By Michael Freeman
In just about all images it’s the standard of sunshine that makes or breaks the shot. for pro photographers, chasing the sunshine, looking forward to it, occasionally assisting it, and eventually taking pictures it's a consistent preoccupation — and for a few an obsession.
Drawing on 4 many years of doing simply this, Michael Freeman takes an easy yet sensible method of reacting to, and taking pictures photography’s most crucial commodity.
There are only 3 sections titled ready, Chasing, and supporting: ready explains the types of lights that photographers can expect and plan for, whereas Chasing explores the temporary, serendipitous mild that photographers need to paintings quick to take advantage of. aiding, the ultimate and such a lot technical part, specializes in the talents and strategies for reinforcing, decreasing, or another way controlling gentle, masking every thing from in-the-field capturing offerings to technical adjustments to post-production.
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Extra info for Capturing Light: The Heart of Photography
HARD LIGHT GRAPHIC GEOMETRY Key Points Abstract Images Graphic Design High Contrast Hard light Normal sunlight The intensity of this hard light creates denser shadows, which play a greater part than usual in photographs. Standard sunlight gives reasonably strong contrast and hard edges to shadows, but not to the extent of the lighting in the Greenberg House image shown opposite. After gray light, the most commonly rejected and unloved is the hard-edged light from a high sun. You’ll find more advice published about how to avoid it than how to use it.
Water buffalo, Yalong River, Sichuan, 2009 33 WA I T I N G HARD LIGHT Stark City Contrast There’s a reason for the order in which I’ve started this book, even though it might at first look a bit haphazard. The first entry, on soft sunlight, is a perennial favorite and unassailably pleasant, but I followed this with an opposite gray light. Now, with hard light, we have another group of normally rejected candidates. This is all aimed at undermining the idea that a good use of lighting is always in the service of being conventionally attractive.
As much as any high-volume publishing to a wide audience can tolerate, there was a negative undercurrent running through the book. This was not to be the Athens of tourist brochures, but instead a more complicated city that had grown to be quite ugly and polluted. This ran through the text, and the choice of pictures reflected it. The editors wanted this to be an interesting book rather than just a pretty one. A particular issue was how to deal with the many famous ancient monuments. Naturally, I shot around them over the month of shooting in every way possible—including every kind of light from before dawn to dusk—yet always knowing that the editors needed an edge to it all.
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