Indeholder "Dedications", "Introduction", "Chapter 1. How to learn lighting", " What are 'The Principles'?", " Why are the Principles Important?", " How were the Example Subjects Chosen for This Book?", " Do I Need to Do These Exercises?", " What Kind of Camera Do I Need?", " Should I Shoot Film or Digital?", " What Lighting Equipment Do I Need?", " What Else Do I Need to Know to Use This Book?", "Chapter 2. Light: The Raw Material of Photography", " What Is Light?", " How Photographers Describe Light", " Brightness", " Color", " Contrast", " How the Subject Affects the Lighting", " Transmission", " Direct and Diffuse Transmission", " Absorption", " Reflection", "Chapter 3. The Management of Reflection and the Family of Angles", " Types of Reflection", " Diffuse Reflection", " The Inverse Square Law", " Direct Reflection", " Breaking the Inverse Square Law", " The Family of Angles", " Polarized Direct Reflection", " Is It Polarized Reflection or Ordinary Direct Reflection?", " Turning Ordinary Direct Reflection into Polarized Reflection", " Applying the Theory", "Chapter 4. Surface Appearances", " The Photographer as Editor", " Capitalizing on Diffuse Reflection", " The Angle of Light", " The Success and Failure of the General Rule", " The Distance of Light", " Doing the Impossible", " Using Diffuse Reflection and Shadow to Reveal Texture", " Capitalizing on Direct Reflection", " Competing Surfaces", " Try a Lens Polarizing Filter", " Use a Still Larger Light", " Use More Than One Light", " Use a Gobo", " Complex Surfaces", "Chapter 5. Revealing Shape and Contour", " Depth Clues", " Perspective Distortion", " Distortion as a Clue to Depth", " Manipulating Distortion", " Tonal Variation", " The Size of the Light", " Large Lights versus Small Lights", " Distance from the Subject", " The Direction of the Light", " Light on Side", " Light above the Subject", " Fill Light", " Adding Depth to the Background", " How Much Tonal Variation Is Ideal?", " Photographing Buildings: Decreasing Tonal Variation", " Photographing Cylinders: Increasing Tonal Variation", " Remember Surface Detail", " The Glossy Box", " Use a Dark Background", " Eliminate Direct Reflection from the Box Top", " Eliminate Direct Reflection from the Box Sides", " Finish with Other Resources", " Use Direct Reflection?", "Chapter 6. Metal", " Flat Metal", " Bright or Dark?", " Finding the Family of Angles", " Lighting the Metal", " Keeping the Metal Bright", " What Is a 'Normal' Exposure for Metal?", " Keeping the Metal Dark", " The Elegant Compromise", " Controlling the Effective Size of the Light", " Keeping the Metal Square", " Metal Boxes", " A Light Background", " A Transparent Background", " A Glossy Background", " Round Metal", " Camouflage", " Keeping the Light off the Camera", " Using a Tent", " Other Resources", " Polarizing Filters", " Black Magic", " Dulling Spray", " Where Else Do These Techniques Apply?", "Chapter 7. The Case of the Disappearing Glass", " The Principles", " The Problems", " The Solutions", " Two Attractive Opposites", " Bright-Field Lighting", " Dark-Field Lighting", " The Best of Both Worlds", " Some Finishing Toucheds", " Defining the Surface of Glassware", " Illuminating the Background", " Minimizing the Horizon", " Stopping Flare", " Eliminating Extraneous Reflections", " Complications from Nonglass Subjects", " Liquids in Glass", " Secondary Opaque Subjects", " Recognizing the Principal Subject", "Chapter 8. An Arsenal of Lights", " The Single-Light Setup", " The Basic Setup", " Light Size", " Skin Texture", " Where to Put the Main Light", " Left Side? Right Side?", " Broad Lighting or Short Lighting", " Eyeglasses", " Additional Lights", " Fill Lights", " Background Lights", " Hair Lights", " Kickers", " Rim Lights", " Mood and Key", " Low-Key Lighting", " High-Key Lighting", " Staying in Key", " Dark Skin", " Available-Light Portraiture", " A Window as a Main Light", " The Sun as a Hair Light", " Combining Studio and Environmental Light", " Keeping the Light Appropriate", " Setting Rules?", "Chapter 9. The Extremes", " The Characteristic Curve", " The Perfect 'Curve'", " A Bad Camera", " Overexposure", " Underexposure", " A Real CCD", " Using Every Resource", " White-on-White", " Exposing White-on-White Scenes", " Lighting White-on-White Scenes", " Subject and Background", " Using an Opaque White Background", " Using a Translucent White Background", " Using a Mirror Background", " In Any Case, Keep the Background Small", " Black-on-Black", " Exposing Black-on-Black Scenes", " Lighting Black-on-Black Scenes", " Subject and Background", " Using an Opaque Black Background", " Using a Glossy Black Surface", " Keep the Subject away from the Background", " The Histogram", " Preventing Problems", " Overmanipulation", " Curves", " New Principles?", "Chapter 10. Traveling Light", " Choosing the Right Strobe", " Getting the Exposure Right", " Letting the Strobe Determine the Exposure", " Using a Flash Meter", " Calculating the Exposure", " Calculating the Guide Number", " Using the Guide Number", " Getting More Light", " Focused Flash", " Multiple Strobes", " Multiple Flash", " Improving the Quality of Light", " Bounce Flash", " Feathering the Light", " Lights of Different Colors", " Why Is the Color of the Light Important?", " Nonstandard Light Sources", " Do the Colors Mix?", " The Remedies", " Lights of Different Duration", " Is Studio Lighting Possible on Location?", "Index".

En hel stor bog alene om lyssætning! Super! ( )

Very useful introduction to the properties of light, reflection and photographic lighting

Best reading about lighting..and eye opener ( )

One of the best photography books I've read. It's helped me understand the *science* behind photography, instead of just the art, and it's literally altered the way I see the world. (I now walk around and think, "Look! There's a direct reflection off my boot. To photograph that well, I need to move the light over there, or get a light large enough to completely fill the family of angles...")

The drawback for me right now is I don't do studio photography, nor with a 20-month-old will I be able to do studio photography any time soon. So it's a bit overkill for the photos I take everyday. ( )

The 2nd edition was great. I expect this to be just as good.