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كتاب التصوير الفوتوغرافي المغلق
Creative lighting
Experimentation with a wide variety of light sources other than the conventional photo flood or flash ( see p . 136 ) can produce some imaginative and startling effects . When work ing with color film , lights can be colored either by filtering the light sources , or by using single or multi - colored filters on the camera . Using a pair of polarized screens - one below and one above the subject may give unexpected color patterns ( see p . 140 ) . More recent light sources available to the photographer include fiber optics ( see p . 52 ) and colored laser beams . When fiber optics are contained inside flexible " gooseneck " arms they can produce dramatic internal lighting as in a skull , for example .
A small spotlight or a fiber optic will select ively light a small portion of a subject in totally unlit surroundings to produce a low key picture .
For color work , you should expose for the lighted area or areas so that the colors are rich and well saturated . High key pictures are ones in which the pale colors and tone predominate and strong colors - especially black - do not exist . This effect , which can be deliberately created by overexposure or by photographing into the light , is generally not suitable for close - up work , whereas low key close - ups can be most effective .
Many aspects of the physics of light such as reflection , refraction , interference , polariza tion , and the production of additive or sub tractive color , can be explored by using mirrors , prisms , filters or liquids of different colors or optical density .
Abstract fish
I placed a dimension disk , a circular plastic novelty which reflects rainbow colored hues from its structured surface , beneath the camera . Using a pair of fiber optics set up as shown above , I spun the disk and used a sec exposure to record the colors flowing into one another . To my surprise . the final image resembled a fish . Lens Hasselblad 80mm + 37mm ( 21 + 16 ) extension Mag . on film * 0.4 Mag . on page × 1.2
Dramatizing crystal
I decided to enliven a colorless quartz crystal with a colored light source . After some experimentation , I placed the crystal on a circular mirror on a table and lit it with a small microscope lamp filtered through red gelatin . The background color was achieved by using a spotlight to illuminate a green board which was set up at an angle behind the mirror ( see set - up on the right ) so that the green was reflected and recorded in the mirrored surface behind the crystal . Lens 55mm micro - Nikkor Mag . on film x0.5 Mag . on page × 4
Dramatizing a fungus
The beech tuft fungus typically grows high up on the branches of old beech trees . It can therefore be photographed from ground level only by using a long lens ( right ) . The three fungi above , however , were growing from a fallen branch so I lay on the ground to take this striking , transilluminated picture with the sky as background . Lens Hasselblad 80mm + 42mm ( 21 + 21 ) extension Mag . on film x0.5 Mag . on page × 2
الإضاءة ..
كتاب التصوير الفوتوغرافي المغلق
Creative lighting
Experimentation with a wide variety of light sources other than the conventional photo flood or flash ( see p . 136 ) can produce some imaginative and startling effects . When work ing with color film , lights can be colored either by filtering the light sources , or by using single or multi - colored filters on the camera . Using a pair of polarized screens - one below and one above the subject may give unexpected color patterns ( see p . 140 ) . More recent light sources available to the photographer include fiber optics ( see p . 52 ) and colored laser beams . When fiber optics are contained inside flexible " gooseneck " arms they can produce dramatic internal lighting as in a skull , for example .
A small spotlight or a fiber optic will select ively light a small portion of a subject in totally unlit surroundings to produce a low key picture .
For color work , you should expose for the lighted area or areas so that the colors are rich and well saturated . High key pictures are ones in which the pale colors and tone predominate and strong colors - especially black - do not exist . This effect , which can be deliberately created by overexposure or by photographing into the light , is generally not suitable for close - up work , whereas low key close - ups can be most effective .
Many aspects of the physics of light such as reflection , refraction , interference , polariza tion , and the production of additive or sub tractive color , can be explored by using mirrors , prisms , filters or liquids of different colors or optical density .
Abstract fish
I placed a dimension disk , a circular plastic novelty which reflects rainbow colored hues from its structured surface , beneath the camera . Using a pair of fiber optics set up as shown above , I spun the disk and used a sec exposure to record the colors flowing into one another . To my surprise . the final image resembled a fish . Lens Hasselblad 80mm + 37mm ( 21 + 16 ) extension Mag . on film * 0.4 Mag . on page × 1.2
Dramatizing crystal
I decided to enliven a colorless quartz crystal with a colored light source . After some experimentation , I placed the crystal on a circular mirror on a table and lit it with a small microscope lamp filtered through red gelatin . The background color was achieved by using a spotlight to illuminate a green board which was set up at an angle behind the mirror ( see set - up on the right ) so that the green was reflected and recorded in the mirrored surface behind the crystal . Lens 55mm micro - Nikkor Mag . on film x0.5 Mag . on page × 4
Dramatizing a fungus
The beech tuft fungus typically grows high up on the branches of old beech trees . It can therefore be photographed from ground level only by using a long lens ( right ) . The three fungi above , however , were growing from a fallen branch so I lay on the ground to take this striking , transilluminated picture with the sky as background . Lens Hasselblad 80mm + 42mm ( 21 + 21 ) extension Mag . on film x0.5 Mag . on page × 2
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