Focus On Lighting Photos Focus on the Fundamentals.pdf

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Same principle: We can control the size of the light in many ways This photo of a little girl is also a one-flash setup. In this case, the photographer used an off-camera flash. The flash was set off by a wireless flash trigger. The photographer made his own softbox using cardboard box with tracing paper taped over an 8-by-10-inch square hole cut in a cardboard box. A second hole was cut into the back side, just big enough to put the flash in. To make the catchlights in the eyes look like they came from a four-pane window, he put two strips of black tape across the tracing paper in a cross pattern. In this case, a white foam board reflector was positioned at camera left to bounce a bit of light back into the shadows. The decision of when to add fill is an individual one—there is no one right answer. So look at your camera’s image display and make decisions as you shoot. No reflector was used as a hair light because the light-colored hat retained enough detail. The softbox was about a foot away from the subject. Haven’t got a softbox and don’t feel like making one? We can get the same effect using actual window light. The only problem with a real window is that we don’t have immediate control over the light coming in. Unclouded sun makes a hard light, whereas both clouded sun and open sky make soft lights. The best time for the light may be the worst time for our schedule of other things we have to do. There’s More Than <strong>On</strong>e Way to Get Things Done 13
Homemade softbox. Haven’t got white foam board? Tape white copy paper to some cardboard! Use a white wall! Don’t have a wireless flash trigger? Use a small plain piece of cardboard in front of the built-in flash, angled so that none of its light strikes the subject but the off-camera flash is triggered by the built-in flash (which has a slave and will trigger when it sees another flash go off). Although all the tools we are mentioning are great to have (and at some point you’ll get at 14 <strong>Focus</strong> <strong>On</strong> <strong>Lighting</strong> <strong>Photos</strong> least some), quite often there are workarounds that you already have in your possession. The photographer also did some postproduction work in the previous picture of the girl with the teddy bear to add a bit of sepia tone and create a vignette. The color judgments are personal, but many portrait photographers vignette images regularly. This means darkening the edges of a portrait that is mostly dark or lightening the edges when the image is mostly light. It helps direct the eye to the subject and makes the edge of the image sort of fade away instead of just cutting off. The edge darkening may be obvious, or it may be so subtle no one notices. (Ansel Adams believed that practically all pictures needed a very slight “burn” on the edges to center the eye on the principal subject.)
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 18 and 19: Chapter 1: There’s More Than <str
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 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
Page 43 and 44: 28 the sake of rapid, accurate move
Page 45 and 46: 30 can be to buy one expensive trig
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
Page 67 and 68: any glue—all of which we already
Page 69 and 70: 54 We can use the grid for many pur
Page 71 and 72: 56 A grid solves the problem: We ha
Page 73 and 74: Lens filters Most lens filters chan
Page 76 and 77: 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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