Focus On Lighting Photos Focus on the Fundamentals.pdf

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Why would we want to do this, when the umbrella works so well as a reflector instead of a diffuser? The reason is that the closer the light is to the subject, the bigger it effectively becomes. We can’t move the reflective umbrella as close to the subject, because the camera begins to see the shaft of the umbrella. If we move it even closer, the camera can see the flash itself. And after all this, our primary light source—which is the umbrella, not the flash— may still not be close enough to our subject. Remember that the closer the light is to the subject, the bigger it effectively becomes. We can use the diffusion umbrella much closer to our subject. We can use smaller equipment, carry it more easily, and spend less money more effectively if we use the shootthrough technique. The bad news is that if the lighting assembly is in a small space, the shoot-through technique is going to cause a lot of additional reflection from nearby walls. If we don’t want this additional reflection, we have to drape the entire backside of the lighting assembly with something black to avoid the additional reflection. The better news is that most of the time we will be happy to have this additional fill, accept the picture as is, and shoot it with no further modification. Light blockers Almost everything we’ve talked about so far tends to spread the light around. That’s not always good; some things and some areas need to be kept dark. The most practical way to do this is with black paper and cardboard. Adjustable flash coverage Many of us already have a flash that adjusts to the angle the lens sees. If we have full manual Large lights are not always the best lights! Still, if we have only a small light but learn how to turn it into a big one, then we can do anything! control, we may be able to set the flash for a long lens (narrow angle of coverage) and then actually use a much shorter lens. This gives the flash a slight spotlight effect. The gobo The gobo is a black card that goes between the light and anything else we don’t want to light. We can use gobos with any level of sophistication we want. Lone photographers often handhold a gobo in front of their light as far as their arms can reach. Hollywood directors of lighting (DLs or LDs), with bigger budgets, attach the gobo to a separate stand (and use a half-dozen names for different sizes and shapes of gobos). Tools: Now We Have Light, but How Do We Get It under Control? 47
48 <strong>Focus</strong> <strong>On</strong> <strong>Lighting</strong> <strong>Photos</strong> Black card gobo. Don’t think of a gobo as just blocking the light from the subject. A simple black card can also be used as a gobo to keep unwanted light from hitting our lens. Because we can precisely position the gobo, it’s much more effective than a fixed lens hood!
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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
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 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
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 51 and 52: 36 Focus O
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: 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
Page 78 and 79: The colors of sunrise and sunset ca
Page 80 and 81: Early evening. The sun is lower in
Page 82 and 83: space. The sunlit side will be both
Page 84 and 85: What happens when we go in the oppo
Page 86 and 87: setting in this open shade lighting
Page 88 and 89: Using gels for dramatic color In th
Page 90 and 91: The photo above was done by placing
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Page 95 and 96: Small lights make hard shadows. Fur
Page 97 and 98: Compare the gourd on page 81 with t
Page 99 and 100: We could solve the exposure problem
Page 101 and 102: Why does the same light look so dif
Page 103 and 104: We had to shoot the cover shot of t
Page 106 and 107: sunlight is great, and not just bec
Page 108 and 109: looks like a painting. We were too
Page 110 and 111: 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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