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The Best of Photographic Lighting: Techniques and Images for Digital Photographers (2nd edition)
The Best of
PHOTOGRAPHIC LIGHTING
Techniques and Images
for Digital Photographers
SECOND EDITION
BILL HURTER
Amherst Media
®
PUBLISHER OF PHOTOGRAPHY BOOKS
About The Author
Bill Hurter started out in photography in 1972 in Washington, DC, where he was a news photographer. He even
covered the political scene—including the Watergate hearings. After graduating with a BA in literature from Amer-
ican University in 1972, he completed training at the Brooks Institute of Photography in 1975. Going on to work
at
Petersen’s PhotoGraphic
magazine, he held practically every job except art director. He has been the owner of his
own creative agency, shot stock, and worked assignments (including a year or so with the L.A. Dodgers). He has been
directly involved in photography for the last thirty years and has seen the revolution in technology. In 1988, Bill was
awarded an honorary Masters of Science degree from the Brooks Institute. He has written more than a dozen in-
structional books for professional photographers and is currently the editor of
Rangefinder
magazine.
Copyright © 2008 by Bill Hurter.
All rights reserved.
Front cover photograph by Chris Nelson.
Back cover photograph by DeEtte Sallee.
Published by:
Amherst Media, Inc.
P.O. Box 586
Buffalo, N.Y. 14226
Fax: 716-874-4508
www.AmherstMedia.com
Publisher: Craig Alesse
Senior Editor/Production Manager: Michelle Perkins
Assistant Editor: Barbara A. Lynch-Johnt
Editorial Assistance from: Carey A. Maines
ISBN-13: 978-1-58428-217-4
Library of Congress Control Number: 2007926864
Printed in Korea.
10 9 8 7 6 5 4 3 2 1
No part of this publication may be reproduced, stored, or transmitted in any form or by any means, electronic, mechani-
cal, photocopied, recorded or otherwise, without prior written consent from the publisher.
Notice of Disclaimer: The information contained in this book is based on the author’s experience and opinions. The au-
thor and publisher will not be held liable for the use or misuse of the information in this book.
Table of Contents
Introduction
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5
Simplicity is Essential . . . . . . . . . . . . . . . . . . . . . . . .8
Computer Control . . . . . . . . . . . . . . . . . . . . . . .32
Open-Flash Function . . . . . . . . . . . . . . . . . . . . .32
Heads and Accessories . . . . . . . . . . . . . . . . . . . .32
Types of Studio Strobes and Accessories . . . . . . . . .32
Barebulb . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .32
Barn Doors . . . . . . . . . . . . . . . . . . . . . . . . . . . .32
Diffusers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .32
Lighting Food with Continuous Light Sources
. . . . . . . . . .34
Flats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .36
Gobos . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .36
Grid Spots . . . . . . . . . . . . . . . . . . . . . . . . . . . . .36
Mirrors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .36
Reflectors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .36
Parabolic Reflectors . . . . . . . . . . . . . . . . . . . . . .36
Scrims . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .37
Snoots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .38
Softboxes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .38
Spotlights . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .41
Umbrellas . . . . . . . . . . . . . . . . . . . . . . . . . . . . .41
The Perfect Fill . . . . . . . . . . . . . . . . . . . . . . . . . . . .47
Reflected Light Values . . . . . . . . . . . . . . . . . . . . . .49
Specular Highlights . . . . . . . . . . . . . . . . . . . . . .51
Diffused Highlights . . . . . . . . . . . . . . . . . . . . . .51
Shadow Values . . . . . . . . . . . . . . . . . . . . . . . . . .51
Shadow Edge . . . . . . . . . . . . . . . . . . . . . . . . . . .51
Tabletop Lighting . . . . . . . . . . . . . . . . . . . . . . . . . .51
Sweep Table . . . . . . . . . . . . . . . . . . . . . . . . . . . .51
Copying Flat Art
. . . . . . . . . . . . . . . . . . . . . . . . . . . . .52
Light Tents . . . . . . . . . . . . . . . . . . . . . . . . . . . .53
Exotic Autos
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .54
1. The Science of Light
. . . . . . . . . . . . . . . . . . . . .9
What Is Light? . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9
Photos . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10
The Behavior of Light . . . . . . . . . . . . . . . . . . . . . .10
Reflection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12
Refraction . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17
Absorption . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17
The Intensity of Light . . . . . . . . . . . . . . . . . . . . . . .18
The Color of Light . . . . . . . . . . . . . . . . . . . . . . . . .18
Achieving Color Balance . . . . . . . . . . . . . . . . . .22
2. Lighting Basics
. . . . . . . . . . . . . . . . . . . . . . . .23
Two Primary Lights . . . . . . . . . . . . . . . . . . . . . . . .23
Key Light . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23
Fill Light . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .25
Size of the Light . . . . . . . . . . . . . . . . . . . . . . . . . . .25
Lighting Ratios . . . . . . . . . . . . . . . . . . . . . . . . . . . .25
Determining Lighting Ratios . . . . . . . . . . . . . . .26
Lighting Ratios
and Their Unique Personalities . . . . . . . . . . .27
Metering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .30
3. Studio Lighting
. . . . . . . . . . . . . . . . . . . . . . . .31
Studio Strobe Systems . . . . . . . . . . . . . . . . . . . . . .31
Monolights . . . . . . . . . . . . . . . . . . . . . . . . . . . .31
Power-Pack Systems . . . . . . . . . . . . . . . . . . . . . .32
What to Look For . . . . . . . . . . . . . . . . . . . . . . . . . .32
Power . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .32
Flash Duration . . . . . . . . . . . . . . . . . . . . . . . . . .32
Recycle Times . . . . . . . . . . . . . . . . . . . . . . . . . .32
Modeling Lights . . . . . . . . . . . . . . . . . . . . . . . . .32
Color Temperature . . . . . . . . . . . . . . . . . . . . . . .32
Fan-Cooled Generator . . . . . . . . . . . . . . . . . . . .32
Multi-Voltage Capability . . . . . . . . . . . . . . . . . .32
4. Basic Portrait Lighting
. . . . . . . . . . . . . . . . . .56
Basic Portrait Lights . . . . . . . . . . . . . . . . . . . . . . . .56
Key and Fill Lights . . . . . . . . . . . . . . . . . . . . . . .57
Hair Light . . . . . . . . . . . . . . . . . . . . . . . . . . . . .58
Background Light . . . . . . . . . . . . . . . . . . . . . . .58
Kicker Lights . . . . . . . . . . . . . . . . . . . . . . . . . . .58
TABLE OF CONTENTS
3
Broad and Short Lighting . . . . . . . . . . . . . . . . . . . .61
The Five Basic Portrait-Lighting Setups . . . . . . . . .61
Paramount Lighting . . . . . . . . . . . . . . . . . . . . . .63
Loop Lighting . . . . . . . . . . . . . . . . . . . . . . . . . .63
Rembrandt Lighting . . . . . . . . . . . . . . . . . . . . . .63
Split Lighting . . . . . . . . . . . . . . . . . . . . . . . . . . .64
Claude Jodoin on Today’s Glamour Lighting
. . . . . . . . . . .65
Profile Lighting . . . . . . . . . . . . . . . . . . . . . . . . .66
The Finer Points . . . . . . . . . . . . . . . . . . . . . . . . . . .66
Overlighting . . . . . . . . . . . . . . . . . . . . . . . . . . . .66
Key-Light Distance . . . . . . . . . . . . . . . . . . . . . . .67
Fill-Light Distance . . . . . . . . . . . . . . . . . . . . . . .67
Multiple Catchlights . . . . . . . . . . . . . . . . . . . . . .68
Setting the Lights . . . . . . . . . . . . . . . . . . . . . . . . . .68
Background Light . . . . . . . . . . . . . . . . . . . . . . .68
Hair Light . . . . . . . . . . . . . . . . . . . . . . . . . . . . .68
Fill Light . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .69
Key Light . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .70
Fuzzy Duenkel’s One-, Two-,
and Three-Light Setups . . . . . . . . . . . . . . . . .70
One-Light Setup . . . . . . . . . . . . . . . . . . . . . . . .70
Two-Light Setup . . . . . . . . . . . . . . . . . . . . . . . .71
Three-Light Setup . . . . . . . . . . . . . . . . . . . . . . .71
Favorite Lighting Setups . . . . . . . . . . . . . . . . . . . . .72
Bill McIntosh . . . . . . . . . . . . . . . . . . . . . . . . . . .74
Stacy Bratton . . . . . . . . . . . . . . . . . . . . . . . . . . .74
Larry Peters . . . . . . . . . . . . . . . . . . . . . . . . . . . .76
Vicki Taufer . . . . . . . . . . . . . . . . . . . . . . . . . . . .77
Mastering One Light . . . . . . . . . . . . . . . . . . . . . . .87
Handheld Video Lights . . . . . . . . . . . . . . . . . . .88
Diffused “Straight” Flash . . . . . . . . . . . . . . . . . .90
Bounce Flash . . . . . . . . . . . . . . . . . . . . . . . . . . .90
Multiple Lights . . . . . . . . . . . . . . . . . . . . . . . . . . . .92
Remote Triggering Devices . . . . . . . . . . . . . . . .92
Extending Depth of Field . . . . . . . . . . . . . . . . . . . .92
Reciprocity Failure . . . . . . . . . . . . . . . . . . . . . . .94
Multiple Strobe Pops . . . . . . . . . . . . . . . . . . . . .94
Painting with Light . . . . . . . . . . . . . . . . . . . . . . . . .95
6. Outdoor Lighting
. . . . . . . . . . . . . . . . . . . . . . .96
Finding the Right Light . . . . . . . . . . . . . . . . . . . . .97
Shade . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .97
Working at Midday . . . . . . . . . . . . . . . . . . . . . . .99
Low-Angle Sunlight . . . . . . . . . . . . . . . . . . . . .100
After Sunset . . . . . . . . . . . . . . . . . . . . . . . . . . .101
Reflectors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .102
Positioning . . . . . . . . . . . . . . . . . . . . . . . . . . . .104
Natural Reflectors . . . . . . . . . . . . . . . . . . . . . .104
Fuzzy Duenkel: Multi-Purpose Reflectors . . . . .104
Subtractive Lighting . . . . . . . . . . . . . . . . . . . . . . .104
Too-Diffuse Lighting . . . . . . . . . . . . . . . . . . . .104
Overhead Light . . . . . . . . . . . . . . . . . . . . . . . .105
Diffusion Screens . . . . . . . . . . . . . . . . . . . . . . . . .105
Spotty Light . . . . . . . . . . . . . . . . . . . . . . . . . . .105
Direct Sunlight . . . . . . . . . . . . . . . . . . . . . . . . .106
Backlighting . . . . . . . . . . . . . . . . . . . . . . . . . . .106
Metering . . . . . . . . . . . . . . . . . . . . . . . . . . . . .107
Flash Techniques . . . . . . . . . . . . . . . . . . . . . . . . .107
X-Sync Speeds . . . . . . . . . . . . . . . . . . . . . . . . .107
Fill Light . . . . . . . . . . . . . . . . . . . . . . . . . . . . .107
Flash Key . . . . . . . . . . . . . . . . . . . . . . . . . . . . .111
Painting with Light Outdoors . . . . . . . . . . . . . . . .112
Fuzzy Duenkel: Garage Light
. . . . . . . . . . . . . . . . . . . .114
Controlling the Background . . . . . . . . . . . . . . . . .116
Depth of Field and Diffusion . . . . . . . . . . . . . .116
Retouching . . . . . . . . . . . . . . . . . . . . . . . . . . .117
Subject-to-Background Distance . . . . . . . . . . .117
Tonal Separation . . . . . . . . . . . . . . . . . . . . . . .117
Cool Skin Tones . . . . . . . . . . . . . . . . . . . . . . . . . .117
5. Indoor Lighting
. . . . . . . . . . . . . . . . . . . . . . . .78
Continuous
vs.
Instantaneous Light Sources . . . . . .79
Lighting Group Portraits . . . . . . . . . . . . . . . . . . . .79
Types of Lights . . . . . . . . . . . . . . . . . . . . . . . . .79
Even Lighting . . . . . . . . . . . . . . . . . . . . . . . . . .79
Light Positions . . . . . . . . . . . . . . . . . . . . . . . . . .80
Feathering . . . . . . . . . . . . . . . . . . . . . . . . . . . . .81
Focus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .81
Window Light . . . . . . . . . . . . . . . . . . . . . . . . . . . .81
Advantages . . . . . . . . . . . . . . . . . . . . . . . . . . . . .81
Challenges . . . . . . . . . . . . . . . . . . . . . . . . . . . . .81
Direction and Time of Day . . . . . . . . . . . . . . . . .81
Subject Placement . . . . . . . . . . . . . . . . . . . . . . .82
Metering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .83
White Balance . . . . . . . . . . . . . . . . . . . . . . . . . .85
Fill Light . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .85
Diffusing Window Light . . . . . . . . . . . . . . . . . . .87
The Photographers . . . . . . . . . . . . . . . . . . . . . . . .118
Glossary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .121
Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .125
4
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