Download Christopher Grey's Studio Lighting Techniques for by Christopher Grey PDF
By Christopher Grey
Taking the guesswork out of lights, this helpful exam offers instruments and strategies from an comprehensive professional. the main crucial ideas for photograph shoots are awarded via long snapshot sequences, contemplating varied finishes for reflective surfaces, kinds of mild assets, gentle modifiers, or even mild placements. From developing primary seems to the impression of fine-tuning placement and environment, this particular guidebook permits photographers to maximise productiveness on any shoot. Concluding with the best recommendations for fixing lights difficulties, this research is a superb source for either lively execs in addition to intermediate to complex scholars of images.
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Additional resources for Christopher Grey's Studio Lighting Techniques for Photography: Tricks of the Trade for Professional Digital Photographers
A gridspot makes an excellent background light when hung on a boom arm and feathered from the top of the frame to the bottom. Ensure that the hot spot does not contact the background until the bottom of the image frame, if at all. The feathered light will naturally be stronger at the top, so you’ll want to angle the light so it just skims the top and gets stronger as the light expands from the reflector (which will keep the actual output pretty even). 24). Equally impressive is a light that comes up from the bottom, close to the subject, feathering as it travels.
7 this is absolutely true. 6). At 45 degrees, the shadows deepen because there is no fill on the shadow side. 7). At 60 degrees, which is farther than most attractive portraits will tolerate, a reading taken with the meter aimed at the camera still yields a beautiful result. 8). So, what happens if we aim the meter at the light? At 60 degrees, what can the difference be, after all? Interestingly, the difference can be quite major. When you aim the meter at the light you will only measure the brightest part of the light, not the average of highlights and shadows we’ve been measuring so far.
For the last samples, I swapped out the silver umbrella for a 5-foot diameter white one and set distances at 4, 8, and 12 feet (at 3 feet the side UMBRELLAS AND THE SPREAD OF LIGHT 37 of the umbrella intruded too far into the frame). This is beautiful light but, because it was made by a different manufacturer, it throws light of a slightly different color. (Always use a custom white balance when changing from one style of umbrella to another, even within the same brand. 15). When you try this exercise yourself, remember to increase the height of the light as you move it farther back in order to keep the same shadow position.