Creative Lighting Techniques for Studio Photographers [Anglais] [Broché]

Dave Montizambert

Amherst Media, Inc.

110 pages Paperback

"What would you do if you were asked to photograph an ice sculpture, or a hand-blown glass perfume bottle, or a glowing mug of beer, or a silverware setting or a brushed steel appliance, or a black car with chrome details?" asks photographer/author Dave Montizambert. If given any of the assignments listed, would you know how to go about lighting the subjects correctly and effectively? Lighting--especially of reflective surfaces--can be tricky. The proper lighting of a surface or subject can a take dull, boring subject and turn it into a prize winning illustration. Proper lighting on your models can turn a so-so portrait into a dramatic statement. Lighting is important, understanding how to use it correctly can make or break your career. I used to think experience, experimentation and a good eye could lead the way to properly lighting a scene or subject. That doesn't always work, however. If you don't know how you got the perfect lighting on your subject, you won't know how to duplicate it if you want that lighting for another subject. You have to know the rules. Creative Lighting Techniques for Studio Photographers explains lighting in clear language and then demonstrates the various techniques with large, clean illustrations. The photographer's vocabulary of lighting terminology is explained and illustrated with equal proficiency. After reading this volume, you will know what specular lighting, edge transfers, diffused values, obstruction distance and separation lighting are. You will understand distant relationships of light to subject and main light to distance (to subject) to ambient ratios. Better than that you will know why and how light works, falls off, changes energy and reflects and how these elements effect your images. Any questions you may have after reading the text and studying the illustrations will probably be answered in the "`Tips' boxes." "Tech Tips" feature additional technical information to help you apply the techniques discussed in the chapter's text. "Quick Reminder" boxes repeat important terms and concepts introduced in each chapter. "Did You Know?" boxes feature even more helpful information concerning the use of techniques just learned. "Data for Frames" boxes tell all about the technical specifications of the images, and includes exposure information, camera, lens and film data. To illustrate the thoroughness of the chapters in this book, I will use the portion "Light Painting 101," from Section Three. The term, "light Painting" is explained; the reader is then referred to a previous page where light painting is being used by a photographer for a commercial shot. Three schematics of the set up are shown, along eight with illustrative photographs. Exact information as to the filters, light sources, props and other equipment are below the photographs and schematics. Exposure times and f-stops are described. A page is dedicated to describing how the props that were to be photographed using this technique were prepared. What more could you ask for? Dave Montizambert's book, Creative Lighting Techniques, builds on the lighting foundation pioneered by Dean Collins. For nineteen years Dave and his brother/partner, Mark, have created images for McDonald's Foods, Motorola, TriStar Pictures, Warner Brothers and No Fear Sports Gear, among others. Montizambert lectures internationally on lighting, metering/zoning and digital image manipulation. He is also an instructor for lighting and advertising at Western Academy Photo College in Victoria, B.C. He has written many articles that have appeared in such prestigious publications as Professional Photographer and PhotoMedia Magazine. So, what would I do if I were asked to photograph an ice sculpture, or a hand-blown glass perfume bottle, or a glowing mug of beer, or a silverware setting or a brushed steel appliance, or a black car with chrome details? I'd say, yes, I can do that. Reading this book has given me the confidence that I can successfully tackle any lighting problem that I might encounter with future assignments.