Download Minimalist Lighting: Professional Techniques for Studio by Kirk Tuck PDF

By Kirk Tuck

Photographers find out how to create awesome images with this straightforward, simple, money-saving method of operating within the studio. whereas exploring to be had lights and kit, this reference tackles the worries of studio photographers concerning an excessive amount of equipment, no longer enough room, and a strict finances and gives substitute options for photographing matters. counsel for a way to establish a studio in a constrained volume of area, what sort of gear works top for various results, and discovering nice instruments for funds costs make this a really entire reference.

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Additional resources for Minimalist Lighting: Professional Techniques for Studio Photography

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You can use this knowledge to get more mileage out of your one-light setups. You can always make use of “shiny boards” to increase the distance that light travels . . to videotape an interview in a building that did not have electrical power. There were no windows in the area where we needed to shoot, and the low level of light would have degraded the image (because of the need to increase the gain on the shooting camera). I watched in amazement as two veteran grips set up a series of “shiny boards” (bright, silver-surfaced reflectors) and bounced the direct sun from one board to the next.

With a well-chosen collection of three battery-operated flash units and a means of triggering them, you will find that you have a tremendous amount of creative lighting capability at your disposal. Batteries. These units are uniformly power hungry, but just because the flashes you’ve chosen were designed to run using four AA batteries doesn’t mean your energy choices are limited. If you use your portable flash every once in a while and generally find yourself using power settings around 1/4 power, you will probably do best with regular, disposable alkaline batteries.

Next we’ll try the light directly over the top of the orange. Basically, we get the same result, but the image is flatter or less contrasty. This is because some of the light is reflected back onto the orange by the blue paper it is sitting on, which acts as a fill source. The bounced light has taken on the blue color of the paper and pollutes the lovely color of our orange. Why don’t we try lighting the orange from directly overhead? This closeup of the top-lit orange shows that it’s not much of an improvement.

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