تصویر الانعكاسات من الواجهات وعبر أوراق الاشجار .. مجلة فن التصوير اللبنانية _ ع٣٩

Imaging reflections from the facades and through the leaves of trees

Avoiding reflections was the principle that photographers usually follow, but now the fields are open to take the best types of images from the reflections of the facades, where the statues display clothes, or through the reflections through the trees, thus mixing the two directions together in one image .. Many methods were made by a photographer called Virat Prascalingi. We present it in general details.

The word “reflections” emits a lot of feelings and ideas, while photographers can convey them through the image, although they are considered mere rays that cannot be recorded. The mannequins inside the storefronts, and reflected from these facades, make us feel as if there was a whole life going on behind this or that facade.
Thus, the photographic image, which is the ideal field for re-enacting, recording and displaying these different levels of reality, may be a surreal case where photography makes all that is unbelievable possible.

In this area, the statues, leaves and branches of trees, as well as other details such as the hair covering the model's head, appear, and these, in turn, emerge from behind the glass as a large spectrum, like the trees themselves. As for the statue, it becomes the arch of the dress on the chest of the model, then it grows to enormous proportions to fly over a seated person. It is an atmosphere of mystery. Where some things seem to float on the surface of the image, and there is no way to determine the time of day. In addition to this, the dimensions of the things included vary greatly, to an extent that astonishes and baffles the concepts of the beholder.
It is clear that these photographs are double exposures. Verascalingi worked for months on a project of this kind. Each working session began, in general, by observing the structure and components of the expected image, exploring the distribution of its contents, mannequins and support requirements for what is displayed and clothes, the comprehensive content of each facade, and the position of the sun. statues, trees, buildings, cars, people, and while I imagined the final print choosing the angles from which it would be shot, stressing the relationships between the many different elements in the image.
The execution of the photographs taken by Verascalingi involved two different basic techniques, both of which used an automatic exposure SLR camera and an 85-200mm zoom lens.

As for the first method, the two exposures were made, both of them through the interface glass. While the camera was on a tripod, focus was placed on the exhibits of the interface at the beginning, with the reflected images out of focus. Vera dealt with the zoom to make things larger or smaller, depending on what
His will in the definitive edition. She wanted the mannequin to appear holding the statue, or for the trees to become the mannequin's hair....
Vera explains:
- I used to bring the reflections in the front into focus without moving the camera from its first position. This pushes interface displays out of focus. Thus what the viewfinder shows are trees, buildings, statues... Again, in combination with the zoom, I choose the appropriate focal length and take a second exposure - then I was ready to advance the film to the next double exposure.
Vera continues:
The second method is represented by working with a double exposure and a zoom lens. The camera was held by hand. And this time, it was the first exposure on the frame only that was taken through the interface, and again I was also - zooming in and focusing on the exhibits as I recorded not only the model alone, but also a section of the reflected image as well, and the example of this is that with the print of the seated model
The first exposure on the frame recorded the crossbar just as it recorded the reflected image of the trees. As for the second exposure of this method, it was for the real target, which is the statue flying over the crossbar in this case. This was done by mentally keeping the location of the image elements in the first exposure - the top of the model's head for example - after which I would simply rotate from my position facing the front of the projection towards the subject that should be recorded on the second exposure - the statue - so focus, compose and capture.
If I was in doubt about the alignment of the images on the first exposure I needed to simply go back and survey the foreground exhibits by turning towards them and refocusing. When I found myself relatively confident of the proper collocation I would take a second exposure and so I was ready to advance the film to the next frame.

Double exposures are a simple way to open up new creative fields that make you able to make unique and dramatic expressions, and the following technical information will help us as a guide.
In order to locate the correct multiple aperture for exposures such as those discussed here, the Aza site will have to adjust. The law adopted in this case calls for multiplying the aza of the used film by the number of exposures that we plan to make on that frame. This way, the film synthesizes the correct overall amount of light it has to work with
With film set at 100 for two exposures, we need to multiply the ara by two so the correct exposure index (.E.I) is 200. The three exposures on one frame require (E.I.) an average of 300, and so on.
It should be noted that some 35 mm cameras, such as: Konica Autoflex T3
It features a double exposure method that allows any number of exposures to be made on the same frame. However, we can intentionally double the exposure with most other 35mm cameras, even if they are not characterized by such a means, by adopting the following approaches:
After preparing Anna for the appropriate evaluation. Gently rotate the rewinding handle to tighten the roll of film, thus eliminating any slack.
Making the first exposure Gently hold the film rewind grip in place with the left palm, not allowing it to rotate, then press the rewind button with the little finger of the right palm, and while we hold it where it is we introduce the film winding lever It is an operation that will allow the shutter button to be actuated without advancing the film .

Now we get ready to take our second exposure.
In addition to this, and during the implementation of this series, we may encounter multiple stages of dilemmas, Vera enumerates them with proposed solutions.

Exposure
It helps to work with the aforementioned equation - Aza (X) the number of exposures = (.E.L) correct - keeping the first exposure fixed on the frame and encircling the second, with a few stops more and less, to ensure that a printable negative is obtained. Here we need a small notebook and a pen to record the f / f stops, focal lengths, aza locations, etc. - this information may prove to be helpful in reproducing and predicting future results, while also being careful of the lights used inside the display to enlighten
Exhibits, not only can these disturb exposure readings, they can also appear as annoying hot spots on the negative.

- Optical contrast and prominence unit
With imaging through glass, it is inevitable to lose some contrast and sharpness. Also, some zoom lenses are characterized by poor light contrast, which increases the light appearance of the image. Weak contrast, prominent pointillism, and light focus support the dream-like surreal quality of these photographs. Those who prefer prints with a greater amount of clarity will find that endorsing the film for a longer period and printing negatives on hard paper will increase the light and apparent contrast from the sharpness of the prominence. Also, the light areas, such as cement and the sky, tend to become discolored, as they dominate over the dark areas. As for the bright areas in one image, they will be visible, as they overlap with the shadows in a second image, as the two regions overlap in another image.. While no brightness will appear: both will appear light on the final print. . As for the two overlapping shadow regions, they will produce an overall darker gradient.

- Collocation of images
Accurate aligning of the images is an essential issue, and contact prints have been photographed for some tires that did not obtain the correct aligning, and in general, when this happened using the number one method, it was
The negative bears what appears as a ghost image. The reason for this is either due to an unintentional rendering of the film between the two exposures, and this only happens if the camera does not have a special means of double exposure, or to this movement of the camera. The method of intentionally double exposures detailed previously requires a lot of training. However, it can be completely accurate, and as for moving the camera, it falls to its lowest levels using a solid tripod and a capture wire.

Unwanted reflections
It is unacceptable to count on charity when our images include reflections. Rather, we have to look carefully at what is in the viewfinder in order to make sure that everything that is drawn there is included. As for unwanted reflections, they can often be removed by moving the camera and the objective. And we have to make sure that we are not part of the reflected image. Depending on a tripod and a pickup wire, we can move away to the side during
Exposure, unless our inclusion in the image is some kind of our experience.
The polarizing filter will help remove some reflections, and we can see its effects by simply looking through the lens, while the polarizer is on top of it.

In addition to this, the darkroom methods of cropping, masking, burning, avoiding, and whitening will help to deal with this dilemma. Finally, we mention that the double exposure methods are able to create photographs instead of waiting for them to occur in front of the camera lens. By linking the images together on a film, one of us works to evoke ideas and emotions that push the viewer to want to look again and again.


◾How to deliberately make double exposures

1 - After putting the AZA on the evaluation and rate. Gently turn the knob of the rewind button to get rid of film slack.
2 - Create the exposure.
3- Gently fix the rewinding handle in place with the left palm: do not allow it to rotate.
Then depress the rewind button with the little finger of the right palm, and while you hold it in place, advance the film winding lever, which allows you to press the shutter button without advancing the film.
4 - You can now make the second exposure◾