تصوير الأواني الزجاجية الشفافة والصيني اللامع .. كتاب الإضاءة والفلم

Depiction of clear glassware and lustrous china

Frontal lighting is not recommended when photographing transparent glassware, due to the many reflections that result from it that are equal in number to the number of light sources that illuminate it. Therefore, it is customary to follow the following to illuminate it:

(a) Either the glassware is placed in front of a semi-background that the light passes through, so the rays come out distributed, as if it is a luminous background, and it is in itself a source of illumination. Likewise, glassware can be placed on a surface treated in the same way to emit lower lighting for these glassware (Fig. 101). The natural result of arranging the lighting in the previous way is that the glass body appears to us to be transparent and its edges appear relatively dark or black.

(b) Or the glassware should be placed on a white, maxi surface such as a sheet of large white paper, so that a part of the paper (after it has been curved) can be used as a background for these glass objects, then the lighting is shone on this background or on the white ground without falling on the surface. These glass objects, so the light bounces off this white surface to fall on the objects to be photographed.
We mentioned above that the aim of the lighting by the previous methods is to work mainly to get rid of the reflections of the light sources. However, the photographer may sometimes wish for a “shiny” to appear in these glass objects, due to artistic considerations that he sees or feels. The method shown in Figure 102 can be followed by using Barn doors that are fixed in front of the source.

We repeat here that what we have mentioned above is nothing more than suggestions about the glass, but there is absolutely nothing to prevent the photographer from making whatever adjustments he sees, bearing in mind that he does not resort to front lighting unless he has to, but rather depends mainly on any back or bottom lighting. or upper, according to the desired effect.

We see in Figure 103 an explanation of how the lighting is distributed when photographing transparent, metallic, white and colored glass objects together in one image, then in Figure 104 an explanation of the arrangement of lighting for photographing pots of glazed china.

The order of illumination for the depiction of lustrous china ware:

Only two light sources were used in this picture, one of them is the main one emitted from a source of focused light, but the candles passed through a diffused surface in front of the light source. The second was directed towards a reflective surface, so that indirect and undirected rays tend to fill in the shadows. The main source worked on embodying and showing the roundness of the utensils and the knots, that each of these pieces and what lies behind them, and he also worked to show the depth, that is, the third dimension and a characteristic, and in order for some light reflections to appear on the surface of the shiny china from the right unlit side, the photographer deliberately placed strips It is white, made of cardboard, and is denoted in the lower case with the letter (Sh) so that its shape is reflected in the shadows.