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استخدام المرشحات ..
المبادئ الأساسية للبورتريه ..
كتاب التصوير الفوتوغرافي
Using filters
Filters help you to cope with lighting problems which would otherwise affect your picture . Color - balancing filters alter the color tempera ture of the light that reaches the film ( see p . 30 ) , color compensating types correct heavy color casts , UV ( ultra violet ) filters counteract a bluish cast , and polarizing filters eliminate unwanted reflections .
Daylight color films are balanced to average midday ( temperate zone ) light . However , toward sunset daylight acquires a warm , yel lowish hue and , if you want your subject to have an entirely normal skin color , you must use a pale blue filter . At high altitudes , or near the sea your results will be slightly bluish . To correct this use an ultra - violet filter . In fact , it is a good idea to keep a UV filter on your lens at all times it does not affect correctly balanced light , and will protect your lens from dust and scratches . If a UV filter alone is not sufficient to correct excessive blueness , you may have to use a stronger compensating filter such as a pale yellow filter .
Polarizing filters remove polarized light rays as shown in the diagram below . Rotate the filter on the lens to reduce glare from reflective surfaces . Outdoors , polarizing filters deepen blue skies . All indoor , artificial tungsten light
Using a polarizing filter Reflections can interfere with a clear image , top . Rotate your polarizing filter in its mount until reflections are reduced , bottom . Pentax 6 × 7 , 105 mm , 1/30 sec at f11 ( top ) , 1/15 sec at f11 ( bottom ) , Ektachrome 200 .
Polarization A Rays of light travel in waves along a straight line , oscillating in several directions from the axis of this wave . A polarizing filter restricts the light to a single plane , reducing reflections from shiny surfaces .
Filtering tungsten film for daylight D If your camera is loaded with film balanced to tungsten light and you shoot in daylight you will get a cold , blue result , below . To take the correctly - balanced picture on the right I used a yellow conversion filter ( 85B ) . You will have to compensate for light loss . Here , I had to open up one stop . Pentax 6 × 7 , 105 mm , 1/60 sec at f11 ( below ) , 1/60 sec at f8 ( right ) , Ektachrome 160 .
shoot on has a pronounced yellow cast . If you daylight film in tungsten light without a filter , your result will therefore be very yellow unless you use a color - balancing filter like a Kodak 80A . And use tungsten light film in daylight with a yellow correction filter ( Kodak 85 or 85B ) to avoid a blue cast . Unfortunately , there is no perfect remedy for fluorescent lights since these vary in color temperature . In general , it is better to use daylight film with a weak magenta filter ( about CC20 ) to counteract the green cast .
Filtering daylight film for tungsten light At times , using a daylight film in an artificially - lit interior , as in the shot on the left , can be quite acceptable . A number of photographers use this combination to create a warm mood . However , if you want a naturalistic result , as in the picture below , you must use a blue correction filter ( 80A ) . Increase your exposure by two stops to compensate for the filter . Pentax 6x7 , 75 mm , 1/30 sec at f8 ( left ) , 1/8 sec at f8 ( below ) , Ektachrome 200 .
المبادئ الأساسية للبورتريه ..
كتاب التصوير الفوتوغرافي
Using filters
Filters help you to cope with lighting problems which would otherwise affect your picture . Color - balancing filters alter the color tempera ture of the light that reaches the film ( see p . 30 ) , color compensating types correct heavy color casts , UV ( ultra violet ) filters counteract a bluish cast , and polarizing filters eliminate unwanted reflections .
Daylight color films are balanced to average midday ( temperate zone ) light . However , toward sunset daylight acquires a warm , yel lowish hue and , if you want your subject to have an entirely normal skin color , you must use a pale blue filter . At high altitudes , or near the sea your results will be slightly bluish . To correct this use an ultra - violet filter . In fact , it is a good idea to keep a UV filter on your lens at all times it does not affect correctly balanced light , and will protect your lens from dust and scratches . If a UV filter alone is not sufficient to correct excessive blueness , you may have to use a stronger compensating filter such as a pale yellow filter .
Polarizing filters remove polarized light rays as shown in the diagram below . Rotate the filter on the lens to reduce glare from reflective surfaces . Outdoors , polarizing filters deepen blue skies . All indoor , artificial tungsten light
Using a polarizing filter Reflections can interfere with a clear image , top . Rotate your polarizing filter in its mount until reflections are reduced , bottom . Pentax 6 × 7 , 105 mm , 1/30 sec at f11 ( top ) , 1/15 sec at f11 ( bottom ) , Ektachrome 200 .
Polarization A Rays of light travel in waves along a straight line , oscillating in several directions from the axis of this wave . A polarizing filter restricts the light to a single plane , reducing reflections from shiny surfaces .
Filtering tungsten film for daylight D If your camera is loaded with film balanced to tungsten light and you shoot in daylight you will get a cold , blue result , below . To take the correctly - balanced picture on the right I used a yellow conversion filter ( 85B ) . You will have to compensate for light loss . Here , I had to open up one stop . Pentax 6 × 7 , 105 mm , 1/60 sec at f11 ( below ) , 1/60 sec at f8 ( right ) , Ektachrome 160 .
shoot on has a pronounced yellow cast . If you daylight film in tungsten light without a filter , your result will therefore be very yellow unless you use a color - balancing filter like a Kodak 80A . And use tungsten light film in daylight with a yellow correction filter ( Kodak 85 or 85B ) to avoid a blue cast . Unfortunately , there is no perfect remedy for fluorescent lights since these vary in color temperature . In general , it is better to use daylight film with a weak magenta filter ( about CC20 ) to counteract the green cast .
Filtering daylight film for tungsten light At times , using a daylight film in an artificially - lit interior , as in the shot on the left , can be quite acceptable . A number of photographers use this combination to create a warm mood . However , if you want a naturalistic result , as in the picture below , you must use a blue correction filter ( 80A ) . Increase your exposure by two stops to compensate for the filter . Pentax 6x7 , 75 mm , 1/30 sec at f8 ( left ) , 1/8 sec at f8 ( below ) , Ektachrome 200 .
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