تويت
المفتاح العالي ..
الجلسة ..
كتاب التصوير الفوتوغرافي
High key
A high key portrait has very light , delicate tones , whether it is in color or black and white . High key relies on the elimination of all dark shadows , and ideally , the portrait should be entirely shadowless , with only the eyes , eye lashes and some outlines of the face as black accents . You can use this treatment to convey mood . It has associations with femininity , deli cacy , and gentleness . John French , a leading fashion photographer of the 1950s ( his assistants were David Bailey , Terence Donovan and Terence Duffy ) , first made this style popular with his shadowless fashion shots .
- The best lighting for a high key portrait is entirely indirect . Do not direct any light sources at the sitter - instead bounce all the lights off a white surface . You will require a minimum of three lights – the first two on each side of the subject bounced off two white reflector screens , and the third one illuminating the background . The background should also be very light in tone - preferably entirely white . Many professional photographers shoot high key pictures within a specially constructed white tent which surrounds the model with completely white , luminous walls . White light then illuminates the subject from all sides . Since all the lights are of equal strength all shadows are eliminated .
Using props You can often enhance a high key effect with an unobtrusive but appropriate prop . Here , I used a pale , semi - transparent embroidered veil which I backlit to emphasize its translucence . Pentax 6 × 7 , 105 mm . 1/15 sec at f16 , Agfachrome 50L .
Avoiding shadows A For this shot I used five lights to create a shadow less image two floodlights bounced off white screens either side of the model , two more illuminating the background , and a spotlight as a backlight on the model's hair , see diagram right . The delicate tones will not be entirely evident unless you have a few strong accents as a contrast . Here I asked my model to strengthen the black of her eyelashes with a little make - up . Pentax 6 × 7 , 105 mm . 1/15 sec at f16 , Agfachrome 50L .
High key figure Applying a high key treatment to a figure is very difficult . With so much to include in the frame you are likely to get some unwelcome shadows . You can avoid this by using a specially constructed light tent , but this is not always practical . However , well - diffused backlighting will reduce shadows and accentuate the translucent , delicate effect of your high key composition . Pentax 6x7 , 75 mm , 1/60 sec at f11 , Ektachrome 160 .
الجلسة ..
كتاب التصوير الفوتوغرافي
High key
A high key portrait has very light , delicate tones , whether it is in color or black and white . High key relies on the elimination of all dark shadows , and ideally , the portrait should be entirely shadowless , with only the eyes , eye lashes and some outlines of the face as black accents . You can use this treatment to convey mood . It has associations with femininity , deli cacy , and gentleness . John French , a leading fashion photographer of the 1950s ( his assistants were David Bailey , Terence Donovan and Terence Duffy ) , first made this style popular with his shadowless fashion shots .
- The best lighting for a high key portrait is entirely indirect . Do not direct any light sources at the sitter - instead bounce all the lights off a white surface . You will require a minimum of three lights – the first two on each side of the subject bounced off two white reflector screens , and the third one illuminating the background . The background should also be very light in tone - preferably entirely white . Many professional photographers shoot high key pictures within a specially constructed white tent which surrounds the model with completely white , luminous walls . White light then illuminates the subject from all sides . Since all the lights are of equal strength all shadows are eliminated .
Using props You can often enhance a high key effect with an unobtrusive but appropriate prop . Here , I used a pale , semi - transparent embroidered veil which I backlit to emphasize its translucence . Pentax 6 × 7 , 105 mm . 1/15 sec at f16 , Agfachrome 50L .
Avoiding shadows A For this shot I used five lights to create a shadow less image two floodlights bounced off white screens either side of the model , two more illuminating the background , and a spotlight as a backlight on the model's hair , see diagram right . The delicate tones will not be entirely evident unless you have a few strong accents as a contrast . Here I asked my model to strengthen the black of her eyelashes with a little make - up . Pentax 6 × 7 , 105 mm . 1/15 sec at f16 , Agfachrome 50L .
High key figure Applying a high key treatment to a figure is very difficult . With so much to include in the frame you are likely to get some unwelcome shadows . You can avoid this by using a specially constructed light tent , but this is not always practical . However , well - diffused backlighting will reduce shadows and accentuate the translucent , delicate effect of your high key composition . Pentax 6x7 , 75 mm , 1/60 sec at f11 , Ektachrome 160 .
تعليق