- Paperback: 400 pages
- Publisher: Routledge; 5 edition (February 27, 2015)
- Language: English
- ISBN-10: 0415719402
- ISBN-13: 978-0415719407
- Product Dimensions: 7.8 x 1 x 9.2 inches
- Shipping Weight: 2.4 pounds (View shipping rates and policies)
- Average Customer Review: 412 customer reviews
Amazon Best Sellers Rank:
#46,316 in Books (See Top 100 in Books)
- #3 in Books > Arts & Photography > Photography & Video > Equipment, Techniques & Reference > Lighting
- #6 in Books > Arts & Photography > Photography & Video > Equipment, Techniques & Reference > Flash Photography
- #30 in Books > Arts & Photography > Photography & Video > Equipment, Techniques & Reference > Digital Editing
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"This book offers a set of tools that a photographer can use to promote their own sense of art and beauty. While your photographs reflect your individual taste and vision, the tools in this book give you options to highlight or diminish the elements in the photograph and as a result, lift those images to something more, something even better. The authors have done an amazing job by writing about a difficult subject in an easy style that allows the reader to fully understand the concepts of lighting and how it will shape your images." - Apogee Photo Magazine
About the Author
Fil Hunter was a highly respected commercial photographer specializing in still life and special effects photographs for advertising and editorial illustration. During a career spanning over three decades, he worked for such clients as America Online, US News, Time-Life Books, Life Magazine (27 covers), the National Science Foundation, and National Geographic. He taught photography at the university level and served as technical consultant on a number of photographic publications. Mr. Hunter won the Virginia Professional Photographer's Grand Photographic Award three times.
Steven Biver has over twenty years of experience as a commercial photographer specializing in portraits, still life, photomontage, and digital manipulation. His client list includes Johnson & Johnson, USDA, William & Mary College, Conde Nast, and IBM. He has been honored with awards from Communication Arts, Graphis, HOW Magazine, and Adobe, who have also included his work on a Photoshop 'extras' disc to inspire other photographers. He is also the co-author of FACES: Photography and The Art of Portraiture, another Focal Press publication.
Paul Fuqua has worked as an editorial and wildlife photographer for more than thirty-five years. He started his own production company in 1970 and is dedicated to teaching through the use of visuals. Paul has written and produced educational and training material in a variety of fields including law, public safety, history, science, and the environment. For the last ten years he has produced educational material dealing with the natural sciences and the need for global habitat stewardship. Paul is also a co-author of FACES: Photography and The Art of Portraiture for Focal Press.
Top customer reviews
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This is the only one I read so far that starts with the fundamentals of what is light and how it behaves, and leads the reader down the thought process required for proper illumination of any subject starting from first principles.
Many other books deal with the pure portrait lighting (Master Lighting Guide for Portrait Photographers comes to mind), only flash photography (Joe MacNally's excellent Sketching Light) or lighting gear (Syl Arena's Speedliter's Handbook).
"Light, Science and magic" is explicitly positioned as a textbook on lighting and only lighting. The reader is supposed to know his or her camera and how to get a proper exposure.
There are a few useful hints geared towards digital photographers for instance on how underexposing makes sense for digital where overexposing did for film, the histogram and the effects of over manipulation, the curves etc. The only remark I would question in the whole book is on page 278, where the authors suggest that Ansel Adams' zones would be 0 on the left side and X on the right side of the histogram - that would be true if the sensor covered the whole dynamic range of the possible pictures, from pitch black to clean, sun-lit snow.
The book starts with a recap of what is light. Full disclosure, I was trained a physicist and considering this book is subtitled "An introduction to photographic lighting" I was expecting heavy-handed approximations. Not so. The subject matter is exposed in a very simple yet not simplistic way. This is the first of all the photography books I read that properly explains polarizing versus non-polarizing reflections and the proper usage of polarizing filters with a very striking example (figures 4.11 and 4.13).
It then addresses all the classic problems: diffuse versus direct reflection (how to shoot shiny surfaces, flat versus round objects, from small objects to buildings etc.) and proposes a number of solutions to the usual and more unusual issues such as with white on white or black on black pictures.
(I am surprised that the words "dynamic range" do not seem appear in the book.)
It ends with portrait and how to manage the real world lighting indoors or outdoors, strobes and speedlights but without dwelling on such techniques as bouncing flash as much as many other books I have seen.
All in all an excellent reference book on lighting, one I found myself thumbing through over and over even before I was done reading it the first time.
If you are looking for an overview of digital photography including composition, exposure, color management etc., this book is probably too specialized (try one of my favorites in that category, one I open regularly: Digital Photography Lighting For Dummies).
If what you want is a collection of hints and tips on how to get a nice picture in such or such situation, check out Scott Kelby's The Digital Photography Book,Part 2 and Part 4 (not part 3). If you are interested in composition, pausing etc., have a look at Picture Perfect Practice.
However if what you want is a solid foundation for how light behaves and what are the classic thought processes when addressing lighting issues, this is the book for you.
This was purchased specifically to get a better handle on lighting highly reflective and circular, reflective objects. The information and tips in this book allowed me to quickly get a grasp on some of the watch-outs so I could quickly dial in some techniques before a test shoot.
Information is well organized chapter-by-chapter and easy to scan. This is a book that I'll keep in my library for a long time—mostly as a reference. I would recommend at least a basic understanding/practice with off-camera lighting or light technique. Some of the concepts explained later in the book reference ideas that are initially hard to grasp until you've gone through the trial-and-error of testing light on products or people.
My library is mostly electronic these days. Shelf space for real books is reserved for only the most special, seasoned or useful writings. A new print book almost always never makes the grade. For photographers this book easily makes the cut.
The book delves reasonably deep into topics, but is arranged so you can assimilate new methods and tips with sporadic readings. Yes... this means this is a good bathroom reader.
This is certainly the best $21 I've spent in a great while.
Authors are not just knowledgeable about the photographic lighting (and light in general, providing a beautiful simplified explanation of laws of physics related to light), but they are also brilliant in teaching and conveying their knowledge.to readers.
I'd say that this book is a must for any photographer who already knows the basics of photography, is confident with his/her camera, and wants to do a step further in utilizing both the equipment, and more importantly, the light, to produce better photographs.
This might not be a book for everyone, and I've certainly seen pros that couldn't tell you why they place lights the way they do, other than the fact that it's worked for them in similar situations in the past. This book helps you break out of those conventional schemes and helps you understand how to manipulate light both under studio and on location to achieve your personal vision.
I would go so far as to say this should be required reading for any photographer regardless of level of expertise. Don't just read the book though, I encourage you to use your own equipment to work through each of the lighting scenarios and achieve the results for yourself. You'll work for your portfolio at the end of it and taken your photography by at least one level if not more by the end!