Focus On Lighting Photos Focus on the Fundamentals.pdf

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More sophisticated gobos with holes can create moody lighting. With a little patience and a sharp knife, you can make your own. Gobos with holes are called cookies (short for cucoloris, with several spelling variations). The photo below shows a homemade gobo, which makes the light from the flash appear to be sunlight streaming through window blinds. The photo on the next page at left is a commercially made wooden gobo to simulate, say, light passing through tree leaves. Certainly it’s sturdier than the cardboard version, but you can make something similar yourself and spend your extra money on other photographic equipment. The photo at right on page 50 shows a slatted homemade cardboard gobo in use. Depending on the angle and the intensity of the light passing through the gobo, it can look like light coming through a window with blinds or can simply create an interesting pattern on a background. In this case, the gobo was clamped in place on a stand. The studio was darkened because the background was lit with a continuous tungsten light source. This light isn’t very bright, so a long exposure was needed. (How long an exposure? This one was 2 seconds. But the determination comes from how strong the continuous light source is and how bright we want the background to be.) A flash was positioned slightly off-axis camera right in a medium-sized softbox. The flash was used to light the man. Even though this was a long exposure, the man is sharp because he was lit only by the flash. Homemade cardboard cookie. This would create the effect of light coming through window blinds. Tools: Now We Have Light, but How Do We Get It under Control? 49
A commercially produced wooden cookie. We can easily make this with cardboard as well. 50 <strong>Focus</strong> <strong>On</strong> <strong>Lighting</strong> <strong>Photos</strong>
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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
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 and 62: gobo to block some of that light. (
Page 63: 48 Focus O
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
Page 112 and 113: 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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