasons, give them. Meantime his dallying gave several of
his men an opportunity of deserting to Strathboggy.
Glenbucket declines Fighting the Munroes
When the 200 Munroes under Culkairn who had accompanied
General Cope to Aberdeen were returning from thence, there were
great apprehensions lest Glenbucket, who was superior to them in
numbers, should have intercepted them and cut them off; but
Culkairn himself was under no dread, as his men were good and
better armed than Glenbucket’s, and therefore marched on very
briskly the way of Banff. Glenbucket had gone down to that country
on an expedition for horses and arms, and was in Banff that very day
the Monroes came there, but, not choosing to wait their coming up,
he sheered off the way to Strathboggy.
Soon after this he had a call from the Young Pretender to hasten
up, and accordingly marched South, keeping the westerly roads, and
not coming near the towns of Aberdeen or the low parts of the
country, but did not join the main Army of the Rebels, till after the
Battle of Preston.
Glenbucket’s Character
Glenbucket was a man very singular in his way, and is perhaps
the only instance of a Gentleman of a low country family and
education, that both could and would so thoroughly conform himself
to the Highland Spirit and manners, as to be able to procure a
following among them without a Highland estate or any of the
attachments of Chieftainry. He always discovered a great deal of
personal courage and particularly behaved well in the 1715 when he
commanded some men raised by the Duke of Gordon, in that
Rebellion, and after that time kept up a great intercourse with the
Highland Chiefs, which was much increased by the marriage of one
of his daughters to one of them, McDonald of Glengarry, and it is
generally believed he was very serviceable to the court of Rome, in
keeping up their correspondence with the Chiefs of the Clans, and
was certainly once and again of late years over at that court, when
his Low Country friends believed him to be all the while in the
Highlands. He had sold the estate of Glenbucket, from whence he
has his designation, a good while ago, and at the breaking out of this
Rebellion, had not a foot of property, and yet those creatures in
Strathdawn and Glenlivet were so attached to him that a number of
them rose voluntarily with him. He was however by this time so old
and infirm that he could not mount his horse, but behoved to be lifted
into his saddle, notwithstanding of which the old spirit still remained
in him.
More of Stonnywood
Very soon after the Young Pretender landed, More of
Stonnywood[327] prepared to join him, at first very privately, as his
estate lay within three miles of Aberdeen, where all in appearance
was for the Government. This gentleman very early imbibed the
Jacobite principles and was entirely educated in that way; his fortune
also was greatly embarrassed, so that his going off was no great
surprise. He was a man of little note or interest and of no great
genius, but yet by his activity, diligence, and application, and his
thorough acquaintance with the circumstances of Town and Country,
he was very serviceable to the Rebels in those parts. He slipped
away at first alone, and came up with his Pretended Prince, as he
was about to enter Edinburgh, and having immediately got a
Commission to raise men, he left them before the Battle of Preston,
and had the assurance to enter the town of Aberdeen supported by a
couple of broken merchants and York Street Cadys[328] all in white
cockades, and to enlist men for the Pretender. The well affected
people in town seemed only to make a jest of Stonnywood and his
procession, and the magistrates found it convenient to overlook it,
since any ill-usage of him might have been severly revenged by a
very small party, for as Cope had carried off the Town’s Arms lest the
Rebels should have seized them, a very few armed men might have
come and plundered the whole town; but from this small beginning
thus neglected, the Rebels very soon became masters of the place
in reality and so continued till the army arrived under His Royal
Highness.
Farquharson of Monaltry rises at the head of Dea
Much about the same time Mr. Farquharson of Monaltry,[329] age
35, a gentleman of no great estate, Nephew and factor to the Laird
of Invercauld, began to move at the head of Dea. This gentleman
was educated in Revolution principles, but was unhappily seduced
and debauched into the Jacobite scheme by the Duke of Perth, who
both the times that he was obliged to conceal himself from the
Government made that country his retreat,[330] and Mr. Farquharson,
being a sweet-tempered, agreeable lad, was his chief companion in
his exile. As Invercauld gave Monaltry no countenance in his
rebellion, but immediately turned him out of his Factory, he was not
at first very successful in his levys, but as Farquharson of Balmurral,
[331]
Gordon of Blelack and some others, all of small estates, rose
some time after from that country, there were at length a good many
men brought from thence.
Hamilton and Tulloch in Strathboggy
John Hamilton, Factor to the Duke of Gordon for the lands about
Strathboggy, and afterwards Governor of Carlisle,[332] resolved also
very early to join this Rebellion, and being a very haughty man would
not act under Glenbucket, but set up on his own footing, and this
stopped both their progress for a while, as their misunderstanding
made them counteract one another. However Hamilton, being much
assisted by one David Tulloch, a considerable tenant of the Duke’s,
[333] soon got together 100 Men, thirty of whom he mounted on
gentlemen’s horses which he seized through the County. Hamilton
undoubtedly was a noted Jacobite, but reckoned too selfish to
meddle in such undertakings, so that the reason of his commencing
adventurer was generally imagined to be owing to the disorder of his
affairs, which indeed was not apprehended till this step brought it to
light. He marched from Strathboggy to Inverury the Monday after the
Battle of Preston, where he obliged the Magistrates to attend while
the Pretender’s Manifesto was being read over the Cross, and next
day using the same ceremony as he marched through Kintore, he
came to Aberdeen just as the Council were about electing their
Magistrates, which he immediately stopped unless they’d take their
oaths to the Pretender (so that the Town wanted Magistrates all the
time of the Rebellion), and forced the then Provost and some of the
Bailies to attend the reading of their Manifestos over the Cross which
was done by Sheriff Depute Petry,[334] he pretending at that time to
be forced to it, though he afterwards joined them openly, and then
when the Provost refused to join in their disloyal healths Hamilton
poured a glass of wine down his throat, and all along behaved very
insolently, but happily for Aberdeen he soon marched south with his
corps.
Lord Pitsligo moves in Buchan