تويت
التصوير التفسيري - ٢ -
البورتريه المعاصر ..
كتاب التصوير الفوتوغرافي
Interpretive portraiture
in the sitter's environment , you can select the most important details . Look for any interest ing or unusual objects in your subject's house or workplace . For an interpretive photograph you should select only those that are the most appropriate and revealing . You can also make use of the ability of the lens to emphasize certain elements while subduing others or to make some aspects of the sitter's environment seem larger than life by distortion , framing or magnification Once you have established the leading feature of your interpretation , you can then add other clues and hints about the sitter as secondary elements so that they do not com pete too strongly with the fundamental con cept that you are presenting .
Interpretive portraiture is one of the best areas for experimenting with special tech niques . I used double printing ( see p . 138 ) for one picture on these pages , but you can also make effective use of filters ( see p . 128 ) and other techniques like toning ( see p . 140 ) .
Using props An easel often appears in portraits of painters . Here , I have used it as a symbol of a cross , fusing Francis Bacon's figure with it to suggest the tormented nature of his work . Nikkormat FT2 , 65 mm , 1/60 sec at f11 . Tri - X .
Double - printed portrait V Bacon often paints blurred faces , shown from several angles at once . To give an impression of his style I printed his face twice on one sheet of paper ( p . 138 ) . Mamiyaflex C3 . 105 mm . 1/60 sec at f16 . Tri - X .
Capturing outlook A I placed Francis Bacon at the top of a flight of stairs to convey a sense of isolation . His figure , foreshortened by the wide - angle lens , looms toward the viewer . I arranged the lights , see diagram right , to give him a sinister appearance , reflecting his preoccupation with man's potential for evil . Mamiyaflex C3 , 65 mm . 1/60 sec at f11 . Tri - X .
Using a wide - angle ▷ Wide - angle lenses allow you to include the sitter's environment , and to move in close for an intimate mood . You can also use them to distort props , like the strange pair of boots in this picture . Pentax 6 × 7 , 55 mm , 1/60 sec at f16 , Tri - X .
Using props as symbols I photographed the conductor framed by a carefully Bernard Haitinck arranged pattern of instruments . All the elements here were selected not only for their graphic effect , but also because they act as interpretive symbols . Pentax 6 × 7 , 55 mm , 1/15 sec at f16 , Ektachrome 160 .
Interpreting your subject through composition For this shot of Henry Moore in front of one of his sculptures I placed the subject at the edge of the frame in order to create a strong sense of the scale of his work . Nikkormat FT2 , 24 mm , 1/30 sec at f11 . Agfachrome 50S .
Finding an interpretive setting D I photographed the film director Lindsay Anderson . in an empty classroom not long after the release of his film / f , which was set in a school . Mamiyaflex C3 , 65 mm . 1/15 sec at f16 . Tri - X .
البورتريه المعاصر ..
كتاب التصوير الفوتوغرافي
Interpretive portraiture
in the sitter's environment , you can select the most important details . Look for any interest ing or unusual objects in your subject's house or workplace . For an interpretive photograph you should select only those that are the most appropriate and revealing . You can also make use of the ability of the lens to emphasize certain elements while subduing others or to make some aspects of the sitter's environment seem larger than life by distortion , framing or magnification Once you have established the leading feature of your interpretation , you can then add other clues and hints about the sitter as secondary elements so that they do not com pete too strongly with the fundamental con cept that you are presenting .
Interpretive portraiture is one of the best areas for experimenting with special tech niques . I used double printing ( see p . 138 ) for one picture on these pages , but you can also make effective use of filters ( see p . 128 ) and other techniques like toning ( see p . 140 ) .
Using props An easel often appears in portraits of painters . Here , I have used it as a symbol of a cross , fusing Francis Bacon's figure with it to suggest the tormented nature of his work . Nikkormat FT2 , 65 mm , 1/60 sec at f11 . Tri - X .
Double - printed portrait V Bacon often paints blurred faces , shown from several angles at once . To give an impression of his style I printed his face twice on one sheet of paper ( p . 138 ) . Mamiyaflex C3 . 105 mm . 1/60 sec at f16 . Tri - X .
Capturing outlook A I placed Francis Bacon at the top of a flight of stairs to convey a sense of isolation . His figure , foreshortened by the wide - angle lens , looms toward the viewer . I arranged the lights , see diagram right , to give him a sinister appearance , reflecting his preoccupation with man's potential for evil . Mamiyaflex C3 , 65 mm . 1/60 sec at f11 . Tri - X .
Using a wide - angle ▷ Wide - angle lenses allow you to include the sitter's environment , and to move in close for an intimate mood . You can also use them to distort props , like the strange pair of boots in this picture . Pentax 6 × 7 , 55 mm , 1/60 sec at f16 , Tri - X .
Using props as symbols I photographed the conductor framed by a carefully Bernard Haitinck arranged pattern of instruments . All the elements here were selected not only for their graphic effect , but also because they act as interpretive symbols . Pentax 6 × 7 , 55 mm , 1/15 sec at f16 , Ektachrome 160 .
Interpreting your subject through composition For this shot of Henry Moore in front of one of his sculptures I placed the subject at the edge of the frame in order to create a strong sense of the scale of his work . Nikkormat FT2 , 24 mm , 1/30 sec at f11 . Agfachrome 50S .
Finding an interpretive setting D I photographed the film director Lindsay Anderson . in an empty classroom not long after the release of his film / f , which was set in a school . Mamiyaflex C3 , 65 mm . 1/15 sec at f16 . Tri - X .
تعليق