Paperback: 128 pages
Publisher: Amherst Media (August 12, 2014)
Language: English
ISBN-10: 1608957179
ISBN-13: 978-1608957170
Product Dimensions: 7.4 x 0.4 x 9.9 inches
Shipping Weight: 13.4 ounces (View shipping rates and policies)
Average Customer Review: 4.8 out of 5 stars See all reviews (19 customer reviews)
Best Sellers Rank: #1,012,517 in Books (See Top 100 in Books) #244 in Books > Arts & Photography > Photography & Video > Equipment, Techniques & Reference > Lighting #570 in Books > Arts & Photography > Photography & Video > Equipment, Techniques & Reference > Digital Editing #1763 in Books > Arts & Photography > Photography & Video > Digital Photography
Some books tell you a few things; others are game changers. For me this book is a game changer. I do know a bit about light. But this book made me realize that I have only been speaking “pigeon-light.” A tourist, not a native. Now, I am looking for difference in catchlights, and edges, and shadows in everything now. I see the world differently. And I love books that do that.And it is not a giant tome. Olson is so clear and easy to understand, it’s a pleasure to read. The first chapter does an amazing job of getting a diverse audience on the same page, using the same terminology. I loved her inclusion of a system of naming, saving and archiving photos to you don’t get lost in a “wilderness of files” later on. Been there.I also like the simple explanations she gives of technical choices, so you really understand, for example, why you want photograph RAW rather than jpeg files if possible. She says a RAW file is like an raw egg with the possibility of being made into a thousand different things from frittatas to soups, whereas a .jpeg is like a hard-boiled egg. The possibilities are much more limited. She did not mention the word pixel once, but I totally got it.Chapter Two to has a wonderful, concise collection of composition tips. Good lighting can improve at badly composed photo, but it won’t fix a boring composition.After setting the table, she starts the light banquet in Chapter 3, The Language of Light.Once she helps you see the world differently, she goes into practical ways to create the lighting you want, using different light sources, angles, and modifiers. She always helps you see how light tells stories. But, once again, she makes it very easy to grasp. On one page, she compared lighting modifiers like grid, softbox and beauty dish on a billiard ball.
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