- Page 1: THE DIGITAL PHOTOGRAPHER’S GUIDE
- Page 5 and 6: How We See Color vs. How the Camera
- Page 7 and 8: DEDICATION This book is dedicated t
- Page 9 and 10: ACKNOWLEDGMENTS So many people come
- Page 11: sional representations of the subje
- Page 14 and 15: DIAGRAM 1-2. Surfaces and substance
- Page 16 and 17: DIAGRAM 1-4. Combining all three ad
- Page 19 and 20: complementary colors This wheel sho
- Page 21 and 22: lower temperatures is considered re
- Page 23 and 24: ferent levels of brightness and pro
- Page 25 and 26: harder softer harder softer DIAGRAM
- Page 27 and 28: angle of incidence angle of reflect
- Page 29 and 30: PHOTOGRAPH 2-4. California Sun- bou
- Page 31 and 32: PHOTOGRAPH 2-8. With barebulb only,
- Page 33 and 34: PHOTOGRAPH 2-12. Closing the left a
- Page 35 and 36: PHOTOGRAPH 2-16. For further soften
- Page 37 and 38: PHOTOGRAPH 2-19. A 40-degree grid p
- Page 39 and 40: PHOTOGRAPH 2-24. Shirley was illumi
- Page 41 and 42: 3. STUDIO MODIFIERS IN ACTION Now t
- Page 43: duced soft, directional light that
- Page 46 and 47: PHOTOGRAPH 3-5 (TOP LEFT). The acce
- Page 48 and 49: PHOTOGRAPH 3-8. Kickers to either s
- Page 50 and 51: To create a glamour portrait (photo
- Page 52:
Moving forward, our images will bec
- Page 55 and 56:
PHOTOGRAPH 3-17. A few simple chang
- Page 57 and 58:
WHITE BALANCE TECHNIQUES The follow
- Page 59:
PHOTOGRAPH 4-3. When using the Maxi
- Page 63 and 64:
ANOTHER STYLE Since this book is de
- Page 65 and 66:
5. HOT-SHOE FLASH MODIFIERS When I
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PHOTOGRAPH 5-4. SUBJECT: Scott Worm
- Page 70 and 71:
My friend and model Gabriel Grier w
- Page 72 and 73:
There are just as many modifiers fo
- Page 74 and 75:
PHOTOGRAPH 5-13. Nikon SB800 flash
- Page 76 and 77:
PHOTOGRAPH 5-17. One of my favorite
- Page 78 and 79:
Canon). There is no right or wrong
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6. LIGHTING OUTDOORS When I set out
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DON’T BE AFRAID TO IMPROVISE When
- Page 87 and 88:
STRIVE FOR VARIETY When I set out o
- Page 89:
USE TWO FLASHES If you were in a st
- Page 92 and 93:
Aspiring model Rhiona O’Laughlin
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PHOTOGRAPH 7-2. Without moving the
- Page 96 and 97:
PHOTOGRAPH 7-6. Here, a silver refl
- Page 98 and 99:
SNOOTS I really enjoy using the Lum
- Page 100 and 101:
The manner in which you choose to l
- Page 103:
STRIVE FOR VARIETY The next series
- Page 106 and 107:
A SIMPLE BRIDAL PORTRAIT Dan, who w
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PHOTOGRAPH 9-6 (ABOVE). SUBJECT: Mi
- Page 110 and 111:
camera’s white balance was set to
- Page 112 and 113:
PHOTOGRAPH 9-12. SUBJECT: Ashley Co
- Page 115 and 116:
THE FOURSQUARE MODIFIER My dear fri
- Page 117 and 118:
PHOTOGRAPH 9-19. SUBJECT: Rhiona O
- Page 119:
CONCLUSION As you study the light q
- Page 122 and 123:
A Accent light, 10, 41, 44-45, 46,
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Pocket Wizard, 29 Portfolio images,
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50 LIGHTING SETUPS FOR PORTRAIT PHO
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MINIMALIST LIGHTING PROFESSIONAL TE