Focus On Lighting Photos Focus on the Fundamentals.pdf

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A glass half full Interesting things happen when you add liquid to a glass. By adding liquid, the glass takes on qualities of a lens. It starts to see things around it and the liquid allows these things to become visible. In the photo below, we have a small white board behind the glass. It is far enough away that we can have the off-camera flash light the board. We used barn doors to block the light from the flash from lighting the glass. The liquid is acting as a lens and showing us the surroundings even though there is a white board behind the glass that is big enough to fill the viewfinder with white from edge to edge. The board is just big enough that when we look through the viewfinder, we see white all around the glass, but just barely. Even though we have a board that fills the viewfinder, the liquid is seeing the room around it. the fix We might be inclined to simply use a bigger white board. That will certainly do, but the edges of the glass will be not as well defined as we’d like. The better solution is to keep the small board but move the camera closer and, if necessary, change to a shorter lens to get a comparably sized image. This way the background fills the liquid portion of the glass more pleasingly and retains good edge definition. In the photo on page 158, we switched to a shorter lens and moved the camera to get a similar position as in the photo on this page. So, Where Do We Put This Light for Glass? 157
158 With the use of the shorter lens, there will be some distortion. Look at the top of the wineglass in both images of this glass. The shape of the lip is deeper in the short lens version. This is rarely a problem. Glass and paper At this point, we’ve learned that we need diffused light more often than not. So we’ll start this <strong>Focus</strong> <strong>On</strong> <strong>Lighting</strong> <strong>Photos</strong> exercise using diffusion material between the main light and the bottle, placed to the right of the bottle. Our challenge here is to get good lighting on the glass bottle but also retain good definition in the paper label.
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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
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Distance and haze Haze happens for
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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 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 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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