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المبادئ الأساسية للبورتريه ..
كتاب التصوير الفوتوغرافي
Adding extra light indoors
When there is insufficient available light indoors for a good exposure you must decide whether to use flash or tungsten illumination . Flash is much more convenient it is lighter to carry and its short duration freezes movement , allowing your sitter to talk and move freely . Try to acquire a flash system with two or even three flash heads . Three heads will give you far greater flexibility for example , you can use one head at full power as your main light , diffuse the second head or bounce it off a reflector as a fill - in , and use the third head to illuminate the background . But flash has some serious drawbacks . First , it limits your control over lighting effects because you can never foresee the final result precisely . Most pro fessionals who use flash therefore shoot a test shot on instant film first . Second there are only limited number of flash set - ups , and as a result all your portraits will begin to look alike .
Third , you will find that some sitters react to flash by shutting their eyes .
Tungsten lighting is much more flexible for portraiture . The light is constant so you can see precisely how your sitter is lit , and you can move or change your lamps until you get the desired effect . The numerous different types of tungsten lamp allow you a wider range of set ups than are possible with flash . On the nega tive side , tungsten lighting often requires longer exposures and / or wider apertures , so you must work harder to obtain lively expres sions from a virtually static sitter .
It is highly inadvisable to mix tungsten and flash because they have different color temp eratures . Use tungsten - balanced film with tungsten lighting and daylight film for flash . Portraits shot on wrongly - matched film will have a strong cast ( pp . 42-4 ) . And if you mix lights you will not be able to filter the cast .
Flash in the studio used a flash unit fitted with a diffusing umbrella to provide soft , even lighting . And a white reflector placed on the subject's right acts as a fill - in . Flash has the advantage of freezing movement , but its effect is difficult to predict . Pentax 6 × 7 , 75 mm , 1/60 sec at f8 , Agfachrome 50S .
Using bounced flash A Even with fast film , the level of natural light indoors is not strong enough for action shots . You must use bounced flash to boost illumination . Use a synch lead to allow you to place the flash off camera and bounce it off a white surface , see above . Pentax 6 × 7 , 105 mm , 1/30 sec at f1 1 , Tri - X .
Movement under tungsten lights D I used a tungsten lamp , a white reflector and an additional lamp to fill in , see diagram below . Tungsten lamps enable you to predict effects , but you cannot freeze movement at slower shutter speeds as the hand here shows . Pentax 6x7 , 75 mm , 1/30 sec at f11 , Agfachrome 50L .
المبادئ الأساسية للبورتريه ..
كتاب التصوير الفوتوغرافي
Adding extra light indoors
When there is insufficient available light indoors for a good exposure you must decide whether to use flash or tungsten illumination . Flash is much more convenient it is lighter to carry and its short duration freezes movement , allowing your sitter to talk and move freely . Try to acquire a flash system with two or even three flash heads . Three heads will give you far greater flexibility for example , you can use one head at full power as your main light , diffuse the second head or bounce it off a reflector as a fill - in , and use the third head to illuminate the background . But flash has some serious drawbacks . First , it limits your control over lighting effects because you can never foresee the final result precisely . Most pro fessionals who use flash therefore shoot a test shot on instant film first . Second there are only limited number of flash set - ups , and as a result all your portraits will begin to look alike .
Third , you will find that some sitters react to flash by shutting their eyes .
Tungsten lighting is much more flexible for portraiture . The light is constant so you can see precisely how your sitter is lit , and you can move or change your lamps until you get the desired effect . The numerous different types of tungsten lamp allow you a wider range of set ups than are possible with flash . On the nega tive side , tungsten lighting often requires longer exposures and / or wider apertures , so you must work harder to obtain lively expres sions from a virtually static sitter .
It is highly inadvisable to mix tungsten and flash because they have different color temp eratures . Use tungsten - balanced film with tungsten lighting and daylight film for flash . Portraits shot on wrongly - matched film will have a strong cast ( pp . 42-4 ) . And if you mix lights you will not be able to filter the cast .
Flash in the studio used a flash unit fitted with a diffusing umbrella to provide soft , even lighting . And a white reflector placed on the subject's right acts as a fill - in . Flash has the advantage of freezing movement , but its effect is difficult to predict . Pentax 6 × 7 , 75 mm , 1/60 sec at f8 , Agfachrome 50S .
Using bounced flash A Even with fast film , the level of natural light indoors is not strong enough for action shots . You must use bounced flash to boost illumination . Use a synch lead to allow you to place the flash off camera and bounce it off a white surface , see above . Pentax 6 × 7 , 105 mm , 1/30 sec at f1 1 , Tri - X .
Movement under tungsten lights D I used a tungsten lamp , a white reflector and an additional lamp to fill in , see diagram below . Tungsten lamps enable you to predict effects , but you cannot freeze movement at slower shutter speeds as the hand here shows . Pentax 6x7 , 75 mm , 1/30 sec at f11 , Agfachrome 50L .
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