تويت
اعداد اللقطة ..
الجلسة ..
كتاب التصوير الفوتوغرافي
Setting up the shot
Although your pre - session preparation and research will give you some idea about your sitter , and as a result you may have already decided what sort of portrait you would like to take , your final decision should come during the actual session . The contact with your subject is decisive . Do not start to photograph right from the first moment . Instead , load your camera in the sitter's presence to give yourself a few extra minutes to size up the situation and to start a conversation . This will help you to conduct the session in relaxed , sociable manner , and make sure that your sitter does not become tense or bored .
The first problem you will encounter is how to get your sitter into the sort of arrangement you want . It is often best to suggest a position , and then wait patiently until the sitter adopts a suitable pose . In order to give yourself a better chance of taking a good - picture , and to keep your subject interested and alert , you should move your camera up and down , and to the right and left , to find an ideal angle or position . As you move around your subject you must constantly examine how the image changes . When the camera position alters , the relation ship of your subject to the surroundings also undergoes a change . Shadows on the back ground , pictures on the wall or the back of your sitter's chair will occupy a different place in the frame , and light falling on the sitter will change direction and quality . Make sure that every thing is exactly as you want it before you press the shutter release .
Working round your subject A This diagram shows the way I moved the camera and tripod around my sitter during the session . Although I used a tripod I kept the camera mobile all the time , changing its - position in relation to my subject and also changing its height . I lit the crafts man with two flood lights a large one and a smaller one with an adjustable beam . For all the pictures : Pentax 6x7 , Ektachrome 160 .
Close - up view ( 1 ) First , I took a shot of the sitter in profile . I moved in close to give a good view of the sitter and table . I used the large lamp in front of my sitter and the smaller one behind him . 55 mm , 1/15 sec at f16 .
Including the surroundings ( 2 ) V A wide - angle lens allowed me to include most of the workshop . The objects on the table give a sense of scale . I placed the large lamp to my subject's left , the smaller one on his right . 55 mm , 1/30 sec at f1 1 .
High viewpoint ( 3 ) A The camera was positioned above normal eye - level . With my subject's central position this gives a more formal result . The large lamp lit the subject , the smaller one the background . 75 mm , 1/8 sec at f22 .
Using a wide - angle ( 4 ) I took this wide - angle shot in order to show the scale of my subject in relation to his high workroom , and to include the stained glass on the walls . 55 mm , 1/30 sec at f11 .
Low viewpoint ( 5 ) ▷ I moved to a low position behind the artist's work bench to show him with his colorful finished product . One lamp lit the subject and the other lit the glass from behind . 75 mm , 1/8 sec at f22 .
الجلسة ..
كتاب التصوير الفوتوغرافي
Setting up the shot
Although your pre - session preparation and research will give you some idea about your sitter , and as a result you may have already decided what sort of portrait you would like to take , your final decision should come during the actual session . The contact with your subject is decisive . Do not start to photograph right from the first moment . Instead , load your camera in the sitter's presence to give yourself a few extra minutes to size up the situation and to start a conversation . This will help you to conduct the session in relaxed , sociable manner , and make sure that your sitter does not become tense or bored .
The first problem you will encounter is how to get your sitter into the sort of arrangement you want . It is often best to suggest a position , and then wait patiently until the sitter adopts a suitable pose . In order to give yourself a better chance of taking a good - picture , and to keep your subject interested and alert , you should move your camera up and down , and to the right and left , to find an ideal angle or position . As you move around your subject you must constantly examine how the image changes . When the camera position alters , the relation ship of your subject to the surroundings also undergoes a change . Shadows on the back ground , pictures on the wall or the back of your sitter's chair will occupy a different place in the frame , and light falling on the sitter will change direction and quality . Make sure that every thing is exactly as you want it before you press the shutter release .
Working round your subject A This diagram shows the way I moved the camera and tripod around my sitter during the session . Although I used a tripod I kept the camera mobile all the time , changing its - position in relation to my subject and also changing its height . I lit the crafts man with two flood lights a large one and a smaller one with an adjustable beam . For all the pictures : Pentax 6x7 , Ektachrome 160 .
Close - up view ( 1 ) First , I took a shot of the sitter in profile . I moved in close to give a good view of the sitter and table . I used the large lamp in front of my sitter and the smaller one behind him . 55 mm , 1/15 sec at f16 .
Including the surroundings ( 2 ) V A wide - angle lens allowed me to include most of the workshop . The objects on the table give a sense of scale . I placed the large lamp to my subject's left , the smaller one on his right . 55 mm , 1/30 sec at f1 1 .
High viewpoint ( 3 ) A The camera was positioned above normal eye - level . With my subject's central position this gives a more formal result . The large lamp lit the subject , the smaller one the background . 75 mm , 1/8 sec at f22 .
Using a wide - angle ( 4 ) I took this wide - angle shot in order to show the scale of my subject in relation to his high workroom , and to include the stained glass on the walls . 55 mm , 1/30 sec at f11 .
Low viewpoint ( 5 ) ▷ I moved to a low position behind the artist's work bench to show him with his colorful finished product . One lamp lit the subject and the other lit the glass from behind . 75 mm , 1/8 sec at f22 .
تعليق