تويت
الصورة الكلاسيكية ..
الجلسة ..
كتاب التصوير الفوتوغرافي
The classic portrait
A classic portrait places its strongest emphasis on the sitter's head , and includes only a mini mum of other visually disturbing elements . It is a serious portrait , endeavoring to show the sitter in the best light . The intention is not so much to interpret the character or individual features of the sitter , but to show his or her external appearance to the best advantage . A classic portrait is never a snapshot , it is a consciously created , sympathetic image of the sitter .
A classic portrait should also be of high technical quality , and have a certain serenity and dignity . Generally , you should use more than one light , with the main and fill - in lights placed in a " classical " position ( see pp . 32-3 ) . The lighting should be simple but strong . The direction of the main light should follow the line of the nose , so that the front of the face is evenly lit. This kind of light is the most flattering to the human face . And , if necessary , use a third light for the hair and a fourth for the back ground so that the portrait is fully lit , with no important parts of the subject left in shadow . The viewer should be aware of the quality of light , but its effects should not become obtru sive . The head of the sitter should dominate the image , with the light merely accentuating its most attractive features . And because the sitter's eyes are a crucial part of the sitter's face , always try to make them a focal point of your composition . Never expect a complex lighting set - up to produce a good portrait automatic ally . In fact , a straightforward set - up is often better - some of the world's best portraits were shot with the simplest lighting .
Shooting a profile A Here , I asked my sitter not to look directly ahead but to turn her eyes slightly toward the camera to show the white of her eye . The main light was opposite the face , with a fill - in bounced off a white screen . A spotlight lit the hair and another flood lit the background , see right . Pentax 6 × 7 , 200 mm 1/15 sec at f1 1. Ektachrome 160 .
Three - quarter view A A classic portrait does not aim at a snapshot effect . Therefore , this does not rule out the use of high and low key lighting ( see pp . 62-5 ) . Here , the dark background is only slightly relieved by two shafts of light from a cut - out , see diagram left . The head was lit from all sides . Pentax 6 × 7 , 105 mm , 1/15 sec at f22 , Tri - X .
الجلسة ..
كتاب التصوير الفوتوغرافي
The classic portrait
A classic portrait places its strongest emphasis on the sitter's head , and includes only a mini mum of other visually disturbing elements . It is a serious portrait , endeavoring to show the sitter in the best light . The intention is not so much to interpret the character or individual features of the sitter , but to show his or her external appearance to the best advantage . A classic portrait is never a snapshot , it is a consciously created , sympathetic image of the sitter .
A classic portrait should also be of high technical quality , and have a certain serenity and dignity . Generally , you should use more than one light , with the main and fill - in lights placed in a " classical " position ( see pp . 32-3 ) . The lighting should be simple but strong . The direction of the main light should follow the line of the nose , so that the front of the face is evenly lit. This kind of light is the most flattering to the human face . And , if necessary , use a third light for the hair and a fourth for the back ground so that the portrait is fully lit , with no important parts of the subject left in shadow . The viewer should be aware of the quality of light , but its effects should not become obtru sive . The head of the sitter should dominate the image , with the light merely accentuating its most attractive features . And because the sitter's eyes are a crucial part of the sitter's face , always try to make them a focal point of your composition . Never expect a complex lighting set - up to produce a good portrait automatic ally . In fact , a straightforward set - up is often better - some of the world's best portraits were shot with the simplest lighting .
Shooting a profile A Here , I asked my sitter not to look directly ahead but to turn her eyes slightly toward the camera to show the white of her eye . The main light was opposite the face , with a fill - in bounced off a white screen . A spotlight lit the hair and another flood lit the background , see right . Pentax 6 × 7 , 200 mm 1/15 sec at f1 1. Ektachrome 160 .
Three - quarter view A A classic portrait does not aim at a snapshot effect . Therefore , this does not rule out the use of high and low key lighting ( see pp . 62-5 ) . Here , the dark background is only slightly relieved by two shafts of light from a cut - out , see diagram left . The head was lit from all sides . Pentax 6 × 7 , 105 mm , 1/15 sec at f22 , Tri - X .
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