تويت
التصوير الفوتوغرافي الحديث
تصوير السفر
الإضاءة من أجل المزاج
LIGHTING FOR MOOD
Some pictorial or scenic pictures rely heavily on the mood they create rather than their subject matter or composition . Mood is largely a matter of lighting . Consequently , the mood of a picture may be considerably enhanced if the shot is made at the proper time and under the proper weather conditions . Among the most common mood pictures , and also the easiest , are sunrise and sunset pictures . These are best taken when the sun is at the horizon or just above it , but still so weak as to provide relatively little light . The effect is most pronounced with color film , but spectacular sunrises can be made with black - and - white film if the cloud formations are interesting enough . Generally speaking , there should be something in the foreground to provide the necessary effect of depth , but it should be relatively small and have an interesting outline because it will almost certainly be in deep silhouette and it is generally inadvisable to have too much of the picture go completely black .
Exposure is not critical , but it does depend not only on the brightness of the sun , but also on the depth of color in the sky and clouds . With a very low sun at or slightly below the horizon , take a meter reading facing directly into the sun . Bracket exposures by one full stop above and below the meter reading . All three will probably be satisfactory , but they will be different and which is best is usually a matter of choice .
A good example of top quality travel photography . The approach is factual and conventional . Courtesy of German Tourist Information Office
This the same scene as on Page 42 , but the mood has been completely changed by the imaginative use of aerial perspective . See how the haze imparts distance . to the mountains while the strong shadows created by the low sun emphasize the dramatic foreground .
Courtesy of German Tourist
Information Office
If the sun is appreciably above the horizon , it is generally best to shade the meter behind some tree branches or other foreground material unless the sun is covered by clouds . In the latter case , look for shafts of bright sunlight streaming through the clouds since these can be extremely effective . If the sun is high enough to present a meter reading problem , aim the meter at the sky to either side of the sun so that the sun is just outside the angle covered by the meter . About 45 ° to either side is usually correct , but select the side which gives you a sky that has about the same value as the sky you are photographing . Again bracket the exposure , but this time because the sun is so bright , stop down the lens considerably . A suggested amount is three full stops , but this , of course , will depend largely on the brightness of the sun and the effect you want . Bear in mind that the longer the exposure , the more detail you will get in the foreground and the less dramatic the sunset effect .
A foggy day presents a fine opportunity to get unusual mood pictures . The individual water droplets which make up fog are relatively large and for that . reason no filter will penetrate fog . There is , therefore , no point in using one . Try to select the point of view which will give you something in the near foreground and something just barely visible through the fog in the background . The exposure is quite critical , since you want the foreground to loom out at you . through the slight fog in front of you and the background to be just barely visible . If the film is overexposed , the background will wash out completely and the whole point of the picture will be lost . It is best to bracket exposures here .
Pictures in the rain are not too comon in travel shows , and for that reason they can be quite effective in adding a certain amount of originality to a collection of such pictures . It is very difficult to photograph the rain as it is falling , and it is seldom particularly important to do so . However , you can get the desired effect by photographing people carrying umbrellas hurrying along a street , or collected in a crowd before a bus , listening to an outdoor address or engaged in any other interesting activity . You can often get extremely interesting pictorial shots by shooting at the streets or sidewalks where puddles of water have collected and act as mirrors to reflect the buildings beyond . If these puddles are fairly close to you , be sure to focus for the reflection , not the puddles themselves or the reflections will be out of focus .
At night , rain pictures have an interest all their own . You can use the pools of water in the same manner as for daylight shooting , but in this case the reflections should preferably be of illuminated buildings or street signs . If you want to shoot the street scene itself , the puddles of water and their reflections fill in the usually empty and dreary foreground , and provide considerably enhanced interest . A good time to take night pictures in a brightly lighted city is in a very light drizzle . The tiny droplets of water in the sky reflect the city lights in a highly scattered manner . The otherwise black and empty sky picks up just enough glow to outline the buildings . Pictures of this kind can be extremely interesting in either black - and - white or color .
تصوير السفر
الإضاءة من أجل المزاج
LIGHTING FOR MOOD
Some pictorial or scenic pictures rely heavily on the mood they create rather than their subject matter or composition . Mood is largely a matter of lighting . Consequently , the mood of a picture may be considerably enhanced if the shot is made at the proper time and under the proper weather conditions . Among the most common mood pictures , and also the easiest , are sunrise and sunset pictures . These are best taken when the sun is at the horizon or just above it , but still so weak as to provide relatively little light . The effect is most pronounced with color film , but spectacular sunrises can be made with black - and - white film if the cloud formations are interesting enough . Generally speaking , there should be something in the foreground to provide the necessary effect of depth , but it should be relatively small and have an interesting outline because it will almost certainly be in deep silhouette and it is generally inadvisable to have too much of the picture go completely black .
Exposure is not critical , but it does depend not only on the brightness of the sun , but also on the depth of color in the sky and clouds . With a very low sun at or slightly below the horizon , take a meter reading facing directly into the sun . Bracket exposures by one full stop above and below the meter reading . All three will probably be satisfactory , but they will be different and which is best is usually a matter of choice .
A good example of top quality travel photography . The approach is factual and conventional . Courtesy of German Tourist Information Office
This the same scene as on Page 42 , but the mood has been completely changed by the imaginative use of aerial perspective . See how the haze imparts distance . to the mountains while the strong shadows created by the low sun emphasize the dramatic foreground .
Courtesy of German Tourist
Information Office
If the sun is appreciably above the horizon , it is generally best to shade the meter behind some tree branches or other foreground material unless the sun is covered by clouds . In the latter case , look for shafts of bright sunlight streaming through the clouds since these can be extremely effective . If the sun is high enough to present a meter reading problem , aim the meter at the sky to either side of the sun so that the sun is just outside the angle covered by the meter . About 45 ° to either side is usually correct , but select the side which gives you a sky that has about the same value as the sky you are photographing . Again bracket the exposure , but this time because the sun is so bright , stop down the lens considerably . A suggested amount is three full stops , but this , of course , will depend largely on the brightness of the sun and the effect you want . Bear in mind that the longer the exposure , the more detail you will get in the foreground and the less dramatic the sunset effect .
A foggy day presents a fine opportunity to get unusual mood pictures . The individual water droplets which make up fog are relatively large and for that . reason no filter will penetrate fog . There is , therefore , no point in using one . Try to select the point of view which will give you something in the near foreground and something just barely visible through the fog in the background . The exposure is quite critical , since you want the foreground to loom out at you . through the slight fog in front of you and the background to be just barely visible . If the film is overexposed , the background will wash out completely and the whole point of the picture will be lost . It is best to bracket exposures here .
Pictures in the rain are not too comon in travel shows , and for that reason they can be quite effective in adding a certain amount of originality to a collection of such pictures . It is very difficult to photograph the rain as it is falling , and it is seldom particularly important to do so . However , you can get the desired effect by photographing people carrying umbrellas hurrying along a street , or collected in a crowd before a bus , listening to an outdoor address or engaged in any other interesting activity . You can often get extremely interesting pictorial shots by shooting at the streets or sidewalks where puddles of water have collected and act as mirrors to reflect the buildings beyond . If these puddles are fairly close to you , be sure to focus for the reflection , not the puddles themselves or the reflections will be out of focus .
At night , rain pictures have an interest all their own . You can use the pools of water in the same manner as for daylight shooting , but in this case the reflections should preferably be of illuminated buildings or street signs . If you want to shoot the street scene itself , the puddles of water and their reflections fill in the usually empty and dreary foreground , and provide considerably enhanced interest . A good time to take night pictures in a brightly lighted city is in a very light drizzle . The tiny droplets of water in the sky reflect the city lights in a highly scattered manner . The otherwise black and empty sky picks up just enough glow to outline the buildings . Pictures of this kind can be extremely interesting in either black - and - white or color .
تعليق