تويت
التصوير الفوتوغرافي الحديث
التصوير الضوئي المتاح
الأفلام الخفيفة المتوفرة
فيلم أسود وأبيض
فيلم ملون
Part II Available Light Photography
WHAT IS AVAILABLE LIGHT PHOTOGRAPHY ?
Under a strict interpretation , available light is that light which happens to be shining on the subject . It is the light that would naturally or normally be there without such additional light flash or photofloods which the photographer would bring with him . Under this interpretation , available lighting may be good or bad . It may be outdoors or indoors . It may be day or night . But when the photographer speaks of available light photography , he is usually thinking of taking pictures indoors , under weak and spotty illumination , where shadows are black and empty , and where highlights are harsh . To get even acceptable results under such adverse conditions , very special techniques are sometimes required .
In the hands of a good technician , available light photography takes on a quality of its own . Available light is natural light . In the broad sense , it is the light we are accustomed to and accept . People going on about their various tasks and activities in this light look right and natural . They are much less likely to appear posed and stilted .
If a subject is perfectly posed and beautifully lighted , the picture sometimes looks false and unreal . We know it was never that way in real life , and hence we instinctively discount its truth . Available light pictures often have a validity and integrity which cannot be achieved in any other way . That is why some of the top ranking professionals shoot under available light by preference . They use the light that's there even if they could add supplementary light conveniently to get technically superior lighting .
AVAILABLE LIGHT FILMS
Selecting the best film is no longer the serious problem it once was . Early examples of available light photography were very likely to be badly underexposed with excessively harsh highlights and completely empty shadows ; grain was extremely coarse ; tone quality , by which we mean the separation of tones , was very poor . Pictures of that kind caused a rather strong reaction against available light photography .
This condition no longer exists . Even a medium speed film of today is faster . than the ultra - speed film of a decade or two ago . The tone separation , grain . structure and exposure latitude of the present high - speed films are as good as , or better than , the slow general - purpose films of earlier years . This tremendous improvement in film quality was accompanied by an important advance in photographic optics . The present coated lenses are faster , sharper , and produce far more brilliant pictures than lenses of the previous decade .
Figure 23 Bank interior , illuminated by daylight from side windows and skylight .
All this has greatly broadened the scope of available light photography . An available light picture of today can have almost all the photographic quality of the studio lighted pictures of the past .
Because of the high quality of today's films , the best film to use for available light photography is seldom the fastest film . On the contrary , the best film to use is that film which is fast enough to produce a quality print when it is exposed according to its suggested speed rating and developed normally . This film will give you better pictures than an ultra - speed film with the lens stopped down , or a slow - speed film pushed in development to increase its effective speed . Let us look . at some specific recommendations .
BLACK - AND - WHITE FILM
For most available light applications , it is best to choose a film with a manufacturer's ASA speed of about 320. It is fast enough to give adequate exposure under all but the poorest lighting conditions , and its photographic quality is quite good .
If the lighting is moderately bright , you can use one of the medium speed general purpose films having an ASA speed rating of about 125 to 160. Using such a film is particularly important if you expect to enlarge your negatives considerably . The grain structure , tone gradation exposure latitude are usually better than in a faster film . The very fastest ultra - speed films rated above 1000 ASA should be used only if you know the lighting will be extremely bad .
COLOR FILM
Early color films were quite slow . An ASA speed of 16 was about as high as you would find . These films , of course , were sadly limited for available light photography . Fortunately this condition no longer exists . Kodachrome , the original color film of the modern type , has been speeded up considerably . Other very fine films are available at ASA ratings of 50 to 100. This was considered very black - and - white film not many years ago . For very weak lighting there are excellent color films which are rated as ASA 160 or higher . These films may be used if you are prepared to sacrifice something in picture quality . However , in color as in black - and - white , if you can avoid the use of the very fastest films , you will generally be better off .
التصوير الضوئي المتاح
الأفلام الخفيفة المتوفرة
فيلم أسود وأبيض
فيلم ملون
Part II Available Light Photography
WHAT IS AVAILABLE LIGHT PHOTOGRAPHY ?
Under a strict interpretation , available light is that light which happens to be shining on the subject . It is the light that would naturally or normally be there without such additional light flash or photofloods which the photographer would bring with him . Under this interpretation , available lighting may be good or bad . It may be outdoors or indoors . It may be day or night . But when the photographer speaks of available light photography , he is usually thinking of taking pictures indoors , under weak and spotty illumination , where shadows are black and empty , and where highlights are harsh . To get even acceptable results under such adverse conditions , very special techniques are sometimes required .
In the hands of a good technician , available light photography takes on a quality of its own . Available light is natural light . In the broad sense , it is the light we are accustomed to and accept . People going on about their various tasks and activities in this light look right and natural . They are much less likely to appear posed and stilted .
If a subject is perfectly posed and beautifully lighted , the picture sometimes looks false and unreal . We know it was never that way in real life , and hence we instinctively discount its truth . Available light pictures often have a validity and integrity which cannot be achieved in any other way . That is why some of the top ranking professionals shoot under available light by preference . They use the light that's there even if they could add supplementary light conveniently to get technically superior lighting .
AVAILABLE LIGHT FILMS
Selecting the best film is no longer the serious problem it once was . Early examples of available light photography were very likely to be badly underexposed with excessively harsh highlights and completely empty shadows ; grain was extremely coarse ; tone quality , by which we mean the separation of tones , was very poor . Pictures of that kind caused a rather strong reaction against available light photography .
This condition no longer exists . Even a medium speed film of today is faster . than the ultra - speed film of a decade or two ago . The tone separation , grain . structure and exposure latitude of the present high - speed films are as good as , or better than , the slow general - purpose films of earlier years . This tremendous improvement in film quality was accompanied by an important advance in photographic optics . The present coated lenses are faster , sharper , and produce far more brilliant pictures than lenses of the previous decade .
Figure 23 Bank interior , illuminated by daylight from side windows and skylight .
All this has greatly broadened the scope of available light photography . An available light picture of today can have almost all the photographic quality of the studio lighted pictures of the past .
Because of the high quality of today's films , the best film to use for available light photography is seldom the fastest film . On the contrary , the best film to use is that film which is fast enough to produce a quality print when it is exposed according to its suggested speed rating and developed normally . This film will give you better pictures than an ultra - speed film with the lens stopped down , or a slow - speed film pushed in development to increase its effective speed . Let us look . at some specific recommendations .
BLACK - AND - WHITE FILM
For most available light applications , it is best to choose a film with a manufacturer's ASA speed of about 320. It is fast enough to give adequate exposure under all but the poorest lighting conditions , and its photographic quality is quite good .
If the lighting is moderately bright , you can use one of the medium speed general purpose films having an ASA speed rating of about 125 to 160. Using such a film is particularly important if you expect to enlarge your negatives considerably . The grain structure , tone gradation exposure latitude are usually better than in a faster film . The very fastest ultra - speed films rated above 1000 ASA should be used only if you know the lighting will be extremely bad .
COLOR FILM
Early color films were quite slow . An ASA speed of 16 was about as high as you would find . These films , of course , were sadly limited for available light photography . Fortunately this condition no longer exists . Kodachrome , the original color film of the modern type , has been speeded up considerably . Other very fine films are available at ASA ratings of 50 to 100. This was considered very black - and - white film not many years ago . For very weak lighting there are excellent color films which are rated as ASA 160 or higher . These films may be used if you are prepared to sacrifice something in picture quality . However , in color as in black - and - white , if you can avoid the use of the very fastest films , you will generally be better off .
تعليق