Focus On Lighting Photos Focus on the Fundamentals.pdf

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Chapter 1: There’s More Than <strong>On</strong>e Way to Get Things Done We’ll start With profile lighting. It’s fairly easy. This is not lighting we’ll often use, because it works only with one head position. Okay, two positions: cameraleft and camera-right, essentially the same thing done from each direction. Still, the subject doesn’t have to “pose” for the picture. Well, the person does pose, but because the subject doesn’t have to face the camera, he or she doesn’t have to interact with the camera. The subject need not be friendly, dignified, warm, assertive; any emotion or no emotion will work. This gives us two advantages. First, we don’t need a professional model, performer, or actor. Nor do we need to try to turn a “real person” into a professional subject. This makes things easy for the subject. “Just sit there, and I’ll do the rest.” Second, because we don’t have to direct the subject very much, we can concentrate just on the lighting. Later, when we’re sure we know the lighting so well that we don’t have to think about it much, we can then concentrate instead on directing the subject to look as good as possible. Because we don’t have to worry much about posing and emotion, we’ll concentrate mostly on the simple mechanics of how the light behaves. This light will behave in exactly the same ways with other poses, but let’s learn about that behavior with an easy pose. There’s More Than <strong>On</strong>e Way to Get Things Done 3
4 <strong>Focus</strong> <strong>On</strong> <strong>Lighting</strong> <strong>Photos</strong> What’s this “camera-right” business? It’s a term invented in theater and dance at least 500 years ago. “Stage right” means the right side of the stage as the audience sees it, the opposite of what the performer sees. This makes sense in photography because, despite the ego of the photographer, the camera is the audience, not the performer.
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 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
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Page 39 and 40: 24 Focus O
Page 41 and 42: We all want the most intelligent ca
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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 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 65 and 66: 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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like to place it so that it lights
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Rim lighting/kicker Rim lighting is
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Butterfly/Beauty lighting Butterfly
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Low key versus high key lighting Bo
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We blocked the popup flash so none
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124 Focus
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126 Light meters Do we need light m
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Eyeglasses and lighting: Can they g
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In the photo on page 128, we’ve g
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132 Focus
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When photographing large groups, wh
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way they can get an image of the da
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est-behaved pets rarely sit as stil
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140 Focus
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Direct reflection means that the li
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Flat metal The image below was lit
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we went ahead and put back the refl
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148 Focus
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glass is generally considered hard
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Position the camera so the viewfind
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we could have hung them with string
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A glass half full Interesting thing
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Bottle lit with off-camera flash th
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it reflected in the bottle. In this
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166 Focus
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A homemade flash trigger. We make o
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These photos are of a pianist known
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This picture uses two external flas
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the principles Of light remain the
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it is silly to spend hours to perfe
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all likelihood do some selective re
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Glossary this is an introductory bo
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photographer’s perspective from b
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Dodge: To lighten a portion of an i
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Had we had camera histogram display
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mirror reflector, often attached to
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minds, return to the original file,
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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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