تويت
التحكم في ضوء النهار ..
الإضاءة ..
كتاب التصوير الفوتوغرافي المغلق
Controlling daylight
When working with available light , the type of lighting at the time you are taking the photo graph may not suit the particular subject . For example , shiny metallic or glossy painted sur faces will reflect direct sunlight in a concen trated area ; this can be very distracting in a close - up . Strong sunlight can be softened by using a diffuser such as a sheet or two of cheesecloth , or a white Lastolite reflector / diffuser ( see p . 152 ) .
More often with close - ups though , there will not be enough available light , or else it may not evenly illuminate the subject . Reflectors can then be very useful to help boost low light levels . I use both silver and gold ( this gives a warmer light ) 40 - inch diameter Lastolite reflec tors for illuminating large areas . I usually carry a small purse mirror and a piece of board covered with aluminum foil for lighting shadow areas on small objects . When I have been really desperate I have used a metal camping mirror or a silver Hasselblad dark slide for the same purpose .
The problem of direct sunlight striking the lens and producing flare is much less likely to occur in a close - up than in a landscape picture . However , it can be controlled by always using a lens hood and , if necessary , a multi - coated -skylight filter .
Rarely do I have the problem of too much available light when taking a close - up with a slow - speed color film . I can , however , recall a time when I had to use a neutral density filter to reduce the overall light level reaching the film so I could use a one second exposure to take water flowing over stones
Diffusing the light
I took this embossed crown on a mail box lit directly by the winter sun ( left ) . This direct sunlight created some highlights on the glossy paint , so I decided to soften the light by using two diffusers . A large circular one was held at the side of the mail box and a small faceted one was held above the camera attached to a tripod , as shown in the set - up on the right . This resulted ( above ) in a uniform soft lighting which was more restful to the eyes , but which still portrayed the embossed structure . Lens 55mm micro - Nikkor Mag . on film x0.3 Mag , on page left x0.6 . above × 1.3
Casting a shadow The small inconspicuous flowers of this heath cudweed do not easily separate out from a natural grassy background ( above ) . As I had no flashes with me , I could not override the natural light , so I asked my husband to stand in such a position that his shadow lay behind the plant ( left ) , thereby producing a simplified , albeit unnatural , backcloth . This is a very useful technique for eliminating cluttered backgrounds , and it can be achieved simply by propping up a rucksack or a piece of wood in a strategic position . Lens 55mm micro - Nikkor Mag . on film x0.2 Mag . on page above x0.4 ; left × 0.6
الإضاءة ..
كتاب التصوير الفوتوغرافي المغلق
Controlling daylight
When working with available light , the type of lighting at the time you are taking the photo graph may not suit the particular subject . For example , shiny metallic or glossy painted sur faces will reflect direct sunlight in a concen trated area ; this can be very distracting in a close - up . Strong sunlight can be softened by using a diffuser such as a sheet or two of cheesecloth , or a white Lastolite reflector / diffuser ( see p . 152 ) .
More often with close - ups though , there will not be enough available light , or else it may not evenly illuminate the subject . Reflectors can then be very useful to help boost low light levels . I use both silver and gold ( this gives a warmer light ) 40 - inch diameter Lastolite reflec tors for illuminating large areas . I usually carry a small purse mirror and a piece of board covered with aluminum foil for lighting shadow areas on small objects . When I have been really desperate I have used a metal camping mirror or a silver Hasselblad dark slide for the same purpose .
The problem of direct sunlight striking the lens and producing flare is much less likely to occur in a close - up than in a landscape picture . However , it can be controlled by always using a lens hood and , if necessary , a multi - coated -skylight filter .
Rarely do I have the problem of too much available light when taking a close - up with a slow - speed color film . I can , however , recall a time when I had to use a neutral density filter to reduce the overall light level reaching the film so I could use a one second exposure to take water flowing over stones
Diffusing the light
I took this embossed crown on a mail box lit directly by the winter sun ( left ) . This direct sunlight created some highlights on the glossy paint , so I decided to soften the light by using two diffusers . A large circular one was held at the side of the mail box and a small faceted one was held above the camera attached to a tripod , as shown in the set - up on the right . This resulted ( above ) in a uniform soft lighting which was more restful to the eyes , but which still portrayed the embossed structure . Lens 55mm micro - Nikkor Mag . on film x0.3 Mag , on page left x0.6 . above × 1.3
Casting a shadow The small inconspicuous flowers of this heath cudweed do not easily separate out from a natural grassy background ( above ) . As I had no flashes with me , I could not override the natural light , so I asked my husband to stand in such a position that his shadow lay behind the plant ( left ) , thereby producing a simplified , albeit unnatural , backcloth . This is a very useful technique for eliminating cluttered backgrounds , and it can be achieved simply by propping up a rucksack or a piece of wood in a strategic position . Lens 55mm micro - Nikkor Mag . on film x0.2 Mag . on page above x0.4 ; left × 0.6
تعليق