Light: Science and Magic : An Introduction to Photographic Lighting

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  • Edition: 3rd
  • Format: Paperback
  • Copyright: 2007-03-21
  • Publisher: Elsevier Science
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An amazing (and some would say magical) resource on photographic lighting that has been talked about in the community and recommended for years. This highly respected guide has been thoroughly updated and revised for content and design - it is now produced in full color! It introduces a logical theory of photographic lighting so if you are starting out in photography you will learn how to predict results before setting up lights. This is not primarily a how-to book with only set examples for you to copy. Rather, Light: Science and Magic provides you with a comprehensive theory of the nature and principles of light to allow you to use lighting to express your own creativity. Numerous photographs and illustrations provide clear examples of the theories, while sidebars highlight special lighting questions. Expanded chapters on available light in portraiture, as well as new information on digital equipment and terminology make this a must have update! *New four color art package with contemporary lighting examples *Based on the behaviour of light *Theory book for serious photographers

Author Biography

Fil Hunter, has worked for such clients as US News & World Report, Time Life Books, and National Geographic

Table of Contents

How to Learn Lightingp. 3
What Are "The Principles"?p. 4
Why Are the Principles Important?p. 4
How Were the Example Subjects Chosen for This Book?p. 5
Do I Need to Do These Exercises?p. 6
What Kind of Camera Do I Need?p. 7
Should I Shoot Film or Digital?p. 8
What Lighting Equipment Do I Need?p. 10
What Else Do I Need to Know to Use This Book?p. 11
What Is the "Magic" Part of This Book?p. 11
Light: The Raw Material of Photographyp. 13
What Is Light?p. 14
How Photographers Describe Lightp. 17
Brightnessp. 17
Colorp. 18
Contrastp. 19
Light versus Lightingp. 22
How the Subject Affects the Lightingp. 24
Transmissionp. 24
Direct and Diffuse Transmissionp. 26
Absorptionp. 27
Reflectionp. 28
The Management of Reflection and the Family of Anglesp. 31
Types of Reflectionp. 32
Diffuse Reflectionp. 32
The Inverse Square Lawp. 36
Direct Reflectionp. 37
Breaking the Inverse Square Law?p. 38
The Family of Anglesp. 39
Polarized Direct Reflectionp. 41
Is It Polarized Reflection or Ordinary Direct Reflection?p. 45
Turning Ordinary Direct Reflection into Polarized Reflectionp. 46
Applying the Theoryp. 47
Surface Appearancesp. 49
The Photographer as Editorp. 50
Capitalizing on Diffuse Reflectionp. 51
The Angle of Lightp. 52
The Success and Failure of the General Rulep. 55
The Distance of Lightp. 57
Doing the Impossiblep. 59
Using Diffuse Reflection and Shadow to Reveal Texturep. 62
Capitalizing on Direct Reflectionp. 65
Competing Surfacesp. 68
Try a Lens Polarizing Filterp. 70
Use a Still Larger Lightp. 71
Use More Than One Lightp. 72
Use a Gobop. 73
Complex Surfacesp. 74
Revealing Shape and Contourp. 79
Depth Cluesp. 81
Perspective Distortionp. 81
Distortion as a Clue to Depthp. 82
Manipulating Distortionp. 83
Tonal Variationp. 84
The Size of the Lightp. 85
Large Lights versus Small Lightsp. 86
Distance from the Subjectp. 86
The Direction of the Lightp. 87
Light on Sidep. 89
Light above the Subjectp. 90
Fill Lightp. 91
Adding Depth to the Backgroundp. 95
How Much Tonal Variation Is Ideal?p. 97
Photographing Buildings: Decreasing Tonal Variation 99 Photographing Cylinders: Increasing Tonal Variationp. 100
Remember Surface Detailp. 101
The Glossy Boxp. 102
Use a Dark Backgroundp. 103
Eliminate Direct Reflection from the Box Topp. 104
Eliminate Direct Reflection from the Box Sidesp. 105
Finish with Other Resourcesp. 107
Use Direct Reflection?p. 109
Metalp. 111
Flat Metalp. 112
Bright or Dark?p. 113
Finding the Family of Anglesp. 113
Lighting the Metalp. 116
Keeping the Metal Brightp. 117
What Is a "Normal" Exposure for Metal?p. 120
Keeping the Metal Darkp. 120
The Elegant Compromisep. 124
Controlling the Effective Size of the Lightp. 126
Keeping the Metal Squarep. 130
Metal Boxesp. 132
A Light Backgroundp. 135
A Transparent Backgroundp. 136
A Glossy Backgroundp. 137
Round Metalp. 140
Camouflagep. 141
Keeping the Light off the Camerap. 141
Using a Tentp. 142
Other Resourcesp. 144
Polarizing Filtersp. 144
Black Magicp. 145
Dulling Sprayp. 145
Where Else Do These Techniques Apply?p. 146
The Case of the Disappearing Glassp. 149
The Principlesp. 149
The Problemsp. 150
The Solutionsp. 150
Two Attractive Oppositesp. 152
Bright-Field Lightingp. 152
Dark-Field Lightingp. 156
The Best of Both Worldsp. 160
Some Finishing Touchesp. 162
Defining the Surface of Glasswarep. 162
Illuminating the Backgroundp. 166
Minimizing the Horizonp. 166
Stopping Flarep. 168
Eliminating Extraneous Reflectionsp. 170
Complications from Nonglass Subjectsp. 171
Liquids in Glassp. 172
Secondary Opaque Subjectsp. 176
Recognizing the Principal Subjectp. 179
An Arsenal of Lightsp. 181
The Single-Light Setupp. 182
The Basic Setupp. 182
Light Sizep. 183
Skin Texturep. 185
Where to Put the Main Lightp. 185
Left Side? Right Side?p. 191
Broad Lighting or Short Lightingp. 192
Eyeglassesp. 194
Additional Lightsp. 195
Fill Lightsp. 197
Background Lightsp. 203
Hair Lightsp. 205
Kickersp. 207
Rim Lightsp. 209
Mood and Keyp. 210
Low-Key Lightingp. 211
High-Key Lightingp. 212
Staying in Keyp. 215
Dark Skinp. 215
Available-Light Portraiturep. 216
A Window as a Main Lightp. 217
The Sun as a Hair Lightp. 219
Combining Studio and Environmental Lightp. 220
Keeping the Light Appropriatep. 223
Setting Rules?p. 223
The Extremesp. 227
The Characteristic Curvep. 228
The Perfect "Curve"p. 228
A Bad Camerap. 230
Overexposurep. 232
Underexposurep. 234
A Real CCDp. 235
Using Every Resourcep. 238
White-on-Whitep. 238
Exposing White-on-White Scenesp. 241
Lighting White-on-White Scenesp. 243
Subject and Backgroundp. 243
Using an Opaque White Backgroundp. 245
Using a Translucent White Backgroundp. 250
Using a Mirror Backgroundp. 253
In Any Case, Keep the Background Smallp. 254
Black-on-Blackp. 254
Exposing Black-on-Black Scenesp. 255
Lighting Black-on-Black Scenesp. 255
Subject and Backgroundp. 257
Using an Opaque Black Backgroundp. 257
Using a Glossy Black Surfacep. 260
Keep the Subject away from the Backgroundp. 261
The Histogramp. 263
Preventing Problemsp. 266
Overmanipulationp. 266
Curvesp. 268
New Principles?p. 269
Traveling Lightp. 273
Choosing the Right Strobep. 273
Getting the Exposure Rightp. 274
Letting the Strobe Determine the Exposurep. 275
Using a Flash Meterp. 275
Calculating the Exposurep. 276
Calculating the Guide Numberp. 276
Using the Guide Numberp. 276
Getting More Lightp. 278
Focused Flashp. 279
Multiple Strobesp. 279
Multiple Flashp. 280
Improving the Quality of Lightp. 282
Bounce Flashp. 282
Feathering the Lightp. 285
Lights of Different Colorsp. 287
Why Is the Color of the Light Important?p. 288
Nonstandard Light Sourcesp. 289
Do the Colors Mix?p. 292
The Remediesp. 295
Lights of Different Durationp. 297
Is Studio Lighting Possible on Location?p. 299
Indexp. 301
Table of Contents provided by Ingram. All Rights Reserved.

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