تويت
الخلفيات والدعائم ..
الجلسة ..
كتاب التصوير الفوتوغرافي
Backgrounds and props
The backgrounds and props available in a studio set - up are fairly limited . Try to keep arrangements simple so that they complement rather than dominate the subject . For back grounds you can use a stand and rolls of paper - two telescopic poles fixed between the ceiling and floor with hook attachments that take the roll of background paper . Papers come in a range of twenty or so colors , and you can use two different colors side by side for a dual color background . An even cheaper and easier method is to use white paper or a white wall , and a set of transparent colored gelatins . You place these in front of a spot or floodlight to color your background You can also use cut outs in conjunction with your colored gels to throw shadows onto the background for a more sophisticated effect . On the whole , it is a good idea to keep the shadow of the sitter away from the background . Random , un defined shadows will give the portrait an untidy look . Consequently , you should keep your sitter at a distance of 6-10 ft ( 2-3 m ) from the background , so that his or her shadow falls below and out of range of the camera . However , you can use shadows quite deliberately for effect - just as Edward Steichen did in the 1930's with his great portraits of stars for Harpers Bazaar .
You can use any object , large small , as a prop . Glass vases , candelabra , and mirrors are particularly useful for portraiture . It is often best to use props partly abstracted , as in the picture on the facing page , so that they become a part of the design .
Avoiding shadows I placed the background paper 8 ft ( 2.5 m ) behind the sitter , see diagram below , so that the shadow cast by the main light is not visible . Pentax 6x7 , 105 mm , 1/30 sec at f8 , Ektachrome 160 .
Shadows for effect A The model stood close to the background , and I used an open spotlight to give strong shadows . A closed spot would have made the shadows less sharp . Pentax 6x7 , 75 mm , 1/60 sec at f8 , Ektachrome 160 .
Simple props ▷ Here , I used a candelabra as part of the design placing it 10 ft ( 3 m ) in front of the model and 5 ft ( 1.5 m ) from the camera . I focused my long lens on the girl , so that the candles are blurred . Pentax 6x7 , 105 mm , 1/30 sec at f8 , Ektachrome 160 .
الجلسة ..
كتاب التصوير الفوتوغرافي
Backgrounds and props
The backgrounds and props available in a studio set - up are fairly limited . Try to keep arrangements simple so that they complement rather than dominate the subject . For back grounds you can use a stand and rolls of paper - two telescopic poles fixed between the ceiling and floor with hook attachments that take the roll of background paper . Papers come in a range of twenty or so colors , and you can use two different colors side by side for a dual color background . An even cheaper and easier method is to use white paper or a white wall , and a set of transparent colored gelatins . You place these in front of a spot or floodlight to color your background You can also use cut outs in conjunction with your colored gels to throw shadows onto the background for a more sophisticated effect . On the whole , it is a good idea to keep the shadow of the sitter away from the background . Random , un defined shadows will give the portrait an untidy look . Consequently , you should keep your sitter at a distance of 6-10 ft ( 2-3 m ) from the background , so that his or her shadow falls below and out of range of the camera . However , you can use shadows quite deliberately for effect - just as Edward Steichen did in the 1930's with his great portraits of stars for Harpers Bazaar .
You can use any object , large small , as a prop . Glass vases , candelabra , and mirrors are particularly useful for portraiture . It is often best to use props partly abstracted , as in the picture on the facing page , so that they become a part of the design .
Avoiding shadows I placed the background paper 8 ft ( 2.5 m ) behind the sitter , see diagram below , so that the shadow cast by the main light is not visible . Pentax 6x7 , 105 mm , 1/30 sec at f8 , Ektachrome 160 .
Shadows for effect A The model stood close to the background , and I used an open spotlight to give strong shadows . A closed spot would have made the shadows less sharp . Pentax 6x7 , 75 mm , 1/60 sec at f8 , Ektachrome 160 .
Simple props ▷ Here , I used a candelabra as part of the design placing it 10 ft ( 3 m ) in front of the model and 5 ft ( 1.5 m ) from the camera . I focused my long lens on the girl , so that the candles are blurred . Pentax 6x7 , 105 mm , 1/30 sec at f8 , Ektachrome 160 .
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