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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. 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 "e;Setting Up Your New Studio"e;A re-vamped and expanded chapter 8 now titled "e;Making Portraits"e;New appendix of reliable photo gear sourcesOver 100 new photographs and informational sidebarsUpdated information about advances in flash equipment, LED panels and fluorescent lightsStyles 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.
Auteur
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, US News, Time-Life Books, Life Magazine (27 covers), the National Science Foundation, and National Geographic. He taught photography at the university level and served as technical consultant on a number of photographic publications. Mr. Hunter won the Virginia Professional Photographer's Grand Photographic Award three times. Steven Biver has over twenty 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, Conde 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, another Focal Press publication. Paul Fuqua has worked as an editorial and wildlife photographer for more than thirty-five 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 ten 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 for Focal Press.
Contenu
Table of Contents
Chapter 1 - How to Learn lighting 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 What is light?
How Photographers Describe Light * Brightness
Color
Contrast
How the Subject Affects Lighting * Transmission
Chapter 3 - The Management of Reflection and the Family of Angles Types of Reflections * Diffuse Reflections
The Inverse Square LawDirect Reflections
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 an Editor
Capitalizing on Diffuse ReflectionsThe Angle of Light
The Success and Failure of the General RuleThe Distance of LightDoing the Impossible
Using Diffuse Reflection and Shadow to Reveal Texture
Capitalizing on Direct ReflectionComplex Surfaces
Chapter 5 - Revealing Shape and Contour Depth Clues
Perspective Distortion * Distortion as a Clue to Depth
Manipulating Distortion
The Size of the Light * Large Lights versus Small Lights
Distance From the Subject
*Light on the Side
Light Above the Subject
Fill Light
Adding Depth to the Background
*Photographing Cylinders: Increasing Total Variation
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 Table Top Tip the Box
Use a Longer Lens
Try a Polarizer
Used Dulling Spray
Use Direct Reflection Chapter 6 - Metal
Flat Metal * Bright or Dark
Finding the Family of Angles
Place a Test Light at the Camera lens
Aim the Test Light * Lighting the MetalKeeping the Metal BrightWhat is a Normal Exposure for Metal?Keeping the Metal Dark
The Elegant Compromise
Controlling the Effective Size of the Light
Keeping the Metal Square
Photograph the Metal at an AngleRetouch the Reflection Metal Boxes * A Light BackgroundA Transparent BackgroundA Glossy Background
Keeping the Light Off the CameraUsing a Tent
Chapter 7 - The Case of the Disappearing Glass
Principles
ProblemsSolutions
Two Attractive Opposites * Bright - Field Lighting
Position the Light
Position the Camera
Shoot the Picture * Dark - Field Lighting
*Set Up a Large 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
*Liquids As a Lens
Keeping True Color * Secondary Opaque Subjects
Chapter 8 - An Arsenal of Lights
The Single light Portrait Setup * The Basic Setup
Light Size
Skin Texture
Where to Put the Main Light
The Key Triangle
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
Background *Lights
Hair Lights
Kickers
Rim Lights
High-Key Lighting
Staying in Key
The Unfocused Spot
Using Colored Gels
Chapter 9 - The Extremes
The Characteristic Curve * Th…