حاسة اللمس عبر عين الكاميرا النعومة، الخشونة والصلابة ..مجلة فن التصوير اللبنانية_ع٣٤

The sense of touch through the camera's eye
Softness, roughness and hardness in our images

Can the photograph convey to us through the eye what we feel in nature through the sense of touch? ! The matter is debatable in a study about the “structure” that can be conveyed within our images as independent subjects, or as part of the subject to denote its smoothness, roughness, hardness, or ruggedness, and so on.

Textures play a vital role in the appearance of most photographs. And with the right lighting, modern cameras and films can record the finest structural details. Which improves the shapes, systems, colors, or the general content of an image, while also providing an abundance of subjects themselves.

Our environment includes a multitude of different surfaces, and close viewing reveals a richness of detail and structure. The visual texture of a surface reveals how it feels to be touched—whether it is bumpy, smooth, hard, or soft—because the camera can register this tactile element and highlight the subtle nature of a familiar surface so that it gives us a vivid visual impression of a sensory experience.

A photographer can intentionally use texture to enhance a particular shot, thus giving an impression of solidity for example. In landscapes, the details of the structure help to separate the different areas of the content. A field that is completely devoid of structural details displays a wide area without excitement, making the image flat and does not evoke feelings.
Structure in the landscape is best revealed with a "directional" type of light that is emitted by rays
Solar late afternoon It is worth noting that the strong light emitted by the sun exaggerates the highlighting of the structure and this situation can be very useful if what is meant is dramatic images.

In urban environments, dramatic structure can be found almost everywhere. The grainy texture of a street, or the successive roughness and smoothness of flaking surfaces of paint, for example, can provide wonderful subjects for close-up shots. This is what wide surfaces such as stone, concrete, or tile walls, or smooth metal surfaces such as water tanks or grain pyramids can provide.
Even the most traditional scenes can turn into distinctive scenes. Most cities and villages, for example, have small areas of neglected land, in which household waste and machinery can be found. Instead of discarding these things as waste, we should look for the rich texture in rusting metal or cracking upholstery. We should approach these materials and use them as self-portraits, excluding everything but a few simple cues of form.
We can also include a certain amount of background as a reference to the existing environment for these objects. This type of shot has its own effectiveness with a wide-angle lens. Low light and long shadows can be used to increase the sense of depth, and may also help to strengthen the effect
The dramatic image that the image can convey.

However, urban landscapes are not the only areas where interesting and interesting subjects can be found. Man-made things represent only a part of the structural world that surrounds us, while elements of the natural world - rural fences, rocks, forests - present a huge variety of different structures. It is also possible to group the structures with different color gradations. The tree, for example, gives a color gradient that differs from the color gradient in herbs. However, it will also give a completely different quality of structure. If this aspect is taken as a rule, it becomes possible to construct a series of abstract structures and abstract color gradations.
There are many other abstract possibilities. Plowed fields, for example. It includes the granulated structure of a cracked land, and draws lines that penetrate the content, and these lines may be exploited to move the eye of the beholder from one area of ​​interest to another. These lines may give a sense of depth and distance to a photographic image, by extending from a content plane. and from one structural zone to the next, enclosures, parapets and walls can do the same work, cutting
The landscape is transformed into clear abstract shapes, so that the resulting areas form a smaller complex of structures and color gradations that accumulate and turn into a schematic overlapping system design.
The architectural photographer usually waits until late in the afternoon when the sun's rays fall almost horizontally on the surface of the building, capturing all the fine details there. So is the case with any subject of fine structure, but with an even gamut of hues, which can be made interesting if it is lit in such a way as to accentuate the bright and shadowy areas within a superficial relief.

As for the structure in the food, its prominence can be emphasized and the food looks more appetizing by adopting subtle lighting. Here we compare the structure of an orange peel with its juicy interior, or we compare the wrinkled sheet of a loaf of French bread with its soft, spongy interior. To highlight almost any delicate structure, the light must be strong and directive, and at an angle. This is in the presence of subjects that already have a prominent structure, such as a tree trunk, a pebble beach, a barley field, or a perforated tablecloth or even a rolled-up sheet cut in half, to capture the highlights.

Moreover, in the presence of subjects that are already highly textured, such as a tree stump, a pebble beach, a barley field, or a perforated tablecloth, even a rolled-up cut in half, the light should be softened significantly to prevent the shadows from becoming too wide and too dense.
Professional photographers often prefer a broad, diffused light that casts almost no shadows - such as that of a cloudy sky during the day - in order to accentuate the more jagged structures of these surfaces. For example, a thin, semi-transparent sheet of paper is attached between the window and the subject, and this will reduce the light path. It is also possible to use semi-transparent thin paper on the façade of the studio lights, and semi-transparent Perspex (*) can be used, although the quality and type of the resulting mitigating effect will be different, and if a flash unit is used located at a distance from the camera. At that time, a plain white tissue placed on top of the flash will suffice to provide a wonderful means of mitigating the light.

Structure is of great importance in animal and plant photography. The plant has its distinctive surface structures, such as that if we look closely at a sticky bud and an acorn date, the two appear smooth, but they differ completely in terms of structure, because lighting plays an important role in differentiating the tactile sense of one from the other. And the use of weak lighting directly from the facade achieves the best distinction between these two different surfaces. As for the structure of animal fur, in comparison, it often stands out better by using backlighting that highlights the subject against its background.

Human skin is an interesting structure to explore under different light conditions, and although the harsh lighting of the midday sun is not in favor of the structure of the skin, the strong side lighting can still capture fine details.

Such as wrinkles on the face of an elderly person, and a degree of light exposure that is less than necessary will show the structure of the skin as well. What is being relied on is light lighting from the interface to emit a rank of low intra-contrast, mixed with a high degree of exposure to produce a more romantic effect.
It is also possible to photograph the structure itself as a subject, as this is done by getting very close to it, as the details in plants and vegetables have been and still are a favorite subject of photographers for a long time, because close-up photography is both exciting and enjoyable, although it requires special equipment, such as blowers or Close-up rings that are placed between the lens and the camera body, and additional lenses or “macro” lenses, especially. The lens should be narrowed to the location of its smallest aperture when working closely, as long as the depth of field decreases to below it. As for the lens forward, it calls for recalculation of the photo exposure value, because the distance between the lens and the film surface has increased, so that the counter through the lens will automatically compensate.
In the end, if the structure is to be revealed in its best condition, it is necessary to choose a slow movie, because the ability to show accurate details is much greater in slow movies, compared to fast ones. If we look through a magnifying glass at the dots scale on a print made from a slow film, then another made from a fast film, we will notice that the dots on the faster film are larger and coarser than those on the slower film. Inch - more lines than on faster film The fact of the matter is that using slow film may be the 35mm photographer's way of achieving great texture quality. Very effective results can be achieved.
Of the smaller structure, provided that a fine-dotting film is chosen - permeation - and on condition that the aperture is small enough to give an appropriate depth of field.
And when working with colors, we have to pay attention to some films that analyze the details more effectively than what happens with other films. For example, Kodachrome gives more details than other color transparency films, such as the Ektachrome series⏹