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الجلسة ..
كتاب التصوير الفوتوغرافي
Working toward the best image
A photographic portrait session divides into three separate , yet closely interdependent stages . The pre - session preparation consists of studying the sitter , imagining your final image and thinking up arrangements of props and lights . The second phase is the session itself And the third stage involves processing your film , examining the transparencies or contacts and then selecting the final image .
At the session you convert the ideas that you formulated beforehand into pictures , making a continuous effort to find the best possible interpretation . The final image often becomes clearer as the session progresses . On location you may find more appropriate or interesting parts of the environment to include in the portrait . In the studio you may gradually improve the lighting arrangement , or your sitter may begin to assume more relaxed positions . We shoot between 40 and 80 frames , working on several ideas and set - ups .
After the session is over , you reach the third , possibly most satisfying stage - looking at the results . While trying to evoke the memory of your sitter , select the picture that best fits this mental image . Compare the lighting , exposure , composition , and the sitter's expressions . Also note if anything unnecessary has crept into the frame . Finally , you will emerge with three or four acceptable shots .
Selecting the final portrait These sample contact . sheets show a few of the 60 or so frames shot during a session with Antoinette Sibley , the ballet dancer . Always shoot several possible variations of each idea , and try a close - up and a full figure .. In the series below I experimented with only . half the figure , moving in closer with each shot . The second series , right , shows the dancer in full length . First , I tried posing her by the window , but finally the mantlepiece proved to be the most attractive .
When Iyou select the final portrait from the contact sheet look . for an image that brings out your subject's best features Use a magnifier to examine each frame for faults and mark the ones you select . with a grease pencil .
Taking a color shot ▷ Color is so important nowadays that , even when the commission only calls for black and white , most photographers will shoot a few frames in color for their files . Here , I found the colors of my subject's dress , the mellow tones of the walls , and the accent of the mantlepiece irresistible . By this stage in the session it was obvious that this pose was best , so I simply shot a single roll in color . Pentax 6x7 , 75 mm , 1/8 sec at f11 , Agfachrome 50S .
The best close - up ▷ This image was the best of the close - up shots on my contact sheet . Diffused daylight filtering through a large window lit the subject , giving good modeling . Nevertheless , the combination of one directional light without fill - in and a fairly contrasty , medium speed film was still slightly too hard . To combat this I introduced a little diffusion in the darkroom I printed through one layer of 15 denier nylon , and held back the shadows . Pentax 6x7 , 105 mm . 1/60 sec at f16 , FP4 .
الجلسة ..
كتاب التصوير الفوتوغرافي
Working toward the best image
A photographic portrait session divides into three separate , yet closely interdependent stages . The pre - session preparation consists of studying the sitter , imagining your final image and thinking up arrangements of props and lights . The second phase is the session itself And the third stage involves processing your film , examining the transparencies or contacts and then selecting the final image .
At the session you convert the ideas that you formulated beforehand into pictures , making a continuous effort to find the best possible interpretation . The final image often becomes clearer as the session progresses . On location you may find more appropriate or interesting parts of the environment to include in the portrait . In the studio you may gradually improve the lighting arrangement , or your sitter may begin to assume more relaxed positions . We shoot between 40 and 80 frames , working on several ideas and set - ups .
After the session is over , you reach the third , possibly most satisfying stage - looking at the results . While trying to evoke the memory of your sitter , select the picture that best fits this mental image . Compare the lighting , exposure , composition , and the sitter's expressions . Also note if anything unnecessary has crept into the frame . Finally , you will emerge with three or four acceptable shots .
Selecting the final portrait These sample contact . sheets show a few of the 60 or so frames shot during a session with Antoinette Sibley , the ballet dancer . Always shoot several possible variations of each idea , and try a close - up and a full figure .. In the series below I experimented with only . half the figure , moving in closer with each shot . The second series , right , shows the dancer in full length . First , I tried posing her by the window , but finally the mantlepiece proved to be the most attractive .
When Iyou select the final portrait from the contact sheet look . for an image that brings out your subject's best features Use a magnifier to examine each frame for faults and mark the ones you select . with a grease pencil .
Taking a color shot ▷ Color is so important nowadays that , even when the commission only calls for black and white , most photographers will shoot a few frames in color for their files . Here , I found the colors of my subject's dress , the mellow tones of the walls , and the accent of the mantlepiece irresistible . By this stage in the session it was obvious that this pose was best , so I simply shot a single roll in color . Pentax 6x7 , 75 mm , 1/8 sec at f11 , Agfachrome 50S .
The best close - up ▷ This image was the best of the close - up shots on my contact sheet . Diffused daylight filtering through a large window lit the subject , giving good modeling . Nevertheless , the combination of one directional light without fill - in and a fairly contrasty , medium speed film was still slightly too hard . To combat this I introduced a little diffusion in the darkroom I printed through one layer of 15 denier nylon , and held back the shadows . Pentax 6x7 , 105 mm . 1/60 sec at f16 , FP4 .
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