الإضاءة الملائمة لتصوير الشخصيات ٢-a .. كتاب الإضاءة والفلم

In contrast to the above, we must make the height of the lens a little lower than the eyes if the length of the upper part No. 1 is increased, because if its level is higher than the eyes, we will find an exaggeration in the size of the forehead and nose. About the size of the mouth and chin.

Third: There are multiple types of the human face. There is for example.

(a) oval face shape. .

(b) Long thin face (Fig. 4)

(H) and the full round face (Fig. 2)

(d) and the triangular face (shape)

(e) and the square face (Fig. 86)

And for each style. These patterns are a good method to be followed, whether with regard to the level of height or depression of the instrument, or with regard to placing the face in front of the lens, or with regard to placing the light sources in front of the face.

Fourth: The mere desire for a picture of a high artistic level may not be the only factor that governs the behavior of the photographer who takes a professional photo of his face. Rather, the desire of the client himself and his level of culture overlap. The client may be displeased, for example, that the layer of the image is low key, so he does not see his face as white in it. .!! Or to see one ear and not see the second in the picture, or to see whiteness on one side of the hair caused by backlighting, so it appears as if the hair is gray.

Also, the client may realize in his heart that he has a defect in his physical composition (a crooked nose, or one side of the chin is longer than the other, or a very short neck, etc.), then he goes. To the photographer (or she goes) to the photographer hoping to see a face other than her own, and it may offend her a lot to see her picture expressing the reality (which may be bitter)!! There is no doubt that our current study will not divert any attention to these intellectual absurdities.

But it may concern us to study the means by which we can achieve the technical goals that we require, whether these goals conflict with the client's desire or not. In Figures 82 to 86 we find examples of what we say, and I repeat that these are no more than examples merely to assist the novice photographer, as there is no doubt that it is difficult to enumerate the distinctive features of the various types of human faces, and then show the appropriate ways to photograph each of them. It would have been tantamount to setting specific, fixed rules that would only direct the photographer to what the lighting should be. Rather, it would certainly be a cemetery for human thought and the ability to innovate and express artistic expression with absolute freedom. It helps the photographer to store a sum of the acquired knowledge about photographing faces, to study the work of other senior photographers and to conduct multiple experiments to study the methods, placement of light sources, and their effect on the form of shadows, and the extent to which they relate to the dramatic effect.

The lighting required to obtain the Silhouette pictures (1):

In this case, we want to see the subjects to be photographed, and they appeared black in the picture without any details appearing in them. As for the back of the picture, it is usually bright white, or it may be gradient clouds in the conditions of external photography (Fig. 87), and the profile pictures of people are One of the most successful images performed in this way.

There are many ways to make this type of image, but they all agree on their basic idea, which is summed up in the necessity of placing the main subject to be photographed in front of a very bright surface without the presence of secondary light sources to illuminate the main subject, so that its brightness decreases greatly when compared to the brightness of the back of the image. The exposure is estimated at that time according to the intensity of the brightness of the back of the image, and this is something that would show the image of the main subject very much underexposed, so it appears transparent in the negative image and black in the positive image. ) towards the very bright sky without making any regard for the foreground subjects.

It is highly recommended that . The foreground main subject is kept away from the back of the highly luminous image, as this is a guarantee that no rays will be reflected from it and fall on the foreground subject, which must remain either completely dark or very low in luminance. In order to achieve this purpose, it is also very good that the area of ​​the back of the image (which is very bright) be estimated so as to ensure that the background area that will appear in the image is covered without side increases, as these side increases would reflect rays that we do not need. In Figure 88a, b, page 296, we show two ways to prepare a very bright backside.

Arranging lighting for Silhouette photos

(A) A thin white fabric (such as a white bed sheet) is placed stretched over a door. The fabric is illuminated from behind with strong light sources (Figure -A), and the subject to be photographed is on the other side.

(B) Or a white wall or flat is illuminated with two intense light sources of equal power (such as photoflood lamps) and their sides are covered so that no rays from them fall on the subject to be photographed (Fig. -B).