تويت
التصوير الفوتوغرافي الحديث
مبادئ الإضاءة ..
العلاقة وتداخل الضوء والظل
PRINCIPLES OF LIGHTING
Up to this point , we have been thinking of light from a rather special point . of view . To say that it is a photographer's point of view is only partially true . It is even more special than that . We have concerned ourselves primarily with light as it is used to form an image , as in the camera or in the enlarger , and also as it is used to produce certain chemical reactions whose end result is the formation of a picture on our photographic film or photographic paper . We have given very little thought to another aspect of light which is of never ending importance to the photographer - seeing .
Look about you what do you see ? If you are indoors , you will see the walls of the room , windows , furniture , and a host of familiar objects around you . If it is daylight and you are using no artificial light to read by , you will say you see these objects by the light of the sun . But do you ? Aren't you really seeing sunlight , and nothing but sunlight , as it is partially reflected from all the objects within sight of you ? Stop and think for a moment and you will realize that every object has its own unique way of reflecting and modifying the light it receives and then sending it on into your eyes . It is this unique pattern of light and shade which identifies the object for you . You don't really see the object itself - you see only the design and pattern of the light it reflects into your eyes . We have learned to associate these patterns with the jects themselves to such even think of these light patterns as the objects and not as light patterns . The photographer , however , must make this distinction and must train himself to see in terms of light rather than of objects . It is the purpose of this Assignment to start you on this training . exten we
Why is this so important to the photographer ? The answer is simple . In his photography , he creates these images must re - create the image of the original subject in an effective manner . There are necessarily certain distortions and deletions in his photographic images - the picture loses something in the translation , it might be said makes it his business to keep this loss at an absolute minimum in his re - creation , and he can do this only if he has a good understanding of light as we see it .
RELATIONSHIP AND INTERPLAY OF LIGHT AND SHADOW
If there were no light , we could not see . This statement is so obvious that it needs no proof . We have all experienced circumstances under which all light was excluded and we were , to all intents and purposes , stone blind . The exclusion of light may be natural as it is at night with a heavily overcast sky , or it may be man - made , as it is in a windowless room with all the lights out . Or it may be achieved by the simple expedient of closing one's eyes . The end result is the same loss of sight .
It may not be so obvious , but it is true nevertheless , that if there were no shadows , sight would be quite incomplete . The seeing of an object would give us but a poor and inadequate idea of its form . It is the relationship and interplay of light and shadow that permits us to see and evaluate form .
That statement is certainly not a startling one . If it is not evident on its very face , only a moment's reflection will convince you of its truth . Nevertheless , in spite of its axiomatic simplicity , that statement is the key to this Assignment . Recognition of its basic truth and , what is more important , its utilization in planning the lighting of any subject determines to a large measure the success of a photographer .
Let us , therefore , dig deeper into the significance of our basic statement Imagine , if you will , that you are holding a perfectly round ball . Two of your senses tell you it is round : the senses of touch and sight . Put it down and you must place all reliance on sight to tell you its form . You have , through your previous experience , learned that the particular way the light shades off from highlight to shadow on the object in front of you is invariably associated with roundness . Therefore , you conclude quickly and without conscious thought that you are looking at a round ball . It is as simple as that .
Destroy the normal relation between highlight and shadow in any way at all , and you destroy your accuracy in judging form . If , for example , you illuminate the ball so uniformly that you can see no variation over its entire surface , you cannot tell whether you are looking at a ball or at a round disc .
Our sight is exceedingly sensitive to fine shadings of tone , and it is seldom that we are misled as to the surface appearance of any object . Unfortunately , photographic film and paper are not so sensitive . Fine tonal distinctions which are easily discernible to the eye may become lost to the camera , particularly in the hands of the inexperienced photographer . Yet , as we have seen , it is necessary to retain tonal gradations if we are to depict form accurately .
Ordinarily we are not aware of the fact that form disappears when shadows disappear . We arrive at our conclusions as to the form of any object in a number of different ways . External shape , outlines , color , association and memory all play important roles . Take the element of association as an example . Let us make our test sphere a ping - pong ball . If we were to illuminate it uniformly and place it against a neutral background , we would have some difficulty in knowing whether it is a a disc . Place that same ball against a background of a table tennis net and paddle , and we would accept it immediately for what it is . The association between the ball and its accessories supplies the supporting evidence that enables us to arrive at a correct conclusion .
It is often necessary to photograph objects that are unfamiliar or that are away from their normal surroundings . The element of association under such circumstances is not present . In these cases , good lighting is absolutely essential to the photographer .
مبادئ الإضاءة ..
العلاقة وتداخل الضوء والظل
PRINCIPLES OF LIGHTING
Up to this point , we have been thinking of light from a rather special point . of view . To say that it is a photographer's point of view is only partially true . It is even more special than that . We have concerned ourselves primarily with light as it is used to form an image , as in the camera or in the enlarger , and also as it is used to produce certain chemical reactions whose end result is the formation of a picture on our photographic film or photographic paper . We have given very little thought to another aspect of light which is of never ending importance to the photographer - seeing .
Look about you what do you see ? If you are indoors , you will see the walls of the room , windows , furniture , and a host of familiar objects around you . If it is daylight and you are using no artificial light to read by , you will say you see these objects by the light of the sun . But do you ? Aren't you really seeing sunlight , and nothing but sunlight , as it is partially reflected from all the objects within sight of you ? Stop and think for a moment and you will realize that every object has its own unique way of reflecting and modifying the light it receives and then sending it on into your eyes . It is this unique pattern of light and shade which identifies the object for you . You don't really see the object itself - you see only the design and pattern of the light it reflects into your eyes . We have learned to associate these patterns with the jects themselves to such even think of these light patterns as the objects and not as light patterns . The photographer , however , must make this distinction and must train himself to see in terms of light rather than of objects . It is the purpose of this Assignment to start you on this training . exten we
Why is this so important to the photographer ? The answer is simple . In his photography , he creates these images must re - create the image of the original subject in an effective manner . There are necessarily certain distortions and deletions in his photographic images - the picture loses something in the translation , it might be said makes it his business to keep this loss at an absolute minimum in his re - creation , and he can do this only if he has a good understanding of light as we see it .
RELATIONSHIP AND INTERPLAY OF LIGHT AND SHADOW
If there were no light , we could not see . This statement is so obvious that it needs no proof . We have all experienced circumstances under which all light was excluded and we were , to all intents and purposes , stone blind . The exclusion of light may be natural as it is at night with a heavily overcast sky , or it may be man - made , as it is in a windowless room with all the lights out . Or it may be achieved by the simple expedient of closing one's eyes . The end result is the same loss of sight .
It may not be so obvious , but it is true nevertheless , that if there were no shadows , sight would be quite incomplete . The seeing of an object would give us but a poor and inadequate idea of its form . It is the relationship and interplay of light and shadow that permits us to see and evaluate form .
That statement is certainly not a startling one . If it is not evident on its very face , only a moment's reflection will convince you of its truth . Nevertheless , in spite of its axiomatic simplicity , that statement is the key to this Assignment . Recognition of its basic truth and , what is more important , its utilization in planning the lighting of any subject determines to a large measure the success of a photographer .
Let us , therefore , dig deeper into the significance of our basic statement Imagine , if you will , that you are holding a perfectly round ball . Two of your senses tell you it is round : the senses of touch and sight . Put it down and you must place all reliance on sight to tell you its form . You have , through your previous experience , learned that the particular way the light shades off from highlight to shadow on the object in front of you is invariably associated with roundness . Therefore , you conclude quickly and without conscious thought that you are looking at a round ball . It is as simple as that .
Destroy the normal relation between highlight and shadow in any way at all , and you destroy your accuracy in judging form . If , for example , you illuminate the ball so uniformly that you can see no variation over its entire surface , you cannot tell whether you are looking at a ball or at a round disc .
Our sight is exceedingly sensitive to fine shadings of tone , and it is seldom that we are misled as to the surface appearance of any object . Unfortunately , photographic film and paper are not so sensitive . Fine tonal distinctions which are easily discernible to the eye may become lost to the camera , particularly in the hands of the inexperienced photographer . Yet , as we have seen , it is necessary to retain tonal gradations if we are to depict form accurately .
Ordinarily we are not aware of the fact that form disappears when shadows disappear . We arrive at our conclusions as to the form of any object in a number of different ways . External shape , outlines , color , association and memory all play important roles . Take the element of association as an example . Let us make our test sphere a ping - pong ball . If we were to illuminate it uniformly and place it against a neutral background , we would have some difficulty in knowing whether it is a a disc . Place that same ball against a background of a table tennis net and paddle , and we would accept it immediately for what it is . The association between the ball and its accessories supplies the supporting evidence that enables us to arrive at a correct conclusion .
It is often necessary to photograph objects that are unfamiliar or that are away from their normal surroundings . The element of association under such circumstances is not present . In these cases , good lighting is absolutely essential to the photographer .
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