تويت
مشاكل الإضاءة في الهواء الطلق ..
المبادئ الأساسية للبورتريه ..
كتاب التصوير الفوتوغرافي
Lighting problems outdoors
No artificial light source can compare with natural daylight - even a photograph taken under the most sophisticated lighting set - up will lack the translucent beauty of a good day light shot . Clear , diffused daylight is best - it is sufficiently strong to give distinct modeling of the face , and it also softly penetrates more shadowy areas , acting as an ideal fill - in . To achieve a similar effect on a bright , sunny day , place your sitter in an open , shaded spot . Make sure that your subject's face is in shade - spots of sun on the face will cause a burned - out mark . And avoid a sunlit background , as this will be grossly overexposed .
Not all daylight is effective for portraiture - strong , direct sunlight is the worst possible illumination . It casts hard , unpleasant shadows that almost completely obscure the subject's eyes . The only time you can use sunlight as direct illumination is at early morning or late evening , when the oblique angle of the sun lights the face without casting shadows . How ever , if the sun is exactly behind the subject - backlighting or " contre - jour " - you can use direct sunlight to create a " halo " around the head and shoulders . You must have a lens hood to prevent flare . If your sitter's head is in shadow , use a fill - in such as a white wall , or small on - camera flash unit diffused with a double thickness of tissue .
Shading the sitter To convey Edna O'Brien's strong affinity with nature , at her suggestion I used this tree in her garden as a " pastoral " setting . The sitter's face was in shadow , and the branches and leaves on the tree acted as a natural fill - in . Hasselblad 500C , 80 mm , 1/60 sec at f8 , Agfachrome 50S .
Backlighting for effect ▷ I asked my subject to stand in a doorway , with the sun behind him . In order to retain some tones in the backlit hair . I set a short exposure . To compensate for this , I had to use fill - in flash on camera , diffused with a double layer of tissue , see diagram below . Nikkormat , 28 mm , 1/60 sec at f11 , Agfachrome 50S .
Using early morning light D This shot was carefully planned to make use of the low rays of the early morn ing winter sun , and show the family house over Jessica Mitford's shoulder . The camera was placed on a high tripod , see diagram below . Hasselblad 500C , 80 mm , 1/30 sec at f11 , Ektachrome 200 .
المبادئ الأساسية للبورتريه ..
كتاب التصوير الفوتوغرافي
Lighting problems outdoors
No artificial light source can compare with natural daylight - even a photograph taken under the most sophisticated lighting set - up will lack the translucent beauty of a good day light shot . Clear , diffused daylight is best - it is sufficiently strong to give distinct modeling of the face , and it also softly penetrates more shadowy areas , acting as an ideal fill - in . To achieve a similar effect on a bright , sunny day , place your sitter in an open , shaded spot . Make sure that your subject's face is in shade - spots of sun on the face will cause a burned - out mark . And avoid a sunlit background , as this will be grossly overexposed .
Not all daylight is effective for portraiture - strong , direct sunlight is the worst possible illumination . It casts hard , unpleasant shadows that almost completely obscure the subject's eyes . The only time you can use sunlight as direct illumination is at early morning or late evening , when the oblique angle of the sun lights the face without casting shadows . How ever , if the sun is exactly behind the subject - backlighting or " contre - jour " - you can use direct sunlight to create a " halo " around the head and shoulders . You must have a lens hood to prevent flare . If your sitter's head is in shadow , use a fill - in such as a white wall , or small on - camera flash unit diffused with a double thickness of tissue .
Shading the sitter To convey Edna O'Brien's strong affinity with nature , at her suggestion I used this tree in her garden as a " pastoral " setting . The sitter's face was in shadow , and the branches and leaves on the tree acted as a natural fill - in . Hasselblad 500C , 80 mm , 1/60 sec at f8 , Agfachrome 50S .
Backlighting for effect ▷ I asked my subject to stand in a doorway , with the sun behind him . In order to retain some tones in the backlit hair . I set a short exposure . To compensate for this , I had to use fill - in flash on camera , diffused with a double layer of tissue , see diagram below . Nikkormat , 28 mm , 1/60 sec at f11 , Agfachrome 50S .
Using early morning light D This shot was carefully planned to make use of the low rays of the early morn ing winter sun , and show the family house over Jessica Mitford's shoulder . The camera was placed on a high tripod , see diagram below . Hasselblad 500C , 80 mm , 1/30 sec at f11 , Ektachrome 200 .
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