تويت
التأكيد على الملمس ..
لقطات مقربة إبداعية ..
كتاب التصوير الفوتوغرافي المغلق
Emphasizing texture
Texture is used to describe the relatively small scale surface character of objects , and is related to our sense of touch . Hence surfaces are described as being smooth , silky or rough . Texture as a theme links totally different objects through the similar nature of their surfaces . Smooth surfaces are considered textureless and are reflective though smooth surfaces which appear rough , such as the grain of polished wood , are also described as being textured . Rough textured surfaces are non reflective and are best shown up by oblique lighting which highlights the raised portions but leaves shadows in the depressions . The ' feel ' of a picture in which texture is an important ele ment may be quite different when a long - range picture is compared with a close - up of the same subject . Think , for example , of the con trast between the furrow pattern of a plowed field and the soil in close - up ; between a cable ribbed sweater and the individual stitches ; between the ripple marks on a sandy beach and the sand grains .
Magnification plays an important role in the appreciation of natural scale and , hence , how we identify things . I have a pair of slides which , apart from their color , look almost identical ; yet one was taken with a standard lens and the other with a macro lens . The former shows weathered sandstone and the latter a portion of a decaying oak trunk . Both pictures illustrate how close - ups of texture , with no obvious clue as to the identity of the subject , appear to be abstract designs . This abstraction can be emphasized by unusual lighting or , physically , by dusting with powder , snow or ice .
There is no shortage of subjects for texture close - ups . You can get endless variety from stonework , carvings , brickwork , lace , wire , tapestries , collage , mats , basketry , rope , wall paper , paintwork , food , and even textured photographic prints . Natural textures are just as abundant and include skin , fur , feathers , shells , scales , bark , fruits , shells and crystals .
Because lighting must be very carefully con trolled to emphasize texture , this type of close - up photography is best done in the studio where the lights can be precisely positioned . Grazed lighting , for example , is one way of revealing very fine surface textures in the studio ( see page 50 ) .
Sculptured skin
To take this picture , I sliced a piece of lemon skin and placed it on the base of a copying stand beneath the camera . I positioned a small electronic flash so that the light grazed across the lemon surface , thereby accentuating the pits . Lens Leitz Photar 25mm . Mag . on film × 4 Mag . on page × 10
A living texture ▷ I found this exciting image of an ornamental cabbage in the garden of a South American orchid farm . The intricate way in which the wavy - edged leaves radiate from the center , their textured surface enhanced by the late afternoon sun , immediately caught my eye . For this overhead view , I mounted the camera on a tripod directly above the cabbage ( as shown in the diagram above ) . Lens 55mm micro - Nikkor Mag . on film x0.2 Mag . on page × 2
Massed beans While walking through a market in Madagascar I spotted a sackful of beans . As the light was fading , I knew the only way I could get a sharp image of the smooth , shiny seed coats was to use a tripod . Later , when I projected the transparency I saw that the smooth skins of many of the beans had been punctured by weevil holes penetrating the white interior . Lens 55mm micro - Nikkor Mag . on film × 0.15 Mag . on page × 0.6
لقطات مقربة إبداعية ..
كتاب التصوير الفوتوغرافي المغلق
Emphasizing texture
Texture is used to describe the relatively small scale surface character of objects , and is related to our sense of touch . Hence surfaces are described as being smooth , silky or rough . Texture as a theme links totally different objects through the similar nature of their surfaces . Smooth surfaces are considered textureless and are reflective though smooth surfaces which appear rough , such as the grain of polished wood , are also described as being textured . Rough textured surfaces are non reflective and are best shown up by oblique lighting which highlights the raised portions but leaves shadows in the depressions . The ' feel ' of a picture in which texture is an important ele ment may be quite different when a long - range picture is compared with a close - up of the same subject . Think , for example , of the con trast between the furrow pattern of a plowed field and the soil in close - up ; between a cable ribbed sweater and the individual stitches ; between the ripple marks on a sandy beach and the sand grains .
Magnification plays an important role in the appreciation of natural scale and , hence , how we identify things . I have a pair of slides which , apart from their color , look almost identical ; yet one was taken with a standard lens and the other with a macro lens . The former shows weathered sandstone and the latter a portion of a decaying oak trunk . Both pictures illustrate how close - ups of texture , with no obvious clue as to the identity of the subject , appear to be abstract designs . This abstraction can be emphasized by unusual lighting or , physically , by dusting with powder , snow or ice .
There is no shortage of subjects for texture close - ups . You can get endless variety from stonework , carvings , brickwork , lace , wire , tapestries , collage , mats , basketry , rope , wall paper , paintwork , food , and even textured photographic prints . Natural textures are just as abundant and include skin , fur , feathers , shells , scales , bark , fruits , shells and crystals .
Because lighting must be very carefully con trolled to emphasize texture , this type of close - up photography is best done in the studio where the lights can be precisely positioned . Grazed lighting , for example , is one way of revealing very fine surface textures in the studio ( see page 50 ) .
Sculptured skin
To take this picture , I sliced a piece of lemon skin and placed it on the base of a copying stand beneath the camera . I positioned a small electronic flash so that the light grazed across the lemon surface , thereby accentuating the pits . Lens Leitz Photar 25mm . Mag . on film × 4 Mag . on page × 10
A living texture ▷ I found this exciting image of an ornamental cabbage in the garden of a South American orchid farm . The intricate way in which the wavy - edged leaves radiate from the center , their textured surface enhanced by the late afternoon sun , immediately caught my eye . For this overhead view , I mounted the camera on a tripod directly above the cabbage ( as shown in the diagram above ) . Lens 55mm micro - Nikkor Mag . on film x0.2 Mag . on page × 2
Massed beans While walking through a market in Madagascar I spotted a sackful of beans . As the light was fading , I knew the only way I could get a sharp image of the smooth , shiny seed coats was to use a tripod . Later , when I projected the transparency I saw that the smooth skins of many of the beans had been punctured by weevil holes penetrating the white interior . Lens 55mm micro - Nikkor Mag . on film × 0.15 Mag . on page × 0.6
تعليق