تويت
التصوير الفوتوغرافي الحديث
فن البورتريه
إجراء الإنارة
ملء - في الضوء
تحديد نسبة الإضاءة
FILL - IN LIGHT
Set up the fill - in light as close to the camera as possible and on the side opposite to that of the main light . The fill - in has to soften the shadows seen by the lens , and so it is important to keep the fill - in as nearly in line with lens and subject as possible . With young people who have soft rounded outlines , the placement of the fill - in light is not so critical , but with older people who have definite wrinkles and deep facial lines , moving the fill - in light too much to the side will not fill in such lines . If what you want is emphasis of such lines as indication of character , that is permissible - but ordinarily facial lines should be softened as much as possible without destroying the essential character of the subject .
Watch the lighting on the subject's face very carefully , preferably on the groundglass screen . Often the fill - in light will cause highlight areas to appear on such things as glasses , earrings and other jewelry , and it may be necessary to move the fill - in light slightly to avoid such specular reflections . With men who are not using facial makeup , the fill - in light may create a faint highlight due to reflection from the oily skin . This may or may not be desirable , but you must note it and act accordingly .
One thing you may be sure of - the fill - in light will create an extra set of catch - lights in the eye , and these are usually undesirable . It is not at all a question , as some photographers believe , that two catch - lights in each eye is unnatural . On the contrary , it is seldom that there is only one light source indoors and multiple catch - lights are , therefore , common in everyday life . The double catch - lights in portrait do attract too much attention and one set should , therefore , be removed .
If this cannot be done easily by a slight repositioning of the fill - in light , let them alone . They can easily be removed by etching the negative if you are shooting black - and - white , or spotting the print if you are shooting color . Etching on the negative is not practical if you are shooting with color negative material , and it is standard practice to do all retouching or spotting on the print .
DETERMINING THE LIGHTING RATIO
It is usually better to determine the lighting ratio at this point rather than wait until all the lights are on . For portraiture , a good average lighting ratio is 3 to 1 , but it may range from a low of 2 to 1 to a high of 4 to 1. The subject of lighting ratio for portraiture has some special considerations which we should discuss at this point .
In black - and - white photography , the commercial or industrial photographer has a much wider choice in establishing a lighting ratio , not only because of the nature of the subject matter , but because he can modify his contrast to a very considerable degree by printing on the appropriate contrast grade of paper to give him what he wants . Black - and - white portraits made by the portrait photographer are generally printed on portrait paper which comes in only one grade of contrast Because of this , the contrast of the negative must be more severely restricted . If the portrait is to be used for publicity and is , therefore , to be printed on ordinary commercial paper , this consideration does not apply .
As to color , portraits almost invariably are shot on color negative material and such material has considerably wider exposure latitude than positive material so it is not necessary to restrict the lighting ratio too greatly . Furthermore , a certain amount of printing control is possible .
You should , in time , learn to estimate lighting ratio quite satisfactorily just by looking at the subject . The exact ratio is not too critical , and you will usually want to modify it to suit the particular subject before the camera so that you should learn to recognize correct lighting ratio when you look at it . Nevertheless as a student , it would be well for you to measure it , and for this purpose we recommend the procedure outlined in Assignment 9 .
You may wonder why it is necessary to have both the main light and the fill - in light turned on when you determine the strength of the total illumination . If you stop and think for a moment , you will understand why this is so . The fill - in light is placed at the camera so that it " sees " the subject as the lens sees it . This means , obviously , that every part of the face illuminated by the main light is also illuminated by the fill - in light . Let us assume that the main light has a relative strength of 2 and the fill - in light has a relative strength of 1. When both are on , the highlighted parts of the subject have a total illumination level of 3 units , and the shadows a level of only 1 unit . Thus , the lighting ratio is 3 to 1 and not 2 to 1 , as you might at first suppose . If the fill - in light is not on when you take your reading for the main light illumination , the strength of the fill - in light will not be added to that of the main light for the highlight reading , and you will get a light ing ratio of only 2 to 1 according to your meter , whereas the true ratio is 3 to 1 .
فن البورتريه
إجراء الإنارة
ملء - في الضوء
تحديد نسبة الإضاءة
FILL - IN LIGHT
Set up the fill - in light as close to the camera as possible and on the side opposite to that of the main light . The fill - in has to soften the shadows seen by the lens , and so it is important to keep the fill - in as nearly in line with lens and subject as possible . With young people who have soft rounded outlines , the placement of the fill - in light is not so critical , but with older people who have definite wrinkles and deep facial lines , moving the fill - in light too much to the side will not fill in such lines . If what you want is emphasis of such lines as indication of character , that is permissible - but ordinarily facial lines should be softened as much as possible without destroying the essential character of the subject .
Watch the lighting on the subject's face very carefully , preferably on the groundglass screen . Often the fill - in light will cause highlight areas to appear on such things as glasses , earrings and other jewelry , and it may be necessary to move the fill - in light slightly to avoid such specular reflections . With men who are not using facial makeup , the fill - in light may create a faint highlight due to reflection from the oily skin . This may or may not be desirable , but you must note it and act accordingly .
One thing you may be sure of - the fill - in light will create an extra set of catch - lights in the eye , and these are usually undesirable . It is not at all a question , as some photographers believe , that two catch - lights in each eye is unnatural . On the contrary , it is seldom that there is only one light source indoors and multiple catch - lights are , therefore , common in everyday life . The double catch - lights in portrait do attract too much attention and one set should , therefore , be removed .
If this cannot be done easily by a slight repositioning of the fill - in light , let them alone . They can easily be removed by etching the negative if you are shooting black - and - white , or spotting the print if you are shooting color . Etching on the negative is not practical if you are shooting with color negative material , and it is standard practice to do all retouching or spotting on the print .
DETERMINING THE LIGHTING RATIO
It is usually better to determine the lighting ratio at this point rather than wait until all the lights are on . For portraiture , a good average lighting ratio is 3 to 1 , but it may range from a low of 2 to 1 to a high of 4 to 1. The subject of lighting ratio for portraiture has some special considerations which we should discuss at this point .
In black - and - white photography , the commercial or industrial photographer has a much wider choice in establishing a lighting ratio , not only because of the nature of the subject matter , but because he can modify his contrast to a very considerable degree by printing on the appropriate contrast grade of paper to give him what he wants . Black - and - white portraits made by the portrait photographer are generally printed on portrait paper which comes in only one grade of contrast Because of this , the contrast of the negative must be more severely restricted . If the portrait is to be used for publicity and is , therefore , to be printed on ordinary commercial paper , this consideration does not apply .
As to color , portraits almost invariably are shot on color negative material and such material has considerably wider exposure latitude than positive material so it is not necessary to restrict the lighting ratio too greatly . Furthermore , a certain amount of printing control is possible .
You should , in time , learn to estimate lighting ratio quite satisfactorily just by looking at the subject . The exact ratio is not too critical , and you will usually want to modify it to suit the particular subject before the camera so that you should learn to recognize correct lighting ratio when you look at it . Nevertheless as a student , it would be well for you to measure it , and for this purpose we recommend the procedure outlined in Assignment 9 .
You may wonder why it is necessary to have both the main light and the fill - in light turned on when you determine the strength of the total illumination . If you stop and think for a moment , you will understand why this is so . The fill - in light is placed at the camera so that it " sees " the subject as the lens sees it . This means , obviously , that every part of the face illuminated by the main light is also illuminated by the fill - in light . Let us assume that the main light has a relative strength of 2 and the fill - in light has a relative strength of 1. When both are on , the highlighted parts of the subject have a total illumination level of 3 units , and the shadows a level of only 1 unit . Thus , the lighting ratio is 3 to 1 and not 2 to 1 , as you might at first suppose . If the fill - in light is not on when you take your reading for the main light illumination , the strength of the fill - in light will not be added to that of the main light for the highlight reading , and you will get a light ing ratio of only 2 to 1 according to your meter , whereas the true ratio is 3 to 1 .
تعليق