From the eBook - Sixth edition.
Light: the raw material of photography
The management of reflection and the family of angles
Revealing shape and contour
The case of the disappearing glass
Setting up your first studio.
From the eBook - Fifth edition.
Light : the raw material of photography
The management of reflection and the family of angles
Revealing shape and contour
The case of the disappearing glass
Setting up your first studio.
Cover; Light-Science & Magic: An Introduction to Photographic Lighting; Copyright; Contents; Dedications; Introduction; 1 How to Learn Lighting; What Are "the Principles"?; Why Are the Principles Important?; How Did We Choose the Examples for This Book?; To Do, or Not to Do?; What Kind of Camera Do I Need?; A Word of Caution; 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 LightingTransmission; Direct and Diffuse Transmission; Absorption; Reflection; 3 The Management of Reflection and the Family of Angles; Types of Reflections; Diffuse Reflection; Direct Reflection; Polarized Direct Reflection; Applying the Theory; 4 Surface Appearances; The Photographer as an 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 FilterUse 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; Distance from the Subject; The Direction of the Light; Light on the 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
Use a Dark BackgroundEliminate Direct Reflection from the Box Top; Eliminate Direct Reflection from the Box Sides; Finish with Other Resources; 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 FiltersBlack Magic; 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 Flar; 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
