21. Polarizing Filter. Do we want better color, or glare? Glare can be good too. Think of seeing the ripples in the water (glare) or the fish beneath the surface (no surface glare interference).
22. UV or haze filter. Ultraviolet dulls the visible color especially over great distance (because there is more air between us and subject). UV filter blocks UV to increase color saturation. UV Filter at close distances has essentially no effect on the color.
23. It’s always better to make color adjustments in the camera rather than later with software (eq set the correct White Balance). When we want the image to be as close to the way we perceive the scene, set the camera to match our light source.
24. When the Sun strikes the subject directly, we see warmer light. When the day is bright but the sun doesn’t strike directly, the color is cooler.
25. Tungsten lights produce yellow/orange light.
26. Photographers call a shadow hard or soft, depending on how sharp its edge is. Hard edged shadows produced by a small light source with little shadow detail. Distant lights (unclouded sun) always behave as small lights.
27. The Hardness of a shadow has nothing to do with how dark the shadow is. Only the sharpness of its edge matters.
28. Shadows give shape to our subjects. Hard shadows can emphasize texture. To produce it, work without diffusion or move the flash farther away (making it smaller light source).
29. The farther away the flash is from the diffusion material, the larger the light becomes. The closer the diffusion material is to the subject, the larger the light becomes.
30. Photographers have to use the play of light and shadow to create depth. It is how the viewer gets a sense of scale, shape and texture. The keys to excellent photography are good composition, correct exposure, and good light.