HOW TO USE THIS BOOK
The lighting drawings in this book are intended as a guide to the lighting set-up rather than as absolutely accurate diagrams. Part of this is due to the variation in the photographers' own drawings, but part of it is also due to the need to represent complex set-ups in a way which would not be needlessly confusing.
Distances and even sizes have been compressed and expanded: and because of the vast variety of sizes of soft boxes, reflectors, bounces and the like, we have settled on a limited range of conventionalized symbols. Sometimes, too, we have reduced the size of big bounces, just to simplify the drawing. None of this should really matter, however. After all, no photographer works strictly according to rules and preconceptions: there is always room to move this light a little to the left or right, to move that light closer or further away, and so forth, according to the needs of the shot. Likewise, the precise power of the individual lighting heads or (more important) the lighting ratios are not always given; but again, this is something which can be "finetuned" by any photographer wishing to reproduce the lighting set-ups in here. We are however confident that there is more than enough information given about every single shot to merit its inclusion in the book: as well as purely lighting techniques, there are also all kinds of hints and tips about commercial realities, photographic practicalities, and the way of the world in general.
The book can therefore be used in a number of ways. The most basic, and perhaps the most useful for the beginner, is to study all the technical information concerning a picture which he or she particularly admires, together with the lighting diagrams, and to try to duplicate that shot as far as possible with the equipment available.
A more advanced use for the book is as a problem solver for difficulties you have already encountered: a particular technique of back¬lighting, say, or of creating a feeling of light and space. And, of course, it can always be used simply as a source of inspiration.
The information for each picture follows the same plan, though some individual headings may be omitted if they were irrelevant or unavailable. The photographer is credited first, then the client, together with the use for which the picture was taken. Next come the other members of the team who worked on the picture: stylists, models, art directors, whoever. Camera and lens come next, followed by film. With film, we have named brands and types, because different films have very different ways of rendering colours and tonal values. Exposure comes next: where the lighting is electronic flash, only the aperture is given, as illumination is of course independent of shutter speed. Next, the lighting equipment is briefly summarised — whether tungsten or flash, and what sort of heads — and finally there is a brief note on props and backgrounds. Often, this last will be obvious from the picture, but in other cases you may be surprised at what has been pressed into service, and how different it looks from its normal role.
The most important part of the book is, however, the pictures themselves. By studying these, and referring to the lighting diagrams and the text, you can work out how they were done. The following is a key to the symbols used in the three-dimensional and plan view diagrams.
All commonly used elements such as standard heads, reflectors etc., are listed. Any special
or unusual elements involved will be shown on the relevant diagrams themselves.
Download
http://rapidshare.com/files/133321068/Lighting_the_Nude_-_Top_Photography_Professionals_Share_Their_Secrets.pdf
or
http://tinyurl.com/56doe8
The lighting drawings in this book are intended as a guide to the lighting set-up rather than as absolutely accurate diagrams. Part of this is due to the variation in the photographers' own drawings, but part of it is also due to the need to represent complex set-ups in a way which would not be needlessly confusing.
Distances and even sizes have been compressed and expanded: and because of the vast variety of sizes of soft boxes, reflectors, bounces and the like, we have settled on a limited range of conventionalized symbols. Sometimes, too, we have reduced the size of big bounces, just to simplify the drawing. None of this should really matter, however. After all, no photographer works strictly according to rules and preconceptions: there is always room to move this light a little to the left or right, to move that light closer or further away, and so forth, according to the needs of the shot. Likewise, the precise power of the individual lighting heads or (more important) the lighting ratios are not always given; but again, this is something which can be "finetuned" by any photographer wishing to reproduce the lighting set-ups in here. We are however confident that there is more than enough information given about every single shot to merit its inclusion in the book: as well as purely lighting techniques, there are also all kinds of hints and tips about commercial realities, photographic practicalities, and the way of the world in general.
The book can therefore be used in a number of ways. The most basic, and perhaps the most useful for the beginner, is to study all the technical information concerning a picture which he or she particularly admires, together with the lighting diagrams, and to try to duplicate that shot as far as possible with the equipment available.
A more advanced use for the book is as a problem solver for difficulties you have already encountered: a particular technique of back¬lighting, say, or of creating a feeling of light and space. And, of course, it can always be used simply as a source of inspiration.
The information for each picture follows the same plan, though some individual headings may be omitted if they were irrelevant or unavailable. The photographer is credited first, then the client, together with the use for which the picture was taken. Next come the other members of the team who worked on the picture: stylists, models, art directors, whoever. Camera and lens come next, followed by film. With film, we have named brands and types, because different films have very different ways of rendering colours and tonal values. Exposure comes next: where the lighting is electronic flash, only the aperture is given, as illumination is of course independent of shutter speed. Next, the lighting equipment is briefly summarised — whether tungsten or flash, and what sort of heads — and finally there is a brief note on props and backgrounds. Often, this last will be obvious from the picture, but in other cases you may be surprised at what has been pressed into service, and how different it looks from its normal role.
The most important part of the book is, however, the pictures themselves. By studying these, and referring to the lighting diagrams and the text, you can work out how they were done. The following is a key to the symbols used in the three-dimensional and plan view diagrams.
All commonly used elements such as standard heads, reflectors etc., are listed. Any special
or unusual elements involved will be shown on the relevant diagrams themselves.
Download
http://rapidshare.com/files/133321068/Lighting_the_Nude_-_Top_Photography_Professionals_Share_Their_Secrets.pdf
or
http://tinyurl.com/56doe8
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