Light Science & Magic

the Camera Use Falloff Eliminate Direct Reflection From the Box's Sides Put a Black Card on the Table Top Tip the Box Use a Longer Lens Try a Polarizer Used 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 Lighting the MetalKeeping the Metal BrightWhat 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 LensAim the Camera Through a Hole in the Light Source Photograph the Metal at an AngleRetouch the Reflection Metal Boxes A Light BackgroundA Transparent BackgroundA Glossy Background Round Metal Camouflage Keeping the Light Off the CameraUsing a Tent Other Resources Polarizing FiltersBlack MagicDulling Spray Where Else Do These Techniques Apply? Chapter 7 - The Case of the Disappearing Glass Principles ProblemsSolutions Two Attractive Opposites Bright - Field Lighting Choose the Background Position the Light Position the Camera Shoot the Picture Dark - Field Lighting Set Up a Large 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 Non-Glass Subjects Liquids in Glass Liquids As a Lens Keeping True Color Secondary Opaque Subjects Recognizing the Principal Subject Chapter 8 - An Arsenal of Lights The Single light Portrait Setup The Basic Setup 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 Over Manipulation CurvesNew 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 About Space? EOF