Photographic Lighting Essential Skills

Page 25

essential skills: photographic lighting

Source Ambient Ambient light is existing natural or artificial light present in any environment. Ambient light can be subdivided into four major categories: ~ ~ ~ ~

Daylight Tungsten Fluorescent Firelight.

Daylight Daylight is a mixture of sunlight and skylight. Sunlight is the dominant or main light. It is warm in color and creates highlights and shadows. Skylight is the secondary light. It is cool in color and fills the entire scene with soft diffused light. Without the action of skylight, shadows would be black and detail would not be visible. White balance is usually calibrated to daylight at noon (5500K). When images are recorded at this time of the day the colors and tones reproduce with neutral values, i.e. neither warm nor cool.

Tungsten A common type of electric light such as household bulbs/globes and photographic lamps. A tungsten element heats up and emits light. Tungsten light produces very warm tones when used as the primary light source. Underexposure occurs due to the lack of blue light in the spectrum emitted. Digital cameras can be set to automatically adjust the white balance to correct the color cast from light sources of different color temperatures or this can be set by the photographer by choosing either a white balance setting or creating a customized white balance setting (see Color Correction and Filtration > Color accuracy in camera).

Fluorescent Phosphors inside fluorescent tubes radiate light after first absorbing ultraviolet light from mercury vapor emission. The resulting light from most fluorescent tubes produces a strong green cast that can be difficult to correct and is not apparent to the human vision. If used as a primary light source the results are often unacceptable due to the broad flat light and the strong color cast. Daylight balanced fluorescent tubes and compact fluorescent lamps or CFLs are available and these are increasingly being used as a photographic light source (see Lighting on Location > Halogen or daylight balanced fluorescent lamps on location).

Firelight Light from naked flames can be very low in intensity. With very long exposures it can be used to create atmosphere and mood with its rich red tones.

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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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