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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.

This new edition includes:

All new chapter titled ´Setting Up Your New Studio´
A re-vamped and expanded chapter 8 now titled ´Making Portraits´
New 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
Styles of lighting continue to change, but the nature of light will always remain the same. Once photographers understand the basic physics of lighting, they can apply that knowledge to a broad range of photographic styles.



Table of Contents

Table of Contents

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

Breaking the Inverse Square Law

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 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