Light Science and Magic, 4th Edition

Table of contents

1. Cover
2. Halftitle
3. Title
4. Copyright
5. Contents
6. Dedications
7. Introduction
8. Chapter 1
   1. How to Learn Lighting
   2. What Are “the Principles”?
   3. Why Are the Principles Important?
   4. How Did We Choose the Examples for This Book?
   5. To Do, or Not to Do?
   6. What Kind of Camera Do I Need?
   7. A Word of Caution
   8. What Lighting Equipment Do I Need?
   9. What Else Do I Need to Know to Use This Book?
   10. What Is the “Magic” Part of This Book?
9. Chapter 2
   1. Light: The Raw Material of Photography
   2. What Is Light?
   3. How Photographers Describe Light
   4. Brightness
   5. Color
   6. Contrast
   7. Light Versus Lighting
   8. How the Subject Affects Lighting
   9. Transmission
   10. Direct and Diffuse Transmission
   11. Absorption
   12. Reflection
10. Chapter 3
    1. The Management of Reflection and the Family of Angles
    2. Types of Reflections
    3. Diffuse Reflection
    4. Direct Reflection
    5. Polarized Direct Reflection
    6. Applying the Theory
11. Chapter 4
    1. Surface Appearances
    2. The Photographer as an Editor
    3. Capitalizing on Diffuse Reflection
    4. The Angle of Light
    5. The Success and Failure of the General Rule
    6. The Distance of Light
    7. Doing the Impossible
    8. Using Diffuse Reflection and Shadow to Reveal Texture
    9. Capitalizing on Direct Reflection
    10. Competing Surfaces
    11. Try a Lens Polarizing Filter
    12. Use a Still Larger Light
    13. Use More Than One Light
    14. Use a Gobo
    15. Complex Surfaces
12. Chapter 5
    1. Revealing Shape and Contour
    2. Depth Clues
    3. Perspective Distortion
    4. Distortion as a Clue to Depth
    5. Manipulating Distortion
    6. Tonal Variation
    7. The Size of the Light
    8. Large Lights versus Small Lights
    9. Distance from the Subject
    10. The Direction of the Light
    11. Light on the Side
    12. Light above the Subject
    13. Fill Light
    14. Adding Depth to the Background
    15. How Much Tonal Variation Is Ideal?
    16. Photographing Buildings: Decreasing Tonal Variation
    17. Photographing Cylinders: Increasing Tonal Variation
    18. Remember Surface Detail
    19. The Glossy Box
    20. Use a Dark Background
    21. Eliminate Direct Reflection from the Box Top
    22. Eliminate Direct Reflection from the Box Sides
    23. Finish with Other Resources
13. Chapter 6
    1. Metal
    2. Flat Metal
    3. Bright or Dark?
    4. Finding the Family of Angles
    5. Lighting the Metal
    6. Keeping the Metal Bright
    7. What Is a “Normal” Exposure for Metal?
    8. Keeping the Metal Dark
    9. The Elegant Compromise
    10. Controlling the Effective Size of the Light
    11. Keeping the Metal Square
    12. Metal Boxes
    13. A Light Background
    14. A Transparent Background
    15. A Glossy Background
    16. Round Metal
    17. Camouflage
    18. Keeping the Light off the Camera
    19. Using a Tent
    20. Other Resources
    21. Polarizing Filters
    22. Black Magic
    23. Where Else Do These Techniques Apply?
14. Chapter 7
    1. The Case of the Disappearing Glass
    2. The Principles
    3. The Problems
    4. The Solutions
    5. Two Attractive Opposites
    6. Bright-Field Lighting
    7. Dark-Field Lighting
    8. The Best of Both Worlds
    9. Some Finishing Touches
    10. Defining the Surface of Glassware
    11. Illuminating the Background
    12. Minimizing the Horizon
    13. Stopping Flare
    14. Eliminating Extraneous Reflections
    15. Complications from Nonglass Subjects
    16. Liquids in Glass
    17. Secondary Opaque Subjects
    18. Recognizing the Principal Subject
15. Chapter 8
    1. An Arsenal of Lights
    2. The Single-Light Setup
    3. The Basic Setup
    4. Light Size
    5. Skin Texture
    6. Where to Put the Main Light
    7. The Key Triangle
    8. Left Side? Right Side?
    9. Broad Lighting or Short Lighting
    10. Eyeglasses
    11. Additional Lights
    12. Fill Lights
    13. Background Lights
    14. Hair Lights
    15. Kickers
    16. Rim Lights
    17. Mood and Key
    18. Low-Key Lighting
    19. High-Key Lighting
    20. Staying in Key
    21. Dark Skin
    22. Available-Light Portraiture
    23. A Window as a Main Light
    24. The Sun as a Hair Light
    25. Combining Portable and Ambient Light
    26. A Reflected Ambient Light Portrait
    27. Approaches Worth Trying
    28. Unfocused Spot
    29. Combining Portable Flash with Color Gels
    30. Portable Flash with Motion
    31. And Finally…
    32. Suggestions Yes—“Rules” No
16. Chapter 9
    1. The Extremes
    2. The Characteristic Curve
    3. The Perfect “Curve”
    4. A Bad Camera
    5. Overexposure
    6. Underexposure
    7. A Real Sensor (CCD or CMOS)
    8. Using Every Resource
    9. White on White
    10. Exposing White-on-White Scenes
    11. Lighting White-on-White Scenes
    12. Subject and Background
    13. Using an Opaque White Background
    14. Using a Translucent White Background
    15. Using a Mirror Background
    16. In Any Case, Keep the Background Small
    17. Black on Black
    18. Exposing Black-on-Black Scenes
    19. Lighting Black-on-Black Scenes
    20. Subject and Background
    21. Using an Opaque Black Background
    22. Using a Glossy Black Surface
    23. Keep the Subject away from the Background
    24. The Histogram
    25. Preventing Problems
    26. Overmanipulation
    27. Curves
    28. New Principles
17. Chapter 10
    1. Traveling Light
    2. Some Very Good News
    3. Choosing the Right Light
    4. Studio Strobes
    5. Portable Strobes
    6. Lightweight Hot Shoe Strobes
    7. Getting the Exposure Right
    8. Letting the Strobe Determine the Exposure
    9. Using a Flash Meter
    10. Getting More Light
    11. Focused Flash
    12. Multiple Strobes
    13. Improving the Quality of Light
    14. Bounce Flash
    15. Feathering the Light
    16. Lights of Different Colors
    17. Why Is the Color of the Light Important?
    18. Nonstandard Light Sources
    19. Do the Colors Mix?
    20. The Remedies
    21. Lights of Different Duration
    22. Is Studio Lighting Possible on Location?
18. Index