تويت
التصوير الفوتوغرافي الحديث
إطلاق النار في الهواء الطلق ليلاً
أفضل وقت لالتقاط صور ليلية
ما هو الفيلم المطلوب استخدامه
تحديد التعرض
SHOOTING OUTDOORS AT NIGHT
Many students restrict their photography to daylight or to indoor flash because they assume that good outdoor pictures at night require special equipment or special techniques . This is far from true . If your camera can take good daylight pictures , it can also take good night pictures . In many cases , no additional equipment is needed . A tripod helps , but it is surprising what you can do without one .
Many outdoor scenes at night , particularly in brightly lighted city streets , can be shot at fast enough speeds for the camera to be hand held . There are , of course , night scenes where the light is quite dim or where you have to close down the lens for depth of field so that exposures up to two or three seconds are required . These can often be made by resting the camera on a low wall , a box or a car fender . For longer exposures , however , a tripod is essential and a cable release very helpful for tripping the shutter without jarring the camera . Always use a good lens hood to protect the lens from stray light .
THE BEST TIME TO TAKE NIGHT PICTURES . Too many night pictures consist of large areas of solid black , punctured by scattered pinpoints of light . All outlines of buildings , trees and other elements which would make for an interesting composition , have been lost against the unrelieved darkness of the sky .
Figure 32 Industrial complex along waterfront . Courtesy of G. Maling
Such pictures may be vastly improved if they are taken at the right time or under the right conditions .
These are :
1. At dusk
2. Shortly after a rain
3. In mist or fog
The sky is still light enough at dusk to photograph as a deep , dramatic tone instead of an empty black . If dusk is not too advanced , there will be enough light to pick out the outlines of buildings and trees from the background , thus giving considerable depth to the picture . Building and street lights will be on to provide the essential accent lights and re - create the night effect .
The best time of day for such pictures is generally from ten to twenty minutes after official sunset . Some of the most effective night scenes have been exposed during the twilight zone between sunset and complete darkness . In most cities , the newspaper weather reports give the actual time of sunset , so check this before going out on a night shooting session .
Figure 33 Night scene in England . Courtesy of J. Oppenheim
After a rain the streets are still wet and puddles of water have not as yet evaporated . These provide interesting reflections which may often be used to good advantage to give life to large foreground areas of the picture which would otherwise be empty and uninteresting .
Figure 34 Chicago scene at night . Courtesy of G. Maling
City lights streaming through fog or mist at night create an overall glow of light and color which may be used very effectively by the photographer to provide the deeper halftones so necessary to a dramatic low - key effect . The sky takes on a faint aura of light against which buildings stand out in a ghostly . fashion . Perspective and depth , which are only too often completely missing in conventional night scenes , are re - created with telling effect .
WHAT FILM TO USE . The recommendations as to films for available light photography given earlier in this Assignment apply to outdoor night photography as well . In general , any black - and - white film with a speed rating of 320 or so gives good results . In color , you have no choice but to use the faster if not the fastest film .
The type of color balance is largely a matter of choice and experiment . Daylight film is usually most suitable for twilight skies , and it reproduces neon lighting quite well . Daylight film , however , will cause tungsten light to go strongly yellow or reddish . Type A or Type B films used under tungsten light do not produce this orange cast , but over - emphasize the blues and produce cooler results . Selecting the right color film for night photography outdoors is largely a matter of what you like , or the effect you want to create .
In any case , don't hesitate to shoot with whatever film you have in your camera . No color film can be correctly balanced to all night light , so you won't get natural lighting no matter what film you use . You must , therefore , shoot for mood and for subject interest . Quite often the results of using what would ordinarily be considered the wrong color film may produce a striking and highly effective photograph .
DETERMINING EXPOSURE . In many instances , there will be enough light to permit the reading of an exposure meter , particularly if it is the very sensitive cadmium sulfide type . You will generally find a reading of the reflected light much more suitable than the incident light because the light at the camera is often entirely different from the light on the subject . Lighting is very likely to be quite spotty , so it will be necessary to take your readings of the principle subject , as discussed previously .
A good deal of judgment may be used in night shots , and no one exposure can be considered correct . It depends largely on the results you want . You may want the full effect of the dark night , in which case you should keep the exposure short . You will get only the highlights - the remainder of the scene will be a deep , unrelieved black . On the other hand , you may want to show as much detail as possible . If this is the case , you must give a long enough exposure to record some shadow detail .
You will have to be careful of highlights when giving such long exposures . Night lighting is almost always very spotty and contrasty . Long exposures under such conditions may block up the highlights badly , obliterating all detail and tone separation . If the lighting is not contrasty , the long exposure may destroy the night effect , making the subject look as if it were illuminated by daylight . It is usually best to keep the exposure short enough to retain some deep shadows and produce an overall low key effect to preserve the mood ..
Because of the wide range of exposures that may be given for different effects , it is usually best to make a number of shots of each subject , bracketing exposures by one or two stops for black - and - white , and one stop for color . Then choose the picture which best suits the subject . You may find the choice difficult , since two quite different effects may result , each interesting in itself .
When the subject is such that you cannot use an exposure meter satisfactorily , use the data in Table III as a guide . Bear in mind , when using this table , that the listed exposures are only starting points for further : experimentation . Individual variations may easily cause as much as two or three stops difference in the required exposure .
TABLE III . EXPOSURES FOR NIGHT PICTURES *
* These exposure values are only to be used as guides . It is recommended that exposures be bracketed ..
إطلاق النار في الهواء الطلق ليلاً
أفضل وقت لالتقاط صور ليلية
ما هو الفيلم المطلوب استخدامه
تحديد التعرض
SHOOTING OUTDOORS AT NIGHT
Many students restrict their photography to daylight or to indoor flash because they assume that good outdoor pictures at night require special equipment or special techniques . This is far from true . If your camera can take good daylight pictures , it can also take good night pictures . In many cases , no additional equipment is needed . A tripod helps , but it is surprising what you can do without one .
Many outdoor scenes at night , particularly in brightly lighted city streets , can be shot at fast enough speeds for the camera to be hand held . There are , of course , night scenes where the light is quite dim or where you have to close down the lens for depth of field so that exposures up to two or three seconds are required . These can often be made by resting the camera on a low wall , a box or a car fender . For longer exposures , however , a tripod is essential and a cable release very helpful for tripping the shutter without jarring the camera . Always use a good lens hood to protect the lens from stray light .
THE BEST TIME TO TAKE NIGHT PICTURES . Too many night pictures consist of large areas of solid black , punctured by scattered pinpoints of light . All outlines of buildings , trees and other elements which would make for an interesting composition , have been lost against the unrelieved darkness of the sky .
Figure 32 Industrial complex along waterfront . Courtesy of G. Maling
Such pictures may be vastly improved if they are taken at the right time or under the right conditions .
These are :
1. At dusk
2. Shortly after a rain
3. In mist or fog
The sky is still light enough at dusk to photograph as a deep , dramatic tone instead of an empty black . If dusk is not too advanced , there will be enough light to pick out the outlines of buildings and trees from the background , thus giving considerable depth to the picture . Building and street lights will be on to provide the essential accent lights and re - create the night effect .
The best time of day for such pictures is generally from ten to twenty minutes after official sunset . Some of the most effective night scenes have been exposed during the twilight zone between sunset and complete darkness . In most cities , the newspaper weather reports give the actual time of sunset , so check this before going out on a night shooting session .
Figure 33 Night scene in England . Courtesy of J. Oppenheim
After a rain the streets are still wet and puddles of water have not as yet evaporated . These provide interesting reflections which may often be used to good advantage to give life to large foreground areas of the picture which would otherwise be empty and uninteresting .
Figure 34 Chicago scene at night . Courtesy of G. Maling
City lights streaming through fog or mist at night create an overall glow of light and color which may be used very effectively by the photographer to provide the deeper halftones so necessary to a dramatic low - key effect . The sky takes on a faint aura of light against which buildings stand out in a ghostly . fashion . Perspective and depth , which are only too often completely missing in conventional night scenes , are re - created with telling effect .
WHAT FILM TO USE . The recommendations as to films for available light photography given earlier in this Assignment apply to outdoor night photography as well . In general , any black - and - white film with a speed rating of 320 or so gives good results . In color , you have no choice but to use the faster if not the fastest film .
The type of color balance is largely a matter of choice and experiment . Daylight film is usually most suitable for twilight skies , and it reproduces neon lighting quite well . Daylight film , however , will cause tungsten light to go strongly yellow or reddish . Type A or Type B films used under tungsten light do not produce this orange cast , but over - emphasize the blues and produce cooler results . Selecting the right color film for night photography outdoors is largely a matter of what you like , or the effect you want to create .
In any case , don't hesitate to shoot with whatever film you have in your camera . No color film can be correctly balanced to all night light , so you won't get natural lighting no matter what film you use . You must , therefore , shoot for mood and for subject interest . Quite often the results of using what would ordinarily be considered the wrong color film may produce a striking and highly effective photograph .
DETERMINING EXPOSURE . In many instances , there will be enough light to permit the reading of an exposure meter , particularly if it is the very sensitive cadmium sulfide type . You will generally find a reading of the reflected light much more suitable than the incident light because the light at the camera is often entirely different from the light on the subject . Lighting is very likely to be quite spotty , so it will be necessary to take your readings of the principle subject , as discussed previously .
A good deal of judgment may be used in night shots , and no one exposure can be considered correct . It depends largely on the results you want . You may want the full effect of the dark night , in which case you should keep the exposure short . You will get only the highlights - the remainder of the scene will be a deep , unrelieved black . On the other hand , you may want to show as much detail as possible . If this is the case , you must give a long enough exposure to record some shadow detail .
You will have to be careful of highlights when giving such long exposures . Night lighting is almost always very spotty and contrasty . Long exposures under such conditions may block up the highlights badly , obliterating all detail and tone separation . If the lighting is not contrasty , the long exposure may destroy the night effect , making the subject look as if it were illuminated by daylight . It is usually best to keep the exposure short enough to retain some deep shadows and produce an overall low key effect to preserve the mood ..
Because of the wide range of exposures that may be given for different effects , it is usually best to make a number of shots of each subject , bracketing exposures by one or two stops for black - and - white , and one stop for color . Then choose the picture which best suits the subject . You may find the choice difficult , since two quite different effects may result , each interesting in itself .
When the subject is such that you cannot use an exposure meter satisfactorily , use the data in Table III as a guide . Bear in mind , when using this table , that the listed exposures are only starting points for further : experimentation . Individual variations may easily cause as much as two or three stops difference in the required exposure .
TABLE III . EXPOSURES FOR NIGHT PICTURES *
* These exposure values are only to be used as guides . It is recommended that exposures be bracketed ..
تعليق