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الخلفيات ..
التشريح عن قرب ..
كتاب التصوير الفوتوغرافي المغلق
Backgrounds
Critical appraisal of the background color or tone , texture and shape , is paramount for achieving a successful close - up picture . If a pastel - colored subject is taken against a brightly colored background , the latter will compete for attention . Even out - of - focus high lights on water or wet surfaces may detract from a close - up subject . Success or failure depends on the relative size of the subject and the individual highlights , which I always check with the depth of field button .
When working outside with static subjects , a different viewpoint may help to improve the background . I often lie down to get a lower viewpoint and I have even resorted to carrying a stepladder on top of my automobile to gain a higher viewpoint . Opening up the aperture to decrease the depth of field ( see p . 30-31 ) can help to throw a distracting background out of focus .
Artificial backgrounds can be inserted behind an outside subject , though somehow it never looks authentic . A useful technique for separat ing a sunlit subject from its background is to cast a shadow on the background behind the subject ( see p . 38-9 ) . A polarizing filter ( see p . 40 ) can be useful for increasing the intensity of blue sky in both color and monochrome films . Contrast filters can be used with mono chrome films to help to separate a subject from its surroundings . For example , when a red flower is photographed surrounded by green leaves , everything is reproduced in a gray tone , but if a green filter is used , the red flower appears much darker .
For studio photography , I keep a good stock of backgrounds ranging from colored materials and artists ' boards , to black velvet , wood , cork , slate , sand , gravel , glass , plexiglass , black plastic sheeting and mirrors . I also improvize with any thing which helps to offset the subject , includ ing leaves or even soil . Textured backgrounds are usually not ideal , since they tend to com pete with the subject . When using pale back grounds make sure strong shadows from direct light sources are not too distracting . They can be eliminated by shining the light through a light tent , by bouncing it off a reflector or by raising the subject above the background on a glass sheet and lighting it from above with pair of lights angled down at 45 ° . A useful technique for tonally separating a subject from its background is to shine a strong light onto the background .
Using sky as a natural backcloth A I waited several days for these vibrantly colored eucalyptus flowers to open . On a sunny clear day , I used a low viewpoint so that the red flowers would be set off against the blue South African sky , which I deepened by using a polarizing filter . Lens 105mm micro - Nikkor Mag . on film × 0.25 Mag . on page × 1.25
Selecting a natural surround ▷ An old hollow tree trunk was the inspiration behind this picture of my son pretending to be an owl . I lowered him feet first through the tree hole which was three feet off the ground . As he peered out , I quickly composed the picture so that the old trunk completely filled the frame and thus created a natural surrounding to this portrait . Lens 105mm micro - Nikkor Mag . on film × 0.05 Mag . on page x0.4
A watery backcloth By lying flat on a sandy beach I was able to get the sea as a background in the upper part of the frame . Water is more often used to offset a foreground subject by working at a higher viewpoint and looking down , but in this case I wanted to illustrate the way in which the shells had been beached on the shore by the encroaching waves . Lens 55mm micro - Nikkor Mag . on film × 0.15 Mag . on page × 0.7
Varying the background
All three pictures of this horse brass were taken using the same lighting and camera set - up , to show the effect the color or texture of a background has on a subject . On the left , I used a piece of smooth green slate The original block was a gray - green color , so I rubbed some olive oil into the surface to make it appear a darker green . In the center , the brass is resting on black velvet , while for the right - hand picture I used a rope mat . I lit the brass by directing a pair of spotlights through diffuser screens . Lens 80mm Hasselblad + 42mm ( 21 + 21 ) extension Mag . on film x0.6 Mag . on page × 0.7
التشريح عن قرب ..
كتاب التصوير الفوتوغرافي المغلق
Backgrounds
Critical appraisal of the background color or tone , texture and shape , is paramount for achieving a successful close - up picture . If a pastel - colored subject is taken against a brightly colored background , the latter will compete for attention . Even out - of - focus high lights on water or wet surfaces may detract from a close - up subject . Success or failure depends on the relative size of the subject and the individual highlights , which I always check with the depth of field button .
When working outside with static subjects , a different viewpoint may help to improve the background . I often lie down to get a lower viewpoint and I have even resorted to carrying a stepladder on top of my automobile to gain a higher viewpoint . Opening up the aperture to decrease the depth of field ( see p . 30-31 ) can help to throw a distracting background out of focus .
Artificial backgrounds can be inserted behind an outside subject , though somehow it never looks authentic . A useful technique for separat ing a sunlit subject from its background is to cast a shadow on the background behind the subject ( see p . 38-9 ) . A polarizing filter ( see p . 40 ) can be useful for increasing the intensity of blue sky in both color and monochrome films . Contrast filters can be used with mono chrome films to help to separate a subject from its surroundings . For example , when a red flower is photographed surrounded by green leaves , everything is reproduced in a gray tone , but if a green filter is used , the red flower appears much darker .
For studio photography , I keep a good stock of backgrounds ranging from colored materials and artists ' boards , to black velvet , wood , cork , slate , sand , gravel , glass , plexiglass , black plastic sheeting and mirrors . I also improvize with any thing which helps to offset the subject , includ ing leaves or even soil . Textured backgrounds are usually not ideal , since they tend to com pete with the subject . When using pale back grounds make sure strong shadows from direct light sources are not too distracting . They can be eliminated by shining the light through a light tent , by bouncing it off a reflector or by raising the subject above the background on a glass sheet and lighting it from above with pair of lights angled down at 45 ° . A useful technique for tonally separating a subject from its background is to shine a strong light onto the background .
Using sky as a natural backcloth A I waited several days for these vibrantly colored eucalyptus flowers to open . On a sunny clear day , I used a low viewpoint so that the red flowers would be set off against the blue South African sky , which I deepened by using a polarizing filter . Lens 105mm micro - Nikkor Mag . on film × 0.25 Mag . on page × 1.25
Selecting a natural surround ▷ An old hollow tree trunk was the inspiration behind this picture of my son pretending to be an owl . I lowered him feet first through the tree hole which was three feet off the ground . As he peered out , I quickly composed the picture so that the old trunk completely filled the frame and thus created a natural surrounding to this portrait . Lens 105mm micro - Nikkor Mag . on film × 0.05 Mag . on page x0.4
A watery backcloth By lying flat on a sandy beach I was able to get the sea as a background in the upper part of the frame . Water is more often used to offset a foreground subject by working at a higher viewpoint and looking down , but in this case I wanted to illustrate the way in which the shells had been beached on the shore by the encroaching waves . Lens 55mm micro - Nikkor Mag . on film × 0.15 Mag . on page × 0.7
Varying the background
All three pictures of this horse brass were taken using the same lighting and camera set - up , to show the effect the color or texture of a background has on a subject . On the left , I used a piece of smooth green slate The original block was a gray - green color , so I rubbed some olive oil into the surface to make it appear a darker green . In the center , the brass is resting on black velvet , while for the right - hand picture I used a rope mat . I lit the brass by directing a pair of spotlights through diffuser screens . Lens 80mm Hasselblad + 42mm ( 21 + 21 ) extension Mag . on film x0.6 Mag . on page × 0.7
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