Focus On Lighting Photos Focus on the Fundamentals.pdf

Recommendations

Info

Chapter 6: So, Where Do We Put This Light for Portraits? there are a lot of things happening in this picture of Civil War reenactors, but none of those things is very difficult or complicated. Two lights and a couple of gels. We’ll start, however, by talking about a few of the simplest parts, and then we’ll go on from there. Learning to control the light is what this book is all about, and that control works with glass, metal, flowers, mountains, oceans, donkeys, and most other things. Still, we’ll stick with the studio portrait for now. That’s because most of us can find a subject willing to cooperate. (The sunlight over the mountain may not cooperate and your pet donkey certainly will not.) Also, the portrait is a fairly simple subject that we can deal with in a fairly small space with our own light. We’re going to assume you have one big light, maybe a window, maybe an external flash, plus a fill light: the little light built into your camera. We’ll also hope you sometimes have a third light. The third light doesn’t need to be an expensive electronic device: a large silver or white reflector indoors, the sun coming from just the right direction to do something good along with your external flash. Portraiture, while challenging, can be wonderfully rewarding. There are various lighting styles to choose from. We need to learn them all, but not all at once. Learn one, master it, and move on to the next. The style we use depends on whom we are shooting for: ourselves, an art director, or the subject? The approach that is right for one may not be right for another. Art directors may want the subject to look angry, silly, or meaner than all get-out. People looking for a portrait to give to their mother usually want to look pretty or handsome and sweet. A professional athlete may want to look as tough and nasty as possible. So, Where Do We Put This Light for Portraits? 107
Regardless of which lighting style we are working with, we’ll generally need to adapt our setup a bit for each subject, based on bone structure and skin tone. 108 <strong>Focus</strong> <strong>On</strong> <strong>Lighting</strong> <strong>Photos</strong> We can light a portrait any way we want. Still, there are a few classic styles to start with, such as split, Rembrandt, butterfly, beauty, and rim/kicker. All are Use a tripod. We can make quick small adjustments to lighting or pose and not take time to reframe when we get back to the camera. good, and it’s a matter of taste as to which we use and when, as well as what the end purpose of the portrait is.
Page 2 and 3:
Focus On</
Page 4 and 5:
Focus On</
Page 6:
Dedication To Polly Frye, who tirel
Page 9 and 10:
Contents 127 The wrinkle 128 Eyegla
Page 11 and 12:
oating publications including Chesa
Page 13 and 14:
Robin Reid: Trained as a classical
Page 15 and 16:
learn to work with simple, dumb lig
Page 18 and 19:
Chapter 1: There’s More Than <str
Page 20 and 21:
Built-in flash Shot with built-in f
Page 22 and 23:
Modifier 1: A mirror Having the fla
Page 24 and 25:
Modifier 2: A big white reflector I
Page 26 and 27:
Other modifiers: Fill light, hair l
Page 28 and 29:
Same principle: We can control the
Page 30 and 31:
how many pictures shouLd i shoot? G
Page 32 and 33:
Later, turn on all the automation y
Page 34 and 35:
can also get anything in between: a
Page 36:
This page intentionally left blank
Page 39 and 40:
24 Focus O
Page 41 and 42:
We all want the most intelligent ca
Page 43 and 44:
28 the sake of rapid, accurate move
Page 45 and 46:
30 can be to buy one expensive trig
Page 47 and 48:
The size of the light The size of t
Page 49 and 50:
We need to know about this defect t
Page 51 and 52:
36 Focus O
Page 53 and 54:
needs to consider buying one of wha
Page 55 and 56:
Softbox Softboxes are boxes with di
Page 57 and 58:
Diffusion The other way to make a l
Page 59 and 60:
For this book, the translucent whit
Page 61 and 62:
gobo to block some of that light. (
Page 63 and 64:
48 Focus O
Page 65 and 66:
A commercially produced wooden cook
Page 67 and 68:
any glue—all of which we already
Page 69 and 70:
54 We can use the grid for many pur
Page 71 and 72: 56 A grid solves the problem: We ha
Page 73 and 74: Lens filters Most lens filters chan
Page 76 and 77: in Our daily lives, we go through v
Page 78 and 79: The colors of sunrise and sunset ca
Page 80 and 81: Early evening. The sun is lower in
Page 82 and 83: space. The sunlit side will be both
Page 84 and 85: What happens when we go in the oppo
Page 86 and 87: setting in this open shade lighting
Page 88 and 89: Using gels for dramatic color In th
Page 90 and 91: The photo above was done by placing
Page 92: This page intentionally left blank
Page 95 and 96: Small lights make hard shadows. Fur
Page 97 and 98: Compare the gourd on page 81 with t
Page 99 and 100: We could solve the exposure problem
Page 101 and 102: Why does the same light look so dif
Page 103 and 104: We had to shoot the cover shot of t
Page 106 and 107: sunlight is great, and not just bec
Page 108 and 109: looks like a painting. We were too
Page 110 and 111: convert the image to black and whit
Page 112 and 113: Amending or mixing light So what do
Page 114 and 115: penetrate.) But what if we don’t
Page 116 and 117: The sky was gray. In this case, the
Page 118 and 119: Distance and haze Haze happens for
Page 120: The photo above was taken in early
Page 125 and 126: postproduction work to deepen the s
Page 127 and 128: Broad lighting Broad lighting is pr
Page 129 and 130: like to place it so that it lights
Page 131 and 132: Rim lighting/kicker Rim lighting is
Page 133 and 134: Butterfly/Beauty lighting Butterfly
Page 135 and 136: Low key versus high key lighting Bo
Page 137 and 138: We blocked the popup flash so none
Page 139 and 140: 124 Focus
Page 141 and 142: 126 Light meters Do we need light m
Page 143 and 144: Eyeglasses and lighting: Can they g
Page 145 and 146: In the photo on page 128, we’ve g
Page 149 and 150: When photographing large groups, wh
Page 151 and 152: way they can get an image of the da
Page 153 and 154: est-behaved pets rarely sit as stil
Page 157 and 158: Direct reflection means that the li
Page 159 and 160: Flat metal The image below was lit
Page 161 and 162: we went ahead and put back the refl
Page 166 and 167: glass is generally considered hard
Page 168 and 169: Position the camera so the viewfind
Page 170 and 171: we could have hung them with string
Page 172 and 173:
A glass half full Interesting thing
Page 174 and 175:
Bottle lit with off-camera flash th
Page 176 and 177:
it reflected in the bottle. In this
Page 178:
Page 181 and 182:
166 Focus
Page 183 and 184:
A homemade flash trigger. We make o
Page 185 and 186:
These photos are of a pianist known
Page 187 and 188:
This picture uses two external flas
Page 190 and 191:
the principles Of light remain the
Page 192 and 193:
it is silly to spend hours to perfe
Page 194 and 195:
all likelihood do some selective re
Page 196:
Page 199 and 200:
Glossary this is an introductory bo
Page 201 and 202:
photographer’s perspective from b
Page 203 and 204:
Dodge: To lighten a portion of an i
Page 205 and 206:
Had we had camera histogram display
Page 207 and 208:
mirror reflector, often attached to
Page 209 and 210:
minds, return to the original file,
Page 211 and 212:
Index Page numbers followed by f in
Page 213 and 214:
Lens hood, 99 Light amending or mix
Page 215 and 216:
Sun light, (Continued) sunrise and
Page 217:
show all

Focus On Lighting Photos Focus on the Fundamentals.pdf

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?