Hunter F., Fuqua P. Light-Science & Magic. An Introduction to Photographic Lighting. 3rd Edition by Hunter, Fil -- Read -- Imperial Library of Trantor

Index

Front cover Title page Copyright page Table of contents Dedications Introduction 1 How to Learn Lighting

WHAT ARE "THE PRINCIPLES"? WHY ARE THE PRINCIPLES IMPORTANT? HOW WERE THE EXAMPLE SUBJECTS CHOSEN FOR THIS BOOK? DO I NEED TO DO THESE EXERCISES? WHAT KIND OF CAMERA DO I NEED? SHOULD I SHOOT FILM OR DIGITAL? 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?

2 Light: The Raw Material of Photography

WHAT IS LIGHT? HOW PHOTOGRAPHERS DESCRIBE LIGHT

Brightness Color Contrast

LIGHT VERSUS LIGHTING HOW THE SUBJECT AFFECTS THE LIGHTING

Transmission Direct and Diffuse Transmission Absorption Reflection

3 The Management of Reflection and the Family of Angles

TYPES OF REFLECTION DIFFUSE REFLECTION

The Inverse Square Law

DIRECT REFLECTION

Breaking the Inverse Square Law?

THE FAMILY OF ANGLES POLARIZED DIRECT REFLECTION

Is It Polarized Reflection or Ordinary Direct Reflection? Turning Ordinary Direct Reflection into Polarized Reflection

APPLYING THE THEORY

4 Surface Appearances

THE PHOTOGRAPHER AS EDITOR CAPITALIZING ON DIFFUSE REFLECTION

The Angle of Light The Success and Failure of the General Rule The Distance of Light Doing the Impossible Using Diffuse Reflection and Shadow to Reveal Texture

CAPITALIZING ON DIRECT REFLECTION COMPETING SURFACES

Try a Lens Polarizing Filter Use a Still Larger Light Use More Than One Light Use a Gobo

COMPLEX SURFACES

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 Side Light above the Subject Fill Light Adding Depth to the Background

HOW MUCH TONAL VARIATION IS IDEAL?

Photographing Buildings: Decreasing Tonal Variation Photographing Cylinders: Increasing Tonal Variation Remember Surface Detail

THE GLOSSY BOX

1. Use a Dark Background 2. Eliminate Direct Reflection from the Box Top 3. Eliminate Direct Reflection from the Box Sides 4. Finish with Other Resources

USE DIRECT REFLECTION?

6 Metal

FLAT METAL

Bright or Dark? Finding the Family of Angles 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

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?

7 The Case of the Disappearing Glass

THE PRINCIPLES THE PROBLEMS THE SOLUTIONS TWO ATTRACTIVE OPPOSITES

Bright-Field Lighting Dark-Field Lighting

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 Secondary Opaque Subjects

RECOGNIZING THE PRINCIPAL SUBJECT

8 An Arsenal of Lights

THE SINGLE-LIGHT SETUP

The Basic Setup Light Size Skin Texture Where to Put the Main Light Left Side? Right Side? Broad Lighting or Short Lighting Eyeglasses

ADDITIONAL LIGHTS

Fill Lights Background Lights Hair Lights Kickers Rim Lights

MOOD AND KEY

Low-Key Lighting High-Key Lighting Staying in Key

DARK SKIN AVAILABLE-LIGHT PORTRAITURE

A Window as a Main Light The Sun as a Hair Light Combining Studio and Environmental Light Keeping the Light Appropriate

SETTING RULES?

9 The Extremes

THE CHARACTERISTIC CURVE

The Perfect "Curve" A Bad Camera Overexposure Underexposure A Real CCD

USING EVERY RESOURCE WHITE-ON-WHITE

Exposing White-on-White Scenes Lighting White-on-White Scenes Subject and Background Using an Opaque White Background 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 Keep the Subject away from the Background

THE HISTOGRAM

Preventing Problems Overmanipulation

CURVES NEW PRINCIPLES?

10 Traveling Light

CHOOSING THE RIGHT STROBE GETTING THE EXPOSURE RIGHT

Letting the Strobe Determine the Exposure Using a Flash Meter Calculating the Exposure Calculating the Guide Number Using the Guide Number

GETTING MORE LIGHT

Focused Flash Multiple Strobes Multiple Flash

IMPROVING THE QUALITY OF LIGHT

Bounce Flash Feathering the Light

LIGHTS OF DIFFERENT COLORS

Why Is the Color of the Light Important? Nonstandard Light Sources Do the Colors Mix? The Remedies

LIGHTS OF DIFFERENT DURATION IS STUDIO LIGHTING POSSIBLE ON LOCATION?

Index

← Prev
Back
Next →

← Prev
Back
Next →