Photographic Lighting Essential Skills

Page 93

essential skills: photographic lighting

Image characteristics Capture mediums have the following characteristics: ~ ~ ~ ~

Sensitivity (speed) Sharpness (grain and/or resolution) Contrast Noise (digital sensors only).

Sensitivity All films and image sensors are assigned an ISO (International Standards Organization) rating. This rating indicates its sensitivity to light. The higher the rating the greater the sensitivity. Most image sensors can be assigned different ratings as and when required. Films are available from 50 ISO to 3200 ISO whilst image sensors are available that can be rated between 50 and 6400 ISO. Each time the ISO doubles the film or image sensor is twice as light sensitive, e.g. a 400 ISO film requires only half the exposure of a 200 film. The 400 film can therefore be said to be one stop faster than a 200 ISO film and two stops faster than a 100 ISO film. Films are often referred to as slow, medium or fast. A film is described as being slow if its ISO is 64 or less and fast if its ISO is 400 or more. The advantage of using fast film or an image sensor rated at a high ISO is a photographer is able to use faster shutter speeds to either freeze action or avoid camera shake. The disadvantage of using faster film or an image sensor rated at a high ISO is its decreased resolution or sharpness (film only) and the increased size of film grain or digital ‘noise’.

Sharpness A digital image is made up of ‘pixels’ or picture elements whilst the silver image on film is made up from a grain pattern of silver halides. As a film’s ISO increases the size of the grain increases whilst increased noise levels result from raising the ISO of an image sensor. The grain pattern or noise becomes apparent when the image is enlarged. As the image is enlarged it appears progressively less sharp. An image created using slow speed film or a high resolution image sensor will enlarge to a greater physical size before the sharpness becomes unacceptable than if the same image was created using a fast speed film or lower resolution image sensor. Reduced grain size or low noise levels are strong selling points for fast films and high ISO image sensors.

Contrast Digital image sensors have a ‘latitude’ similar to transparency film when shooting JPEGs in camera so great care must be taken to protect images from loss of detail resulting from excessive contrast. The photographer should save images using the Raw format in high-contrast situations. As the ISO rating of film increases the contrast decreases. The slower the film, the higher the contrast. As film is ‘pushed’, however (increasing the recommended film speed and processing time), the contrast increases. This is a result of the processing and not the film speed used for exposure. High-contrast film is not easy to use with high-contrast subject matter. If the photographer is not skilled with this combination, highlight and shadow information may be lost.

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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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