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

By Kirk Tuck

Photographers find out how to create extraordinary images with this easy, uncomplicated, money-saving method of operating within the studio. whereas exploring to be had lights and gear, this reference tackles the troubles of studio photographers concerning an excessive amount of equipment, no longer sufficient room, and a strict finances and provides replacement options for photographing matters. tips for a way to establish a studio in a restricted quantity of area, what sort of apparatus works top for various results, and discovering nice instruments for funds costs make this a really accomplished reference.

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There should be no change of content such as the removal of distracting elements. DOCUMENTARY PHOTOGRAPHY ◀ Container movements Even if circumstances— such as safety concerns— prevent you from being close to the action, there is always a way to pull the viewer into the shot. Here, by holding the camera with an ultrawide-angle lens close to the operator’s head, I made him appear large compared to the workers behind. Converging parallel lines draw attention into the “back” of the image. ▲ Intermezzo Dancers of the Singapore Dance Theatre relax between rehearsals in an image that may not be first choice for publicity or promotion, but is an affectionately truthful portrayal of a moment in the lives of hard-working dancers.

TRY THIS One effective way to work with colors is to ensure the main colors in your pictures are complementary pairs—such as red–green, yellow– violet, orange–blue. Try to capture subject matter with complementary colors; it is not as easy as you might expect. But you will find that, with practice, complementary color pairs will catch your eye even if you are not consciously looking for them. As you refine your technique, see if you can use color complementaries to separate out elements in your image—use the language of color to express and communicate your response to a scene.

4m) If you double the distance between a light source and the surface that light falls on, brightness at the surface is not just halved. For a small, or “point,” light source, without a reflector or lens for focusing output, doubling the distance reduces intensity by four times (by a factor of two squared). This is the inverse square law. Although commonly applied to studio and accessory flash lighting, the inverse square law gives inaccurate results since nearly all luminaires (sources of light) use reflectors or lenses, so light distribution is not even and equal in all directions.

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