Focus On Lighting Photos Focus on the Fundamentals.pdf

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Okay, We Want to shoot a picture of something that isn’t holding still. Sometimes we want to freeze everything. To do that, we can just use a really fast shutter speed. We have to compensate for the faster shutter speed either by opening up our f-stop or by increasing our ISO. Often, though, we want to capture some (or a lot!) of that motion. A bit of motion In the image at left on page 166 is a clearcut example of the second case. Who would ever want to photograph fireworks without motion? The only piece of equipment we need beyond the camera is a tripod. (Okay, some Chapter 9: Motion photographers are better than others at leaning on something static and holding acceptably still, but “acceptably” is subjective—better photographers are tougher judges on what is acceptable.) The only light was provided by the fireworks and the jetty lights. There is no one right exposure setting for this type of image. You’ll have to experiment with the shutter speed and the f-stop to get the exposure right and freeze the fireworks as much as suits you. In the photo of the dancer (page 166), we have a dancer jumping. In this case, the photographer used white seamless as a background. A flash was camera right. No reflector or additional light was used. Despite all the times we usually try to lighten, soften, or minimize a shadow, sometimes it can be an active part of the image. Motion 165
166 <strong>Focus</strong> <strong>On</strong> <strong>Lighting</strong> <strong>Photos</strong> Quartz-haLogen Quartz-halogen lights are good tools for photographers who often shoot motion. They have ordinary tungsten filaments, but the glass has some quartz, unlike ordinary silicon-based glass. The inside of the lamp is filled with an inert halogen gas, which keeps the filament from oxidizing (burning up!). They typically produce about 60% to 70% more light than ordinary tungsten lights of the same wattage. Usually more expensive than ordinary household tungsten, but much less expensive than flash, these continuous lights are always on. The fact that they don’t flash allows seeing motion over whatever exposure time we choose.
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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
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Regardless of which lighting style
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postproduction work to deepen the s
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Broad lighting Broad lighting is pr
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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
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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
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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
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
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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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