Light--science & magic An introduction to photographic lighting
Book - 2007
Saved in:
- Subjects
- Published
-
Amesterdam ; Boston :
Elsevier/Focal Press
[2007]
- Language
- English
- Main Author
- Other Authors
- ,
- Edition
- Third edition
- Physical Description
- xii, 308 pages : illustrations (chiefly color), portraits ; 26 cm
- Bibliography
- Includes index.
- ISBN
- 9780240808192
- Chapter 1. How to Learn Lighting
- What Are "The Principles"?
- Why Are the Principles Important?
- How Were the Example Subjects Chosen for This Book?
- Do I Need to Do These Exercises?
- What Kind of Camera Do I Need?
- Should I Shoot Film or Digital?
- What Lighting Equipment Do I Need?
- What Else Do I Need to Know to Use This Book?
- What Is the "Magic" Part of This Book?
- Chapter 2. Light: The Raw Material of Photography
- What Is Light?
- How Photographers Describe Light
- Brightness
- Color
- Contrast
- Light versus Lighting
- How the Subject Affects the Lighting
- Transmission
- Direct and Diffuse Transmission
- Absorption
- Reflection
- Chapter 3. The Management of Reflection and the Family of Angles
- Types of Reflection
- Diffuse Reflection
- The Inverse Square Law
- Direct Reflection
- Breaking the Inverse Square Law?
- The Family of Angles
- Polarized Direct Reflection
- Is It Polarized Reflection or Ordinary Direct Reflection?
- Turning Ordinary Direct Reflection into Polarized Reflection
- Applying the Theory
- Chapter 4. Surface Appearances
- The Photographer as Editor
- Capitalizing on Diffuse Reflection
- The Angle of Light
- The Success and Failure of the General Rule
- The Distance of Light
- Doing the Impossible
- Using Diffuse Reflection and Shadow to Reveal Texture
- Capitalizing on Direct Reflection
- Competing Surfaces
- Try a Lens Polarizing Filter
- Use a Still Larger Light
- Use More Than One Light
- Use a Gobo
- Complex Surfaces
- Chapter 5. Revealing Shape and Contour
- Depth Clues
- Perspective Distortion
- Distortion as a Clue to Depth
- Manipulating Distortion
- Tonal Variation
- The Size of the Light
- Large Lights versus Small Lights
- Distance from the Subject
- The Direction of the Light
- Light on Side
- Light above the Subject
- Fill Light
- Adding Depth to the Background
- How Much Tonal Variation Is Ideal?
- Photographing Buildings: Decreasing Tonal Variation 99 Photographing Cylinders: Increasing Tonal Variation
- Remember Surface Detail
- The Glossy Box
- Use a Dark Background
- Eliminate Direct Reflection from the Box Top
- Eliminate Direct Reflection from the Box Sides
- Finish with Other Resources
- Use Direct Reflection?
- Chapter 6. Metal
- Flat Metal
- Bright or Dark?
- Finding the Family of Angles
- Lighting the Metal
- Keeping the Metal Bright
- What Is a "Normal" Exposure for Metal?
- Keeping the Metal Dark
- The Elegant Compromise
- Controlling the Effective Size of the Light
- Keeping the Metal Square
- Metal Boxes
- A Light Background
- A Transparent Background
- A Glossy Background
- Round Metal
- Camouflage
- Keeping the Light off the Camera
- Using a Tent
- Other Resources
- Polarizing Filters
- Black Magic
- Dulling Spray
- Where Else Do These Techniques Apply?
- Chapter 7. The Case of the Disappearing Glass
- The Principles
- The Problems
- The Solutions
- Two Attractive Opposites
- Bright-Field Lighting
- Dark-Field Lighting
- The Best of Both Worlds
- Some Finishing Touches
- Defining the Surface of Glassware
- Illuminating the Background
- Minimizing the Horizon
- Stopping Flare
- Eliminating Extraneous Reflections
- Complications from Nonglass Subjects
- Liquids in Glass
- Secondary Opaque Subjects
- Recognizing the Principal Subject
- Chapter 8. An Arsenal of Lights
- The Single-Light Setup
- The Basic Setup
- Light Size
- Skin Texture
- Where to Put the Main Light
- Left Side? Right Side?
- Broad Lighting or Short Lighting
- Eyeglasses
- Additional Lights
- Fill Lights
- Background Lights
- Hair Lights
- Kickers
- Rim Lights
- Mood and Key
- Low-Key Lighting
- High-Key Lighting
- Staying in Key
- Dark Skin
- Available-Light Portraiture
- A Window as a Main Light
- The Sun as a Hair Light
- Combining Studio and Environmental Light
- Keeping the Light Appropriate
- Setting Rules?
- Chapter 9. The Extremes
- The Characteristic Curve
- The Perfect "Curve"
- A Bad Camera
- Overexposure
- Underexposure
- A Real CCD
- Using Every Resource
- White-on-White
- Exposing White-on-White Scenes
- Lighting White-on-White Scenes
- Subject and Background
- Using an Opaque White Background
- Using a Translucent White Background
- Using a Mirror Background
- In Any Case, Keep the Background Small
- Black-on-Black
- Exposing Black-on-Black Scenes
- Lighting Black-on-Black Scenes
- Subject and Background
- Using an Opaque Black Background
- Using a Glossy Black Surface
- Keep the Subject away from the Background
- The Histogram
- Preventing Problems
- Overmanipulation
- Curves
- New Principles?
- Chapter 10. Traveling Light
- Choosing the Right Strobe
- Getting the Exposure Right
- Letting the Strobe Determine the Exposure
- Using a Flash Meter
- Calculating the Exposure
- Calculating the Guide Number
- Using the Guide Number
- Getting More Light
- Focused Flash
- Multiple Strobes
- Multiple Flash
- Improving the Quality of Light
- Bounce Flash
- Feathering the Light
- Lights of Different Colors
- Why Is the Color of the Light Important?
- Nonstandard Light Sources
- Do the Colors Mix?
- The Remedies
- Lights of Different Duration
- Is Studio Lighting Possible on Location?
- Index