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Light: Science and Magic: An Introduction to Photographic Lighting-[2nd]-[1997]-[djvu]-[Fil Hunter, Paul Fuqua]

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    书籍信息:
    标题: Light: Science and Magic: An Introduction to Photographic Lighting
    语言: English
    格式: djvu
    大小: 5.9M
    页数: 321
    年份: 1997
    作者: Fil Hunter, Paul Fuqua
    版次: 2nd
    出版社: Focal Press

    简介

    There is much to learn about the science of light in this book and most of it will never change so the basic science of the subject will always be important. However, with all the good information I was surprised at how poor the examples were using line drawings instead of real world shots of camera and light set ups. Since the original was made for film I think much of it can be updated now that the world is digital. While the science of light does not change the tools we do use change and this book needs an update, better pictures and more detailed descriptions of what they were discussing.

    I did learn a great deal but finished thinking this could have been so much better with some more detail!

    3 1/2 stars would have been my choice if I could figure out how to give half a star!





    目录
    Front cover......Page 1
    Title page......Page 4
    Copyright page......Page 5
    Table of contents......Page 6
    Dedications......Page 11
    Introduction......Page 12
    1 How to Learn Lighting......Page 16
    WHY ARE THE PRINCIPLES IMPORTANT?......Page 17
    HOW WERE THE EXAMPLE SUBJECTS CHOSEN FOR THIS BOOK?......Page 18
    DO I NEED TO DO THESE EXERCISES?......Page 19
    WHAT KIND OF CAMERA DO I NEED?......Page 20
    SHOULD I SHOOT FILM OR DIGITAL?......Page 21
    WHAT LIGHTING EQUIPMENT DO I NEED?......Page 23
    WHAT IS THE "MAGIC" PART OF THIS BOOK?......Page 24
    2 Light: The Raw Material of Photography......Page 26
    WHAT IS LIGHT?......Page 27
    Brightness......Page 30
    Color......Page 31
    Contrast......Page 32
    LIGHT VERSUS LIGHTING......Page 35
    Transmission......Page 37
    Direct and Diffuse Transmission......Page 39
    Absorption......Page 40
    Reflection......Page 41
    3 The Management of Reflection and the Family of Angles......Page 44
    DIFFUSE REFLECTION......Page 45
    The Inverse Square Law......Page 49
    DIRECT REFLECTION......Page 50
    Breaking the Inverse Square Law?......Page 51
    THE FAMILY OF ANGLES......Page 52
    POLARIZED DIRECT REFLECTION......Page 54
    Is It Polarized Reflection or Ordinary Direct Reflection?......Page 58
    Turning Ordinary Direct Reflection into Polarized Reflection......Page 59
    APPLYING THE THEORY......Page 60
    4 Surface Appearances......Page 62
    THE PHOTOGRAPHER AS EDITOR......Page 63
    CAPITALIZING ON DIFFUSE REFLECTION......Page 64
    The Angle of Light......Page 65
    The Success and Failure of the General Rule......Page 68
    The Distance of Light......Page 70
    Doing the Impossible......Page 72
    Using Diffuse Reflection and Shadow to Reveal Texture......Page 75
    CAPITALIZING ON DIRECT REFLECTION......Page 78
    COMPETING SURFACES......Page 81
    Try a Lens Polarizing Filter......Page 83
    Use a Still Larger Light......Page 84
    Use More Than One Light......Page 85
    Use a Gobo......Page 86
    COMPLEX SURFACES......Page 87
    5 Revealing Shape and Contour......Page 92
    PERSPECTIVE DISTORTION......Page 94
    Distortion as a Clue to Depth......Page 95
    Manipulating Distortion......Page 96
    TONAL VARIATION......Page 97
    THE SIZE OF THE LIGHT......Page 98
    Distance from the Subject......Page 99
    THE DIRECTION OF THE LIGHT......Page 100
    Light on Side......Page 102
    Light above the Subject......Page 103
    Fill Light......Page 104
    Adding Depth to the Background......Page 108
    HOW MUCH TONAL VARIATION IS IDEAL?......Page 110
    Photographing Buildings: Decreasing Tonal Variation......Page 112
    Photographing Cylinders: Increasing Tonal Variation......Page 113
    Remember Surface Detail......Page 114
    THE GLOSSY BOX......Page 115
    1. Use a Dark Background......Page 116
    2. Eliminate Direct Reflection from the Box Top......Page 117
    3. Eliminate Direct Reflection from the Box Sides......Page 118
    4. Finish with Other Resources......Page 120
    USE DIRECT REFLECTION?......Page 122
    6 Metal......Page 124
    FLAT METAL......Page 125
    Finding the Family of Angles......Page 126
    Lighting the Metal......Page 129
    Keeping the Metal Bright......Page 130
    Keeping the Metal Dark......Page 133
    The Elegant Compromise......Page 137
    Controlling the Effective Size of the Light......Page 139
    Keeping the Metal Square......Page 143
    METAL BOXES......Page 145
    A Light Background......Page 148
    A Transparent Background......Page 149
    A Glossy Background......Page 150
    ROUND METAL......Page 153
    Keeping the Light off the Camera......Page 154
    Using a Tent......Page 155
    Polarizing Filters......Page 157
    Dulling Spray......Page 158
    WHERE ELSE DO THESE TECHNIQUES APPLY?......Page 159
    THE PRINCIPLES......Page 162
    THE SOLUTIONS......Page 163
    Bright-Field Lighting......Page 165
    Dark-Field Lighting......Page 169
    THE BEST OF BOTH WORLDS......Page 173
    Defining the Surface of Glassware......Page 175
    Minimizing the Horizon......Page 179
    Stopping Flare......Page 181
    Eliminating Extraneous Reflections......Page 183
    COMPLICATIONS FROM NONGLASS SUBJECTS......Page 184
    Liquids in Glass......Page 185
    Secondary Opaque Subjects......Page 189
    RECOGNIZING THE PRINCIPAL SUBJECT......Page 192
    8 An Arsenal of Lights......Page 194
    The Basic Setup......Page 195
    Light Size......Page 196
    Where to Put the Main Light......Page 198
    Left Side? Right Side?......Page 204
    Broad Lighting or Short Lighting......Page 205
    Eyeglasses......Page 207
    ADDITIONAL LIGHTS......Page 208
    Fill Lights......Page 210
    Background Lights......Page 216
    Hair Lights......Page 218
    Kickers......Page 220
    Rim Lights......Page 222
    MOOD AND KEY......Page 223
    Low-Key Lighting......Page 224
    High-Key Lighting......Page 225
    DARK SKIN......Page 228
    AVAILABLE-LIGHT PORTRAITURE......Page 229
    A Window as a Main Light......Page 230
    The Sun as a Hair Light......Page 232
    Combining Studio and Environmental Light......Page 233
    SETTING RULES?......Page 236
    9 The Extremes......Page 240
    The Perfect "Curve"......Page 241
    A Bad Camera......Page 243
    Overexposure......Page 245
    Underexposure......Page 247
    A Real CCD......Page 248
    WHITE-ON-WHITE......Page 251
    Exposing White-on-White Scenes......Page 254
    Subject and Background......Page 256
    Using an Opaque White Background......Page 258
    Using a Translucent White Background......Page 263
    Using a Mirror Background......Page 266
    BLACK-ON-BLACK......Page 267
    Lighting Black-on-Black Scenes......Page 268
    Using an Opaque Black Background......Page 270
    Using a Glossy Black Surface......Page 273
    Keep the Subject away from the Background......Page 274
    THE HISTOGRAM......Page 276
    Overmanipulation......Page 279
    CURVES......Page 281
    NEW PRINCIPLES?......Page 282
    CHOOSING THE RIGHT STROBE......Page 286
    GETTING THE EXPOSURE RIGHT......Page 287
    Using a Flash Meter......Page 288
    Using the Guide Number......Page 289
    GETTING MORE LIGHT......Page 291
    Multiple Strobes......Page 292
    Multiple Flash......Page 293
    Bounce Flash......Page 295
    Feathering the Light......Page 298
    LIGHTS OF DIFFERENT COLORS......Page 300
    Why Is the Color of the Light Important?......Page 301
    Nonstandard Light Sources......Page 302
    Do the Colors Mix?......Page 305
    The Remedies......Page 308
    LIGHTS OF DIFFERENT DURATION......Page 310
    IS STUDIO LIGHTING POSSIBLE ON LOCATION?......Page 312
    Index......Page 314

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