Light: Science and Magic An Introduction to Photographic Lighting

ISBN-10: 0240808193
ISBN-13: 9780240808192
Edition: 3rd 2007 (Revised)
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  More...

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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

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.

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 1970. Dedicated to teaching through visuals, he has written and produced educational and training material in a variety of fields, including law, science, and nature. His photography takes him all over the world, but he makes his home in Arlington, VA.Steven Biver, Virginia, USA, Commercial photographer, former clients include Adobe, Mobil, Newsweek, Black and Decker

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

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