图书简介
Light Science and Magic provides you with a comprehensive theory of the nature and principles of light, with examples and instructions for practical application.
馆藏图书馆
Harvard Library
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 Using a Meter Meters and LEDs Getting More Light Multiple, or \"Ganged\" Flashes Battery Packs Flash Extenders Getting Better Quality Light The Problems Take It Off Bouncing From Hard to Soft The Omni-Bounce ? a Big Help for a Little Money \"Raccoon Eyes\" Feathering Your Light Forcing the Shadow Lights of Different Colors Why Is the Color of the Light Important? Tungsten Daylight Nonstandard Light Sources Do the Colors Mix? The Remedies Correcting Mixed Colors Correcting Unmixed Colors Filtering Daylight Correcting Errors in Reproduction Lights of Different Duration Different Approaches Other Useful Gear Chapter 11 ? Setting Up Your First Studio Lights: An Early Issue Getting Your Lights Right What Kind of Lights? Flash Continuous Lights How Many Lights? Light Stands Booms Light Modifiers ? Which Do I Need? Diffusers Reflectors Snoots and Grids Gobos and Flags Backgrounds Computers and Associated Gear Miscellaneous Equipment What About Space? EOF
Trade Policy 买家须知
- 关于产品:
- ● 正版保障:本网站隶属于中国国际图书贸易集团公司,确保所有图书都是100%正版。
- ● 环保纸张:进口图书大多使用的都是环保轻型张,颜色偏黄,重量比较轻。
- ● 毛边版:即书翻页的地方,故意做成了参差不齐的样子,一般为精装版,更具收藏价值。
关于退换货:
- 由于预订产品的特殊性,采购订单正式发订后,买方不得无故取消全部或部分产品的订购。
- 由于进口图书的特殊性,发生以下情况的,请直接拒收货物,由快递返回:
- ● 外包装破损/发错货/少发货/图书外观破损/图书配件不全(例如:光盘等)
并请在工作日通过电话400-008-1110联系我们。
- 签收后,如发生以下情况,请在签收后的5个工作日内联系客服办理退换货:
- ● 缺页/错页/错印/脱线
关于发货时间:
- 一般情况下:
- ●【现货】 下单后48小时内由北京(库房)发出快递。
- ●【预订】【预售】下单后国外发货,到货时间预计5-8周左右,店铺默认中通快递,如需顺丰快递邮费到付。
- ● 需要开具发票的客户,发货时间可能在上述基础上再延后1-2个工作日(紧急发票需求,请联系010-68433105/3213);
- ● 如遇其他特殊原因,对发货时间有影响的,我们会第一时间在网站公告,敬请留意。
关于到货时间:
- 由于进口图书入境入库后,都是委托第三方快递发货,所以我们只能保证在规定时间内发出,但无法为您保证确切的到货时间。
- ● 主要城市一般2-4天
- ● 偏远地区一般4-7天
关于接听咨询电话的时间:
- 010-68433105/3213正常接听咨询电话的时间为:周一至周五上午8:30~下午5:00,周六、日及法定节假日休息,将无法接听来电,敬请谅解。
- 其它时间您也可以通过邮件联系我们:customer@readgo.cn,工作日会优先处理。
关于快递:
- ● 已付款订单:主要由中通、宅急送负责派送,订单进度查询请拨打010-68433105/3213。
本书暂无推荐
本书暂无推荐