By Bill Hurter
The one approach i will be able to describe this e-book is as one who is full of a couple of good lit pictures and not anything else. for those who learn the outline in Amazon you are going to suppose the e-book comprises a few guide and outlines of ways the pictures have been lit. when you open the ebook you fast research that there's little or no to profit from the pages within.
You are deciding to buy a way journal and guessing how the photographs are lit, it will provide you with larger images to examine and price a ways much less.
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Additional resources for Existing Light Techniques for Wedding and Portrait Photography
In this groomsman’s portrait, an assistant carefully positioned a reflector for fill. BELOW—The light in this pleasing bridal portrait is exquisite. Direct sunlight bounces off a terracotta wall onto the bride and, at the same time, produces a column of wonderful lowangle light. The photographer, Parker J. Pfister, knowing a good thing when he sees one, decided to photograph the light and not the bride, making her a well placed component in his superbly balanced design. 0 at ISO 200. Here, the backlighting bounces into the Fuzzyflector to create the key light on her face and body.
BELOW—Window light is elegant and powerful. Here, soft window light creates the lighting pattern on the couple, while direct sunlight spills across the floor, providing a natural fill in to the frontal planes of the faces. Photo by Kevin Jairaj. Window light can be every bit as beautiful as studio light—in fact, it can sometimes be more desirable. Here, Jeff and Julia Woods positioned their bride far enough from a large window to create a full-length portrait. The farther you move your subject from the window, the more the light falls off (loses intensity) and the more contrast there will be on the subject.
Because the Lastolite Tri-Grip is so easily configured, the fill light can be placed almost anywhere you desire. WORKING WITH EXISTING LIGHT 49 site direction as the main light. Be careful about bouncing light in from beneath your subjects, as well; lighting coming from below the eye–nose axis is generally unflattering. Also note that reflecting bright sunlight onto the subject may make the subject uncomfortable and cause them to squint. Achieving this correct positioning may require an assistant to set and adjust the reflector while the photographer evaluates the scene through the viewfinder.