Focus On Lighting Photos Focus on the Fundamentals.pdf

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Position the camera so the viewfinder is exactly filled by the background. This is important. If the background extends beyond what the camera is seeing, it will block the very light that will give definition to the edges of the glass. At this point you can move the glass to the point you prefer. You’ll get sharper edges as you move the glass closer to the camera. In the image below, the glass now has simple, elegant definition. We got rid of the shadow by replacing the black seamless with black velvet. (You could also just move the seamless farther back, if you have the room.) Unfortunately, all the other problems remain. Clean glass meticulously. Any smudges, fingerprints, or watermarks will show up and have to be retouched afterward! So to avoid retouching, clean, clean, clean. So, Where Do We Put This Light for Glass? 153
Bright-field lighting Bright-field lighting is, as you would expect, where you have a bright background and the glass therefore needs dark outlines to provide shape to the glass. Set up a light-colored background. This could be diffusion material, light seamless, a shower curtain, tracing paper, cloth, or a white card or wall). Place a light so that it lights the background evenly. If you are using translucent material, you will place the light behind the background and point it 154 <strong>Focus</strong> <strong>On</strong> <strong>Lighting</strong> <strong>Photos</strong> toward the glass. If you are using opaque material, you will point the light at the background and let the light bounce back to the glass. If you use this latter approach, you need to be careful where you put the light so that it does not reflect in the glass! Set up the camera so that the viewfinder is exactly filled by the background. If the lit background is too big, you can make it right by adding black cards to each side so you get the viewfinder filled correctly—no more, no less. If you are using a white card, as opposed to a large white wall, and the field is too big, you could use a smaller card. You can now move the glass forward and back until it is the size you want. As you bring the glass closer, the edges will be more defined because less light will be reflected on it. So how do we fix the truly ugly image below? We need to both brighten the glass and get dark outlines. Because we used white diffusion material as a background, attach black cards directly to the material. (If the background were a white wall, Glass is placed on white Plexiglas, but you could use any light-colored background. Behind the glass is white diffusion material, but it could just as well be a white wall. Photographed with just the in-camera flash (with no neutral density material), we get a glass with no definition and we’ve got one really ugly shadow.
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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
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Amending or mixing light So what do
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penetrate.) But what if we don’t
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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
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 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
Page 192 and 193: it is silly to spend hours to perfe
Page 194 and 195: all likelihood do some selective re
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
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