أزهار وزجاج النوافذ للوحات فنية إنطباعية .. مجلة فن التصوير اللبنانية _ ع٥٤

Flowers and window glass for impressionist paintings

Depending on window glass, or any kind of misty glass, Impressionist art paintings can be accessed by simply photographing them with flowers to transform them into a wonderful plastic world.

The world behind the stained glass as seen through the glass doors or window panes. The colors blur and the shapes lose their borders, so what is the appropriate subject for such studies more than wild flowers in their natural sites..? .. The image rate in this case is a stained plastic plate.
The plastic itself is clear acrylic that can be obtained, in full 24" x 48" sheets, usually from local wholesale plastic stores.
Most of these sellers are able to cut the plastic according to the necessary measurement, and in the event of exile, the carpenter can accomplish this work, as for us, if we do not have a suitable saw, we should not try to cut the board ourselves because it cracks very easily.

Photographing wild flowers photographically and in their natural locations has two clear benefits, one is that the background is multi-colored and uneven as it is in nature, and the second is that the natural beauty of flowers in the wild is preserved so that others can enjoy it.

Painting location:
The most influential variable value when using an acrylic plate is the distance that separates the plate from the flowers. The farther this painting is from the flowers, the more these flowers become less clear and lose their shape more and more, and one flower on the plant should be close to the painting at least - between an inch and two inches - and the flower or flowers closest to it should serve as a visual center of interest that wraps the rest of the content around it . We must not leave the flower to actually touch the painting, as it will look unnatural and contaminate the painting, which impedes looking at the picture.
The camera should be approximately one foot away from the board. Where these vary, of course, according to the requirements of forming the image and the concentration of flowers.

Although the board pictured with this article is attached to the ground with tent pegs, we say that in practice there will be many times when you may want to change the frame somewhat, and this can be accomplished by holding the frame and operating the shutter with a long release cord.

Better lighting:
Direct sunlight is the best, with some limitations, because the strong directive sunlight does not only illuminate the flowers, but also makes the background bright, and this background must be open and light to benefit from the embossed effect of the stained painting.
This often requires some kind of reflective or light-dispersing material to fill in the shadowy areas.
Also, under direct sunlight, work should be done accurately and carefully to avoid stray reflections on the painting, as these will reduce the beauty of the final image.
To avoid reflections in direct light, we have to position the frame so that the sun is on the opposite side of the camera, high in the sky. This makes the period from mid-morning to mid-afternoon which is the best time of day for capture, and if the sun's rays happen to hit the camera side of the plate, small pockets of reflected light will appear and distort the image.
Also, direct sunlight on the painting will highlight any defects in this painting - scratches and bumps - then when the sun's rays fall on the upper or side surfaces of the frame, the lighting is on where the best reflections from the painting disappear.
The light reflected from a cloudy sky should be avoided because this creates a lot of light reflections on the painting, and dealing with these reflections is very comfortable.

- hardware :
The macro lens is the first test for this type of photography, and the second good test is a 50mm lens with a close-up filter, +1. Oh. + 2 . The camera should be on a tripod so that we can make it parallel to the board and adjust the content accurately.
Since the tripod is standing on grass or soft sand, a wire catch is another good idea.

Exposure:
We can use an implicit meter effectively, especially when the mixture of color gradations in the content is a mixture of light and marking distributed almost evenly, and if the scene is predestined towards bright or dark gradations, then encircling becomes a wise action.
Then, while many photographers underexpose their slide film in pursuit of more color saturation, this method seems to favor overexposure to some extent, which gives the image a lighter, airier feel.
Also overexposed to an extent
What pushes the slides to appear, which are more like the works of the Impressionists. Then when using a color print film, the exposure should be at its best - i.e. correct. Then adjust the light or dark final image when printing.

- the focus :
The focus is on the plastic panel and not on the flowers behind it. This may seem like a bad measure.
But because part of the image has been formed on the stained plate. It is like concentrating an image on a rolled glass, or concentrating on a grated image of the subject on a painting.

Depth of field:
The amount of depth of field that we have to use should be determined by how much we want the sharp protrusion of the plant in general. We have to narrow the aperture enough to preserve the sharp prominence of the main flowers - those closest to the painting - while leaving the areas behind the flowers out of focus. If the camera has a prior viewing tool to depth of field. We can use it, and in the case of negation, we use the depth-of-field scale of the lens to determine the area where the focus will begin to disappear.

Going through experiments:
You have to experiment with all the technical aspects of this technique – focus, exposure, angle of the plate, floral signature, depth of field, etc. Only when you have identified and mastered all the technical aspects will we be able to create beautiful photographs that constantly let the imagination run wild.
This article should provide us with the inspiration that sets us free towards the things concerned, which are the simplest in many things that are good in life. Ideas are often so. We must keep this in mind to work in this manner and in other ways that stem from it.
A little ingenuity, plus a spark of creativity. It equals photographs that compensate us for it ⏹

⏺ in use
Two wires tied with the middle anchors and with tent peg holes inserted into the ground at the flower side of the panel. As for the nylon wires that pass through the external anchors and return to the peg of a tent at the camera side of the plate, they provide a way to adjust and adjust the plate's position. That is, the two ends of the nylon wire slide into the hole in the tent peg and are tightened with strong paper clips. Minor adjustments can be made by adjusting the tension in either of the two nylon wires, then re-tensioning the tongs.

⏺ making the frame and props
Pieces list:
2 wood beams, 24 inches long, 1 x 2 inches thick.
6 metal anchors screwed into the wood.
2 wires, one foot long, with hooks.
8 1/8" x 1/4" screws with nuts.
4 tent pegs with holes at the top.
Plate in stained clear plastic measuring 24" x 36" thick.
2 nylon wire 6 feet long.

⏺ Installation step by step
1- Put the two wooden bars on the two edges of the board and make four holes measuring 1/8 inch in each of them, which penetrate the wood and the beam, at equal distances.
2- The crossbars are connected to the plate with 1/4 inch screws.
3- Once the two crossbars are attached to the board, the anchors are screwed into the outer side of each crossbar, with one of the anchors being in the middle, and the remaining two at a distance of two inches from each end of the crossbar.
4- Hooks, wires shall be inserted into the center anchors, and nylon wire six feet long shall be inserted into the outer seams on each crossbar.
A: One of the flowers is close enough to the mottled plate to be in focus and sharply prominent. . Everything else behind this flower helps create a light colored background.
2: Exaggerating the exposure leads to making the entire image bright. Since mottling does not exist in flowers due to the advantages of fixation in the plate, exaggeration in underexposure becomes possible.
1 - By defining your depth of field and focus point, the background becomes light and blurry.
2 and 3 - Iris Jusry flower photographed in the studio with Whedon a stained painting, due to the lack of consistency in the iris flower, and because of its great depth, much of the definition was lost in the copy that was made with the painting present.
4 and E - Small spring flowers were photographed while they were floating in a pond to preserve the depth of field in two dimensions and as the field of focus is very flat. Only very small differences were produced in the two versions.
6- The best lighting is produced when the light falls on the side of the plate opposite the camera.
7- The two 1 x 2 wood beams are attached to the board with screws and nuts. As for the anchors that enter the outer edge of each of the two lolia crossbars, they are for hanging wires with nylon wires.
8- A tent peg, nylon wire, and paper clips⏹