Light: Science and Magic An Introduction to Photographic Lighting

Name: Light: Science and Magic An Introduction to Photographic Lighting
Price: 4.2 USD
Availability: InStock
ISBN: 9780240808192

ISBN-10: 0240808193

ISBN-13: 9780240808192

Edition: 3rd 2007 (Revised)

Authors: Fil Hunter, Steven Biver, Paul Fuqua

List price: $41.95

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Description:

This text introduces a logical theory of photographic lighting as fundamental as those we use for other aspects of photography. The book allows a photographer of one speciality to easily see how a different type of expertise might produce a given picture.

Book details

List price: $41.95
Edition: 3rd
Copyright year: 2007
Publisher: Taylor & Francis Group
Publication date: 3/21/2007
Binding: Paperback
Pages: 320
Size: 7.50" wide x 9.75" long x 0.50" tall
Weight: 1.782
Language: English

Fil Hunter is 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 has worked for such clients as America Online, US News, Time-Life Books, Life Magazine (27 covers), the National Science Foundation, and National Geographic. He has taught photography at the university level and has served as technical consultant on a number of photographic publications. Mr. Hunter has won the Virginia Professional Photographer's Grand Photographic Award three times. He lives in Alexandria, VA.Paul Fuqua, Virginia, USA, started his own audiovisual production company in…




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?



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



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



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



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 99 Photographing Cylinders: Increasing Tonal Variation


Remember Surface Detail


The Glossy Box


Use a Dark Background


Eliminate Direct Reflection from the Box Top


Eliminate Direct Reflection from the Box Sides


Finish with Other Resources


Use Direct Reflection?



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?



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



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?



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?



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