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III. PUT A LITTLE LIGHT ON THE SUBJECT
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III. PUT A LITTLE LIGHT ON THE SUBJECT
by Charlotte K. Lowrie, Michael Meadhra
Exposure and Lighting For Digital Photographers Only
Copyright
about the authors
credits
preface
acknowledgments
I. PAINTING WITH LIGHT
1. THE NATURE OF LIGHT
1.1. Recording Reflected Light
1.2. Exercising Creative License
1.2.1. Being Selective
1.2.2. Manipulating Light
1.3. Examining the Character of Light and Shadow
1.3.1. Hard Light and Shadows
1.3.2. Soft Light and Shadows
1.4. Defining Shape with Light
1.5. Q&A
2. THE COLOR OF LIGHT
2.1. Understanding Color Perception
2.2. Color Temperature
2.3. How We Perceive Light
2.4. How the Camera Sees Light
2.5. Color Temperature and White Balance
2.5.1. Selecting a Preset White Balance
2.5.2. Automatic White Balance
2.5.3. Manual White Balance
2.6. Q&A
II. WHAT'S YOUR EXPOSURE
3. BALANCING THE ELEMENTS OF EXPOSURE
3.1. What Is an Exposure?
3.2. Over and Under Exposure
3.2.1. Recognizing Under Exposure
3.2.2. Recognizing Over Exposure
3.3. What's the Correct Exposure
3.4. Reading a Histogram
3.5. Aperture, Time, and Sensitivity
3.6. Equivalent Exposures
3.7. One Best Exposure
3.8. Bracketing for Exposure Insurance
3.9. Q&A
4. MEASURING YOUR EXPOSURE
4.1. Measuring the Light
4.2. Reflected versus Incident Meters
4.2.1. Incident Light Meters
4.2.2. Reflected Light Meters
4.3. The Myth of Average Reflectance
4.4. Using a Gray Card
4.5. Using Separate Light Meters
4.5.1. Reflective Light Meter
4.5.2. Spot Meter
4.5.3. Incident Light Meter
4.5.4. Flash meter
4.6. Using an In-Camera Meter
4.6.1. Average Metering
4.6.2. Spot Metering
4.6.3. Matrix Metering
4.6.4. Selecting the Metering Mode
4.6.5. Lock/Hold Exposure
4.6.6. Exposure Compensation
4.7. Metering Special Situations
4.7.1. Back Light
4.7.2. High Key or Highly Reflective Subject
4.7.3. Low Key Subject
4.7.4. Bright Light in the Frame
4.8. Exposure Rules of Thumb
4.9. Q&A
5. MAKING CREATIVE EXPOSURE CHOICES
5.1. Selecting the Best Exposure
5.1.1. Let the Camera Do the Work
5.1.2. Controlling an Automatic Exposure
5.2. Deliberate Exposure Deviation
5.3. Getting into the Zone System
5.3.1. Reducing a Wide Tonal Range to Zones
5.3.2. Using the Zone System Manually
5.3.3. Adjusting the Exposure with a Sliding Zone Scale
5.3.4. Using a Quick Auto Zone V Exposure
5.4. Creating Exposure Effects
5.5. Q&A
6. CONTROLLING MOTION WITH SHUTTER SPEED
6.1. Understanding Shutter Speed's Effect on Exposure
6.2. Shutter Speed and Subject Motion
6.2.1. Stopping Action
6.2.2. Implying Motion
6.3. Shutter Speed and Camera Motion
6.3.1. Stopping Camera Shake
6.3.2. Panning with the Motion
6.4. Special Considerations for Long Exposures
6.5. Q&A
7. TAKING CONTROL OF APERTURE SELECTION
7.1. Understanding Aperture's Effect on Exposure
7.2. Balancing Exposure and Depth of Field
7.3. Keeping Everything Sharp
7.4. Adjust the Hyperfocal Distance
7.4.1. Using Manual Focus Lenses
7.4.2. Using Auto-Focus Lenses
7.5. Selective Focus
7.6. Apertures and Image Quality
7.7. Using Aperture-Priority Exposure
7.8. Q&A
8. DEALING WITH DIGITAL FILM
8.1. Image Preview & Analysis
8.2. ISO Settings and Digital Noise
8.3. Time for Time Exposures
8.4. In-Camera Image Processing
8.5. File Formats
8.5.1. Camera Raw
8.5.2. TIFF
8.5.3. JPEG
8.6. Q&A
III. PUT A LITTLE LIGHT ON THE SUBJECT
9. LIGHTING TOOLS AND APPROACHES
9.1. Lighting Tools
9.1.1. Continuous-Light Systems
9.1.1.1. Hot lights
9.1.1.2. Cool lights
9.1.1.3. HMI lights
9.1.2. Flash and Strobe Light Systems
9.1.2.1. Portable flash
9.1.2.2. What are flash guide numbers?
9.1.2.3. AC-Powered flash
9.1.2.4. Power pack and head systems
9.1.2.5. Monolights
9.1.3. Tools for Modifying and Manipulating the Light
9.1.3.1. Reflectors and diffusers
9.1.3.2. Other light modifiers
9.2. Controlling Light Intensities
9.2.1. Brightness versus Distance
9.2.2. Inverse Square Law
9.2.3. Light Ratios
9.3. Q&A
10. MAKING LIGHT AVAILABLE ON LOCATION
10.1. Adapting to Existing Light
10.2. Working with Daylight
10.2.1. Times of Day
10.2.2. Atmospheric Conditions
10.3. Working with Available Light Indoors
10.3.1. Window Light
10.3.2. Home and Office Lighting
10.3.3. Gym and Stadium Lighting
10.3.4. Churches and Other Locations
10.4. Augmenting Available Light
10.4.1. Softening the Sun with Shades and Diffusers
10.4.2. Filling Shadows with Reflectors
10.5. Lighting with On-Camera Flash
10.5.1. Direct Flash
10.5.2. Bounce Flash
10.5.3. Using Flash Fill
10.6. Using Portable Studio Lights
10.7. Q&A
IV. LIGHTING AND EXPOSURE FOR SPECIFIC SUBJECTS
11. MAKING PICTURES OF PEOPLE
11.1. The Goals of Portraiture
11.2. Natural-Light Portraits
11.3. Artificial-Light Portraits
11.3.1. Broad Lighting
11.3.2. Short Lighting
11.3.3. Split Lighting
11.3.4. Rembrandt Lighting
11.3.5. Loop Lighting
11.3.6. Butterfly Lighting
11.3.7. Other Portrait Lighting Schemes
11.4. Tips for Other People Pictures
11.5. Q&A
12. GETTING INTO THE ACTION
12.1. Shooting Things That Move
12.2. Exposure Considerations
12.3. Shooting Sports
12.3.1. Stopping the Action
12.3.2. Accentuating the Action
12.4. Shooting Kids, Pets, and People in Motion
12.5. Q&A
13. PHOTOGRAPHING NATURE
13.1. Selecting the Light and Exposure for a Landscape
13.1.1. Setting the Exposure for Landscapes
13.1.2. Photographing Moving Water
13.2. Capturing Wildlife
13.3. Shooting Beach and Snow Scenes
13.4. Capturing the Sky and Clouds
13.5. Capturing Rain, Fog, and Atmospheric Effects
13.6. Lighting Flowers and Nature Close-Ups
13.7. Q&A
14. TAKING PICTURES OF OBJECTS
14.1. Lighting Still Lifes and Small Products
14.2. Lighting Food
14.3. Lighting Silver and Reflective Products
14.4. Lighting Glass and Transparent Subjects
14.5. Lighting Larger Objects
14.6. Lighting Room Sets
14.7. Lighting Artwork and Flat Objects
14.8. Q&A
15. APPROACHING ARCHITECTURAL SUBJECTS
15.1. Photographing Architectural Exteriors
15.1.1. Pick the Time of Day
15.1.2. Get a Good Sky
15.1.3. Get a Good Exposure
15.1.4. Unusual Lighting
15.2. Photographing Architectural Interiors
15.2.1. Working with Available Light
15.2.2. Dealing with Mixed Light Sources
15.2.3. Supplementing Available Light
15.3. Shooting Office Interiors
15.4. Shooting Residential Interiors
15.5. Shooting Industrial Locations
15.6. Q&A
A. CONTRIBUTING PHOTOGRAPHERS
A.1. Dan Dry
A.2. Tony Guffy
A.3. Dean Lavenson
A.4. Charlotte K. Lowrie
A.5. Randy J. McCaffery
A.6. Alicia McGinnis
A.7. Bryan Moberly
A.8. Fred D. Reaves
A.9. Ramon Rodriguez
A.10. Rob Sheppard
A.11. Also
PRO GLOSSARY
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8. DEALING WITH DIGITAL FILM
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9. LIGHTING TOOLS AND APPROACHES
Part III. PUT A LITTLE LIGHT ON THE SUBJECT
Chapter 9
: Lighting Tools and Approaches
Chapter 10
: Making Light Available on Location
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