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| Preface to the Third Edition | |
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| Acknowledgements | |
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| An introduction | |
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| Why bother? | |
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| Why do we need lighting techniques? | |
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| What can lighting do? | |
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| What is bad lighting? | |
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| Learning to light | |
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| The nature of light | |
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| What is light? | |
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| White light | |
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| Light and shade | |
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| Light intensity | |
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| Surface brightness | |
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| Gray scale (achromatic values) | |
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| Tonal contrast and tonal gradation | |
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| Contrast range/subject brightness range | |
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| Tonal range and pictorial effect | |
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| Tonal values and picture impact | |
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| Detail | |
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| Color | |
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| Assessing color | |
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| Color mixtures | |
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| Color effect | |
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| Color specification | |
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| Tristimulus primaries | |
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| CIE chromaticity diagram | |
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| White light and color balance | |
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| Color filters | |
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| Polarization | |
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| The eye and perception | |
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| The eye and the camera | |
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| The camera always lies! | |
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| The effect of the frame | |
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| The critical eye | |
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| The eye | |
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| Brightness adaptation | |
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| Color adaptation | |
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| Constancy phenomena | |
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| Color assessment | |
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| Color and depth | |
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| Color and detail | |
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| Color and distance | |
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| Color attraction | |
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| Color harmony | |
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| Color memory | |
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| Color associations | |
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| The principles of lighting | |
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| Perception and selection | |
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| The way ahead | |
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| Light quality | |
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| Hard light | |
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| Texture | |
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| Soft light | |
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| Light direction | |
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| The lighting angle is important | |
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| Classifying direction | |
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| From the camera's viewpoint | |
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| Frontal lighting | |
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| Angling the lamp | |
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| Side light and edge lighting | |
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| Back light | |
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| Lamp height | |
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| Basic lighting principles | |
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| Lighting a flat surface | |
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| Three-point lighting | |
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| The key light | |
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| Fill light (filler) | |
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| Diffuse lighting | |
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| Back light | |
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| Lighting balance | |
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| Summarizing | |
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| Shadows | |
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| Shadow density | |
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| Lighting opportunities | |
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| What is the aim? | |
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| Assessing the subject | |
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| Directing attention | |
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| Lighting and composition | |
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| Visual continuity | |
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| Technical limitations | |
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| Lamp functions | |
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| Distorting reality | |
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| Lighting common materials | |
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| Lighting people | |
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| 'Bad' lighting | |
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| Styles of portraiture | |
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| The 'ideal' portrait | |
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| Lighting faces | |
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| Begin by lighting yourself | |
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| Lighting zones | |
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| Classifying light directions | |
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| The basic effects of lamp positions | |
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| Fill light in portraiture | |
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| Back light | |
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| The realities of portraiture | |
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| Portraiture dynamics | |
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| Types of portraiture | |
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| Corrective lighting | |
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| Pitfalls in portrait lighting | |
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| General maxims | |
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| Lighting groups | |
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| Two people | |
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| Three people | |
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| Panel group | |
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| Large groups | |
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| Lighting action | |
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| The problem of movement | |
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| The production process | |
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| The hybrid arts | |
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| Shooting conditions | |
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| Basic film mechanics | |
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| The Lighting Cameraman | |
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| Preliminary planning | |
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| Lighting methods | |
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| Shooting methods | |
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| Retakes | |
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| Discontinuous shooting | |
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| Checking results | |
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| Continuity problems | |
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| Restrictions and opportunities | |
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| Basic television mechanics | |
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| The background of television production | |
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| The Lighting Director | |
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| Production planning | |
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| What is going to happen? | |
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| The realities of planning | |
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| Planning approaches | |
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| Regular planning | |
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| Production planning meeting | |
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| Lighting preliminaries | |
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| Pre-rehearsal/outside rehearsal | |
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| Check out the facilities | |
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| Cogitation! | |
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| Lighting approaches | |
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| Systematic lighting | |
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| The 'look and light' method | |
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| The 'plot and light' method | |
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| Drawing the lighting plot | |
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| Lighting people | |
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| Lighting the setting | |
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| Summing up | |
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| Rigging the lighting fixtures | |
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| Setting lighting fixtures | |
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| Methods of adjustment | |
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| Building up the lighting treatment | |
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| Setting the lamps | |
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| Checking lamp coverage | |
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| Checking the lighting treatment | |
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| Lighting measurements | |
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| Working conditions | |
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| Working problems | |
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| Camera rehearsal | |
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| The nature of camera rehearsal | |
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| Rehearsal methods | |
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| Lighting the rehearsal | |
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| Teamwork | |
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| The lighting control board | |
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| The dynamics of rehearsal | |
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| Lighting balance | |
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| Lighting quandaries | |
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| Lighting on location | |
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| Natural light | |
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| Exterior shooting | |
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| Night exteriors | |
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| Location interiors | |
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| Public events | |
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| Insufficient light | |
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| Equipment | |
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| Installations | |
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| Frugal lighting | |
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| Shooting without lights - in lit surroundings | |
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| Camera lights | |
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| Hand-held lamps | |
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| Single stand lamp | |
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| Using two lamps | |
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| Using three lamps | |
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| Lighting density | |
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| Atmospheric lighting | |
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| The intangibility of lighting | |
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| The gulf between | |
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| Lighting styles | |
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| Pictorial style | |
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| Pictorial effect | |
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| Tonal distribution | |
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| Pictorial quality | |
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| Pictorial treatment | |
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| 'Natural' lighting | |
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| Influential lighting | |
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| Shadows | |
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| Atmospheric treatment | |
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| Darkness | |
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| Moonlight | |
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| Dawn and sunset | |
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| Sunlight | |
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| Multi-directional lighting | |
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| Changing light in interiors | |
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| Lighting changes | |
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| Atmospheric changes | |
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| Decorative lighting | |
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| Animated lighting | |
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| Light sources | |
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| A variety of luminants | |
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| Regular tungsten lamps | |
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| Overrun lamps | |
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| Internal reflector lamps | |
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| Tungsten-halogen lamps/quartz lights/quartz-iodine lamps | |
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| Carbon arcs | |
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| Metal halide lighting | |
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| Fluorescent lamps | |
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| Lighting equipment | |
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| Assessing equipment | |
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| Basic reflector design | |
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| Basic lens design | |
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| Light fixtures/luminaires | |
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| Adjusting fixtures | |
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| Soft-light sources | |
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| Open-fronted soft-light fixtures | |
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| Hard-light sources | |
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| Internal reflector fixtures | |
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| Lensless spotlight | |
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| Fresnel spotlight | |
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| Dual-purpose fixtures | |
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| Special-purpose spotlights | |
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| Reflector units | |
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| Reflective materials | |
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| Limitations | |
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| Supporting the reflector | |
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| Reflector board surfaces | |
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| The camera-light | |
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| Forms of camera-light | |
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| Flexibility | |
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| Limitations | |
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| Lamp supports | |
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| Floor lamps (ground lamps) | |
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| Lighting stands | |
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| Boom light | |
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| Auxiliary supports | |
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| Support pole | |
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| Suspension systems | |
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| Basic supports | |
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| Lighting accessories | |
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| Accessory supports | |
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| Diffusers | |
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| Light control | |
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| Basic light control | |
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| Why do we need light control? | |
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| Control requirements | |
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| Dimmers | |
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| Power supplies | |
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| Cabling on location | |
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| Cabling in the studio | |
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| Patching systems | |
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| Lighting control systems | |
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| The patching sheet | |
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| The cue sheet | |
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| Color temperature | |
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| Identifying color | |
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| Principles | |
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| Light sources | |
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| System standards | |
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| Consistent color temperature | |
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| Measuring color temperature | |
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| Mired units | |
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| Mixed color temperatures | |
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| Filters | |
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| Filter media | |
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| Dichroic filters | |
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| Filter applications | |
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| Diffusers | |
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| Using filters | |
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| Filters in practice | |
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| Colored light | |
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| Picture control | |
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| Tonal limits | |
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| Tonal response | |
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| Tonal contrasts | |
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| Lens control | |
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| The lens aperture | |
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| The importance of depth of field | |
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| Selecting the depth of field | |
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| Exposure | |
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| What is exposure? | |
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| Adjusting exposure | |
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| Auto-iris | |
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| Consistent exposure | |
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| Measuring correct exposure | |
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| Calculated light levels | |
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| Light levels | |
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| Sensitivity | |
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| Picture contol in film | |
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| From negative to print | |
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| Film in television | |
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| Picture control in television | |
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| The television system | |
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| Assessing exposure visually | |
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| Video control | |
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| Approaches to video control | |
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| Video control adjustments | |
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| Video control techniques | |
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| Corrective control | |
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| Color and picture control | |
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| Scenery | |
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| The role of scenery | |
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| The role of lighting | |
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| Basic scenic units | |
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| Practicality | |
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| Set features | |
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| Structure | |
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| Camera viewpoints | |
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| Walls | |
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| Flat heights | |
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| Windows | |
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| Backings | |
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| The cyclorama | |
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| Scrim/scenic gauze | |
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| Studio floors | |
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| Foliage | |
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| Practical lamps | |
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| Visual effects | |
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| Light effects | |
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| Firelight | |
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| Shafts of light | |
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| Passing lights | |
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| Swinging boomlight | |
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| Strobe lights | |
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| Lasers | |
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| Car headlights | |
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| Practical lamps | |
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| Lightning | |
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| Projected patterns | |
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| Flashing signs | |
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| Image distortion | |
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| Water ripple | |
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| Rain, mist. fog, smoke | |
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| Photographic backgrounds | |
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| Photographic backdrop | |
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| Rear projection/back projection | |
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| Front projection | |
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| Reflex projection | |
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| Electronic picture insertion | |
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| Keyed insertion | |
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| External key/chroma key | |
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| Traveling matte in film | |
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| Scrims/scenic gauzes | |
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| Semi-silvered mirrors | |
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| Pepper's ghost | |
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| Follow spot | |
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| Moving light sources | |
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| Safety! | |
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| Load | |
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| Fuses | |
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| Live equipment | |
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| Phases | |
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| Grounding/earthing | |
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| Connections | |
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| Hot surfaces | |
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| Heavy weights | |
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| Cables | |
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| Safety bonds | |
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| Step-ladders/lighting ladders | |
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| Scenery | |
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| Lighting stands | |
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| Handling lamps | |
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| Protective mesh | |
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| Water | |
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| Lamp inspection | |
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| Appendix | |
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| Conversion table (footcandles and lux) | |
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| Typical light intensities | |
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| Standard light units | |
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| Conversion table (linear units) | |
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| Neutral-density filters | |
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| Formulae | |
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| Power consumption | |
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| Cables and power connections | |
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| Further reading | |
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| Index | |