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E-grāmata: Light - Science & Magic: An Introduction to Photographic Lighting

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  • Formāts: 336 pages
  • Izdošanas datums: 27-Apr-2021
  • Izdevniecība: Routledge
  • Valoda: eng
  • ISBN-13: 9781000342673
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Light - Science & Magic: An Introduction to Photographic LightingPalielināt
  • Formāts: 336 pages
  • Izdošanas datums: 27-Apr-2021
  • Izdevniecība: Routledge
  • Valoda: eng
  • ISBN-13: 9781000342673
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Photographic lighting is a topic that will never go out of style, no matter how sophisticated cameras and other technology get. Even with the most high-tech gear, photographers still need to put a lot of thought and vision into lighting their photographs in order to get great results. Mastering this key skill has the power to dramatically and quickly improve your photographs as well as your efficiency.

Light—Science & Magic provides you with a comprehensive theory of the nature and principles of light, with examples and instructions for practical application. Featuring photographs, diagrams, and step-by-step instructions, this book speaks to photographers of varying levels. It provides invaluable information on how to light the most difficult subjects, such as surfaces, metal, glass, liquids, extremes (black-on-black and white-on-white), and portraits.

This new edition includes:

• Expanded chapters on portraiture and lighting equipment

• Chapters on necessary equipment when working on location versus in the studio

• An updated appendix of reliable photo gear sources

• Over 100 new photographs and informational sidebars

• Updated information about advances in flash equipment, LED panels, and fluorescent lights

Lighting styles will evolve, but the science of light will always remain the same. Once photographers understand the basic physics of lighting (without having to become physicists), they can apply that knowledge to a broad range of photographic styles.

Introduction xv
1 Light: The Beginning
1(12)
Lighting Is the Language of Photography
1(1)
What Are the "Principles?"
2(2)
Why Are the Principles Important?
4(1)
How Did We Choose the Examples for this Book?
4(1)
To Do or Not to Do?
5(1)
What Kind of Camera Do I Need?
6(1)
A Word of Caution
7(3)
What Lighting Equipment Do I Need?
10(1)
What Else Do I Need to Know to Use this Book?
11(1)
What Is the Magic Part of this Book?
11(2)
2 Light: The Raw Material Of Photography
13(18)
What Is Light?
14(2)
How Photographers Describe Light
16(6)
Brightness
17(1)
Color
17(1)
Contrast
18(4)
"Light" versus "Lighting"
22(2)
How the Subject Affects Lighting
24(7)
Transmission
24(3)
"Direct" versus "Diffuse" Transmission
27(1)
Absorption
28(1)
Reflection
29(2)
3 The Management Of Reflection And The Family Of Angles
31(18)
Types of Reflections
32(15)
Diffuse Reflections
32(3)
The Inverse Square Law
35(1)
Direct Reflections
36(3)
The Family of Angles
39(1)
Polarized Direct Reflection
40(5)
Is It Polarized Reflection or Ordinary Direct Reflection?
45(1)
Turning Ordinary Direct Reflection into Polarized Reflection
46(1)
Applying the Theory
47(2)
4 Surface Appearances
49(26)
The Photographer as an Editor
50(1)
Capitalizing on Diffuse Reflections
50(1)
The Angle of Light
51(4)
The Success and Failure of the General Rule
55(2)
The Distance of Light
57(2)
Doing the Impossible
59(4)
Using Diffuse Reflection and Shadow to Reveal Texture
63(2)
Capitalizing on Direct Reflection
65(4)
Complex Surfaces
69(6)
5 Revealing Shape And Contour
75(32)
Depth Clues
77(1)
Perspective Distortion
77(4)
Distortion as a Clue to Depth
78(1)
Manipulating Distortion
79(2)
Tonal Variation
81(1)
The Size of the Light
82(3)
Large Lights versus Small Lights
82(1)
Distance from the Subject
83(2)
The Direction of the Light
85(11)
Light on the Side
86(1)
Light above the Subject
87(2)
Fill Light
89(3)
Adding Depth to the Background
92(4)
How Much Tonal Variation Is Ideal?
96(2)
Photographing Cylinders: Increasing Tonal Variation
96(2)
The Glossy Box
98(2)
Use a Dark- to Medium-Toned Background
99(1)
Eliminate Direct Reflection from the Box Top
100(1)
Move the Light Source toward the Camera
100(1)
Raise or Lower the Camera
101(1)
Use Falloff
101(1)
Eliminate Direct Reflection from the Box's Sides
101(2)
Put a Black Card on the Tabletop
102(1)
Tip the Box
102(1)
Use a Longer Lens
103(1)
Finish with Other Resources
103(4)
Try a Polarizer
103(1)
Use Dulling Spray
104(1)
Use Direct Reflection
104(3)
6 Metal
107(36)
Flat Metal
108(20)
Bright or Dark
109(1)
Finding the Family of Angles
109(1)
Position a White Target where You Think the Family of Angles Will Be
109(1)
Place a Test Light at the Camera Lens
110(1)
Aim the Test Light
110(1)
Study the Position and Shape of the Area Marked on the Test Surface
111(1)
Lighting the Metal
112(1)
Keeping the Metal Bright
112(3)
What is a "Normal" Exposure for Metal?
115(1)
Keeping the Metal Dark
115(4)
The Elegant Compromise
119(2)
Controlling the Effective Size of the Light
121(4)
Keeping the Metal Square
125(1)
Use a View Camera or Perspective Control Lens
126(1)
Aim the Camera through a Hole in the Light Source
127(1)
Photograph the Metal at an Angle
128(1)
Retouch the Reflection
128(1)
Metal Boxes
128(7)
A Light Background
130(1)
A Transparent Background
131(2)
A Glossy Background
133(2)
Round Metal
135(5)
Camouflage
136(1)
Keeping the Light off the Camera
137(1)
Using a Tent
137(3)
Other Resources
140(1)
Polarizing Filters
140(1)
Black Magic
140(1)
Dulling Spray
141(1)
Where Else Do these Techniques Apply?
141(2)
7 The Case Of The Disappearing Glass
143(30)
Principles
143(1)
Problems
143(1)
Solutions
144(1)
Two Attractive Opposites
145(9)
Bright-Field Lighting
145(2)
Choose the Background
147(1)
Position the Light
147(1)
Position the Camera
147(1)
Position the Subject and Focus the Camera
147(1)
Shoot the Picture
147(3)
Dark-Field Lighting
150(1)
Set Up a Large Light Source
151(1)
Set Up a Dark Background Smaller than the Light Source
152(1)
Position the Camera
152(1)
Position the Subject and Focus the Camera
153(1)
Shoot the Picture
153(1)
The Best of Both Worlds
154(1)
Some Finishing Touches
155(9)
Defining the Surface of Glassware
155(3)
Illuminating the Background
158(1)
Minimizing the Horizon
159(3)
Stopping Flare
162(1)
Eliminating Extraneous Reflections
163(1)
Complications from Nonglass Subjects
164(7)
Liquids in Glass
164(1)
Liquids as a Lens
164(2)
Keeping True Color
166(2)
Secondary Opaque Subjects
168(3)
Recognizing the Principal Subject
171(2)
8 Making Portraits
173(42)
The Single-Light Portrait Set-up
173(13)
The Basic Set-up
175(1)
Light Size
175(2)
Skin Texture
177(1)
Where to Put the Main Light
178(1)
The Key Triangle
179(1)
Key Triangle Too Large: Main Light Too Near the Camera
180(1)
Key Triangle Too Low: Main Light Too High
181(1)
Key Triangle Too Narrow: Main Light Too Far to Side
182(1)
Left Side? Right Side?
183(1)
Broad Lighting or Short Lighting?
183(2)
Eyeglasses
185(1)
Additional Lights
186(13)
Fill Lights
187(2)
Reflector Cards as Fill Lights
189(2)
Background Lights
191(1)
Hair Lights
192(3)
Kickers
195(2)
Rim Lights
197(2)
Mood and Key
199(4)
Low-Key Lighting
199(1)
High-Key Lighting
200(2)
Staying in Key
202(1)
Dark Skin
203(2)
The Unfocused Spot
205(2)
More than One Person
207(3)
Using Colored Gels
210(5)
9 The Extremes
215(40)
The Characteristic Curve
215(10)
The Perfect "Curve"
216(2)
A "Bad" Camera
218(2)
Overexposure
220(1)
Underexposure
221(4)
Using Every Resource
225(1)
White-on-White
225(13)
Exposing White-on-White Scenes
226(2)
Lighting White-on-White Scenes
228(1)
Subject and Background
228(1)
Using an Opaque White Background
229(1)
Light the Subject from Above
230(1)
Use a Gobo above the Subject
230(2)
Add Dimension
232(1)
Using a Translucent White Background
233(3)
Using a Mirror Background
236(2)
In Any Case, Keep the Background Small
238(1)
Black-on-Black
238(8)
Exposing Black-on-Black Scenes
239(1)
Lighting Black-on-Black Scenes
239(1)
Subject and Background
240(2)
Using an Opaque Black Background
242(2)
Using a Glossy Black Surface
244(1)
Keeping the Subject away from the Background
245(1)
Histograms
246(5)
Preventing Problems
248(2)
Overmanipulation
250(1)
Curves
251(1)
New Principles
252(3)
10 Working On Location
255(36)
The Lights We Use
255(3)
Heavy-Duty Portable Strobes
256(1)
"Hot-Shoe" Flashes
256(1)
LED Panels
257(1)
Getting the Exposure Right
258(2)
Letting Your Flash Do the Figuring
259(1)
Using a Meter
259(1)
Meters and LEDs
259(1)
Getting More Light
260(2)
Multiple, or "Ganged," Flashes
260(1)
Battery Packs
261(1)
Flash Extenders
262(1)
Getting Better-Quality Light
262(2)
The Problems
262(1)
Take It Off
263(1)
Bouncing from Hard to Soft
264(5)
The Omni-Bounce--a Big Help for a Little Money
265(1)
"Raccoon Eyes"
266(3)
Feathering Your Light
269(1)
Forcing the Shadow
270(1)
Lights of Different Colors
271(7)
Why Is the Color of the Light Important?
271(1)
Tungsten
271(1)
Daylight
272(1)
Nonstandard Light Sources
272(2)
Do the Colors Mix?
274(2)
The Remedies
276(1)
Correcting Mixed Colors
276(1)
Correcting Unmixed Colors
276(2)
Filtering Daylight
278(1)
Correcting Errors in Reproduction
278(1)
Lights of Different Duration
278(2)
Different Approaches
280(7)
Other Useful Gear
287(4)
11 Setting Up Your First Studio
291(20)
Lights: an Early Issue
291(2)
Getting Your Lights Right
293(5)
What Kinds of Lights?
293(1)
Flash
294(1)
Continuous Lights
295(2)
How Many Lights?
297(1)
Light Stands
298(1)
Booms
299(1)
Light Modifiers-- Which Do I Need?
299(4)
Diffusers
299(1)
Reflectors
300(1)
Snoots, Grids, and Barn Doors
300(1)
Gobos and Flags
301(2)
Backgrounds
303(1)
Computers and Associated Gear
304(1)
Miscellaneous Equipment
304(1)
What Sort of Space?
305(6)
Appendix: Reliable Suppliers 311(2)
Index 313
Fil Hunter was a highly respected commercial photographer specializing in still life and special effects photographs for advertising and editorial illustration. During a career spanning over three decades, he worked for such clients as America Online (AOL), US News, Time-Life Books, Life Magazine (27 covers), the National Science Foundation, and National Geographic. He taught photography at university level and served as technical consultant on a number of photographic publications. Mr. Hunter won the Virginia Professional Photographers Grand Photographic Award three times. He co-authored Focus on Lighting Photos with Robin Reid.

Steven Biver has over 20 years of experience as a commercial photographer specializing in portraits, still life, photomontage, and digital manipulation. His client list includes Johnson & Johnson, USDA, William & Mary College, Condé Nast, and IBM. He has been honored with awards from Communication Arts, Graphis, HOW Magazine, and Adobe, who have also included his work on a Photoshop extras disc to inspire other photographers. He is also the co-author of FACES: Photography and the Art of Portraiture.

Paul Fuqua has worked as an editorial and wildlife photographer for more than 35 years. He started his own production company in 1970 and is dedicated to teaching through the use of visuals. Paul has written and produced educational and training material in a variety of fields including law, public safety, history, science, and the environment. For the last 10 years he has produced educational material dealing with the natural sciences and the need for global habitat stewardship. Paul is also a co-author of FACES: Photography and the Art of Portraiture.

Robin Reid has been a professional photographer for over 30 years. She has worked for many federal courts (US Supreme Court, US Tax Court, and US Court of Appeals for the Federal Circuit and others), as well as Dominos Pizza, Time-Life Books, McGraw-Hill, American Management Corporation, Diabetes Forecast, and Heckler & Koch. Ms. Reid has won various awards from Virginia Professional Photographers Association, including Best Portrait of a Child. She taught both Studio Portraiture and Tools of Photography classes for the Art League of Alexandria for many years. She co-authored Focus on Lighting Photos with Fil Hunter.
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