6th Edition
Light — Science & Magic An Introduction to Photographic Lighting
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. Mastering this key skill has the power to dramatically and quickly improve your photographs as well as your efficiency.
Light—Science & 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.
This new edition includes:
• Expanded chapters on portraiture and lighting equipment
• Chapters on necessary equipment when working on location versus in the studio
• An updated appendix of reliable photo gear sources
• Over 100 new photographs and informational sidebars
• Updated information about advances in flash equipment, LED panels, and fluorescent lights
Lighting styles will evolve, but the science of light will always remain the same. Once photographers understand the basic physics of lighting (without having to become physicists), they can apply that knowledge to a broad range of photographic styles.
Table of Contents
Dedication
Introduction
Chapter 1 – How to Learn lighting
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
AbsorptionReflection
Chapter 3 – The Management of Reflection and the Family of Angles
Types of Reflections
Diffuse Reflections
The Inverse Square LawDirect Reflections
The Family of AnglesPolarized Direct Reflection
Is It Polarized Reflection or Ordinary Direct Reflection?Turning Ordinary Direct Reflection into Polarized Reflection
Applying the Theory
Chapter 4 – Surface Appearances
The Photographer as an Editor
Capitalizing on Diffuse ReflectionsThe Angle of Light
The Success and Failure of the General RuleThe Distance of LightDoing the Impossible
Using Diffuse Reflection and Shadow to Reveal Texture
Capitalizing on Direct ReflectionComplex Surfaces
Chapter 5 – Revealing Shape and Contour
Depth Clues
Perspective Distortion
Distortion as a Clue to Depth
Manipulating Distortion
Total 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 Total Variation is Ideal?
Photographing Cylinders: Increasing Total Variation
The Glossy Box
Use a Dark- to Medium-toned Background
Eliminate Direct Reflection from the Box Top
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 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
Position the Subject and Focus 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 Nonglass Subjects
Liquids in Glass
Liquids as a Lens
Keeping True Color
Secondary Opaque Subjects
Recognizing the Principal Subject
Chapter 8 – Making Portraits
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
More Than One Person
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
CurvesNew Principles
Chapter 10 – Working on Location
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, Grids and Barn Doors
Gobos and Flags
Backgrounds
Computers and Associated Gear
Miscellaneous Equipment
What About Space?
Appendix: Reliable Suppliers
Index
Biography
Fil Hunter was a highly respected commercial photographer specializing in still life and special effects photographs for advertising and editorial illustration. During a career spanning over three decades, he worked for such clients as America Online (AOL), US News, Time-Life Books, Life Magazine (27 covers), the National Science Foundation, and National Geographic. He taught photography at university level and served as technical consultant on a number of photographic publications. Mr. Hunter won the Virginia Professional Photographer’s Grand Photographic Award three times. He co-authored Focus on Lighting Photos with Robin Reid.
Steven Biver has over 20 years of experience as a commercial photographer specializing in portraits, still life, photomontage, and digital manipulation. His client list includes Johnson & Johnson, USDA, William & Mary College, Condé Nast, and IBM. He has been honored with awards from Communication Arts, Graphis, HOW Magazine, and Adobe, who have also included his work on a Photoshop ‘extras’ disc to inspire other photographers. He is also the co-author of FACES: Photography and the Art of Portraiture.
Paul Fuqua has worked as an editorial and wildlife photographer for more than 35 years. He started his own production company in 1970 and is dedicated to teaching through the use of visuals. Paul has written and produced educational and training material in a variety of fields including law, public safety, history, science, and the environment. For the last 10 years he has produced educational material dealing with the natural sciences and the need for global habitat stewardship. Paul is also a co-author of FACES: Photography and the Art of Portraiture.
Robin Reid has been a professional photographer for over 30 years. She has worked for many federal courts (US Supreme Court, US Tax Court, and US Court of Appeals for the Federal Circuit and others), as well as Domino’s Pizza, Time-Life Books, McGraw-Hill, American Management Corporation, Diabetes Forecast, and Heckler & Koch. Ms. Reid has won various awards from Virginia Professional Photographers Association, including Best Portrait of a Child. She taught both Studio Portraiture and Tools of Photography classes for the Art League of Alexandria for many years. She co-authored Focus on Lighting Photos with Fil Hunter.
