This highly respected text, now in paperback, has been thoroughly updated and revised. It introduces a logical theory of photographic lighting --- one that teaches beginning photographers to predict results before setting up lights. This is not primarily a how-to book with only set examples for photographers to follow. Rather, Light: Science and Magic provides the reader with a comprehensive theory of the nature and principles of light to allow individual photographers to use lighting to express their own creativity. Numerous photographs and illustrations provide clear examples of the theories delineated within the text, while sidebars highlight special lighting questions. Although styles of photographic lighting continue to change, Light: Science and Magic does not go out of fashion because it is not based on style; rather it is based on the behavior of light. These principles will not change until fundamental physics does.

Table of Contents:
Preface; Acknowledgments; How to Learn Lighting: What Are |The Principles|?, Why Are The Principles Important?, How Were The Example Subjects Chosen For This Book?, Do I Need To Do These Exercises?, What Kind Of Camera Do I Need?, What Lighting Equipment Do I Need?, What Else Do I Need To Know To Use This Book?, What Is The |Magic| Part Of This Book?; Light: The Raw Material of Photography: What is Light?, How Photographers Describe Light, Light Versus Lighting, How The Subject Affects The Lighting; The Management of Reflection and the Family of Angles: Types of Reflection, Diffuse Reflection, Direct Reflection, The Family of Angles, Glare Reflection, Applying the Theory; Surface Appearance: The Photographer as Editor, Capitalizing on Diffuse Reflection, Capitalizing on Direct Reflection, Competing Surfaces, Complex Surfaces; Revealing Shape and Contour: Depth Clues, Perspective Distortion, Tonal Variation, The Size of the Light, The Direction of the Light, How Much Tonal Variation Is Ideal?, The Glossy Box, Use Direct Reflection?; Metal: Flat Metal, Metal Boxes, Round Metal, Other Resources, Where Else Do These Techniques Apply?; The Case of the Disappearing Glass: The Principles, The Problems, Some Solutions, Objectives, Two Attractive Opposites, The Best of Both Worlds, Some Finishing Touches, Complications by Nonglass Subjects, Recognizing the Principle Subject; An Arsenal of Lights: The Single Light Set-up, Additional Lights, Mood and Key, Dark Skin, Available Light Portraiture, Setting Rules?; The Extremes: Why are the Extremes Important?, The Characteristic Curve, Using Every Resource, White-on-White, Black-on-Black, New Principles?; Traveling Light: Choosing the Right Strobe, Getting the Exposure Right, Getting More Light, Improving the Quality of Light, Lights of Different Colors, Lights of Different Duration, Is Studio Lighting Possible on Location?; Appendix One: Let There Be Light: Continuous Light, Flash, Making the Light Do What We Want; Appendix Two: The Complete Toolbox: Light Measurement, Positioning Devices, Diffusion Materials, Reflectors, Light Blockers, Spot Devices, Filters, Cases, Risk Management, Index