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Lighting for Digital Photography: From Snapshots to Great Shots

47 Pages · 2012 · 2.32 MB · English

  • Lighting for Digital Photography: From Snapshots to Great Shots

    Lighting for Digital Photography:


    From



    Snapshots


    to


    Great Shots


    Syl Arena Lighting for Digital Photography: From Snapshots to Great Shots


    Syl Arena


    Peachpit Press


    www.peachpit.com


    To report errors, please send a note to [email protected]


    Peachpit Press is a division of Pearson Education


    Copyright © 2013 by Syl Arena


    All photography © Syl Arena except where noted


    Editor: Ted Waitt


    Production Editor: Lisa Brazieal


    Interior Design: Riezebos Holzbaur Design Group


    Compositor: WolfsonDesign


    Indexer: James Minkin


    Proofreader: Stephanie Provines


    Cover Design: Aren Straiger


    Cover Image: Syl Arena


    Cover Image Color Production Specialist: Marco Ugolini


    Back Cover Author Photo: Vera Franceschi


    Notice of Rights


    All rights reserved. No part of this book may be reproduced or transmitted in any form by any


    means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written


    permission of the publisher. For information on getting permission reprints and excerpts, contact


    [email protected]


    Notice of Liability


    The information in this book is distributed on an “As Is” basis without warranty. While every precaution


    has been taken in the preparation of the book, neither the author nor Peachpit shall have any liability


    to any person or entity with respect to any loss or damage caused or alleged to be caused directly or


    indirectly by the instructions contained in this book or by the computer software and hardware products


    described in it.


    Trademarks


    All Canon products are trademarks or registered trademarks of Canon Inc. All Nikon products are trade-


    marks or registered trademarks of Nikon and/or Nikon Corporation.


    Many of the designations used by manufacturers and sellers to distinguish their products are claimed


    as trademarks. Where those designations appear in this book, and Peachpit was aware of a trademark


    claim, the designations appear as requested by the owner of the trademark. All other product names


    and services identified throughout this book are used in editorial fashion only and for the benefit of such


    companies with no intention of infringement of the trademark. No such use, or the use of any trade


    name, is intended to convey endorsement or other affiliation with this book.


    ISBN-13 978-0-321-83275-7


    ISBN-10 978-0-321-83275-2


    9 8 7 6 5 4 3 2 1


    Printed and bound in the United States of America DeDication


    For Amy, the proverbial girl-across-the-street. This page intentionally left blank acknowleDgments


    No book is written or photographed in a vacuum —especially this one. Thanks are


    owed to many.


    First, to Amy and our three lads, Tom, Vin, and Tony—heartfelt thanks for accommo-


    dating my uncountable requests for you to serve as impromptu models, grips, fixers,


    etc. You may not have felt like you had a choice every time I asked, but you did.


    Sincere thanks are also owed to my many friends at Maine Media Workshops. Most of


    the second half of this book was written and shot during my extended stay in Rockport.


    Thank you for providing a beautiful house in which to write, a studio in which to


    shoot, and lobster dinner every Friday night. Without the support of MMW, I likely


    would still be finishing Chapter 5.


    Teaching is a privilege and an invaluable opportunity to learn from those I teach.


    So, thanks are owed to the workshop programs that invited me to teach during the


    past year—Maine Media, Santa Fe, and Gulf Photo Plus in Dubai—as well as to the


    amazing team at B&H Photo, who let me teach in their NYC Event Space every time


    I asked.


    Thanks are also owed to every student I’ve met in a workshop, seminar, or random


    meet-up, as well as to those who got in touch after watching me on Kelby Training


    or listening to me on This Week in Photo. Your questions and comments formed the


    foundation on which this book was written.


    Finally, every word in this book was first read, considered, and sometimes polished


    by my editor—Ted Waitt. Despite my affection for the sounds that deadlines make


    as they go whizzing by, Ted patiently coaxed me along as the vision for this book


    came into sharp focus. So thanks, Ted, for shepherding me through the creation of


    Lighting for Digital Photography.


    Syl Arena


    Paso Robles, California


    October, 2012


    v


    acknowleDgments This page intentionally left blank Contents


    chapter 1: the Five characteristics oF light 1


    Photography Begins with Looking at Light


    Poring Over the Picture 2


    Poring Over the Picture 4


    Start Your Obsession with Light 6


    DICCH—That’s a Curious Word 7


    Direction 7


    Intensity 13


    Color 15


    Contrast 21


    Hardness 24


    Lighting Lessons Are Everywhere 26


    C hapter 1 Assignments 27


    chapter 2: Your light-capturing machine 29


    Using Camera Settings Smartly and Creatively


    Poring Over the Picture 30


    Poring Over the Picture 32


    Whole-Stop Increments 34


    Shutter Speed: Slicing Time Thick or Thin 35


    Aperture: Controlling Depth of Field 37


    ISO: Keeping Shutter and Aperture in a Desired Range 40


    Equivalent Exposures—Tying Shutter, Aperture, and ISO Together 43


    Camera Modes—Who Sets What 46


    White Balance 48


    RAW vs. JPEG 49


    Post-Processing 51


    C hapter 2 Assignments 53


    vii


    contents chapter 3: using the light arounD You 55


    Getting Started with Natural Light


    Poring Over the Picture 56


    Poring Over the Picture 58


    Light: Natural, Artificial, Available, and Ambient 60


    Deal with the Ambient Light First 60


    The Daily Cycle of Sunlight 61


    Shooting in Direct Sunlight 66


    Skylight—Shooting in Open Shade 73


    Deep Shade—Shooting Under Trees 75


    Clouds—Nature’s Diffusion Panels 76


    Windowlight 77


    C hapter 3 Assignments 79


    chapter 4: creating Your own light 81


    Getting Started with Artificial Light


    Poring Over the Picture 82


    Poring Over the Picture 84


    Shooting Under Home and Office Light 86


    Photographic Lights: Continuous 91


    Photographic Lights: Flash and Strobes 94


    Flash Basics 99


    Moving Your Flash Off-Camera 112


    C hapter 4 Assignments 116


    chapter 5: lighting For tabletop anD


    macro photographY 119


    Learn to Light by Starting with Objects


    Poring Over the Picture 120


    Poring Over the Picture 122


    Quick Look—Shoots and Concepts 124


    Getting Started with Lighting on a Small Scale 125


    Make It Look Like Cloudy Weather 125


    You Don’t Have to Light Everything 127


    Define Shape with Rim Light 130


    Embrace the Power of Backlight 132


    Throw Light Everywhere 135


    If It’s Shiny, Light What It Sees 140


    C hapter 5 Assignments 143


    viii


    lighting F or Digital photographY : From snapshots to great shots chapter 6: lighting FunDamentals For portraits 145


    Getting Started with Portraits


    Poring Over the Picture 146


    Poring Over the Picture 148


    Quick Look—Shoots and Concepts 150


    Think About the Ambient First 151


    Be Lazy, When You Can 156


    Open Light 159


    Big Equals Soft 164


    Shutter and Flash Synergy 173


    Finding Light in the Shadows 178


    Dancing with the Sun 182


    Accuracy Matters 188


    Over Under for Beauty 194


    Sync About It 198


    C hapter 6 Assignments 203


    chapter 7: aDvanceD lighting For portraits 205


    Adding Depth and Drama to Your Portraits


    Poring Over the Picture 206


    Poring Over the Picture 208


    Quick Look—Shoots and Concepts 210


    Concealing and Revealing 211


    The Firing Line 218


    Three Heads Are Better Than One 224


    Syncing in Broad Daylight 229


    Family, Friends, and Strangers 235


    A Circus of Color 238


    Creating Sunset 242


    A Field of White 248


    C hapter 7 Assignments 257


    appenDix: the gear i use 259


    Kit Recommendations 260


    Camera Gear 261


    Flash Gear 263


    Strobe Gear 267


    inDex 269


    ix


    contents


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