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المبادئ الأساسية للبورتريه ..
كتاب التصوير الفوتوغرافي
flat , making the subject's face appear only slightly three - dimensional . As the light moves to the side and the angle increases , the more the form of the features is revealed . Facial modeling is also affected by the height of the light source in relation to the sitter . A light on level with the face will give a shadowless , flat result . But , as the light moves upward the shadows of the nose , brow and cheekbones appear . A very high elevation ( nearly 90 ° ) will cast deep shadows on the features . If the head is lit from below you will get upward shadows which create a sinister impression . All the principles covered so far apply to both natural and artificial light .
The most important thing to understand before you start using artificial lighting for por traiture is that one light source - -spot , flood light , or flash - must always be dominant . All other lights should complement this main modeling light . The most attractive lighting for a portrait is the " Hollywood " style which uses at least two lights . One is placed to give a com promise between a harsh , angled light and a flat , frontal one , see below right . This accentu ates cheekbones and gives the face a narrower , oval shape . The second light acts as a fill - in and does not create shadows of its own , but merely lights the shadows created by the modeling lamp . This light must be much weaker and more diffuse than the main light ( about one third of its power ) . To prevent it casting its own shadows , place it as close to the camera as possible , or shine it against a light - colored surface to reflect light back . Better still , use a reflector - white cardboard or a white sheet - opposite the main light .
Positioning lights D When you move a light around your subject you will alter the effect of the lighting on the face . A frontally - lit subject ( 1 ) will show a lot of detail but its form will be flattened . As you increase the angle of the light ( 2 the features I will become more . prominent . Sidelighting ( 3 lights only one half of the head . Move the lamp further round and the majority of the head and face is in shadow ( 4 ) . A backlit subject ( 5 ) is seen in silhouette .
The Hollywood " lighting set - up A I placed the main light in a " classical " position - at 45 " to the sitter and about 3 ft ( 1 m ) above her head . And I used a weaker . diffused fill - in light near the camera , see diagram right . to light the shadows cast by the main light . Pentax 6x7 , 105 mm , 1/30 sec at f11 , Ektachrome 160 .
Balancing lights A With artificial illumination you must always use one main lamp as a modeling light . You can only use other lights as subsidiary sources . For the picture above I used one floodlight as a main light and weaker light reflected off a white screen to fill in shadows , see diagram right . The picture on the left shows how confusing the lighting becomes when two lamps of similar strength light the face from different directions Pentax 6x7 , 105 mm , 1/8 sec at f1 1. Agfachrome 50L .
المبادئ الأساسية للبورتريه ..
كتاب التصوير الفوتوغرافي
flat , making the subject's face appear only slightly three - dimensional . As the light moves to the side and the angle increases , the more the form of the features is revealed . Facial modeling is also affected by the height of the light source in relation to the sitter . A light on level with the face will give a shadowless , flat result . But , as the light moves upward the shadows of the nose , brow and cheekbones appear . A very high elevation ( nearly 90 ° ) will cast deep shadows on the features . If the head is lit from below you will get upward shadows which create a sinister impression . All the principles covered so far apply to both natural and artificial light .
The most important thing to understand before you start using artificial lighting for por traiture is that one light source - -spot , flood light , or flash - must always be dominant . All other lights should complement this main modeling light . The most attractive lighting for a portrait is the " Hollywood " style which uses at least two lights . One is placed to give a com promise between a harsh , angled light and a flat , frontal one , see below right . This accentu ates cheekbones and gives the face a narrower , oval shape . The second light acts as a fill - in and does not create shadows of its own , but merely lights the shadows created by the modeling lamp . This light must be much weaker and more diffuse than the main light ( about one third of its power ) . To prevent it casting its own shadows , place it as close to the camera as possible , or shine it against a light - colored surface to reflect light back . Better still , use a reflector - white cardboard or a white sheet - opposite the main light .
Positioning lights D When you move a light around your subject you will alter the effect of the lighting on the face . A frontally - lit subject ( 1 ) will show a lot of detail but its form will be flattened . As you increase the angle of the light ( 2 the features I will become more . prominent . Sidelighting ( 3 lights only one half of the head . Move the lamp further round and the majority of the head and face is in shadow ( 4 ) . A backlit subject ( 5 ) is seen in silhouette .
The Hollywood " lighting set - up A I placed the main light in a " classical " position - at 45 " to the sitter and about 3 ft ( 1 m ) above her head . And I used a weaker . diffused fill - in light near the camera , see diagram right . to light the shadows cast by the main light . Pentax 6x7 , 105 mm , 1/30 sec at f11 , Ektachrome 160 .
Balancing lights A With artificial illumination you must always use one main lamp as a modeling light . You can only use other lights as subsidiary sources . For the picture above I used one floodlight as a main light and weaker light reflected off a white screen to fill in shadows , see diagram right . The picture on the left shows how confusing the lighting becomes when two lamps of similar strength light the face from different directions Pentax 6x7 , 105 mm , 1/8 sec at f1 1. Agfachrome 50L .
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