Light, Science & Magic by Hunter, Biver and Fuqua

In preparation for Assignment Four, I read Light, Science & Magic - An Introduction to Photographic Lighting - by Hunter, Biver and Fuqua - Fourth Edition.

At first I wasn't too interested in the subject matter, being more a devotee of outdoors rather than still life photography, but as I progressed through the book, and understood its relevance to the assignment and how it could help me, I became more interested in it.  I still can't see myself investing in lighting equipment or practising some of the techniques described, but I think the theory will help me understand how the light outside works.

Learning points from this book are:

Light - contrast

- small light sources produce hard-edged shadows
- large light source produces softer shadows
- small light source produces small, hard highlights
- large light source produces large highlights
- refraction bends light (e.g. a glass photographed through another glass object)
- diffuse reflection reflects light equally - whatever angle the light source
- use large light souce to fill family of angles (equal reflections e.g. CDs)
- polariser blocks direct reflection

Texture

- experiment with angled light and distance to control reflection from a shiny surface
- small light at a low angle with camera face on will produce contrasting highlights and shadows to reveal texture in medium toned and light toned subjects - so light skims surface
- large light at 45 degree angle with camera at other 45 degree angle to produce texture in dark object
- glossy textures - use combinations of diffuse and direct lighting at an angle to create contrast
- a dark background will emphasis a glossy surface

Shape and Contour

- depth is achieved by camera position and distortion of angles - converging parallel lines
- tonal variation will also create depth
- backlighting will emphasise shape - but will create a silhouette
- front lighting will also emphasise shape
- side lighting will emphasise form but might partially conceal the subject in shadow and compete with the subject - but the tonal variation helps the brain perceive depth
- three-quarter lighting will emphasise form
- top lighting will also emphasise form but will create a small shadow base
- experiment with moving the position of the light nearer to and further away from the subject
- fill cards/reflector cards will soften shadows and light both sides of the subject

Metal

- various techniques described for photographing metal - depending on whether you want shiny or dull reflection (not relevant to my subject matter for Ass4)

Glass


- various techniques described for photographing glass - depending on whether you want shiny or dull reflection (not relevant to my subject matter for Ass4)

Portraiture

- lighting for portraiture described - again not relevant to me at the moment

Extremes

- lighting for extreme situations described - balancing act of curves (brightness vs exposure steps)
- overexposure elimates compression in shadows but results in too much highlight
- underexposure overcompresses shadows - too much darkness
- white on white scene - can either light subject to render background greyer or light background to render subject greyer- also consider use of reflectors, translucent backgrounds, black cards to change lighting conditions
- same with black on black - vary lighting techniques to emphasise the black elements

Travelling lights

- techniques described: bounce/strobe to get the best out of portraits

- fill flash to compensate for back lighting