| |
| |
| |
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 | |