Focus On Lighting Photos Focus on the Fundamentals.pdf

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Round metal Just as with flat metal, we are going to need a large light source to handle round metal. Because it is round, the angles of reflection are increased. So We started with an offcamera flash with no diffusion at camera right (main light) and deflected the in-camera flash so none of its light struck the subject but merely triggered the offcamera flash. Result? Ugly shadows and metal. our placement of light needs to change. We’ll start with little lights and then turn them into larger lights, step by step. The difference in the light quality really shows up with a shiny, brushed-metal peppermill. It’s not a new one, as you’ll see in the early shots. Although it’s clean, it’s clearly used. By the time we get to using big lights, those flaws are gone! We removed the board blocking the in-camera flash and allowed it to be a fill light. No neutral density material was used in front of the fill light. The shadows improve, but the metal is worse. We’ve now got a truly ugly highlight in the middle of the peppermill. So, Where Do We Put This Light for Metal? 147
148 <strong>Focus</strong> <strong>On</strong> <strong>Lighting</strong> <strong>Photos</strong> Two changes here. We added a white reflector at camera left and put some neutral density material in front of the fill light. The peppermill is now shiny metal on one side and the ugly highlight in the middle is also improved. We added diffusion material in front of the off-camera flash. This simple act gets us a large light source. The highlights on the vegetables are softer and more pleasing. The peppermill now has a fully rounded shape and brightness on both sides. Note, too, the change in the shadows, especially on the flowerpot.
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Focus On</
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Focus On</
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Dedication To Polly Frye, who tirel
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Contents 127 The wrinkle 128 Eyegla
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oating publications including Chesa
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Robin Reid: Trained as a classical
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learn to work with simple, dumb lig
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Chapter 1: There’s More Than <str
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Built-in flash Shot with built-in f
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Modifier 1: A mirror Having the fla
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Modifier 2: A big white reflector I
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Other modifiers: Fill light, hair l
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Same principle: We can control the
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how many pictures shouLd i shoot? G
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Later, turn on all the automation y
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can also get anything in between: a
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24 Focus O
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We all want the most intelligent ca
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28 the sake of rapid, accurate move
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30 can be to buy one expensive trig
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The size of the light The size of t
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We need to know about this defect t
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36 Focus O
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needs to consider buying one of wha
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Softbox Softboxes are boxes with di
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Diffusion The other way to make a l
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For this book, the translucent whit
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gobo to block some of that light. (
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48 Focus O
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A commercially produced wooden cook
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any glue—all of which we already
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54 We can use the grid for many pur
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56 A grid solves the problem: We ha
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Lens filters Most lens filters chan
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in Our daily lives, we go through v
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The colors of sunrise and sunset ca
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Early evening. The sun is lower in
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space. The sunlit side will be both
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What happens when we go in the oppo
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setting in this open shade lighting
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Using gels for dramatic color In th
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The photo above was done by placing
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Small lights make hard shadows. Fur
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Compare the gourd on page 81 with t
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We could solve the exposure problem
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Why does the same light look so dif
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We had to shoot the cover shot of t
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sunlight is great, and not just bec
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looks like a painting. We were too
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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 123 and 124: Regardless of which lighting style
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
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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: 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
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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
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Page 194 and 195: all likelihood do some selective re
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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
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Lens hood, 99 Light amending or mix
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Sun light, (Continued) sunrise and
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