تويت
التصوير عن قرب ..
الجلسة ..
كتاب التصوير الفوتوغرافي
Shooting in close - up
A great deal of the fascination of portraiture is due to the fact that each subject differs - not only in character and achievement , but also in external appearance . And the human face is , without doubt , the most individual part of the body . Yet all human heads contain the same basic ingredients a mouth , a nose , two cheeks , two eyes and ears , and a forehead . Some portraitists make the mistake of always photographing a head at the same size and in the same position within the frame , producing a monotonous effect . You should look at a face as an abstract arrangement of shapes - a triangle for the nose , two hollows for the eyes , an oval shape for the mouth , and a square plane for the forehead - and vary the permuta tions of these ingredients in the frame .
For maximum variation , experiment with photographing small sections of the head . Very few photographers today , with the notable exception of Irving Penn , experiment with large close - ups , and yet close - up portraiture is extremely interesting . Most cameras and lenses will not allow you to take a close - up shot without special attachments , but these are not expensive . Macro and close - focusing lenses , and some cameras , allow you to come quite close to the face . Because the distance from film plane to lens is greater than normal , you will need to increase exposure by one stop .
Taking a close - up A I used an extension tube , see diagram right , with my 200 mm lens , and a single diffused flood placed directly above the camera . An unusual camera angle and contrasty lighting adds a touch of drama to this close - up shot . Strong lighting was necessary because at this distance depth of field is very small , making a narrow aperture essential . Always focus on the sitter's eyes . these must be very sharp - and use your preview button or scale to make sure that the depth of field covers your entire composition . Pentax 6x7 , 200 mm and No 1 extension tube , 1/15 sec at f22 , Tri - X .
Cropping the image ▷ You can convey a good deal of information using a minimum of visual clues . Always consider cropping superfluous parts of the image , retaining only the most interesting ones . I photographed the whole head here , see diagram below , then cropped in on a section at the printing stage . Rolleiflex , 1/30 sec at f11 . Plus X.
Using diagonals The outlines of the face are an important part in composing a close - up . It is useful to have a ball - and socket head on your tripod so that you can tilt the camera easily in any direction . If you arrange the eyes on a diagonal , you will invariably give your picture visual impact , because the diagonal line acts as a contrast to the frame of the image . Here , I used the lines of the subject's plaits to counterpoint the diagonal line of her eyes still further . Pentax 6 × 7 , 105 mm , 1/30 sec at f16 , Tri - X .
الجلسة ..
كتاب التصوير الفوتوغرافي
Shooting in close - up
A great deal of the fascination of portraiture is due to the fact that each subject differs - not only in character and achievement , but also in external appearance . And the human face is , without doubt , the most individual part of the body . Yet all human heads contain the same basic ingredients a mouth , a nose , two cheeks , two eyes and ears , and a forehead . Some portraitists make the mistake of always photographing a head at the same size and in the same position within the frame , producing a monotonous effect . You should look at a face as an abstract arrangement of shapes - a triangle for the nose , two hollows for the eyes , an oval shape for the mouth , and a square plane for the forehead - and vary the permuta tions of these ingredients in the frame .
For maximum variation , experiment with photographing small sections of the head . Very few photographers today , with the notable exception of Irving Penn , experiment with large close - ups , and yet close - up portraiture is extremely interesting . Most cameras and lenses will not allow you to take a close - up shot without special attachments , but these are not expensive . Macro and close - focusing lenses , and some cameras , allow you to come quite close to the face . Because the distance from film plane to lens is greater than normal , you will need to increase exposure by one stop .
Taking a close - up A I used an extension tube , see diagram right , with my 200 mm lens , and a single diffused flood placed directly above the camera . An unusual camera angle and contrasty lighting adds a touch of drama to this close - up shot . Strong lighting was necessary because at this distance depth of field is very small , making a narrow aperture essential . Always focus on the sitter's eyes . these must be very sharp - and use your preview button or scale to make sure that the depth of field covers your entire composition . Pentax 6x7 , 200 mm and No 1 extension tube , 1/15 sec at f22 , Tri - X .
Cropping the image ▷ You can convey a good deal of information using a minimum of visual clues . Always consider cropping superfluous parts of the image , retaining only the most interesting ones . I photographed the whole head here , see diagram below , then cropped in on a section at the printing stage . Rolleiflex , 1/30 sec at f11 . Plus X.
Using diagonals The outlines of the face are an important part in composing a close - up . It is useful to have a ball - and socket head on your tripod so that you can tilt the camera easily in any direction . If you arrange the eyes on a diagonal , you will invariably give your picture visual impact , because the diagonal line acts as a contrast to the frame of the image . Here , I used the lines of the subject's plaits to counterpoint the diagonal line of her eyes still further . Pentax 6 × 7 , 105 mm , 1/30 sec at f16 , Tri - X .
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