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PHOTOGRAPHIC LIGHTING entries in Index to How To Do It Information
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Detailed entries for one subject from the INDEX TO HOW TO DO IT INFORMATION.
Click on a see also (sa) or tracing (xx) to view detailed entries about a related subject.
The entries are in alphabetical order by magazine name and then in chronological sequence.
To obtain a copy of any magazine article contact your local public library or the publisher.

PHOTOGRAPHIC LIGHTING
sa   AVAILABLE LIGHT PHOTOGRAPHY
sa   COPY PHOTOGRAPHY LIGHTING
sa   FASHION & GLAMOUR PHOTOGRAPHY LIGHTING
sa   HIGH-SPEED PHOTOGRAPHY LIGHTING
sa   LIGHT BOX
sa   LIGHT STAND
sa   MACRO PHOTOGRAPHY LIGHTING
sa   MICROPHOTOGRAPHY LIGHTING
sa   MODELING LIGHT
sa   PAINTING WITH LIGHT (PHOTOGRAPHIC)
sa   PHOTOFLASH
sa   PHOTOFLOOD
sa   PHOTOGRAPHIC LIGHTING REFLECTOR & DIFFUSER
sa   PHOTOMICROGRAPHY LIGHTING
sa   POLARIZED-LIGHT PHOTOGRAPHY
sa   PORTRAIT PHOTOGRAPHY LIGHTING
sa   RING LIGHT
x   MOTION PICTURE LIGHTING
x   VIDEO LIGHTING
xx   ELECTRIC LIGHTING
xx   PHOTOGRAPHY

The vocabulary of light. Diagrams and photos define the meaning of six words used in talking about photographic lishting. They are SPECULAR, DIFFUSE, CONTRAST, BRIGHTNESS, DIRECTION, and COLOR.
CAMERA 35 Apr 1981 (v.26#4) pg. 48

Lessons in light. Two basic setups for studio still life. (1) Single backlight. (2) Translucent subjects.
CAMERA 35 Oct 1981 (v.26#10) pg. 48

Tips on achieving a late afternoon lighting effect when using a small hand-held, off-camera flash unit covered by a number 85 filter, or similar warm color gels.
DARKROOM & CREATIVE CAMERA TECHNIQUES Nov-Dec 1984 (v.5#6) pg. 24

Modifying daylight. Tips on using reflected sunlight and fill-flash to improve outdoor photographs.
DARKROOM & CREATIVE CAMERA TECHNIQUES Sep-Oct 1985 (v.6#5) pg. 40

Artificial-lighting expertise. Part 1. Understanding the inverse square law.
DARKROOM & CREATIVE CAMERA TECHNIQUES Jul-Aug 1986 (v.7#4) pg. 24

Artificial-lighting expertise. Part 2. Manipulating the inverse square law.
DARKROOM & CREATIVE CAMERA TECHNIQUES Nov-Dec 1986 (v.7#6) pg. 44

Getting good light. Advice on altering, controlling, hiding, and/or flaunting light to achieve good photographs.
DARKROOM & CREATIVE CAMERA TECHNIQUES May-Jun 1987 (v.8#3) pg. 36

Tip on studio lighting to prevent eyeglass glare.
DARKROOM & CREATIVE CAMERA TECHNIQUES Sep-Oct 1987 (v.8#5) pg. 2

Studio top lighting, one of the most useful types of light, is better than sunlight because it comes from a large source and makes much of its own fill. Diffused top lighting is ideal for product photography where a single lighting set-up has to serve many subjects.
DARKROOM & CREATIVE CAMERA TECHNIQUES Mar-Apr 1988 (v.9#2) pg. 22

Lighting reflection control. Part 1. Lighting and reflections, surface reflections and how to use them, and direct light.
DARKROOM & CREATIVE CAMERA TECHNIQUES Sep-Oct 1991 (v.12#5) pg. 61

Lighting reflection control. Part 2. Light source and size, reflections from glass surfaces, and color saturation.
DARKROOM & CREATIVE CAMERA TECHNIQUES Nov-Dec 1991 (v.12#6) pg. 54

Lighting reflection control. Part 3. Reflection intensity, polarizers, common conversions (sprays, etc.), windows and glass, using mirror images, red-eye, and using creative reflections.
DARKROOM & CREATIVE CAMERA TECHNIQUES Jan-Feb 1992 (v.13#1) pg. 38

Photographic shadow control. Why shadow control is essential in all types of photography. Part 1. Geometry and shadows, contour shadows, and cast shadow problems.
DARKROOM & CREATIVE CAMERA TECHNIQUES Jul-Aug 1992 (v.13#4) pg. 30

Photographic shadow control. Part 2. Aiming, lighting contrast, surface texture, blend shadows, additive shadow control, and subtractive control.
DARKROOM & CREATIVE CAMERA TECHNIQUES Sep-Oct 1992 (v.13#5) pg. 27

Photographic shadow control. Part 3. Flare, on-camera flash shadows, filter control, previewing shadows, shadow color, shadowless lighting, and silhouettes.
DARKROOM & CREATIVE CAMERA TECHNIQUES Nov-Dec 1992 (v.13#6) pg. 60

Light and color. A tutorial for photographers on the nature of light. Part 1. Color temperature and light sources.
DARKROOM & CREATIVE CAMERA TECHNIQUES Jul-Aug 1993 (v.14#4) pg. 38

Light and color. A tutorial for photographers on the nature of light. Part 2. Controlling color. Looks at meters, metering strategies, and filters.
DARKROOM & CREATIVE CAMERA TECHNIQUES Sep-Oct 1993 (v.14#5) pg. 36
Added Info DARKROOM & CREATIVE CAMERA TECHNIQUES Mar-Apr 1994 (v.15#2) pg. 2

A review of commercially available portable lighting kits and their uses.
INDUSTRIAL PHOTOGRAPHY Nov 1971 (v.20#11) pg. 22

Lighting in a suitcase. Part 2. Selection of minimum lighting for color work.
INDUSTRIAL PHOTOGRAPHY Jan 1972 (v.21#1) pg. 20

Color photography under electric lighting. Description of a system utilizing tristimules values to arrive at the proper filtration for a given light source.
INDUSTRIAL PHOTOGRAPHY Jan 1973 (v.22#1) pg. 22

Lighting problems: Handling fluorescent and mixed illumination.
INDUSTRIAL PHOTOGRAPHY Nov 1973 (v.22#11) pg. 15

Improvised set-up places star-shaped highlights on still-life subjects at just the desired places.
INDUSTRIAL PHOTOGRAPHY Jun 1975 (v.24#6) pg. 6

How to calculate correct exposure without a light meter. Method is based on a set of exposure tables first published in 1940. It involves available light at various times of day. These are then modified by weather and subject allowances to arrive at the desired exposure.
INDUSTRIAL PHOTOGRAPHY May 1978 (v.27#5) pg. 28

Combining transmitted and reflected illumination in the same photograph. Tips on taking pictures of illuminated screens (such as radar screens or microfilm viewers) and still getting enough light on the person using the device.
INDUSTRIAL PHOTOGRAPHY Nov 1978 (v.27#11) pg. 22

Light your way to success. Tips for performing "lighting alchemy".
INDUSTRIAL PHOTOGRAPHY Nov 1983 (v.32#11) pg. 26

Simple lighting techniques that put "punch" back into product photography.
INDUSTRIAL PHOTOGRAPHY Nov 1984 (v.33#11) pg. 30

Let their be light. Illuminating lessons in location scouting and lighting from a traveling professional photographer.
INDUSTRIAL PHOTOGRAPHY Apr 1985 (v.34#4) pg. 28

Understanding light. The behaviors of tungsten and flash light sources.
INDUSTRIAL PHOTOGRAPHY Jan 1986 (v.35#1) pg. 20

Lighting to go. Three set-ups and solutions to on-location problem shots.
INDUSTRIAL PHOTOGRAPHY Apr 1986 (v.35#4) pg. 26

Banking on lighting. Four photographers share their techniques for using diffused light sources for a variety of product (still-life) shots.
INDUSTRIAL PHOTOGRAPHY Jul 1987 (v.36#7) pg. 14

Let there be light. Studio strobes on location require extra effort, but "controlling the sun" is worth the effort. Some tips.
INDUSTRIAL PHOTOGRAPHY Jul 1988 (v.37#7) pg. 30

The shape-shifters of light. Rules of thumb on how each light-modifying device actually affects the quality of light in the studio or on location.
INDUSTRIAL PHOTOGRAPHY Feb 1991 (v.40#2) pg. 16

Make light work for you. Five typical outdoor lighting conditions are examined.
MECHANIX ILLUSTRATED #621 Feb 1980 (v.76) pg. 42

Create interesting color photos by placing colored plastic in front of your floodlight or flash.
MODERN PHOTOGRAPHY Mar 1970 (v.34#3) pg. 82

Tips on selecting and controlling daylight (natural light) in critical color filming.
MODERN PHOTOGRAPHY Jul 1970 (v.34#7) pg. 10

A primer on movie lighting, probably the single most important element.
MODERN PHOTOGRAPHY May 1971 (v.35#5) pg. 18

Dramatic effects in moving pictures can be achieved by using a single light source as both light and a prop in the scene.
MODERN PHOTOGRAPHY Sep 1971 (v.35#9) pg. 82

Tips on the use of artificial light and the prevention of unsightly mistakes.
MODERN PHOTOGRAPHY May 1972 (v.36#5) pg. 30

How to shoot good color slides at home with existing light and with more controlled studio lights.
MODERN PHOTOGRAPHY Nov 1972 (v.36#11) pg. 90

Use a slide projector to project a "zebra" light pattern on models. Then photograph models without any other light source.
MODERN PHOTOGRAPHY Jun 1976 (v.40#6) pg. 109

Umbrella-bounced lighting eliminates shadows which can hide the detail found in delicate still life photos, such as small artwork, pottery pieces, etc.
MODERN PHOTOGRAPHY Dec 1976 (v.40#12) pg. 113

Simple lighting tricks make all the difference in movie making.
MODERN PHOTOGRAPHY Nov 1979 (v.43#11) pg. 56

How to solve your inside problems. Pointers on lighting and shooting interiors are excerpted from "The Book of Color Photography".
MODERN PHOTOGRAPHY Jan 1980 (v.44#1) pg. 102

Indoor-lighting tips for your home video movies.
MODERN PHOTOGRAPHY Feb 1981 (v.45#2) pg. A6

Basics of indoor lighting for video recording.
MODERN PHOTOGRAPHY Mar 1981 (v.45#3) pg. A11

Enlightened lighting. Some theory, and a lot of practical help, in controlling lighting like a professional.
MODERN PHOTOGRAPHY Jan 1982 (v.46#1) pg. 82

Soft lighting, the key to the professional look. How to tame natural and artificial light to achieve professional results.
MODERN PHOTOGRAPHY Mar 1984 (v.48#3) pg. 56

Tip: Use a high light (top light) to separate subject from the background.
MODERN PHOTOGRAPHY Jan 1987 (v.51#1) pg. 18

How to understand and control lighting ratios for enhanced picture quality.
MODERN PHOTOGRAPHY May 1988 (v.52#5) pg. 26

Lighting without fighting. Effective studio techniques for corporate and industrial professionals. A look at the three basic elements to manipulate in studio lighting.
PHOTO ELECTRONIC IMAGING Apr 1992 (v.35#4) pg. 39

Video lighting techniques for a professional look. Some tips.
PHOTO ELECTRONIC IMAGING May 1993 (v.36#5) pg. 8

Correct set lighting for digital photography.
PHOTO ELECTRONIC IMAGING 1996 (v.39#7) pg. 39

Lighting for digital. Part 1. Lighting for scan-back cameras.
PHOTO ELECTRONIC IMAGING May 1997 (v.40#5) pg. 34

Lighting for digital. Part 2. Single-capture digital cameras.
PHOTO ELECTRONIC IMAGING Jul 1997 (v.40#7) pg. 24

Lighting for digital. Part 3. Compositing foregrounds with backgrounds.
PHOTO ELECTRONIC IMAGING Aug 1997 (v.40#8) pg. 42

Lighting for digital. An overview of the various considerations (color, flash, continuous, tungsten, fluorescent, HMI, ...).
PHOTO ELECTRONIC IMAGING Feb 1999 (v.42#2) pg. 34

Tips on what lighting equipment is necessary for a moderate size industrial photo installation.
PHOTO METHODS FOR INDUSTRY Aug 1971 (v.14#8) pg. 23

Controlling light for photography. Part 1. A look at the six qualities of light (brightness, color, contrast, direction, specular, diffuse).
PHOTO TECHNIQUES Nov-Dec 1998 (v.19#6) pg. 32

Controlling light for photography. Part 2. The light and shade relationship.
PHOTO TECHNIQUES Jan-Feb 1999 (v.20#1) pg. 17

Controlling light for photography. Part 3. The Kodak Colorama. Lighting on a grand scale.
PHOTO TECHNIQUES May-Jun 1999 (v.20#3) pg. 31

Controlling light for photography. Part 4. Examining what can be accomplished with just one studio-type light (flash or tungsten) to produce all the variations of the six fundamental qualities of light.
PHOTO TECHNIQUES Sep-Oct 1999 (v.20#5) pg. 28

Controlling light for photography. Part 5. Photographing with one quartz mini-light and an umbrella-style reflector.
PHOTO TECHNIQUES Nov-Dec 1999 (v.20#6) pg. 30

How to master mixed lighting and make it work for you. A look at color temperature, film, filters and mixed lighting situations. How to get good color photographs under mixed light conditions.
PHOTOGRAPHIC Oct 1978 (v.7#6) pg. 82

Discussion of the four most important photographic characteristics of light: intensity, color, quality, and direction.
PHOTOGRAPHIC Dec 1981 (v.10#8) pg. 14

The 1-4-1-4-1-4-1 method for contrast control. How to expose an extremely contrasty scene without resorting to the use of artificial lighting.
PHOTOGRAPHIC Aug 1982 (v.11#4) pg. 29

How to take advantage of natural (solar) backlighting in photographing silhouettes, transparent objects, translucent objects, reflections, etc.
PHOTOGRAPHIC May 1983 (v.12#1) pg. 26

Raising the "key" by lighting through the background.
PHOTOGRAPHIC Dec 1983 (v.12#8) pg. 90

The fallacy of soft lighting.
PHOTOGRAPHIC Feb 1984 (v.12#10) pg. 12

Collins on basics. Subtractive contrast control.
PHOTOGRAPHIC Feb 1984 (v.12#10) pg. 66

Collins on basics. Total control of three-dimensional contrast.
PHOTOGRAPHIC Apr 1984 (v.12#12) pg. 58

Collins on basics. Exposing for the diffused highlight.
PHOTOGRAPHIC Jul 1984 (v.13#3) pg. 54

Produce a product illustration using strong backlighting on the subject, plus frontal fill lighting as needed.
PHOTOGRAPHIC Jul 1984 (v.13#3) pg. 68

Collins on basics. Using time exposure to make sophisticated photo illustrations possible with a minimum of photo equipment.
PHOTOGRAPHIC Aug 1984 (v.13#4) pg. 24

Hard light and hard shadows. Part 1. Hard frontal light.
PHOTOGRAPHIC Sep 1984 (v.13#5) pg. 16

Collins on basics. Key (overall tone) and contrast lighting.
PHOTOGRAPHIC Sep 1984 (v.13#5) pg. 34

Hard light and hard shadows. Part 2. Angular hard light.
PHOTOGRAPHIC Oct 1984 (v.13#6) pg. 10

Build your own go-anywhere box light which incorporates two small flash units and a modeling light. The units fold up flat for storage. Est. cost: $50 (plus flash units).
PHOTOGRAPHIC Oct 1984 (v.13#6) pg. 85

The basics and beauty of shooting with backlight.
PHOTOGRAPHIC May 1985 (v.14#1) pg. 38

Lighting reflective objects. One example of photographing a small tabletop setup using props that are reflective in nature.
PHOTOGRAPHIC Dec 1985 (v.14#8) pg. 54

The five qualities of light. Design and photograph a still life which depects a traditional occupation and takes into account the five qualities of photographic lighting.
PHOTOGRAPHIC Jul 1986 (v.15#3) pg. 74

Basic photo techniques: Lighting.
PHOTOGRAPHIC Aug 1986 (v.15#4) pg. 39

Build-it-yourself softlight innovations. (1) Lighting "tents" made from white plastic containers which are translucent. (2) Soft light made from a circular fluorescent bulb and two small photo slave strobes mounted inside a large white plastic container (reflector).
PHOTOGRAPHIC Aug 1986 (v.15#4) pg. 72

35mm SLR super course. Part 11. Lighting basics.
PHOTOGRAPHIC Aug 1987 (v.16#4) pg. A

Small product lighting. Floating a subject on a white background.
PHOTOGRAPHIC Sep 1987 (v.16#5) pg. 36

The beauty of the single-mainlight source. Tips from a professional.
PHOTOGRAPHIC Feb 1988 (v.16#10) pg. 48

White, gray, and black. Tips from an advanced color theory class on lighting for each specific area when shooting color transparencies in the studio.
PHOTOGRAPHIC Mar 1988 (v.16#11) pg. 24

School of photography. Lesson 4. Lighting basics.
PHOTOGRAPHIC Apr 1988 (v.16#12) pg. 42+

Pure light. Creating Renaissance lighting for photographing a classic flower arrangement.
PHOTOGRAPHIC Aug 1988 (v.17#4) pg. 34

Conquering the flare and glare when photographing into the sun.
PHOTOGRAPHIC Nov 1988 (v.17#7) pg. 30

Collins on basics. Photographing highly reflective surfaces is illustrated in this lighting setup for photographing a motorcycle.
PHOTOGRAPHIC Nov 1988 (v.17#7) pg. 98

Collins on basics. Lighting for depth, form, dimension and softness.
PHOTOGRAPHIC Jan 1989 (v.17#9) pg. 76

The Basics of Lighting. Learning to see and shape lighting characteristics. Covers exposure, color characteristics, studio lighting and more.
PHOTOGRAPHIC Jun 1989 (v.18#2) pg. 42+

Collins on basics. Creating a sunset mood at high-noon.
PHOTOGRAPHIC Aug 1989 (v.18#4) pg. 62

Bounce Lighting. An explanation of the characteristics of direct and indirect lighting, and how to accurately control them.
PHOTOGRAPHIC Nov 1989 (v.18#7) pg. 24

By dawn's early light. Exploring the three phases of morning light and technique.
PHOTOGRAPHIC Dec 1989 (v.18#8) pg. 36

Specular control highlighting. Tips on lighting and photographing an object which combines chrome and black rubber, two materials which often exhibit "specular highlights" (the mirror image of the light source is reflected in the object).
PHOTOGRAPHIC May 1990 (v.19#1) pg. 38

Special section: All about lighting. Tips on direction, quality, color, exposure meters, equipment, portraits, etc.
PHOTOGRAPHIC May 1990 (v.19#1) pg. 49

Comp book. Combining specular and diffused light along with bright color on a monochrome background.
PHOTOGRAPHIC Jun 1990 (v.19#2) pg. 102

Using the sky as the world's largest softbox for lighting huge objects.
PHOTOGRAPHIC May 1992 (v.21#1) pg. 36

Peaceful light. Advice on taking outdoor photos when a canopy of clouds envelops the sky and the sunlight is diffused.
PHOTOGRAPHIC May 1992 (v.21#1) pg. 89

Film and exposure. Special section examines creative possibilities by "breaking the rules". (1) Role of light meters. (2) Backlighting tips. (3) Multiple flash pops. (4) High-speed infrared film. (5) Sunrise & sunset lighting. (6) Light as the subject of the photo. (7) Choosing between color and b&w.
PHOTOGRAPHIC May 1993 (v.22#1) pg. 58

Ten favorite studio lighting setups of professional photographers. Setups shown for portraits, glamor, food, interiors, pets, textiles, and jewelry.
PHOTOGRAPHIC Jun 1994 (v.23#2) pg. 18

School of photography. Part 4. Lighting and flash.
PHOTOGRAPHIC Jul 1994 (v.23#3) pg. 61

Three-dimensional contrast. Lighting a sphere illustrates the concepts of diffused value, shadow, shadow edge transfer, specular highlight, and specular edge transfer.
PHOTOGRAPHIC Dec 1994 (v.23#8) pg. 44

Photographic's super course of photography. Lighting and flash.
PHOTOGRAPHIC Jul 1995 (v.24#3) pg. 63

Ten tough lighting situations and their solutions.
PHOTOGRAPHIC Mar 1996 (v.24#11) pg. 32

Back-to-basics. Introduction to lighting and flash.
PHOTOGRAPHIC Jul 1996 (v.25#3) pg. 61

Low-angle light. Taking advantage of the warm and dramatic low-angle natural illumination provided by the sun in the early morning or late afternoon.
PHOTOGRAPHIC Feb 1997 (v.25#10) pg. 16

Location lighting 2. Motion picture lighting. A review of equipment and techniques.
PHOTOMETHODS Mar 1975 (v.18#3) pg. 21

Location lighting 1. Lighting for stills. A review of equipment and techniques.
PHOTOMETHODS Mar 1975 (v.18#3) pg. 21

Consider using scale models to solve photographic lighting problems. Tips on making your own fiber optic probe for light measurements inside the model.
PHOTOMETHODS May 1976 (v.19#5) pg. 8

Lighting for studio photography. An introduction to lighting equipment and placement in the studio.
PHOTOMETHODS Sep 1976 (v.19#9) pg. 36

Studio lighting. Ideas you can use and equipment you can build for your lighting needs.
PHOTOMETHODS Dec 1976 (v.19#12) pg. 27

The relationship of the intensity of the main light and the fill light can be important factors in controlling the contrast of the final picture in studio photography. How experimentation can help you learn to control contrast in the studio.
PHOTOMETHODS Jul 1977 (v.20#7) pg. 46

Practical methods in lighting for video. Part 1. Setting the stage.
PHOTOMETHODS May 1980 (v.23#5) pg. 30

Practical methods in lighting for video. Part 2. Lighting people, the most common situations.
PHOTOMETHODS Jul 1980 (v.23#7) pg. 28

Practical methods in lighting for video. Part 3. Lighting people, the complications.
PHOTOMETHODS Aug 1980 (v.23#8) pg. 42

Practical methods for lighting in video. Part 4. On location lighting.
PHOTOMETHODS Sep 1980 (v.23#9) pg. 29

Practical methods in lighting for video. Part 5. The real world of location shooting.
PHOTOMETHODS Oct 1980 (v.23#10) pg. 76

Differences in lighting for still pictures and motion pictures is discussed and tips given for typical situations.
PHOTOMETHODS Apr 1981 (v.24#4) pg. 39

How the lighting for a colored night-time photograph of 7 jet aircraft was arranged and executed.
PHOTOMETHODS Apr 1982 (v.25#4) pg. 44

How to balance your photographs to take advantage of the lighting found in in-plant situations.
PHOTOMETHODS Apr 1982 (v.25#4) pg. 47

Small-product photography techniques. Includes a suggested list of lighting equipment.
PHOTOMETHODS Oct 1985 (v.28#10) pg. 45

Breaking the inverse-square law as it applies to illumination for photographic purposes.
PHOTOMETHODS Aug 1986 (v.29#8) pg. 10
Added Info PHOTOMETHODS Jan 1987 (v.30#1) pg. 8

Unscrambling mixed light. How to overcome the bane of improperly color-balanced situations
PHOTOMETHODS Jan 1987 (v.30#1) pg. 29

Portable strobes. Solving on-location lighting problems when shooting black-and-white film. Some tips.
PHOTOMETHODS Feb 1987 (v.30#2) pg. 33

Bumbershoots, lightbanks, et al. Light-control techniques for the studio. Tips on learning to modify light.
PHOTOMETHODS Mar 1987 (v.30#3) pg. 28

Lighting for video. How to simulate a film look on video.
PHOTOMETHODS Nov 1987 (v.30#11) pg. 32

Packing the right light. Ideas for developing a standard lighting kit containing the items you are likely to need under filming (videotaping) conditions ranging from ideal to nearly impossible.
PHOTOMETHODS Apr 1989 (v.32#4) pg. 3

Lighting tips for photographing a three-dimensional diorama.
PHOTOMETHODS Sep 1989 (v.32#9) pg. 12

Trouble testers for photographers. Test boxes for testing batteries, plugs, cords, shutters, sockets, lamps, flash guns, flash bulbs, etc.
POPULAR MECHANICS Mar 1966 (v.125#3) pg. 171

Simple-to-remember guide lets you estimate the proper camera settings without a light meter.
POPULAR MECHANICS Aug 1968 (v.130#2) pg. 116

Using moire patterns to create interesting patterns in photos.
POPULAR PHOTOGRAPHY Feb 1967 (v.60#2) pg. 88

Sunset exposure calculator.
POPULAR PHOTOGRAPHY Sep 1969 (v.65#3) pg. 74

Tips on taking color pictures under fluorescent light.
POPULAR PHOTOGRAPHY Feb 1970 (v.66#2) pg. 18

The Hattersley Class: The art of lighting to photograph white on white.
POPULAR PHOTOGRAPHY Aug 1971 (v.69#2) pg. 64

Light your motion pictures like a pro. What you need and what it does.
POPULAR PHOTOGRAPHY Aug 1971 (v.69#2) pg. 94

Tips on shooting your movies indoors. Consideration must be given to lighting, electrical power available, and lamp location.
POPULAR PHOTOGRAPHY Mar 1972 (v.70#3) pg. 104

Tips on shooting movies indoors. Consideration must be given to lighting, electrical power available and lamp location.
POPULAR PHOTOGRAPHY May 1972 (v.70#5) pg. 104

Use and placement of portable, easy-to-mount, relatively small lights, both incandescent and flash.
POPULAR PHOTOGRAPHY Nov 1972 (v.71#5) pg. 92

The Hattersley Class: Basic lighting of plane surfaces. Illumination of a cube illustrates the basic lighting considerations.
POPULAR PHOTOGRAPHY Jun 1973 (v.72#6) pg. 112

The Hattersley Class. Basic lighting of curved surfaces.
POPULAR PHOTOGRAPHY Apr 1974 (v.74#4) pg. 84

The Hattersley class for beginners. How a cube can teach you to see light. Part 1. A series of lighting and exposure drills done with an all black and an all white cube.
POPULAR PHOTOGRAPHY Jun 1976 (v.78#6) pg. 76

Make nine test negatives with your own film and developer. Combine under-, normal-, and over-development with under-, normal-, and over-exposure to learn more about handling difficult lighting conditions.
POPULAR PHOTOGRAPHY Jul 1976 (v.79#1) pg. 93

Using film-data sheets to take good pictures without a light meter.
POPULAR PHOTOGRAPHY Aug 1976 (v.79#2) pg. 76

The Hattersley class for beginners. How a cube can teach you to see light. Part 2. Avoiding the pitfalls. How the cubes from part 1 were supposed to look.
POPULAR PHOTOGRAPHY Aug 1976 (v.79#2) pg. 106

Seven lessons in lighting. The basic principles for making more powerful pictures.
POPULAR PHOTOGRAPHY Sep 1976 (v.79#3) pg. 128

How to simulate room light with photofloods and flash.
POPULAR PHOTOGRAPHY Nov 1976 (v.79#5) pg. 110

Studio in an attache case. How to pack 24 essential studio items into a portable case for on-location jobs. Includes three each of umbrella reflectors, electronic flash units, modeling lights, etc. How to modify light stands to fold smaller and how to convert a standard attache case.
POPULAR PHOTOGRAPHY Jan 1977 (v.80#1) pg. 104

The sun. The one light source that does it all. Understanding how to use the sun as a light source to achieve the desired result.
POPULAR PHOTOGRAPHY Feb 1977 (v.80#2) pg. 82

Super-8 for 35mm photographers. How to light for movies.
POPULAR PHOTOGRAPHY Nov 1978 (v.83#5) pg. 126

Bouncelighting. Some tips on making it work for you and a review of some new equipment that make it easier to do.
POPULAR PHOTOGRAPHY Nov 1979 (v.85#5) pg. 48

The Hattersley Class for Beginners. Six ways to control contrast. How to do it before, during, and after you shoot the picture. Choice of paper and film, film development, lighting, print flashing, etc. are all methods to control contrast.
POPULAR PHOTOGRAPHY Jun 1980 (v.86#6) pg. 102

Tips on taking indoor pictures with existing light. Moving lamps to better locations may improve overall light. Proper use of light and shadows can add visual impact to your photos.
POPULAR PHOTOGRAPHY Jul 1980 (v.87#1) pg. 23

Using candlelight as both a light source and a subject.
POPULAR PHOTOGRAPHY Nov 1981 (v.88#11) pg. 126

How to light for video.
POPULAR PHOTOGRAPHY Aug 1982 (v.89#8) pg. 100

How to use a "Solar Card" to help predict outdoor lighting conditions at some future time.
POPULAR PHOTOGRAPHY Nov 1984 (v.91#11) pg. 38

Light your way to better video. How to use supplemental lighting and reflectors to improve your video images.
POPULAR PHOTOGRAPHY Jan 1985 (v.92#1) pg. 69

How to control contrast when taking color pictures in order to make better color prints from slides and negatives.
POPULAR PHOTOGRAPHY Feb 1985 (v.92#2) pg. 17

Exposure reprise. A closer look the "sunny f/16" rule. How to adapt the "sunny f/16" exposure rule to subjects other than the frontlit, average-toned one the rule calls for.
POPULAR PHOTOGRAPHY May 1988 (v.95#5) pg. 30

Red-eye. What causes it and how you can avoid it.
POPULAR PHOTOGRAPHY Apr 1989 (v.96#4) pg. 44

The enlightened video photographer. A guide to more effective use of on-and-off camera lighting.
POPULAR PHOTOGRAPHY Nov 1991 (v.98#11) pg. 86

Mixing light. How to balance multiple light sources (daylight, lamplight, strobe, fluorescent, ...) to acheive proper color-balanced results.
POPULAR PHOTOGRAPHY Jul 1994 (v.58#7) pg. 34

How to use dramatic shadows in your photographs.
POPULAR PHOTOGRAPHY Oct 1995 (v.59#10) pg. 48

How to photograph under fluorescent lights when using color slide or print film.
POPULAR PHOTOGRAPHY Oct 1995 (v.59#10) pg. 51

How to use backlight. Advice from 8 professional photographers.
POPULAR PHOTOGRAPHY Jun 1998 (v.62#6) pg. 64

Camera attachment to give shadowless lighting.
POPULAR SCIENCE Nov 1964 (v.185#5) pg. 136

Video location lighting. Illumination tips for professional productions.
PROFESSIONAL PHOTOGRAPHER #2140 Sep 1990 (v.117) pg. 42

Wall of light. New lighting concept offers versatility and control.
PROFESSIONAL PHOTOGRAPHER #2141 Oct 1990 (v.117) pg. 29

Well-controlled lighting for small-product tabletop photography utilizes versatile reflectors.
PROFESSIONAL PHOTOGRAPHER #2141 Oct 1990 (v.117) pg. 36

Product lighting. Using existing studio equipment to take advertising photos that make a product appear three-dimensional.
PROFESSIONAL PHOTOGRAPHER #2184 May 1994 (v.121) pg. 45

The art of windowlighting. Part 1. Selection of an appropriate window location.
RANGEFINDER Mar 1990 (v.39#3) pg. 14

The art of windowlighting. Part 2. How to position the subject at the window to achieve correct lighting direction.
RANGEFINDER Apr 1990 (v.39#4) pg. 44

Portable wedding portraiture. Learn an easy lighting method that adds pizazz to bridal formals.
RANGEFINDER Jul 1990 (v.39#7) pg. 46

Light from above. How to light small products, tabletop subjects, etc. using just one overhead light source.
RANGEFINDER Nov 1990 (v.39#11) pg. 40

Basics of studio lighting.
SHUTTERBUG #261 Jun 1992 (v.21#8) pg. 88

Make your own studio window. Cut a window-shaped mask out of poster board. Shooting a flash through the mask will cast a shadow on the background that will look like illumination from a real window.
SHUTTERBUG #263 Aug 1992 (v.21#10) pg. 82

Using artificial lighting to recreate "natural" light when shooting indoor videos.
SHUTTERBUG #276 Sep 1993 (v.22#11) pg. 125

Budget studio lighting. Using ordinary incandescent light bulbs and simple accessories.
SHUTTERBUG #286 Jul 1994 (v.23#9) pg. 30

Jazz up with gels. Using gels or color filters to govern the mood, tone, atmosphere and impact of your color images.
SHUTTERBUG #286 Jul 1994 (v.23#9) pg. 36

SPECIAL ISSUE on lighting techniques and products. Articles include (1) Natural studio light (tips for recreating outdoor reflections), (2) small product lighting, (3) fill flash basics, (4) simple studio lighting for b&w portraits, (5) science (temperature/color) of lighting, (6) mixing tungsten and flash lighting, (7) finding and using PF60 flash bulbs, and several articles on commercially available lighting equipment.
SHUTTERBUG #302 Nov 1995 (v.25#1) pg. 36, 44, 46, 48, 50, 70, 82

Controlling the light. What it is, how to use it, and a little lighting lingo.
SHUTTERBUG #326 Nov 1997 (v.27#1) pg. 116

Balancing act. Correcting light color temperatures.
SHUTTERBUG #326 Nov 1997 (v.27#1) pg. 234

Using tent lighting to photograph small, highly-reflective objects.
SHUTTERBUG #338 Nov 1998 (v.28#1) pg. 76

Getting started in studio lighting. Includes tips for using simple equipment (small flash units, reflectors, mirrors, ... ).
SHUTTERBUG #338 Nov 1998 (v.28#1) pg. 126

Create your own 24-hour north light inside a studio with a single "wall bounce" diffused flash.
SHUTTERBUG #348 Sep 1999 (v.28#11) pg. 34

Using a slide projector as an inexpensive light source.
SHUTTERBUG #350 Nov 1999 (v.29#1) pg. 140

Balancing interior and exterior exposures. Tips on metering and lighting for indoor photos which include backgrounds viewed through large windows.
SHUTTERBUG #362 Nov 2000 (v.30#1) pg. 132

Economical, convenient and effective supplemental lighting can be provided by using mirrors.
SHUTTERBUG #362 Nov 2000 (v.30#1) pg. 148

Small studio lights. Tips on selection and use.
SHUTTERBUG #362 Nov 2000 (v.30#1) pg. 166

Using side and backlighting to enhance your travel photos.
SHUTTERBUG #374 Nov 2001 (v.31#1) pg. 70

Metering and lighting ratios. Shedding some light on a confusing subject.
SHUTTERBUG #382 Jul 2002 (v.31#9) pg. 32

Controlling background brightness in the studio and outdoors.
SHUTTERBUG #382 Jul 2002 (v.31#9) pg. 92

A review of the characteristics of light that directly affect videomaking.
VIDEOMAKER Mar 1996 (v.10#9) pg. 93

Video lights. A review of five levels of lighting complexity.
VIDEOMAKER Apr 1996 (v.10#10) pg. 84

The basics of indoor video lighting.
VIDEOMAKER Jun 1996 (v.10#12) pg. 74

Seeing the light. How to control the color of light when filming videos.
VIDEOMAKER Aug 1996 (v.11#2) pg. 61

How to make the best use of light in videomaking. Four types of problems faced by beginners and how to correct them are discussed.
VIDEOMAKER Sep 1996 (v.11#3) pg. 14