Book description
This book is renowned for being the book to own to understand lighting!
Table of contents
- Cover
- Halftitle
- Title
- Copyright
- Contents
- Dedications
- Introduction
-
Chapter 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?
- Chapter 2
- Chapter 3
-
Chapter 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 Filter
- Use a Still Larger Light
- Use More Than One Light
- Use a Gobo
- Complex Surfaces
-
Chapter 5
- 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 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 Background
- Eliminate Direct Reflection from the Box Top
- Eliminate Direct Reflection from the Box Sides
- Finish with Other Resources
-
Chapter 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 Filters
- Black Magic
- Where Else Do These Techniques Apply?
-
Chapter 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 Flare
- Eliminating Extraneous Reflections
- Complications from Nonglass Subjects
- Liquids in Glass
- Secondary Opaque Subjects
- Recognizing the Principal Subject
-
Chapter 8
- An Arsenal of Lights
- The Single-Light Setup
- The Basic Setup
- Light Size
- Skin Texture
- Where to Put the Main Light
- The Key Triangle
- 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 Portable and Ambient Light
- A Reflected Ambient Light Portrait
- Approaches Worth Trying
- Unfocused Spot
- Combining Portable Flash with Color Gels
- Portable Flash with Motion
- And Finally…
- Suggestions Yes—“Rules” No
-
Chapter 9
- The Extremes
- The Characteristic Curve
- The Perfect “Curve”
- A Bad Camera
- Overexposure
- Underexposure
- A Real Sensor (CCD or CMOS)
- 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
-
Chapter 10
- Traveling Light
- Some Very Good News
- Choosing the Right Light
- Studio Strobes
- Portable Strobes
- Lightweight Hot Shoe Strobes
- Getting the Exposure Right
- Letting the Strobe Determine the Exposure
- Using a Flash Meter
- Getting More Light
- Focused Flash
- Multiple Strobes
- 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
Product information
- Title: Light Science and Magic, 4th Edition
- Author(s):
- Release date: May 2013
- Publisher(s): Focal Press
- ISBN: 9781136091896
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