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استغلال ضوء النهار ..
الإضاءة ..
كتاب التصوير الفوتوغرافي المغلق
Exploiting daylight
Both the direction from which daylight strikes the subject ( front , side , overhead or back ) and the quality of the light itself ( direct or diffuse ) provide the photographer with a wide variety of natural lighting . Even though the creative use of daylight is most often regarded as the basic tool of the landscape photographer , it can nonetheless be used creatively for close - ups . Not only does the angle of the sun , and hence the direction of the shadows , change with the time of day , but the color temperature also changes . Close to dawn and dusk , the low angled sunlight appears reddish because much more of the blue light is absorbed by the atmos phere . As this lighting casts extreme shadows , it is generally unsuitable for close - ups .
Unlike artificial lights which can be moved at will , sunlight has to be exploited when it pro vides the optimum lighting conditions for a particular close - up subject . Having found an immovable subject , you need to anticipate the time of day when daylight will enhance its appearance by emphasizing its texture or even by revealing some otherwise hidden facet .
Front lighting will render a three dimensional subject flat and featureless , whereas side light ing helps to model it by creating shadows , thereby accentuating any surface relief . Direct sunlight helps to add sparkle on wet , rain splattered or dew - covered objects - notably wet pebbles , metallic surfaces , glass , spiders ' webs , leaves and flowers . Providing the subject is carefully selected , back lighting can be the key to producing some striking images . A profile , for example , may be greatly enhanced by rim lighting , or simplified into a silhouette . Colored , translucent subjects such as glass ware , crystals , red wine in a clear glass , stained glass and leaves all appear to glow when they are lit from behind . On cloudy or misty days , the non - directional , muted light casts no shadows and can be an advantage when photographing white or pastel - colored objects , which might otherwise be spoilt by harsh direct lighting .
Taking close - ups of moving subjects at a magnification of life size , or even greater , with a slow , fine - grain color film may be impossible with available light . If a faster shutter speed has to be used , there will not be enough ambient light for the lens to be adequately stopped down . Static subjects , however , can be taken with a slow shutter speed , but the color balance may be upset with long exposures .
Back lighting for effect Whenever possible , I aim to photograph cacti early or late in the day so I can use the low - angled sun to highlight the spines . To take this silver cholla cactus in Arizona , I metered the light directly through the camera on the opposite , sunny side of the cactus . and used this reading to make the exposure so that the silvery spines glowed against the shadowy background . Lens 55mm micro - Nikkor Mag . on film × 0.25 Mag . on page × 0.75
Creating shadows I saw this shadow pattern of an empty salad basket as the sun shone through my kitchen window . The photograph was taken outside on patio steps using a clamp stand to hold the basket at an angle to the orange background ( see diagram below ) to give the sharpest shadow . The camera was supported on a Benbo tripod . Lens 55mm micro - Nikkor Mag . on film * 0.4 Mag . on page × 1.5
Transillumination ▷ The full impact of the · luminous colors of stained glass can be appreciated only when they are lit by direct sunlight from behind . I waited until the sun shone before I metered the light streaming through this church window . Lens 200mm micro - Nikkor Mag . on film × 0.2 Mag . on page × 2
الإضاءة ..
كتاب التصوير الفوتوغرافي المغلق
Exploiting daylight
Both the direction from which daylight strikes the subject ( front , side , overhead or back ) and the quality of the light itself ( direct or diffuse ) provide the photographer with a wide variety of natural lighting . Even though the creative use of daylight is most often regarded as the basic tool of the landscape photographer , it can nonetheless be used creatively for close - ups . Not only does the angle of the sun , and hence the direction of the shadows , change with the time of day , but the color temperature also changes . Close to dawn and dusk , the low angled sunlight appears reddish because much more of the blue light is absorbed by the atmos phere . As this lighting casts extreme shadows , it is generally unsuitable for close - ups .
Unlike artificial lights which can be moved at will , sunlight has to be exploited when it pro vides the optimum lighting conditions for a particular close - up subject . Having found an immovable subject , you need to anticipate the time of day when daylight will enhance its appearance by emphasizing its texture or even by revealing some otherwise hidden facet .
Front lighting will render a three dimensional subject flat and featureless , whereas side light ing helps to model it by creating shadows , thereby accentuating any surface relief . Direct sunlight helps to add sparkle on wet , rain splattered or dew - covered objects - notably wet pebbles , metallic surfaces , glass , spiders ' webs , leaves and flowers . Providing the subject is carefully selected , back lighting can be the key to producing some striking images . A profile , for example , may be greatly enhanced by rim lighting , or simplified into a silhouette . Colored , translucent subjects such as glass ware , crystals , red wine in a clear glass , stained glass and leaves all appear to glow when they are lit from behind . On cloudy or misty days , the non - directional , muted light casts no shadows and can be an advantage when photographing white or pastel - colored objects , which might otherwise be spoilt by harsh direct lighting .
Taking close - ups of moving subjects at a magnification of life size , or even greater , with a slow , fine - grain color film may be impossible with available light . If a faster shutter speed has to be used , there will not be enough ambient light for the lens to be adequately stopped down . Static subjects , however , can be taken with a slow shutter speed , but the color balance may be upset with long exposures .
Back lighting for effect Whenever possible , I aim to photograph cacti early or late in the day so I can use the low - angled sun to highlight the spines . To take this silver cholla cactus in Arizona , I metered the light directly through the camera on the opposite , sunny side of the cactus . and used this reading to make the exposure so that the silvery spines glowed against the shadowy background . Lens 55mm micro - Nikkor Mag . on film × 0.25 Mag . on page × 0.75
Creating shadows I saw this shadow pattern of an empty salad basket as the sun shone through my kitchen window . The photograph was taken outside on patio steps using a clamp stand to hold the basket at an angle to the orange background ( see diagram below ) to give the sharpest shadow . The camera was supported on a Benbo tripod . Lens 55mm micro - Nikkor Mag . on film * 0.4 Mag . on page × 1.5
Transillumination ▷ The full impact of the · luminous colors of stained glass can be appreciated only when they are lit by direct sunlight from behind . I waited until the sun shone before I metered the light streaming through this church window . Lens 200mm micro - Nikkor Mag . on film × 0.2 Mag . on page × 2
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