تويت
التصوير الفوتوغرافي الحديث
فن البورتريه
تجربة إضاءة الصورة الأساسية
استخدام الضوء المتاح
EXPERIMENTING WITH BASIC PORTRAIT LIGHTING
USING AVAILABLE LIGHT
MAIN LIGHT . Let us begin our study of lighting without a camera and with only the daylight coming through a well illuminated window on a bright day ( not direct sunlight ) . We will use this as our main light . If you learn to control and direct this type of simple lighting , you will soon learn to control and direct more complicated lighting arrangements , whether daylight or artificial .
Seat a person next to the window and take your position facing the subject , as shown in Figure 3. The subject should be a little to one side of the window so one side of the face is brightly illuminated and the other quite dark . To check the lighting , notice the shadow cast by the nose . If the shadow is thrown downward and to the side , the lighting is probably satisfactory and can be made to give the desired effect of roundness to the face . If the shadow extends sideways only , the light is coming from too low a position . This may make the face look flat and lifeless .
To remedy this , either move the subject to a lower position or cover the lower half of the window to cut off some of the side light . The light should fall downward on the subject at an angle of about 45 ° .
Figure 3 Simple light set - up using daylight coming through window as main source of illumination .
Figure 4 Using a reflector to lighten or to fill in shadows created by lighting i as shown in Figure 3 .
FILL - IN LIGHT . With the strong light coming from the side and above , the shadow side of the face will be too dark unless it is filled in with a softer light . This can be done simply by holding a reflector in the position shown in Figure 4 . This reflector can be a white sheet , a card , or wrinkled aluminum foil . This will reflect some light into the shadows of the face . Move the reflector and watch how the illumination of the shadows change . The fill - in light becomes brighter as you bring the reflector closer to the subject , and weaker as you move it farther away . If you change the angle of your reflector , the light can be directed where you want it .
The angle at which the reflector faces the subject is very important . It should reflect light to the front as well as to the side of the face .
The simple set - up in Figure 4 is perhaps the most basic lighting arrangement used in portrait photography . Figure 5 is a portrait made with this lighting arrangement . More portraits are taken with this basic lighting than with all other lighting arrangements combined .
Figure 5 Portrait taken with lighting arrangement of Figure 4 .
If you want to get the most out of your lighting , you must learn to direct . and control it to produce the results you want . One of the most important points . to remember is that quality pictures as a rule do not show harsh contrasts but a full gradation of tones from the highest highlight to the deepest shadow . To see how this is accomplished , have your subject turn toward the window so that light . falls full on the face . As you look at the front of the subject's face , you will see that all areas are equally illuminated . There are no middle tones to give a feeling of roundness and naturalness . Now move the subject a few feet away from the window and see how the lighting immediately softens . In the softer light you get a much more pleasant feeling of roundness and modeling because the middle tones begin to show .
Turn the subject's head partly away from the light and view the subject from camera position . See the wider range of tonal gradation ; that is , the shadows now range from light to very dark . This is some improvement , but perhaps now the deepest shadows are too dark and without detail . This is where your fill - in light .
comes in . At this point the reflector can be used to good advantage . Hold it about four feet from the shadow side of the face . Notice how it brightens the shadows . Now move it slowly closer to the subject . Watch carefully over the top of the reflector . As you get closer , notice how it reflects more light until the shadows are filled in just enough to give the necessary modeling to the face . This is the right position for the reflector .
To carry this experiment further , move your reflector still closer to the subject . Note that beyond a certain point the reflector throws so much light into the shadows that what should be the dark side of the face becomes almost as bright as the light side . This again destroys modeling and results in a poor portrait .
Repeat this experiment many times with different light sources and different subjects until you get to know what to expect before you begin . When you have reached the point where you are no longer experimenting but are directing your efforts toward accomplishing a specific result , you are well on the road to complete control over the lighting . The next step is to duplicate this experiment but this time use tungsten illumination instead of daylight .
فن البورتريه
تجربة إضاءة الصورة الأساسية
استخدام الضوء المتاح
EXPERIMENTING WITH BASIC PORTRAIT LIGHTING
USING AVAILABLE LIGHT
MAIN LIGHT . Let us begin our study of lighting without a camera and with only the daylight coming through a well illuminated window on a bright day ( not direct sunlight ) . We will use this as our main light . If you learn to control and direct this type of simple lighting , you will soon learn to control and direct more complicated lighting arrangements , whether daylight or artificial .
Seat a person next to the window and take your position facing the subject , as shown in Figure 3. The subject should be a little to one side of the window so one side of the face is brightly illuminated and the other quite dark . To check the lighting , notice the shadow cast by the nose . If the shadow is thrown downward and to the side , the lighting is probably satisfactory and can be made to give the desired effect of roundness to the face . If the shadow extends sideways only , the light is coming from too low a position . This may make the face look flat and lifeless .
To remedy this , either move the subject to a lower position or cover the lower half of the window to cut off some of the side light . The light should fall downward on the subject at an angle of about 45 ° .
Figure 3 Simple light set - up using daylight coming through window as main source of illumination .
Figure 4 Using a reflector to lighten or to fill in shadows created by lighting i as shown in Figure 3 .
FILL - IN LIGHT . With the strong light coming from the side and above , the shadow side of the face will be too dark unless it is filled in with a softer light . This can be done simply by holding a reflector in the position shown in Figure 4 . This reflector can be a white sheet , a card , or wrinkled aluminum foil . This will reflect some light into the shadows of the face . Move the reflector and watch how the illumination of the shadows change . The fill - in light becomes brighter as you bring the reflector closer to the subject , and weaker as you move it farther away . If you change the angle of your reflector , the light can be directed where you want it .
The angle at which the reflector faces the subject is very important . It should reflect light to the front as well as to the side of the face .
The simple set - up in Figure 4 is perhaps the most basic lighting arrangement used in portrait photography . Figure 5 is a portrait made with this lighting arrangement . More portraits are taken with this basic lighting than with all other lighting arrangements combined .
Figure 5 Portrait taken with lighting arrangement of Figure 4 .
If you want to get the most out of your lighting , you must learn to direct . and control it to produce the results you want . One of the most important points . to remember is that quality pictures as a rule do not show harsh contrasts but a full gradation of tones from the highest highlight to the deepest shadow . To see how this is accomplished , have your subject turn toward the window so that light . falls full on the face . As you look at the front of the subject's face , you will see that all areas are equally illuminated . There are no middle tones to give a feeling of roundness and naturalness . Now move the subject a few feet away from the window and see how the lighting immediately softens . In the softer light you get a much more pleasant feeling of roundness and modeling because the middle tones begin to show .
Turn the subject's head partly away from the light and view the subject from camera position . See the wider range of tonal gradation ; that is , the shadows now range from light to very dark . This is some improvement , but perhaps now the deepest shadows are too dark and without detail . This is where your fill - in light .
comes in . At this point the reflector can be used to good advantage . Hold it about four feet from the shadow side of the face . Notice how it brightens the shadows . Now move it slowly closer to the subject . Watch carefully over the top of the reflector . As you get closer , notice how it reflects more light until the shadows are filled in just enough to give the necessary modeling to the face . This is the right position for the reflector .
To carry this experiment further , move your reflector still closer to the subject . Note that beyond a certain point the reflector throws so much light into the shadows that what should be the dark side of the face becomes almost as bright as the light side . This again destroys modeling and results in a poor portrait .
Repeat this experiment many times with different light sources and different subjects until you get to know what to expect before you begin . When you have reached the point where you are no longer experimenting but are directing your efforts toward accomplishing a specific result , you are well on the road to complete control over the lighting . The next step is to duplicate this experiment but this time use tungsten illumination instead of daylight .
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