Light Science and Magic An Introduction to Photographic Lightito Photographic Lighting 5th edition by Fil Hunter, Steven Biver, Paul Fuqua ISBN 0415719402 ‎ 978-0415719407

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ISBN 10:  0415719402
ISBN 13: ‎ 978-0415719407
Author: Fil Hunter, Steven Biver, Paul Fuqua 

Photographic lighting is a topic that will never go out of style, no matter how sophisticated cameras and other technology get. Even with the most high-tech gear, photographers still need to put a lot of thought and vision into lighting their photographs in order to get great results. This key skill has the power to dramatically and quickly improve photographs.

Light Science and Magic provides you with a comprehensive theory of the nature and principles of light, with examples and instructions for practical application. Featuring photographs, diagrams, and step-by-step instructions, this book speaks to photographers of varying levels. It provides invaluable information on how to light the most difficult subjects, such as surfaces, metal, glass, liquids, extremes (black-on-black and white-on-white), and portraits.

Light Science and Magic An Introduction to Photographic Lightito Photographic Lighting 5th Table of contents:

Introduction

Table of Contents

Chapter 1 Light: the Beginning

Lighting Is the Language of Photography

What Are the “Principles”?

Why Are the Principles Important?

How Did We Choose the Examples for This Book?

To Do or Not to Do?

What Kind of Camera Do I Need?

A Word of Caution

What Lighting Equipment Do I Need?

What Else Do I Need to Know to Use This Book?

What Is the “Magic” Part of This Book?

Chapter 2 Light: the Raw Material of Photography

What is Light?

How Photographers Describe Light

Brightness

Color

Contrast

“Light” Versus “Lighting”

How the Subject Affects Lighting

Transmission

“Direct” Versus “Diffuse” Transmission

Absorption

Reflection

Chapter 3 The Management of Reflection and the Family of Angles

Types of Reflections

Diffuse Reflections

The Inverse Square Law

Direct Reflections

The Family of Angles

Polarized Direct Reflection

Is It Polarized Reflection or Ordinary Direct Reflection?

Turning Ordinary Direct Reflection into Polarized Reflection

Applying the Theory

Chapter 4 Surface Appearances

Photographer as an Editor

Capitalizing on Diffuse Reflections

The Angle of Light

The Success and Failure of the General Rule

The Distance of Light

Doing the Impossible

Using Diffuse Reflection and Shadow to Reveal Texture

Capitalizing on Direct Reflections

Complex Surfaces

Chapter 5 Revealing Shape and Contour

Depth Clues

Perspective Distortion

Manipulating Distortion

Distortion as a Clue to Depth

Tonal Variation

The Size of the Light

Large Lights Versus Small Lights

Distance from the Subject

The Direction of the Light

Light on the Side

Light above the Subject

Fill Light

Adding Depth to the Background

How Much Tonal Variation is Ideal?

Photographing Cylinders: Increasing Tonal Variation

The Glossy Box

Use a Dark- to Medium-toned Background

Eliminate Direct Reflection from the Box Top

Move the Light Source toward the Camera

Raise or Lower the Camera

Use Falloff

Eliminate Direct Reflection from the Box’s Sides

Put a Black Card on the Tabletop

Tip the Box

Use a Longer Lens

Finish with Other Resources

Try a Polarizer

Use Dulling Spray

Use Direct Reflection

Chapter 6 Metal

Flat Metal

Bright or Dark?

Finding the Family of Angles

Position a White Target Where You Think the Family of Angles Will Be

Place a Test Light at the Camera Lens

Aim the Test Light

Study the Position and Shape of the Area Marked on the Test Surface

Lighting the Metal

Keeping the Metal Bright

What Is a “Normal” Exposure for Metal?

Keeping the Metal Dark

The Elegant Compromise

Controlling the Effective Size of the Light

Keeping the Metal Square

Use a View Camera or Perspective Control Lens

Aim the Camera through a Hole in the Light Source

Photograph the Metal at an Angle

Retouch the Reflection

Metal Boxes

A Light Background

A Transparent Background

A Glossy Background

Round Metal

Camouflage

Keeping the Light Off the Camera

Using a Tent

Other Resources

Polarizing Filters

Black Magic

Dulling Spray

Where Else Do These Techniques Apply?

Chapter 7 The Case of the Disappearing Glass

Principles

Problems

Solutions

Two Attractive Opposites

Bright-field Lighting

Choose the Background

Position the Light

Position the Camera

Position the Subject and Focus the Camera

Shoot the Picture

Dark-field Lighting

Set Up a Large Light Source

Set Up a Dark Background Smaller Than the Light Source

Position the Camera

Position the Subject and Focus the Camera

Shoot the Picture

The Best of Both Worlds

Some Finishing Touches

Defining the Surface of Glassware

Illuminating the Background

Minimizing the Horizon

Stopping Flare

Eliminating Extraneous Reflections

Complications from Nonglass Subjects

Liquids in Glass

Liquid as a Lens

Keeping True Color

Secondary Opaque Subjects

Recognizing the Principal Subject

Chapter 8 Making Portraits

The Single-light Portrait Set-up

The Basic Set-up

Light Size

Skin Texture

Where to Put the Main Light

The Key Triangle

Key Triangle Too Large: Main Light Too Near the Camera

Key Triangle Too Low: Main Light Too High

Key Triangle Too Narrow: Main Light Too Far to Side

Left Side? Right Side?

Broad Lighting or Short Lighting?

Eyeglasses

Additional Lights

Fill Lights

Reflector Cards as Fill Lights

Background Lights

Hair Lights

Kickers

Rim Lights

Mood and Key

Low-key Lighting

High-key Lighting

Staying in Key

Dark Skin

The Unfocused Spot

Using Colored Gels

Chapter 9 The Extremes

The Characteristic Curve

The Perfect “Curve”

A “Bad” Camera

Overexposure

Underexposure

Using Every Resource

White-on-White

Exposing White-on-White Scenes

Lighting White-on-White Scenes

Subject and Background

Using an Opaque White Background

Light the Subject from Above

Use a Gobo Above the Subject

Add Dimension

Using a Translucent White Background

Using a Mirror Background

In Any Case, Keep the Background Small

Black-on-Black

Exposing Black-on-Black Scenes

Lighting Black-on-Black Scenes

Subject and Background

Using an Opaque Black Background

Using a Glossy Black Surface

Keeping the Subject Away from the Background

Histograms

Preventing Problems

Overmanipulation

Curves

New Principles

Chapter 10 Traveling Light

The Lights We Use

Heavy-duty Portable Strobes

“Hot-shoe” Flashes

LED Panels

Getting the Exposure Right

Letting Your Flash Do the Figuring

Using a Meter

Meters and LEDs

Getting More Light

Multiple, or “Ganged”, Flashes

Battery Packs

Flash Extenders

Getting Better-quality Light

The Problems

Take It Off

Bouncing From Hard To Soft

The Omni-Bounce—A Big Help For a Little Money

“Raccoon Eyes”

Feathering Your Light

Forcing the Shadow

Lights of Different Colors

Why Is the Color of the Light Important?

Tungsten

Daylight

Nonstandard Light Sources

Do the Colors Mix?

The Remedies

Correcting Mixed Colors

Correcting Unmixed Colors

Filtering Daylight

Correcting Errors in Reproduction

Lights of Different Duration

Different Approaches

Other Useful Gear

Chapter 11 Setting Up Your First Studio

Lights: An Early Issue

Getting Your Lights Right

What Kind of Lights?

Flash

Continuous Lights

How Many Lights?

Light Stands

Booms

Light Modifiers—Which Do I Need?

Diffusers

Reflectors

Snoots and Grids

Gobos and Flags

Backgrounds

Computers and Associated Gear

Miscellaneous Equipment

What Sort of Space?

Appendix: Reliable Suppliers

Index

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Tags: Fil Hunter, Steven Biver, Paul Fuqua, Light Science, Photographic Lightito