Book description
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. This key skill has the power to dramatically and quickly improve photographs.
Light Science and 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:
- All new chapter titled "Setting Up Your New Studio"
- A re-vamped and expanded chapter 8 now titled "Making Portraits"
- New 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
Styles of lighting continue to change, but the nature of light will always remain the same. Once photographers understand the basic physics of lighting, they can apply that knowledge to a broad range of photographic styles.
Table of contents
- Cover
- Half Title
- Title Page
- Copyright Page
- Table of Contents
- Dedication
- Special Thanks
- Introduction
-
Chapter 1 Light: the Beginning
- Lighting Is the Language of Photography
- What Are the “Principles”?
- Why Are the Principles Important?
- How Did We Choose the Examples for This Book?
- To Do or Not to Do?
- What Kind of Camera Do I Need?
- A Word of Caution
- 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
- Chapter 3 The Management of Reflection and the Family of Angles
- Chapter 4 Surface Appearances
-
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 the Side
- Light above the Subject
- Fill Light
- Adding Depth to the Background
- How Much Tonal Variation is Ideal?
- Photographing Cylinders: Increasing Tonal Variation
- The Glossy Box
- Use a Dark- to Medium-toned Background
- Eliminate Direct Reflection from the Box Top
- Move the Light Source toward the Camera
- Raise or Lower the Camera
- Use Falloff
- Eliminate Direct Reflection from the Box’s Sides
- Put a Black Card on the Tabletop
- Tip the Box
- Use a Longer Lens
- Finish with Other Resources
- Try a Polarizer
- Use Dulling Spray
- Use Direct Reflection
-
Chapter 6 Metal Flat Metal
- Bright or Dark?
- Finding the Family of Angles
- Position a White Target Where You Think the Family of Angles Will Be
- Place a Test Light at the Camera Lens
- Aim the Test Light
- Study the Position and Shape of the Area Marked on the Test Surface
- 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
- Use a View Camera or Perspective Control Lens
- Aim the Camera through a Hole in the Light Source
- Photograph the Metal at an Angle
- Retouch the Reflection
- 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
- Principles
- Problems
- Solutions
- Two Attractive Opposites
- Bright-field Lighting
- Choose the Background
- Position the Light
- Position the Camera
- Position the Subject and Focus the Camera
- Shoot the Picture
- Dark-field Lighting
- Set Up a Large Light Source
- Set Up a Dark Background Smaller Than the Light Source
- Position the Camera
- Position the Subject and Focus the Camera
- Shoot the Picture
- 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
- Liquid as a Lens
- Keeping True Color
- Secondary Opaque Subjects
- Recognizing the Principal Subject
-
Chapter 8 Making Portraits
- The Single-light Portrait Set-up
- The Basic Set-up
- Light Size
- Skin Texture
- Where to Put the Main Light
- The Key Triangle
- Key Triangle Too Large: Main Light Too Near the Camera
- Key Triangle Too Low: Main Light Too High
- Key Triangle Too Narrow: Main Light Too Far to Side
- Left Side? Right Side?
- Broad Lighting or Short Lighting?
- Eyeglasses
- Additional Lights
- Fill Lights
- Reflector Cards as Fill Lights
- Background Lights
- Hair Lights
- Kickers
- Rim Lights
- Mood and Key
- Low-key Lighting
- High-key Lighting
- Staying in Key
- Dark Skin
- The Unfocused Spot
- Using Colored Gels
-
Chapter 9 The Extremes
- The Characteristic Curve
- The Perfect “Curve”
- A “Bad” Camera
- Overexposure
- Underexposure
- Using Every Resource
- White-on-White
- Exposing White-on-White Scenes
- Lighting White-on-White Scenes
- Subject and Background
- Using an Opaque White Background
- Light the Subject from Above
- Use a Gobo Above the Subject
- Add Dimension
- 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
- Keeping the Subject Away from the Background
- Histograms
- Preventing Problems
- Overmanipulation
- Curves
- New Principles
-
Chapter 10 Traveling Light
- The Lights We Use
- Heavy-duty Portable Strobes
- “Hot-shoe” Flashes
- LED Panels
- Getting the Exposure Right
- Letting Your Flash Do the Figuring
- Using a Meter
- Meters and LEDs
- Getting More Light
- Multiple, or “Ganged”, Flashes
- Battery Packs
- Flash Extenders
- Getting Better-quality Light
- The Problems
- Take It Off
- Bouncing From Hard To Soft
- The Omni-Bounce—A Big Help For a Little Money
- “Raccoon Eyes”
- Feathering Your Light
- Forcing the Shadow
- Lights of Different Colors
- Why Is the Color of the Light Important?
- Tungsten
- Daylight
- Nonstandard Light Sources
- Do the Colors Mix?
- The Remedies
- Correcting Mixed Colors
- Correcting Unmixed Colors
- Filtering Daylight
- Correcting Errors in Reproduction
- Lights of Different Duration
- Different Approaches
- Other Useful Gear
-
Chapter 11 Setting Up Your First Studio
- Lights: An Early Issue
- Getting Your Lights Right
- What Kind of Lights?
- Flash
- Continuous Lights
- How Many Lights?
- Light Stands
- Booms
- Light Modifiers—Which Do I Need?
- Diffusers
- Reflectors
- Snoots and Grids
- Gobos and Flags
- Backgrounds
- Computers and Associated Gear
- Miscellaneous Equipment
- What Sort of Space?
- Appendix: Reliable Suppliers
- Index
Product information
- Title: Light Science & Magic, 5th Edition
- Author(s):
- Release date: January 2015
- Publisher(s): Focal Press
- ISBN: 9781317963578
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