تويت
التصوير الفوتوغرافي الحديث
التصوير الفوتوغرافي ٣٥ مم والسفر
جزء -١- تصوير ٣٥ مم.
مطالب تصوير ٣٥ مم
35MM PHOTOGRAPHY and TRAVEL PHOTOGRAPHY
Part -1- 35mm Photography .
You might be wondering just why 35mm photography is considered to be a special type of photography . How is 35mm photography any different from press photography , 24 x 24 photography , or any other kind of photography done with a particular camera ? The answer lies in the subject matter that can be captured best by standard 35mm cameras , the treatment of these subjects , and the subsequent processing of 35mm film . On - the - spot photographs , unposed candid photographs , available light photographs , and action photographs are all the specialty of 35mm photography . These are the topics we will be studying in this Assignment .
In actuality , almost all subjects can be shot with all cameras . But the compactness and inconspicuousness of a 35mm camera , its fast lenses , and the ease with which lenses can be interchanged , make it ideal for capturing a slice of life on film . Once the picture has been taken , special processing procedures are required . Often , fine - grain films and special developers are used . Their characteristics are quite different from conventional films and solutions . You will learn about these differences later in this Assignment .
THE DEMANDS OF 35MM PHOTOGRAPHY
A 35mm negative is a trifle under 1 x 1½ inches in size . In this tiny area , less than 1½ inches square , the image must contain all the detail and fine shadings of tone and color that we expect to see in the finished picture , whether it be a color
slide projected on a 10 foot screen or a black - and - white print enlarged to 16 x 20 inches . This demands a high degree of precision in the camera and lens system , the finest film quality , and the utmost care on the part of the photographer . Accurate exposure and careful processing are essential in taking full advantage of your 35mm equipment . Great care in handling the film is important - finger marks , dust , and the tiniest scratches impair 35mm negatives far more than larger ones because of the greater degree of enlargement required .
Proper care and cleanliness in handling 35mm materials can be learned by anyone who is willing to devote a little time to it . Once learned , proper care will become a habit you perform almost automatically . You can acquire a good habit almost as easily as you can acquire a bad one . All it takes is a little consistent thought . Start building your habits of cleanliness with the camera . Always keep it clean and well dusted . Never allow your fingers to touch the glass surfaces of the lens , or any filter you may use with the lens . Keep such surfaces scrupulously clean . Check them periodically and clean them carefully with lens tissue or a freshly laundered handkerchief . Keep all camera equipment covered except when in actual use . If you will do this , there will be much less likelihood of delicate camera parts picking up dust .
Always handle film . edges ( Figure 1 ) . Never allow your fingers to uch the surface either front or back . This applies both to unexposed and processed film , and to color as well as to black - and - white film . It is particularly important for negatives which are to be greatly enlarged . After you have developed a roll of film , cut it into short sections , and keep each section in a separate semi transparent envelope designed for that purpose ( Figure 2 ) . Don't store the developed film in roll form . In handling , the roll of film is very likely to pick up an occasional sharp particle of dust , and the process of rolling and unrolling the film may very well cause the dust to scratch the delicate gelatin surface .
Figure 1 Left ) Film must always be handled by the edges .
Figure 2 Negatives should be cut into small strips and kept in semi - transparent envelopes for storage and protection .
HOLDING THE CAMERA STEADY
We have discussed the proper holding of the camera in Assignment 1. It is surprising how many beginning photographers take it for granted that no special care is needed on this point . As a result , many of them hold their cameras so carelessly that their pictures are never sharp because of camera movement . Read Assignment 1 , as well as your camera instruction book , and practice the recommended holding technique until it becomes a habit . The sharpness of your pictures depends as much on holding the camera steady as on the camera and lens for which you paid a good deal of money .
TRIPODS AND TRIPOD SUBSTITUTES . The 35mm photographer often has to shoot pictures on the go and he doesn't have time to get set . He is also likely to have a number of telephoto lenses or a relatively large and bulky zoom lens . As a result , holding a camera steady requires a lot more knowledge and practice than is commonly realized . A few words on this subject is , therefore , in order here ..
It does not require any special care beyond the general precautions mentioned in Assignment 1 to hold a 35mm camera steady if it is equipped with the standard 50mm lens and the shutter speed is 1 / 125th of a second or faster . With telephoto lenses of up to 135mm or so , hand holding the camera is still quite practical if the photographer makes a conscious effort to hold the camera steady . Quite often acceptable sharpness can be obtained with shutter speeds of down to 1 / 60th of a second or so even with medium telephoto lenses .
A good many professional photographers can use telephoto lenses up to 300mm in focal length and shutter speeds of down to 1 / 60th of a second ( although 1 / 125th is a good deal safer ) , but they make a special effort to remain rock - steady and usually take the precaution of making two or three exposures because they know that a certain percentage of such exposures will be unsharp because of camera movement .
The average student , however , should not attempt to duplicate this feat . He should either use a tripod or , if this is not possible in any particular instance , he should resort to a tripod substitute of some kind .
The simplest tripod substitute when using a long telephoto lens which tends to unbalance the camera badly is to use your own arm and hand as an extra support . Instead of using both hands to hold the camera , as is usually done , hold the elbow of your left hand firmly against your body and support the telephoto lens in your left hand . In this way , your left arm becomes a supporting strut and the camera itself is more evenly supported .
There are quite a few other tricks you can use to provide additional support . For example , you can lean your shoulder against a wall , a doorway , post or tree for additional support if any of these are handy . Sometimes you can rest the camera itself on a table , fence or anything else that will serve the purpose . Sometimes pressing the camera itself against a door jamb to steady it may be all that is necessary .
There are , of course , a good many tripod substitutes you can buy ready . made . There are quite a number of different types of clamps which can be clamped to or screwed into trees , fences , table tops and furniture ( Figure 3 ) . gun - stock camera mount is very useful for holding cameras equipped with long telephoto lenses . You can buy such a gun - stock mount ( Figure 4 ) , or you can make one yourself out of a piece of ordinary one - inch lumber if you have the mechanical aptitude .
Figure 3 A universal camera support which can be used as a miniature tripod for tabletop use , a camera support clamp and a chest - pod or chest tripod .
Figure 4 Below ) A gun - stock camera mount you can make in few hours time .
A monopod or unipod also makes a useful camera support . A monopod is simply a one - legged tripod . The camera is rested on this leg and in the usual way . This provides a somewhat steadier support than holding the camera in the hands . A belt - pod is a shorter version of the monopod . The bottom of the belt - pod is rested against your belt instead of on the ground . While this does not provide quite as good a support , the belt - pod is smaller and lighter .
التصوير الفوتوغرافي ٣٥ مم والسفر
جزء -١- تصوير ٣٥ مم.
مطالب تصوير ٣٥ مم
35MM PHOTOGRAPHY and TRAVEL PHOTOGRAPHY
Part -1- 35mm Photography .
You might be wondering just why 35mm photography is considered to be a special type of photography . How is 35mm photography any different from press photography , 24 x 24 photography , or any other kind of photography done with a particular camera ? The answer lies in the subject matter that can be captured best by standard 35mm cameras , the treatment of these subjects , and the subsequent processing of 35mm film . On - the - spot photographs , unposed candid photographs , available light photographs , and action photographs are all the specialty of 35mm photography . These are the topics we will be studying in this Assignment .
In actuality , almost all subjects can be shot with all cameras . But the compactness and inconspicuousness of a 35mm camera , its fast lenses , and the ease with which lenses can be interchanged , make it ideal for capturing a slice of life on film . Once the picture has been taken , special processing procedures are required . Often , fine - grain films and special developers are used . Their characteristics are quite different from conventional films and solutions . You will learn about these differences later in this Assignment .
THE DEMANDS OF 35MM PHOTOGRAPHY
A 35mm negative is a trifle under 1 x 1½ inches in size . In this tiny area , less than 1½ inches square , the image must contain all the detail and fine shadings of tone and color that we expect to see in the finished picture , whether it be a color
slide projected on a 10 foot screen or a black - and - white print enlarged to 16 x 20 inches . This demands a high degree of precision in the camera and lens system , the finest film quality , and the utmost care on the part of the photographer . Accurate exposure and careful processing are essential in taking full advantage of your 35mm equipment . Great care in handling the film is important - finger marks , dust , and the tiniest scratches impair 35mm negatives far more than larger ones because of the greater degree of enlargement required .
Proper care and cleanliness in handling 35mm materials can be learned by anyone who is willing to devote a little time to it . Once learned , proper care will become a habit you perform almost automatically . You can acquire a good habit almost as easily as you can acquire a bad one . All it takes is a little consistent thought . Start building your habits of cleanliness with the camera . Always keep it clean and well dusted . Never allow your fingers to touch the glass surfaces of the lens , or any filter you may use with the lens . Keep such surfaces scrupulously clean . Check them periodically and clean them carefully with lens tissue or a freshly laundered handkerchief . Keep all camera equipment covered except when in actual use . If you will do this , there will be much less likelihood of delicate camera parts picking up dust .
Always handle film . edges ( Figure 1 ) . Never allow your fingers to uch the surface either front or back . This applies both to unexposed and processed film , and to color as well as to black - and - white film . It is particularly important for negatives which are to be greatly enlarged . After you have developed a roll of film , cut it into short sections , and keep each section in a separate semi transparent envelope designed for that purpose ( Figure 2 ) . Don't store the developed film in roll form . In handling , the roll of film is very likely to pick up an occasional sharp particle of dust , and the process of rolling and unrolling the film may very well cause the dust to scratch the delicate gelatin surface .
Figure 1 Left ) Film must always be handled by the edges .
Figure 2 Negatives should be cut into small strips and kept in semi - transparent envelopes for storage and protection .
HOLDING THE CAMERA STEADY
We have discussed the proper holding of the camera in Assignment 1. It is surprising how many beginning photographers take it for granted that no special care is needed on this point . As a result , many of them hold their cameras so carelessly that their pictures are never sharp because of camera movement . Read Assignment 1 , as well as your camera instruction book , and practice the recommended holding technique until it becomes a habit . The sharpness of your pictures depends as much on holding the camera steady as on the camera and lens for which you paid a good deal of money .
TRIPODS AND TRIPOD SUBSTITUTES . The 35mm photographer often has to shoot pictures on the go and he doesn't have time to get set . He is also likely to have a number of telephoto lenses or a relatively large and bulky zoom lens . As a result , holding a camera steady requires a lot more knowledge and practice than is commonly realized . A few words on this subject is , therefore , in order here ..
It does not require any special care beyond the general precautions mentioned in Assignment 1 to hold a 35mm camera steady if it is equipped with the standard 50mm lens and the shutter speed is 1 / 125th of a second or faster . With telephoto lenses of up to 135mm or so , hand holding the camera is still quite practical if the photographer makes a conscious effort to hold the camera steady . Quite often acceptable sharpness can be obtained with shutter speeds of down to 1 / 60th of a second or so even with medium telephoto lenses .
A good many professional photographers can use telephoto lenses up to 300mm in focal length and shutter speeds of down to 1 / 60th of a second ( although 1 / 125th is a good deal safer ) , but they make a special effort to remain rock - steady and usually take the precaution of making two or three exposures because they know that a certain percentage of such exposures will be unsharp because of camera movement .
The average student , however , should not attempt to duplicate this feat . He should either use a tripod or , if this is not possible in any particular instance , he should resort to a tripod substitute of some kind .
The simplest tripod substitute when using a long telephoto lens which tends to unbalance the camera badly is to use your own arm and hand as an extra support . Instead of using both hands to hold the camera , as is usually done , hold the elbow of your left hand firmly against your body and support the telephoto lens in your left hand . In this way , your left arm becomes a supporting strut and the camera itself is more evenly supported .
There are quite a few other tricks you can use to provide additional support . For example , you can lean your shoulder against a wall , a doorway , post or tree for additional support if any of these are handy . Sometimes you can rest the camera itself on a table , fence or anything else that will serve the purpose . Sometimes pressing the camera itself against a door jamb to steady it may be all that is necessary .
There are , of course , a good many tripod substitutes you can buy ready . made . There are quite a number of different types of clamps which can be clamped to or screwed into trees , fences , table tops and furniture ( Figure 3 ) . gun - stock camera mount is very useful for holding cameras equipped with long telephoto lenses . You can buy such a gun - stock mount ( Figure 4 ) , or you can make one yourself out of a piece of ordinary one - inch lumber if you have the mechanical aptitude .
Figure 3 A universal camera support which can be used as a miniature tripod for tabletop use , a camera support clamp and a chest - pod or chest tripod .
Figure 4 Below ) A gun - stock camera mount you can make in few hours time .
A monopod or unipod also makes a useful camera support . A monopod is simply a one - legged tripod . The camera is rested on this leg and in the usual way . This provides a somewhat steadier support than holding the camera in the hands . A belt - pod is a shorter version of the monopod . The bottom of the belt - pod is rested against your belt instead of on the ground . While this does not provide quite as good a support , the belt - pod is smaller and lighter .
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