did-you-know? rent-now

Amazon no longer offers textbook rentals. We do!

did-you-know? rent-now

Amazon no longer offers textbook rentals. We do!

We're the #1 textbook rental company. Let us show you why.

9780240802756

Light-Science & Magic

by ;
  • ISBN13:

    9780240802756

  • ISBN10:

    0240802756

  • Edition: 2nd
  • Format: Paperback
  • Copyright: 1997-03-01
  • Publisher: Focal Pr
  • Purchase Benefits
  • Free Shipping Icon Free Shipping On Orders Over $35!
    Your order must be $35 or more to qualify for free economy shipping. Bulk sales, PO's, Marketplace items, eBooks and apparel do not qualify for this offer.
  • eCampus.com Logo Get Rewarded for Ordering Your Textbooks! Enroll Now
  • Write a Review Icon Write a Review
List Price: $53.95

Summary

This highly respected text, now in paperback, has been thoroughly updated and revised. It introduces a logical theory of photographic lighting --- one that teaches beginning photographers to predict results before setting up lights. This is not primarily a how-to book with only set examples for photographers to follow. Rather, Light: Science and Magic provides the reader with a comprehensive theory of the nature and principles of light to allow individual photographers to use lighting to express their own creativity. Numerous photographs and illustrations provide clear examples of the theories delineated within the text, while sidebars highlight special lighting questions. although styles of photographic lighting continue to change, Light: Science and Magic does not go out of fashion because it is not based on style; rather it is based on the behavior of light. These principles will not change until fundamental physics does.

Author Biography

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

Table of Contents

Preface xii
Chapter One How to Learn Lighting
1(8)
What Are "The Principles"?
2(1)
Why Are the Principles Important?
3(1)
How Were the Example Subjects Chosen for this Book?
4(1)
Do I Need to Do these Exercises?
4(1)
What Kind of Camera Do I Need?
5(1)
What Lighting Equipment Do I Need?
6(2)
What Else Do I Need to Know to Use this Book?
8(1)
What Is the "Magic" Part of this Book?
8(1)
Chapter Two Light: The Raw Material of Photography
9(16)
What Is Light?
10(3)
How Photographers Describe Light
13(6)
Brightness
14(1)
Color
14(1)
Contrast
15(4)
Light versus Lighting
19(2)
How the Subject Affects the Lighting
21(4)
Transmission
21(2)
Direct and Diffuse Transmission
23(1)
Absorption
24(1)
Reflection
24(1)
Chapter Three The Management of Reflection and the Family of Angles
25(20)
Types of Reflection
27(1)
Diffuse Reflection
27(5)
The Inverse Square Law
31(1)
Direct Reflection
32(4)
Breaking the Inverse Square Law?
33(3)
The Family of Angles
36(1)
Glare Reflection
37(6)
Is It Glare or Ordinary Direct Reflection?
42(1)
Turning Ordinary Direct Reflection into Glare
43(1)
Applying the Theory
43(2)
Chapter Four Surface Appearances
45(29)
The Photographer as Editor
46(1)
Capitalizing on Diffuse Reflection
47(15)
The Angle of Light
48(4)
The Success and Failure of the Rule of Thumb
52(1)
The Distance of Light
53(2)
Doing the Impossible
55(3)
Using Diffuse Reflection and Shadow to Reveal Texture
58(4)
Capitalizing on Direct Reflection
62(2)
Competing Surfaces
64(7)
Try a Lens Polarizing Filter
67(1)
Use a Still Larger Light
68(1)
Use More than One Light
68(1)
Use a Gobo
69(2)
Complex Surfaces
71(3)
Chapter Five Revealing Shape and Contour
74(32)
Depth Clues
76(1)
Perspective Distortion
77(4)
Distortion as a Clue to Depth
77(1)
Manipulating Distortion
78(3)
Tonal Variation
81(1)
The Size of the Light
82(2)
Large Lights versus Small Lights
82(1)
Distance from the Subject
83(1)
The Direction of the Light
84(9)
Light on Side
85(1)
Light Above the Subject
86(2)
Fill Light
88(3)
Adding Depth to the Background
91(2)
How Much Tonal Variation Is Ideal?
93(5)
Photographing Buildings: Decreasing Tonal Variation
94(1)
Photographing Cylinders: Increasing Tonal Variation
95(3)
The Glossy Box
98(7)
Use a Dark Background
99(1)
Eliminate Direct Reflection from the Box Top
100(1)
Eliminate Direct Reflection from the Box Sides
101(3)
Finish with other Resources
104(1)
Use Direct Reflection?
105(1)
Chapter Six Metal
106(36)
Flat Metal
108(19)
Bright or Dark?
109(1)
Finding the Family of Angles
109(3)
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(3)
Keeping the Metal Square
124(3)
Metal Boxes
127(7)
A Light-Toned Background
129(1)
A Transparent Background
130(2)
A Glossy Background
132(2)
Round Metal
134(5)
Camouflage
136(1)
Keeping the Light off the Camera
136(1)
Using a Tent
136(3)
Other Resources
139(2)
Polarizing Filters
139(1)
Black Magic
139(1)
Dulling Spray
140(1)
Where Else Do these Techniques Apply?
141(1)
Chapter Seven The Case of the Disappearing Glass
142(34)
The Principles
143(1)
The Problems
143(1)
The Solutions
144(11)
Two Attractive Opposites
146(1)
Bright-Field Lighting
146(4)
Dark-Field Lighting
150(5)
The Best of Both Worlds
155(2)
Some Finishing Touches
157(11)
Defining the Surface of Glassware
157(4)
Illuminating the Background
161(2)
Minimizing the Horizon
163(2)
Stopping Flare
165(2)
Eliminating Extraneous Reflections
167(1)
Complications from Nonglass Subjects
168(7)
Liquids in Glass
168(6)
Secondary Opaque Subjects
174(1)
Recognizing the Principal Subject
175(1)
Chapter Eight An Arsenal of Lights
176(34)
The Single-Light Setup
177(12)
The Basic Setup
177(3)
Light Size
180(1)
Skin Texture
180(1)
Where to Put the Main Light
181(5)
Left Side? Right Side?
186(1)
Broad Lighting or Short Lighting
186(2)
Eyeglasses
188(1)
Additional Lights
189(11)
Fill Lights
189(5)
Background Lights
194(1)
Hair Lights
195(2)
Kickers
197(1)
Rim Lights
198(2)
Mood and Key
200(3)
Low-Key Lighting
200(1)
High-Key Lighting
200(2)
Staying in Key
202(1)
Dark Skin
203(6)
Available-Light Portraiture
204(1)
A Window as a Main Light
205(1)
The Sun as a Hair Light
206(2)
Keeping the Light Appropriate
208(1)
Setting Rules?
209(1)
Chapter Nine The Extremes
210(46)
Why Are the Extremes Important?
212(1)
The Photographic Defect
212(1)
The Characteristic Curve
213(13)
An Ideal Film
213(3)
A Bad Film
216(3)
Overexposure
219(3)
Underexposure
222(2)
Real Film
224(1)
Grain
225(1)
Using Every Resource
226(1)
White-on-White
226(17)
Exposing White-on-White Scenes
227(3)
Lighting White-on-White Scenes
230(3)
Using an Opaque White Background
233(5)
Using a Translucent White Background
238(3)
Using a Mirror Background
241(2)
In any Case, Keep the Background Small
243(1)
Black-on-Black
243(12)
Exposing Black-on-Black Scenes
244(2)
Lighting Black-on-Black Scenes
246(3)
Using an Opaque Black Background
249(2)
Using a Glossy Black Surface
251(1)
Keep the Subject Away from the Background
252(3)
New Principles?
255(1)
Chapter Ten Traveling Light
256(30)
Choosing the Right Strobe
257(1)
Getting the Exposure Right
258(4)
Letting the Strobe Determine the Exposure
258(1)
Using a Flash Meter
259(1)
Calculating the Exposure
259(3)
Getting More Light
262(4)
Focused Flash
262(1)
Multiple Strobes
263(1)
Multiple Flash
264(2)
Improving the Quality of Light
266(7)
Bounce Flash
266(5)
Feathering the Light
271(2)
Lights of Different Colors
273(7)
Why Is the Color of the Light Important?
273(1)
Nonstandard Light Sources
274(1)
Do the Colors Mix?
275(2)
The Remedies
277(3)
Lights of Different Duration
280(5)
Is Studio Lighting Possible on Location?
285(1)
Appendix One Let There Be Light
286(26)
Continuous Lights
288(7)
Sunlight
289(1)
Tungsten Lights
289(4)
Other Continuous Lights
293(1)
Designs for Continuous Light Sources
293(2)
Flash
295(16)
Flashbulbs
296(1)
Strobes
296(15)
Making the Lights Do What We Want
311(1)
Appendix Two The Complete Toolbox
312(27)
Light Measurement
313(7)
Incident Meters versus Reflection Meters
313(3)
Averaging Meters versus Spot Meters
316(1)
Hand-Held Meters versus In-Camera Meters
317(1)
Flash Meters versus Continuous Meters
318(1)
Color-Temperature Meters
319(1)
Polaroid Camera Backs
320(1)
Positioning Devices
320(4)
Light Stands
321(1)
Booms
321(1)
Rail Systems
322(1)
Clamps
323(1)
Diffusion Materials
324(2)
Soft Boxes
326(1)
Reflectors
327(2)
Light Blockers
329(1)
Spot Devices
330(2)
Filters
332(3)
Color-Correction Filters
333(1)
Color-Compensating Filters
333(2)
Ultraviolet Filters
335(1)
Polarizing Filters
335(1)
Cases
335(1)
Risk Management
336(3)
Heat Buildup
336(1)
Handling Quartz-Halogen Lamps
336(1)
Electrical Defects
337(1)
Falling Lights
337(2)
Index 339

Supplemental Materials

What is included with this book?

The New copy of this book will include any supplemental materials advertised. Please check the title of the book to determine if it should include any access cards, study guides, lab manuals, CDs, etc.

The Used, Rental and eBook copies of this book are not guaranteed to include any supplemental materials. Typically, only the book itself is included. This is true even if the title states it includes any access cards, study guides, lab manuals, CDs, etc.

Rewards Program