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Download Capturing Light: The Heart of Photography by Michael Freeman PDF

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 aiding it, and at last taking pictures it's a consistent preoccupation — and for a few an obsession.

Drawing on 4 a long time of doing simply this, Michael Freeman takes an easy yet sensible method of reacting to, and taking pictures photography’s most vital commodity.

There are only 3 sections titled ready, Chasing, and assisting: ready explains the categories of lighting fixtures that photographers can count on and plan for, whereas Chasing explores the brief, serendipitous gentle that photographers need to paintings fast to use. supporting, the ultimate and such a lot technical part, specializes in the abilities and methods for boosting, decreasing, or in a different way controlling mild, protecting every little thing from in-the-field capturing offerings to technical adjustments to post-production.

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Additional resources for Capturing Light: The Heart of Photography

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If the latter, why not take the extreme and push it further? We’re back to graphic imagery, for which hard light can definitely do favors. Besides, there were these blocky, faceless statues waiting for the sculptor (labor is divided here, with the top craftsmen concentrating on the more demanding face of the Buddha). At this time of day, the sun is pounding down across vertical surfaces—raking light, as we’ll see shortly—and that was putting a lot of attention onto the yet-to-be-carved face blocks.

The angle at which the sun strikes the surface is the same as what you could call the viewing and shooting angle. In the picture here of a canoe being slowly paddled across a lake, the sun has only just risen, which you can tell because I was shooting from another such boat, close to the surface. The ripples, however, which help make the shot, are reflecting different things, and the dark bands are from the trees out of frame behind. Refractions are another way in which the sun interacts with the scene.

Geometrical abstraction is arguably what hard light does best, and it’s no coincidence that my example here is a Los Angeles house by the renowned architect Ricardo Legorreta, not the first or last Mexican architect to design specifically for the cloudless skies of southern California and northern Mexico. Everything here is straight-line sculptural and hard-edged, and specifically created to be overlaid with shadows and enhanced by contrast. • S E PA R AT I NG C O L O R CONTRAST & SHADOWS The total deliberate effect comes from combining the rectilinear geometry of the structure (below) with strong colors (top left, one of these from the Southern Californian sky), and hard-edged shadow shapes (top right).

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