American photographic light course book catalogue

1. 1 Principles involved in the use of light

Importance of 1.2 principle

1.3 Selection of subjects

1.4 Do you need these trainings?

1.5 What kind of camera do you need?

1.6 should I use a film camera or a digital camera?

1.7 What equipment do you need?

1.8 What else do you need to know?

Chapter II Light: Raw Materials for Photography

2. 1 Definition of light

2.2 How does the photographer describe light?

2.2. 1 light brightness

2.2.2 lighting color

2.2.3 light contrast

2.3 lighting and lighting use

2.4 How does the subject affect the light consumption?

2.4. 1 light propagation

2.4.2 Direct propagation and diffuse reflection propagation

2.4.3 light absorption

Reflection of light

Chapter 3 Management of Reflection and Angle

3. 1 reflection type

3.2 Diffuse reflection and inverse square law

3.3 Direct reflection

3.4 Angle system

3.5 polarized direct reflection

3.5. 1 Distinguish between polarized reflection and ordinary direct reflection.

3.5.2 Convert ordinary direct reflection into polarized reflection.

3.6 Application principles

Chapter 4 shows the surface of an object.

4. 1 photographer's editing work

4.2 Use diffuse reflection

4.2.1light source angle

4.2.2 Success and failure in using the general law

4.2.3 Distance of light source

4.2.4 Overcoming the "Impossible" Difficulties

4.2.5 Use diffuse reflection and shadow to express texture.

4.3 Use direct reflection

4.4 Simultaneous expression of multiple surfaces

4.4. 1 Use the lens polarization filter.

4.4.2 Use a larger static light source.

4.4.3 Use multiple light sources

4.4.4 Use shading cloth

4.5 represents complex surfaces.

Chapter V Representing the Shape and Outline of Objects

5. 1 depth tip

5.2 perspective deformation

+0 deformation as depth hint

Manipulation deformation

5.3 Tone change

5.4 Size of light source

5.4. 1 large light source and small light source

5.4.2 Distance from the object

5.5 direction of light source

5.5. 1 side out of operation

5.5.2 Use up the top.

Auxiliary lamp

Increase background depth

5.6 Ideal Tone Change

5.6. 1 shooting architecture: reduce tonal changes.

5.6.2 Shooting cylindrical objects: increasing color changes.

5.6.3 Pay attention to the surface details.

5.7 Shooting a box with a smooth surface

5.7. 1 Use a dark background.

5.7.2 Eliminate the direct reflection at the top of the box.

5.7.3 Eliminate the direct reflection from the side of the box.

5.7.4 Use other methods to eliminate direct reflection.

5.8 Use direct reflection

Chapter VI Shooting Metal Objects

6. 1 shooting plane metal objects

6. 1. 1 stands for the light and shade of metal objects.

6. 1.2 Angle determination system

6. 1.3 for metal objects.

6. 1.4 Keep the brightness of metal objects.

6. 1.5 Normal exposure when shooting metal objects

6. 1.6 Keep metal objects dark

6. 1.7 Effective compromise

6. 1.8 Control the effective size of the light.

6. 1.9 Keep the metal object square.

6.2 shooting metal box

6.2. 1 light background

Transparent background

6.2.3 Smooth background

6.3 Shooting spherical metal objects

6.3. 1 masking

6.3.2 Keep the camera away from the light source.

Use a tent

6.4 Other methods

6.4. 1 Polarizing filter

Black magic

flatting agent

6.5 Applicable shooting conditions

Chapter VII Shooting Glass Objects

7. Principles involved in1

7.2 Problems faced

7.3 corresponding solutions

7.4 Two opposite methods of using light

7.4. 1 Light is used for bright vision.

Dark field lamp

7.5 Combining the two methods

7.6 Final modification

7.6. 1 Clearly display the surface of glassware.

backlight

7.6.3 Minimize the dividing line.

Prevent glare

Eliminate irrelevant reflections

7.7 Complexity of non-glass objects

7.7. 1 stands for the liquid in the glass.

7.7.2 Use liquid as lens.

7.7.3 opaque secondary subjects

7.8 Determine the main subjects.

Chapter VIII Lighting Warehouse

8. 1 single light source setting

8. 1. 1 basic settings

8. 1.2 light source size

8. 1.3 Relationship between light source and skin texture.

8. 1.4 Place the main light source

8. 1.5 Choose the better side.

8. 1.6 wide position lamp and short position lamp

8. 1.7 high-performance glasses

8.2 Other light sources

8.2. 1 Additional light source

Background lighting

8.2.3 light source

Strong spotlight

8.2.5 Edge light source

8.3 Tone and intonation

8.3. 1 dark call light

8.3.2 Bright and bright

Maintain color tone

8.4 Shooting models with dark skin

8.5 Portrait Photography in Daily Environment

8.5. 1 window as the main light source.

8.5.2 The sun is used as the light source of hair.

8.5.3 Combination of studio light source and ambient light source

8.5.4 Rational use of light sources

8.6 Rules are not immutable.

Chapter IX Restrictions

9. 1 characteristic curve

9. 1. 1 perfect curve

9. 1.2 Bad camera

9. 1.3 overexposure

9. 1.4 Underexposure

9. 1.5 true CCD

9.2 Two Basic Photography Skills

9.3 white to white

9.3. 1 "white dialogue" scene exposure

9.3.2 "White dialogue" scene is used up.

9.3.3 Shooting Object and Background

9.3.4 Use an opaque white background

9.3.5 Use a translucent white background.

Use mirror background

9.3.7 Keep the size of the small background.

9.4 black to black

9.4. 1 "black to black" scene exposure

9.4.2 "Black to Black" scene is used up.

9.4.3 Shooting Object and Background

9.4.4 Use an opaque black background

9.4.5 Use a smooth black surface.

9.4.6 Keep the subject away from the background.

9.5 Histogram

9.5. 1 prevention issues

Overtreatment

9.6 curve

9.7 Make full use of basic knowledge

Chapter 10 Mobile light source

Choose the right flash.

10.2 correct exposure

10.2. 1 The flash determines the exposure.

10.2.2 use a flash photometer.

10.2.3 calculation of exposure

10.2.4 calculation of flash index

10.2.5 use flash index

Get more light

10.3. 1 focus flash

10.3.2 Multiple flashlights

10.3.3 multiple flash

10.4 to improve the quality of light source

10.4. 1 reflective lighting

10.4.2 feather lighting

10.5 different light colors

10.5. 1 light source color

10.5.2 nonstandard light source

10.5.3 color mixing

10.5.4 remedial measures

10.6 light consumption in different periods

10.7 uses the studio light source as the external light source.