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Light Science and Magic : an Introduction to Photographic Lighting.

Author: Fil Hunter; Steven Biver; Paul Fuqua
Publisher: Focal Press [Imprint] ; Philadelphia : Taylor & Francis Group.
Edition/Format:   eBook : Document : English : 5th ed., revisedView all editions and formats

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Genre/Form: Electronic books
Electronic book
Material Type: Document, Internet resource
Document Type: Internet Resource, Computer File
All Authors / Contributors: Fil Hunter; Steven Biver; Paul Fuqua
ISBN: 9780415719414 0415719410
OCLC Number: 908967492
Description: 1 online resource (400 pages) : illustrations
Contents: Table of ContentsChapter 1 - How to Learn lightingLighting Is the Language of PhotographyWhat 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 CautionWhat 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 - Light: the Raw Material of PhotographyWhat is light?How Photographers Describe LightBrightnessColorContrast "Light" Versus "Lighting"How the Subject Affects LightingTransmission"Direct" Versus "Diffuse" TransmissionAbsorptionReflectionChapter 3 - The Management of Reflection and the Family of AnglesTypes of ReflectionsDiffuse ReflectionsThe Inverse Square LawDirect ReflectionsBreaking the Inverse Square LawThe Family of AnglesPolarized Direct ReflectionIs It Polarized Reflection or Ordinary Direct Reflection?Turning Ordinary Direct Reflection into Polarized ReflectionApplying the TheoryChapter 4 - Surface AppearancesThe Photographer As an EditorCapitalizing on Diffuse ReflectionsThe Angle of LightThe Success and Failure of the General RuleThe Distance of LightDoing the ImpossibleUsing Diffuse Reflection and Shadow to Reveal TextureCapitalizing on Direct ReflectionComplex SurfacesChapter 5 - Revealing Shape and Contour Depth CluesPerspective DistortionDistortion as a Clue to DepthManipulating DistortionTotal VariationThe Size of the LightLarge Lights versus Small LightsDistance From the SubjectThe Direction of the LightLight on the SideLight Above the SubjectFill LightAdding Depth to the BackgroundHow Much Total Variation is IdealPhotographing Cylinders: Increasing Total VariationThe Glossy BoxUse a Dark to Medium Toned BackgroundEliminate Direct Reflection from the Box TopEliminate Direct Reflection From the Box TopMove the Light Source Toward the CameraRaise or Lower the CameraUse FalloffEliminate Direct Reflection From the Box's SidesPut a Black Card on the Table Top Tip the BoxUse a Longer LensTry a PolarizerUsed Dulling SprayUse Direct ReflectionChapter 6 - Metal Flat MetalBright or DarkFinding the Family of AnglesPosition a White Target Where You Think the Family of Angles Will BePlace a Test Light at the Camera lens Aim the Test LightLighting the MetalKeeping the Metal BrightWhat is a Normal Exposure for Metal?Keeping the Metal DarkThe Elegant CompromiseControlling the Effective Size of the LightKeeping the Metal SquareUse a View Camera or Perspective Control LensAim the Camera Through a Hole in the Light SourcePhotograph the Metal at an AngleRetouch the ReflectionMetal BoxesA Light BackgroundA Transparent BackgroundA Glossy BackgroundRound MetalCamouflageKeeping the Light Off the CameraUsing a TentOther ResourcesPolarizing FiltersBlack MagicDulling SprayWhere Else Do These Techniques Apply? Chapter 7 - The Case of the Disappearing GlassPrinciplesProblemsSolutionsTwo Attractive OppositesBright - Field LightingChoose the BackgroundPosition the LightPosition the CameraShoot the PictureDark - Field LightingSet Up a Large Light SourcePosition the CameraPosition the Subject and Focus the CameraShoot the PictureThe Best of Both WorldsSome Finishing TouchesDefining the Surface of GlasswareIlluminating the BackgroundMinimizing the HorizonStopping FlareEliminating Extraneous ReflectionsComplications From Non-Glass SubjectsLiquids in GlassLiquids As a LensKeeping True ColorSecondary Opaque SubjectsRecognizing the Principal Subject Chapter 8 - An Arsenal of LightsThe Single light Portrait SetupThe Basic SetupLight SizeSkin TextureWhere to Put the Main LightThe Key TriangleKey Triangle Too Large: Main Light Too Near the CameraKey Triangle Too Low: Main Light Too HighKey Triangle Too Narrow: Main Light Too Far to SideLeft Side? Right Side?Broad Lighting or Short Lighting?EyeglassesAdditional LightsFill LightsReflector Cards as Fill LightsBackground LightsHair LightsKickersRim LightsMood and KeyLow-Key LightingHigh-Key LightingStaying in KeyDark SkinThe Unfocused SpotUsing Colored GelsChapter 9 - The Extremes The Characteristic CurveThe Perfect "Curve"A "Bad" CameraOverexposureUnderexposureUsing Every ResourceWhite on WhiteExposing White-On-White ScenesLighting White-On-White ScenesSubject and BackgroundUsing an Opaque White BackgroundLight the Subject From AboveUse a Gobo Above the SubjectAdd DimensionUsing a Translucent White BackgroundUsing a Mirror BackgroundIn Any Case, Keep the Background SmallBlack-On-BlackExposing Black-On-Black ScenesLighting Black-On-Black ScenesSubject and BackgroundUsing an Opaque Black BackgroundUsing a Glossy Black SurfaceKeeping the Subject Away from the BackgroundHistogramsPreventing ProblemsOver ManipulationCurvesNew Principles Chapter 10 - Traveling Light The Lights We UseHeavy-Duty Portable Strobes"Hot Shoe" FlashesLED PanelsGetting the Exposure RightLetting Your Flash Do the FiguringUsing a MeterMeters and LEDsGetting More LightMultiple, or "Ganged" FlashesBattery PacksFlash ExtendersGetting Better Quality LightThe ProblemsTake It OffBouncing From Hard to SoftThe Omni-Bounce - a Big Help for a Little Money"Raccoon Eyes"Feathering Your LightForcing the ShadowLights of Different ColorsWhy Is the Color of the Light Important?TungstenDaylightNonstandard Light SourcesDo the Colors Mix?The RemediesCorrecting Mixed ColorsCorrecting Unmixed ColorsFiltering DaylightCorrecting Errors in ReproductionLights of Different DurationDifferent ApproachesOther Useful GearChapter 11 - Setting Up Your First Studio Lights: An Early IssueGetting Your Lights RightWhat Kind of Lights?FlashContinuous LightsHow Many Lights? Light StandsBoomsLight Modifiers - Which Do I Need?DiffusersReflectorsSnoots and GridsGobos and FlagsBackgroundsComputers and Associated GearMiscellaneous EquipmentWhat About Space? EOF



Photographic lighting is a topic that will never go out of style, no matter how sophisticated cameras and other technology get. Even with the most high-tech gear, photographers still need to put a lot of thought and vision into lighting their photographs in order to get great results. This key skill has the power to dramatically and quickly improve photographs. Light Science and Magic provides you with a comprehensive theory of the nature and principles of light, with examples and instructions for practical application. Featuring photographs, diagrams, and step-by-step instructions, this book speaks to photographers of varying levels. It provides invaluable information on how to light the most difficult subjects, such as surfaces, metal, glass, liquids, extremes (black-on-black and white-on-white), and portraits. This new edition includes: All new chapter titled "Setting Up Your New Studio" A re-vamped and expanded chapter 8 now titled "Making Portraits" New appendix of reliable photo gear sources Over 100 new photographs and informational sidebars Updated information about advances in flash equipment, LED panels and fluorescent lights Styles of lighting continue to change, but the nature of light will always remain the same. Once photographers understand the basic physics of lighting, they can apply that knowledge to a broad range of photographic styles.


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"This book offers a set of tools that a photographer can use to promote their own sense of art and beauty. While your photographs reflect your individual taste and vision, the tools in this book give Read more...

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