تويت
التصوير الفوتوغرافي الحديث
فن البورتريه
تجربة إضاءة الصورة الأساسية
استخدام أضواء التنجستن
USING TUNGSTEN LIGHTS
PLACEMENT OF LIGHTS . The experiment we performed at the window works just as well for artificial light . You should , therefore , repeat that experiment . Do it at night so no other light source will interfere with the basic lighting . Seat your subject in front of the camera . Place one light off to one side and slightly to the front of the subject . It should be high enough so light falls on the subject at an angle of about 45 ° . The general effect will be about the same as you obtained with the daylight coming from the window . The shadows , however , will be more sharply defined and the shadow side of the face will be much darker ( Figure 6 ) .
Tungsten lamps are concentrated sources of light . As a result they throw deep , sharply defined shadows and it is usually necessary to fill in these shadows by shining or reflecting light into them as we did at the window . This can be done with a smaller light used as a fill - in light .
in light should be about ½ to 4 the strength of your main light should be placed almost in line between the camera and the subject so that it will illuminate the shadows " seen " by the camera . Note that you can get just about the same results with this fill - in light as with a reflector . The advantage of the fill - in light is that it is much easier to control .
Now , instead of using a smaller fill - in light , use one which is as strong as the main light , but move it back so it is twice the distance from the subject . Note that you get substantially the same result as with the smaller light . The portrait shown in Figure 7 was taken with this set - up . See how the shadows have been filled in . If you use a strong light for fill - in or move it closer to the subject , you get results like those in Figure 8. Note the shadows are very much lighter and the harsh lines on the cheek and forehead have disappeared . The lighting here is much softer than in Figure 7 .
Figure 6 Portrait taken with a single 45 ° main light .
Figure 7 Same basic lighting as Figure 6 , with addition of a fill - in light at a distance to produce minimum filling in of shadows .
Figure 8 Same lighting set - up as Figure 7 , but fill - in light is brought in close to produce soft , barely perceptible shadows .
Figure 9 An umbrella type diffuser ..
DIFFUSERS . Filling in a shadow lightens it , thus reducing its harshness , but does not change its sharp outlines . In many types of pictures , this sharply defined . shadow is not suitable . This is often the case in portraits of children or young women . In such cases you can soften or diffuse the light by placing a diffuser ( Figure 9 ) in front of it . The diffuser can be made from a piece of white tissue paper or semi - transparent cloth of fine weave . Lacking anything better , a fine handkerchief may be pressed into service and makes quite a satisfactory diffuser , although it reduces the light rather seriously .
Be careful that you don't hang anything flammable on a floodlight or reflector . All photo lights generate considerable heat and will ignite combustible . materials in a short time . Commercial diffusers like the one pictured in Figure 9 are generally made of spun glass . Since they will not burn , they can be mounted directly on the reflector . You will note , however , that even in this case , substantial space is allowed for free passage of air between the diffuser and the reflector so the lamp will not overheat ..
If you intend to do a good deal of portraiture , a commercial light diffuser is recommended . Spun glass diffusers do a good job of softening the light , they do not discolor with prolonged use , and they do not reduce light intensity as much as other types of diffusers .
To shoot with or without a diffuser is a question left largely to the photographer . For portraits of women and children , you will probably prefer the diffused lighting . It is also best for people with facial blemishes , since it tones down those defects a great deal . Men with strong character lines which you want to preserve , and young people with clean unblemished faces are usually better pictured with undiffused lighting .
After you have experimented for some time with these simple lighting arrangements , practice making actual portraits . You will soon observe that one of the most difficult problems you will have to solve is to determine how much to fill in the shadows so they photograph correctly . This is one of those things which can be solved only by trial and error , but it will help you if you remember that shadows practically always photograph darker than they look to the eye . Keep on taking pictures until you have gained enough experience to judge shadows accurately . As a starting point , however , try to keep your fill - in light in the range from ½ to 4 the strength of the main light for black - and - white portraits , and about ½ to 2/3 for color . You were told how to measure lighting ratios in Assignment No. 9 .
Don't be discouraged if , at first , you guess wrong repeatedly . The shadows may be too dense and empty in one picture and completely missing in the next - but that is only to be expected . Make your prints as soon as possible after the exposure and try to remember how the shadows appeared in the original subject . Keep notes if you find them helpful . In time you will get to know just when the shadows are correctly filled in .
فن البورتريه
تجربة إضاءة الصورة الأساسية
استخدام أضواء التنجستن
USING TUNGSTEN LIGHTS
PLACEMENT OF LIGHTS . The experiment we performed at the window works just as well for artificial light . You should , therefore , repeat that experiment . Do it at night so no other light source will interfere with the basic lighting . Seat your subject in front of the camera . Place one light off to one side and slightly to the front of the subject . It should be high enough so light falls on the subject at an angle of about 45 ° . The general effect will be about the same as you obtained with the daylight coming from the window . The shadows , however , will be more sharply defined and the shadow side of the face will be much darker ( Figure 6 ) .
Tungsten lamps are concentrated sources of light . As a result they throw deep , sharply defined shadows and it is usually necessary to fill in these shadows by shining or reflecting light into them as we did at the window . This can be done with a smaller light used as a fill - in light .
in light should be about ½ to 4 the strength of your main light should be placed almost in line between the camera and the subject so that it will illuminate the shadows " seen " by the camera . Note that you can get just about the same results with this fill - in light as with a reflector . The advantage of the fill - in light is that it is much easier to control .
Now , instead of using a smaller fill - in light , use one which is as strong as the main light , but move it back so it is twice the distance from the subject . Note that you get substantially the same result as with the smaller light . The portrait shown in Figure 7 was taken with this set - up . See how the shadows have been filled in . If you use a strong light for fill - in or move it closer to the subject , you get results like those in Figure 8. Note the shadows are very much lighter and the harsh lines on the cheek and forehead have disappeared . The lighting here is much softer than in Figure 7 .
Figure 6 Portrait taken with a single 45 ° main light .
Figure 7 Same basic lighting as Figure 6 , with addition of a fill - in light at a distance to produce minimum filling in of shadows .
Figure 8 Same lighting set - up as Figure 7 , but fill - in light is brought in close to produce soft , barely perceptible shadows .
Figure 9 An umbrella type diffuser ..
DIFFUSERS . Filling in a shadow lightens it , thus reducing its harshness , but does not change its sharp outlines . In many types of pictures , this sharply defined . shadow is not suitable . This is often the case in portraits of children or young women . In such cases you can soften or diffuse the light by placing a diffuser ( Figure 9 ) in front of it . The diffuser can be made from a piece of white tissue paper or semi - transparent cloth of fine weave . Lacking anything better , a fine handkerchief may be pressed into service and makes quite a satisfactory diffuser , although it reduces the light rather seriously .
Be careful that you don't hang anything flammable on a floodlight or reflector . All photo lights generate considerable heat and will ignite combustible . materials in a short time . Commercial diffusers like the one pictured in Figure 9 are generally made of spun glass . Since they will not burn , they can be mounted directly on the reflector . You will note , however , that even in this case , substantial space is allowed for free passage of air between the diffuser and the reflector so the lamp will not overheat ..
If you intend to do a good deal of portraiture , a commercial light diffuser is recommended . Spun glass diffusers do a good job of softening the light , they do not discolor with prolonged use , and they do not reduce light intensity as much as other types of diffusers .
To shoot with or without a diffuser is a question left largely to the photographer . For portraits of women and children , you will probably prefer the diffused lighting . It is also best for people with facial blemishes , since it tones down those defects a great deal . Men with strong character lines which you want to preserve , and young people with clean unblemished faces are usually better pictured with undiffused lighting .
After you have experimented for some time with these simple lighting arrangements , practice making actual portraits . You will soon observe that one of the most difficult problems you will have to solve is to determine how much to fill in the shadows so they photograph correctly . This is one of those things which can be solved only by trial and error , but it will help you if you remember that shadows practically always photograph darker than they look to the eye . Keep on taking pictures until you have gained enough experience to judge shadows accurately . As a starting point , however , try to keep your fill - in light in the range from ½ to 4 the strength of the main light for black - and - white portraits , and about ½ to 2/3 for color . You were told how to measure lighting ratios in Assignment No. 9 .
Don't be discouraged if , at first , you guess wrong repeatedly . The shadows may be too dense and empty in one picture and completely missing in the next - but that is only to be expected . Make your prints as soon as possible after the exposure and try to remember how the shadows appeared in the original subject . Keep notes if you find them helpful . In time you will get to know just when the shadows are correctly filled in .
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