Light Architecture 2 By Urs Recher
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In the second, revised edition of his book, the author explains his personal ideas and experiences on the subject of light. Contrary to the first edition, some pictures have been replaced and the print quality has improved decisively.
This impressive and beautiful guide features in-depth tutorials based on Urs Recher's photographs, each illustrating a different lighting setup. The book contains 50 different examples, covering studio, mixed light and daylight shots. The visuals alone provide all the guidance one might need to recreate the shots, and the content is easily accessible for amateurs and professionals alike.
In the first half of the show Urs goes into detail about the science and theory of lighting, explaining concepts such as the inverse square law, the angle of incidence and the effects of various modifiers. He also demonstrates how to get the very best results from softboxes. Karl then proceeds to explain and demonstrate the effect of a number of more specialist modifiers before putting them to use to create a moody portrait image. Using precise control, he shows, step-by-step, how to balance multiple lights and how to use pockets of light for a striking final result.
Hi Amr, what Urs was explaining is that as with all softboxes that have an homogenous illuminated surface is that the light will escape from the front in a 180 angle. Using a thin strip box on the model to create the same catchlight in the eye would not give the same lighting result on the face as this set up because in this set up from the models position it looks like a thinner strip box because of the angle it is being viewed, however the exposure levels hitting the face are very different because one side of the softbox is close to one side of the face but the other end of the softbox is far away meaning that the light is much less powerful from that end. This means we have a more gradual fall off in exposure on the models face, which you would not have if you used a thinner strip box facing directly at the model.
I would highly recommend this as one of the essential modules in the lighting theory section. I stumbled over it when I was looking for information on the modifiers for the creative portrait 2.0 show and it answered a bunch of questions for me.
1. Hard light: Looking at the light of a point light source, we will see very clearly defined shadows. On a background or underground there is either light or shadow, but nothing in between, with no gradations. Even the finest details provoke a clear shadow. The structure of any object (e.g. textile, skin) is pointed out very clearly.
A very hard light source is the only one that does not change its characteristics if we vary the distance (but according to the inverse square law it does change the power). The shadows remain the same: very sharp.
The shadows on the undergrounds and backgrounds are still clearly visible, even when they are not sharply defined anymore. Big parts of these shadows are graduated and a small cores hadow still exists. Small and fine details, however, do not appear. The texture of our object is now shown in lower contrast and is therefore not as clear as in hard light.
Soft light still increases the contrast of the object a little, but less than a hard one. The color saturation finally is somewhere in between the one derived from a hard light (high) and a diffused light (low). Being soft, our light source got a certain size (it is not a point anymore) and the distance from it becomes very important:
The closer we get, the bigger the light source becomes (seen from the perspective of the object or model). This means that our light becomes softer when we get closer, and harder, when we use it over larger distances.
A light of about 100 by 100cm placed at 4 meters from the model has the same hardness as a source of half the size (50 by 50 cm) at half the distance (2 meters). Due to the inverse square law, we have to expect other effects (higher contrast when placing the light closer to the object or model). When we bring the 100 by 100 cm softbox to half the distance (we will have to reduce the power by about 2 f-stops) the light will be a lot softer.
The following light shapers can be used as diffused lights:Big softboxes at short distances for rather small objects.Indirect lights reflected by several bright walls. (These walls have to be neutral in color to avoid a color shift).Light-tents wrapped around the object.
shootSIN 2018 is a great platform for photographers to connect, engage, share and communicate with each other. From engaging seminars, fun live demos to practical hands-on session with medium format cameras, digital imaging software and lighting systems, you will surely find a visit to shootSIN well worth your time and effort.
Beauty and Body PhotographyUrs will introduce the advanced amateur photographer to studio light control, and provide professional photographers with many practical tips and tricks along the way. He will also explain the basic rules of light design and carry out several live-shootings, giving explanations of the setup step by step. The observations will be put into practice in small groups. Participants are to take photographic notes and to work with the model in the finished setup. 2b1af7f3a8