التقاط روح الأزهار .. منهاج عمل بسيط لموضوع معقد .. مجلة فن التصوير اللبنانية _ ع٦١

Capturing the Spirit of Florals.. A simple platform for a complex subject

Photographing flowers is a work that seems to be widespread in the recent period, but when we get acquainted with a new approach, despite its simplicity, with which we can capture flowers in a more in-depth manner, we will have reached a distinguished field in this regard.

Flowers can deceive us. Methods considered good, for most subjects, will often be revealed
Too much of a flower's realism fails to capture the essence of its beauty.
The appearance of flowers includes characteristics that trigger almost instinctive reactions that are liked by all people around the world.
So why are there only a few flower photographers who capture the spirit of what is attractive in those flowers?"... This is with the knowledge that flowers of all kinds were made for their comprehensive specifications in very many oil paintings throughout history and in every culture.
The answer is that flowers represent a dilemma because their nature contradicts the nature of the camera and the way it is used. The camera is a solid mechanical device that gives cool, objective images of the external reality. And Venus is an ephemeral object. It is sensitive to a temporary sensory effect. This means that the camera and the flower belong to two different worlds, and only the user of the camera can overcome this difference by turning it into what resembles the essence of the flower.

We are not suggesting here a mere poetic glimpse, but actually focusing the camera on the character of the flower. Instead of capturing a strict physical representation of shape and color.

Tools :
It is likely that most users of SLR cameras already have these photographic tools with some poetic sensitivity. The lens necessary for photographing flowers with a focal length longer than the focal length of a regular lens is 50 mm. example.
Although many zoom lenses have a focus, a macro remains that its close field is often not enough for individual small flowers, which means it may be one of the accessories that we need as well, then in addition to the automatic connecting tube, the appropriate lens and accessories (focus, we may want to add a filter A simple softeninry or vignettiry filter like the one made by Cookin.
Flowers, then, are delicate things. Only the most retouched filter effects bring out her personality.
We mention here that it is better to use a soft-focus lens instead of relying on filters.

However, the one feature that we usually recommend is the work piece without it: a three-legged pillar. Instead of that big carry-on, we recommend taking along a foldable distracter and a large makeup mirror for a natural shot.

Drafting Mylar, which is opaque on both sides, represents a typical dispersing material. And the process of installing a piece above the subject is implemented by (Lowell Light's Frame - up) well. This is a 3-sided collapsible articulated tube set with hinged arm.
Then the (Lowel-Lobo) forceps come to connect the (frame-up) to a rod inserted into the ground, thus making a working device that frees the palms to use the camera with them.

Style of success:
The main problem with most floral pictures is extreme depth of field and crude illumination. When you visualize flowers in their natural location, the background comes to represent a hindrance usually, hence some photographers resorted to introducing an artificial background, and the result is a photograph with an artificial appearance, usually. While the natural background can be preserved with the use of a wide aperture lens. An example of this is if we are working with a single focal length lens of 90 mm, we have to use an aperture location that is not smaller than f / 4 - larger in digital value - just as f / 2.8 is also effective if the lens is at this much speed.
But if we are working with a zoom lens, the possibility is that we will need to keep the lens wide open.
This is because the effect of soft-focus lenses is achieved only with the maximum aperture, or with a classification of one stop or two stops at most; Thus, it will double the background values ​​with a shallow depth of field and lens distortion. With a fine focus lens and wide aperture locations for background smoothing, a firmer relationship is created between the subject and its surroundings, with the addition of a simple dispersion filter.

We also point out that the harsh, direct sunlight does not usually confer favors on the personality of Venus in a photograph, and often does not provide the typical angle of enlightenment.
The quality of the gentler light that is emitted as soon as the direct sunlight is dispersed is most likely all that is needed to produce the gentle gradation between brightness and shade, that improves the appearance of the corollas in the flower's petals. However, this method sometimes causes the appearance of light contrast more than it should be between the color gradations in the background softened produced by the wide apertures of the lens. This is the situation that the make-up woman comes to face, directing some of the sun's rays from behind the flower, emitting thus with the effect of a light edge or a backlight that separates the background from the subject.

Notes about the selection of the film:
Almost whatever color film it is, it will produce beautiful floral images in the style detailed above. However, the films differ from each other, as satin-soft color gradations are best achieved with slower films, slide films 25-64 aza or nature films - 100 aza.⏹