تويت
إضاءة التنغستن ..
الإضاءة ..
كتاب التصوير الفوتوغرافي المغلق
Tungsten lighting
Continuous lighting is useful for studio photo graphy of stationary close - up subjects because the effects of light and shadow can be viewed directly through the camera . Photofloods with large reflectors are not ideal for precise close up illumination , since they light too large an area . A wide beam can be concentrated by a snoot -a funnel - like attachment for producing a narrow directional beam . Snoots can be made quite simply from an open - ended cone of black paper .
I use a variety of tungsten lights in my studio , not all from photographic suppliers . They include microscopic lamps , each with a variable diaphragm ( see p . 156 ) and a variable light out put , anglepoise lamps , tungsten halogen spot lights , household reflector bulbs , photographic light boxes and fiber optics ( see p . 52 ) .
One disadvantage of using lights not specifically designed for photography is that they may not have the right color temperature to give the correct color balance with color filmstock . For instance , low wattage ( 40-60W ) household bulbs have a much lower color temperature than the studio floods which are balanced for use with tungsten light films . Therefore , unless blue filters ( 82B and 82C ) are placed over the lens , color pictures lit with household bulbs will have a reddish cast .
Powerful tungsten lights give off considerable heat which may result in delicate natural specimens drying out or wilting . Direct heat from such bulbs can be reduced by placing a special heat - absorbing glass filter or a clear glass aquarium filled with water between the light and the subject .
Still life
I arranged the fruit , nuts and lighting so that the final effect resembled a painting . The polished top of an antique sewing table was chosen to reflect the base of the glass and the nuts . From the left I directed a pair of tungsten spotlights through a large sheet of tracing paper ; this softened the highlights in the fruit . I shone a third spotlight onto a Lastolite reflector ( see p . 152 ) on the right to fill in the shadows , while a single fiber optic gave tiny catchlights to the red cherries , helping to separate them from the black velvet background . Lens Hasselblad 150mm + 32mm extension Mag , on film × 0.25 Mag , on page × 0.6
Lighting coins I took this mint Seychelles coin using axial lighting by shining a microscope spotlight onto a piece of glass at 45 , as shown in the set - up on the right . This molded the relief of the orchid flower design on the coin , which was based on one of my photographs . I eliminated reflections in the glass by using a matte black mask ( see p . 124 ) . Lens Hasselblad 80mm + 55mm extension Mag . on film × 0.7 Mag . on page × 2
Watermark
This distinctive bull's - head watermark was present on a sheet of hand - made paper . I placed the paper on a lightbox and took the picture simply by metering the light passing through the paper . A watermark can also be photographed by available light by attaching the paper to a window , or by flash or floodlight by scotch taping the paper to a piece of vertical glass . Lens Hasselblad 80mm + 42mm ( 21 + 21 ) extension Mag . on film × 0.6 Mag . on page × 1
A glowing bulb
For this picture of an internal glowing filament , I used a 40 - watt electric light bulb , connected to a dimmer switch . The bulb and dimmer were placed in front of a black velvet backcloth and I used a microscope lamp ( as in the set - up above ) to highlight the outline . Lens Hasselblad 80mm + 37mm ( 21 + 16 ) extension Mag . on film x0.5 Mag . on page × 1.6
Bony sutures
A single spotlight covered with a white diffuser was used to light the top of a red deer skull , showing clearly the convoluted junctions of the skull plates . Lens Hasselblad 80mm + 42mm ( 21 + 21 ) extension Mag . on film x0.5 Mag . on page × 1
الإضاءة ..
كتاب التصوير الفوتوغرافي المغلق
Tungsten lighting
Continuous lighting is useful for studio photo graphy of stationary close - up subjects because the effects of light and shadow can be viewed directly through the camera . Photofloods with large reflectors are not ideal for precise close up illumination , since they light too large an area . A wide beam can be concentrated by a snoot -a funnel - like attachment for producing a narrow directional beam . Snoots can be made quite simply from an open - ended cone of black paper .
I use a variety of tungsten lights in my studio , not all from photographic suppliers . They include microscopic lamps , each with a variable diaphragm ( see p . 156 ) and a variable light out put , anglepoise lamps , tungsten halogen spot lights , household reflector bulbs , photographic light boxes and fiber optics ( see p . 52 ) .
One disadvantage of using lights not specifically designed for photography is that they may not have the right color temperature to give the correct color balance with color filmstock . For instance , low wattage ( 40-60W ) household bulbs have a much lower color temperature than the studio floods which are balanced for use with tungsten light films . Therefore , unless blue filters ( 82B and 82C ) are placed over the lens , color pictures lit with household bulbs will have a reddish cast .
Powerful tungsten lights give off considerable heat which may result in delicate natural specimens drying out or wilting . Direct heat from such bulbs can be reduced by placing a special heat - absorbing glass filter or a clear glass aquarium filled with water between the light and the subject .
Still life
I arranged the fruit , nuts and lighting so that the final effect resembled a painting . The polished top of an antique sewing table was chosen to reflect the base of the glass and the nuts . From the left I directed a pair of tungsten spotlights through a large sheet of tracing paper ; this softened the highlights in the fruit . I shone a third spotlight onto a Lastolite reflector ( see p . 152 ) on the right to fill in the shadows , while a single fiber optic gave tiny catchlights to the red cherries , helping to separate them from the black velvet background . Lens Hasselblad 150mm + 32mm extension Mag , on film × 0.25 Mag , on page × 0.6
Lighting coins I took this mint Seychelles coin using axial lighting by shining a microscope spotlight onto a piece of glass at 45 , as shown in the set - up on the right . This molded the relief of the orchid flower design on the coin , which was based on one of my photographs . I eliminated reflections in the glass by using a matte black mask ( see p . 124 ) . Lens Hasselblad 80mm + 55mm extension Mag . on film × 0.7 Mag . on page × 2
Watermark
This distinctive bull's - head watermark was present on a sheet of hand - made paper . I placed the paper on a lightbox and took the picture simply by metering the light passing through the paper . A watermark can also be photographed by available light by attaching the paper to a window , or by flash or floodlight by scotch taping the paper to a piece of vertical glass . Lens Hasselblad 80mm + 42mm ( 21 + 21 ) extension Mag . on film × 0.6 Mag . on page × 1
A glowing bulb
For this picture of an internal glowing filament , I used a 40 - watt electric light bulb , connected to a dimmer switch . The bulb and dimmer were placed in front of a black velvet backcloth and I used a microscope lamp ( as in the set - up above ) to highlight the outline . Lens Hasselblad 80mm + 37mm ( 21 + 16 ) extension Mag . on film x0.5 Mag . on page × 1.6
Bony sutures
A single spotlight covered with a white diffuser was used to light the top of a red deer skull , showing clearly the convoluted junctions of the skull plates . Lens Hasselblad 80mm + 42mm ( 21 + 21 ) extension Mag . on film x0.5 Mag . on page × 1
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