Photographic Lighting Essential Skills

Page 103

essential skills: photographic lighting

Introduction The purpose of a filter is to selectively modify the light used for exposure. Filters are regularly used by professional photographers. They are an indispensable means of controlling the variations in light the photographer is likely to encounter. The range of filters used varies according to the range of situations likely to be encountered. However, when capturing Raw file images it is possible to undertake color correction in camera or in post-production. See ‘Characteristics of Light’.

Studio In the studio the photographer is able to create images with a consistent quality using few, if any, filters. The photographer must simply ensure the film stock or image sensor white balance is carefully matched to the light source being used. The studio photographer has the option of filtering the light source, the camera lens or placing the filters between the lens and the image plane. If the photographer is using a mixture of light sources the photographer should ideally filter the light at its source. Any filter attached to the camera lens must be of premium quality preferably glass.

Location On location where ambient light is the primary light source or cannot be eliminated from the overall exposure the necessity to carry and use a broad range of filters increases. If choosing to purchase filters for lenses the photographer needs to be aware of the thread size on the front of each lens intending to be used. Filter sizes for fixed focal length, wide-angle and standard lenses on 35mm and DSLR cameras are usually between 48 and 55mm. Mediumformat, telephoto and zoom lenses may have thread sizes much larger. Purchasing every filter for every lens would be an expensive operation, so filters have to be selected carefully through actual rather than perceived need. Plastic filters are available from manufacturers such as ‘Cokin’ which can be adapted to fit a range of different lens diameters. The initial outlay to filter all lenses can be greatly reduced, but their working life may be far less due to the greater risk of damage.

Basic color theory To be comfortable with filtration it helps to understand basic color theory. The broad spectrum of visible light is divided into three primary colors and three secondary colors. The primary colors of light are red, green and blue (RGB). The secondary colors are yellow, cyan and magenta. When used in the printing industry to create images black is added (CMYK or four-color printing). Each secondary color is a combination of two primary colors and is ‘complementary’ to the third primary. ~ ~ ~

90

Yellow is complementary to blue Cyan is complementary to red Magenta is complementary to green.


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Introduction

25min
pages 197-214

Changing the weather in post-production

4min
pages 187-189

Composite lighting

3min
pages 190-196

Creative post-production

2min
pages 185-186

Illusion of movement

1min
page 184

Lighting ratios

8min
pages 170-173

Introduction

3min
pages 181-183

On location

4min
pages 174-180

Working with studio lights

7min
pages 166-169

Mixed light sources

1min
page 165

Light sources

4min
pages 162-164

Health and safety

1min
page 161

Studio lighting

1min
page 160

A black and white digital workfl ow

5min
pages 154-158

Perfecting the system

1min
page 153

Calibration tests

1min
pages 151-152

Introduction

1min
page 159

Operating the system

5min
pages 148-150

The zones

2min
pages 146-147

Contrast control

1min
page 145

Zone placement

2min
page 144

Double exposures

1min
page 137

High dynamic range

5min
pages 138-142

Slow-sync fl ash

1min
page 136

Introduction

1min
page 143

Fill fl ash

2min
page 133

Flash as a key light

2min
pages 134-135

Diffusion and bounce

1min
page 132

Flash as the primary light source

2min
page 131

Fill

1min
page 124

Refl ectors

1min
page 125

Flash

1min
page 126

Filter factors

3min
pages 117-122

Guide numbers

3min
pages 129-130

Introduction

1min
page 123

Filters for lenses

9min
pages 111-116

Color accuracy in camera

4min
pages 106-110

Color accuracy on screen

1min
page 104

Introduction

2min
page 103

Cross-processing effect

1min
page 99

Color profi les

1min
page 105

Latitude

1min
page 97

Pushing and pulling fi lm

1min
page 98

Limitations of fi lm capture

2min
page 96

Noise

2min
pages 94-95

Image characteristics

2min
page 93

Introduction

3min
pages 89-90

Choosing a capture medium

2min
page 91

Summary of exposure compensation

2min
pages 85-88

Raw format exposure considerations

13min
pages 64-74

Contrast

6min
pages 75-79

Exposure compensation

6min
pages 80-84

Interpreting the meter reading

8min
pages 59-63

Intensity and duration

6min
pages 49-52

Color

16min
pages 34-46

Hand-held light meters

2min
page 53

Taking a hand-held meter reading

5min
pages 54-56

Introduction

3min
pages 47-48

TTL light meters

3min
pages 57-58

Contrast

2min
pages 32-33

Direction

1min
page 31

Quality

2min
pages 29-30

Research and resources

1min
page 17

Introduction

2min
pages 23-24

Independent learning

2min
page 16

Visual Diary

0
page 18

Source

3min
pages 25-26

Intensity

2min
pages 27-28

Research, presentation and storage

1min
pages 20-22

Process and progress

1min
page 15
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