掌握摄影照明艺术：技巧与案例解析

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"《PHOTOGRAPHIC LIGHTING》是一本专注于摄影灯光技巧和图像的专著，由Bill Hurter撰写，第二版于2008年出版。这本书强调了在摄影中，尤其是数字摄影中，光线的重要性无可匹敌，它是摄影的本质要素，甚至"photography"一词本身就源于希腊语中的"光"和"画"。书中深入探讨了如何理解并有效利用光线，以及它在创造优秀照片中的核心作用。作者Don Blair是一位著名的肖像摄影师和教育家，他倡导摄影师要学会"看见光"，即通过观察和理解光线的性质、方向、强度和阴影，能够准确解读任何照片的照明手法。这是一项需要长期观察和练习的技能，掌握技术层面的照明并非一日之功，而是需要不断学习和探索的领域。书中分享了许多伟大摄影师的工作实例，展示了丰富的照明应用，这些不仅可以提升摄影技巧，还鼓励读者成为光线的深度研究者，欣赏并欣赏光线的微妙变化和无穷可能性。例如，Don Blair善于运用自然元素如树木来控制光线，通过侧光和反光板增加模特或被摄主体的柔和光效，创造出令人惊叹的效果。本书不仅涵盖了理论知识，还包括实践指导，提供了一系列实用的技巧和方法，适合想要提升摄影水平的摄影师们。作者Bill Hurter本人的经历也融入其中，他的故事和经验使读者能更深入地理解光照在摄影中的实际应用。《PHOTOGRAPHIC LIGHTING》是一部旨在帮助摄影师建立坚实光照理论基础，并将这些知识融入日常拍摄实践的宝典。无论你是初学者还是资深摄影师，这本书都能提供宝贵的洞见和灵感，助力你在光影的艺术世界中不断进步。"

ing light waves get reflected at many different angles.

When a photographer uses a reflector, it is essentially to

distort the light in this way, reflecting it unevenly (or, put

another way, so that it diffuses the light).

Translucent surfaces, such as the rip-stop nylon that is

used in photographic umbrellas and softboxes, transmit

some of the light and scatter some of it. This is why these

diffusion-lighting devices are always less intense than

sources that emit raw, undiffused light. Some of the en-

ergy of the light waves is being discarded by scattering,

and the waves that are transmitted strike the subject at

THE SCIENCE OF LIGHT 15

The shade of late afternoon is soft, but it also lacks sparkle. To give the

light a little extra snap, photographer J.B. Sallee fired an on-camera

flash that was set to output at two stops less than the daylight.

many different angles, which is the reason the light is

seen as diffused.

Refraction. When light waves move from one

medium to another, they may change both speed and

direction. Moving from air to glass (i.e., to a denser

medium), for example, causes light to slow down. Light

waves that strike the glass at an angle will also change di-

rection, known as refraction. Knowing the degree to

which glass elements will bend light (the refractive index)

allows optical engineers to design extremely high-quality

lenses, capable of focusing a high-resolution image onto

a flat plane (the film or image sensor). In such compli-

cated formulas, now almost exclusively designed by com-

puters, the air surfaces between glass elements are just as

important to the optical formula of the lens as the glass

surfaces and their unique shapes.

In lighting devices, refraction is used with spotlights

and spots with Fresnel lenses. These lenses, placed close

to the light source, gather and focus the light into a con-

densed beam that is more intense and useful over a

greater distance than an unfocused light of the same in-

tensity. Spotlights are theatrical in nature, allowing the

players on stage to be lit from above or the side by in-

tense but distant lights, but they also have many applica-

tions in contemporary photography.

Absorption. When light is neither reflected nor

transmitted through a medium, it is absorbed. Absorp-

tion usually results in the production of heat but not

THE SCIENCE OF LIGHT 17

FACING PAGE, TOP—A dog’s coat, especially a dog

like this with a lot of wrinkles, absorbs most

of the light that strikes it. The only area of the

dog’s face that efficiently reflects light is his

eyes. The general rule of thumb with light-ab-

sorbing subjects is to give more exposure to

the image if you want to record detail in those

areas. Photograph by Kersti Malvre.

FACING PAGE,

BOTTOM—Learning to see light takes patience

and knowing what to look for. Read the main

shadows to determine the direction and qual-

ity of the light. Read the catchlights (specular

highlights) in the eyes and you can see the po-

sition of the light(s) relative to the person.

Here Craig Kienast photographed his subject

very close to a window to exploit the soft, di-

rectional light. The light falls off rapidly once

it enters the large room. Note that light enter-

ing a portal, like a window or a doorway, fol-

lows the Inverse Square Law as if it were an

artificial light source.

RIGHT—Cherie Steinberg

Coté used a Mole-Richardson 1K (1000W) light

as the sole light source. The light was outfitted

with a Fresnel lens, making it a spot with a

narrow beam. It was positioned high and to

camera left and feathered off the model’s face

and onto the rear wall to get the best of the

light’s edge effects. Feathering is necessary

with direct lights (undiffused) to avoid over-

lighting the subject, a condition that often

results in blown-out highlights.

light. Black flock or velvet backgrounds are often used

to create dense black backgrounds because they absorb

all of the light striking their surfaces.

The Intensity of Light

Another characteristic of light has to do with intensity.

Illumination from a light source declines considerably

over distance, which is to say that the light grows weaker

as the distance increases between the light source and the

subject. Light from sources other than the sun (see side-

bar to the left) falls off predictably in its intensity.

Put precisely, the Inverse Square Law states that the

reduction or increase in illumination on a subject is in-

versely proportionate to the square of the change in dis-

tance from the point source of light to the subject. For

example, if you double the distance from the light source

to the subject, then the illumination is reduced to one

quarter of its original intensity. Conversely, if you halve

the distance, the light intensity doubles. This law holds

true because, at a greater distance, the same amount of

energy is spread over a larger area. Thus any one area will

receive less light.

The Color of Light

When we look at a visible light source, it appears to be

colorless or white. However, it is actually a mixture of

18 THE BEST OF PHOTOGRAPHIC LIGHTING

LEFT—Nancy Emmerich created this beau-

tiful image of the Denver City Hall decked

out for the Christmas holidays. She used a

Mamiya RB67 and 37mm lens. The image

was exposed for 30 seconds at f/16 on

Fuchichrome Velvia (ISO 50) transparency

film. She has not only photographed the

beautifully lit building, but the light

sources as well.

FACING PAGE—Laser light is

monochromatic, coherent, and extremely

directional, so it stays intact over great

distances. Jerry Ghionis talked his way

into using a very elaborate laser special-

effects system to photograph twelve

brides in twelve different high-fashion

dresses. He persuaded an Australian fash-

ion magazine to give the laser company

credit in the layout; otherwise renting

such equipment would have been in excess

of $4000 (Australian) per hour. Jerry se-

lected a venue with stage lighting, and a

smoke machine was used to intensify of

the laser beams. The images were captured

with a Canon 20D with an 85mm f/1.8

lens. He used the camera on a tripod,

shooting at

of a second at f/4–5.6. The

only Photoshop that was used was color

correction, selective Gaussian blur, and

skin retouching.

THE SUN AND LIGHT INTENSITY

The Inverse Square Law is true for all light sources but not particularly

relevant for the sun. This because of the minuteness, here on earth, of

any potential change in our relative distance from the sun. For all prac-

tical purposes, then, the sun is infinitely bright; it is the only light

source that does not fall off appreciably as the distance from the light

source increases. Of course, this is not the case with window light,

where the light-emitting window, rather than the sun, is the light

source. As all photographers who have ever had to work with window

light know, light does fall off the farther you get from the window.

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