تويت
النماذج المجردة ..
لقطات مقربة إبداعية ..
كتاب التصوير الفوتوغرافي المغلق
Abstract forms
A photographer who has a " seeing eye " will find that abstract shapes and forms exist at all magnifications . Familiar objects viewed be neath rippling water or in a curved reflective surface ( see p . 80 ) become abstract shapes . The interplay of light and shadow often pro vides simple but effective abstractions , especi ally in monochrome . By taking a subject and recording a portion of the whole , the identity becomes obscured , resulting in either a regular pattern or an abstract . Such images also occur when quite simple units are artificially grouped together by the photographer .
Long before photographers began to experi ment with abstracts , artists had created abstract paintings . Techniques used to create deliberately photographic abstract images include defocusing the image , placing a prism in front of the lens , exposing or printing through a screen ( see p . 130 ) and placing the subject between two polarizing screens ( see p . 140 ) . A blurred impression of movement can be pro duced either by moving the subject or the camera , or by changing the focus with a macro - zoom or a close - up zoom lens during a long exposure .
Sand ripples Walking up a sandy beach late one day . I turned into the light of the sinking sun to take my last glimpse of the sea and I saw this intriguing abstract which was made by the rippling waves in the sand . By photographing against the low - angled light , I recorded the raised parts of the sand ripples as highlighted patches . These contrast strongly with the shadowy water - filled hollows . Lens Hasselblad 80mm + 1.0 Proxar Mag . on film * 0.2 Mag . on page × 0.3
Watery highlights
I took this picture of highlights on water by defocusing the camera . Each highlight has taken on the pentagonal shape of the lens diaphragm , and in some the blades of the compur shutter are visible . Lens 80mm Hasselblad + 10mm extension Mag . on film × 0.1 Mag . on page × 0.5
Sectioned sandstone
For me this section of a sandstone block suggests a succession of receding hills in a landscape . I took the picture indoors beside a large window so as to make use of indirect available light . Lens 80mm Hasselblad + 32mm extension Mag . on film x0.3 Mag . on page × 1
Rim - lit viewer ▷ I had the idea for this picture when I saw my son watching television with a light behind him . I replaced the light with a flash and turned off all other lights in the room to produce this rim - lit profile of an intent viewer . Lens 80mm Hasselblad + 0.5 Proxar Mag . on film × 0.15 Mag . on page × 1.75
Colorful mosaic ▷ While setting up my camera on a tripod above.colored fiber optic Christmas tree lights I saw this picture . Each tiny pin - point of light has become magnified into a much larger colored highlight , so that it overlaps with neighboring ones to make an attractive mosaic . This picture was one of a series I took , keeping the magnification constant and varying the focus . Defocusing the lens still more produced even larger colored spots , which became reduced in size as I refocused the lens . Stopping down the lens to a smaller aperture also decreases the size of the highlights . Lens 80mm Hasselblad + 92mm ( 55 + 21 + 16 ) extension Mag . on film × 1.2 Mag . on page × 7
لقطات مقربة إبداعية ..
كتاب التصوير الفوتوغرافي المغلق
Abstract forms
A photographer who has a " seeing eye " will find that abstract shapes and forms exist at all magnifications . Familiar objects viewed be neath rippling water or in a curved reflective surface ( see p . 80 ) become abstract shapes . The interplay of light and shadow often pro vides simple but effective abstractions , especi ally in monochrome . By taking a subject and recording a portion of the whole , the identity becomes obscured , resulting in either a regular pattern or an abstract . Such images also occur when quite simple units are artificially grouped together by the photographer .
Long before photographers began to experi ment with abstracts , artists had created abstract paintings . Techniques used to create deliberately photographic abstract images include defocusing the image , placing a prism in front of the lens , exposing or printing through a screen ( see p . 130 ) and placing the subject between two polarizing screens ( see p . 140 ) . A blurred impression of movement can be pro duced either by moving the subject or the camera , or by changing the focus with a macro - zoom or a close - up zoom lens during a long exposure .
Sand ripples Walking up a sandy beach late one day . I turned into the light of the sinking sun to take my last glimpse of the sea and I saw this intriguing abstract which was made by the rippling waves in the sand . By photographing against the low - angled light , I recorded the raised parts of the sand ripples as highlighted patches . These contrast strongly with the shadowy water - filled hollows . Lens Hasselblad 80mm + 1.0 Proxar Mag . on film * 0.2 Mag . on page × 0.3
Watery highlights
I took this picture of highlights on water by defocusing the camera . Each highlight has taken on the pentagonal shape of the lens diaphragm , and in some the blades of the compur shutter are visible . Lens 80mm Hasselblad + 10mm extension Mag . on film × 0.1 Mag . on page × 0.5
Sectioned sandstone
For me this section of a sandstone block suggests a succession of receding hills in a landscape . I took the picture indoors beside a large window so as to make use of indirect available light . Lens 80mm Hasselblad + 32mm extension Mag . on film x0.3 Mag . on page × 1
Rim - lit viewer ▷ I had the idea for this picture when I saw my son watching television with a light behind him . I replaced the light with a flash and turned off all other lights in the room to produce this rim - lit profile of an intent viewer . Lens 80mm Hasselblad + 0.5 Proxar Mag . on film × 0.15 Mag . on page × 1.75
Colorful mosaic ▷ While setting up my camera on a tripod above.colored fiber optic Christmas tree lights I saw this picture . Each tiny pin - point of light has become magnified into a much larger colored highlight , so that it overlaps with neighboring ones to make an attractive mosaic . This picture was one of a series I took , keeping the magnification constant and varying the focus . Defocusing the lens still more produced even larger colored spots , which became reduced in size as I refocused the lens . Stopping down the lens to a smaller aperture also decreases the size of the highlights . Lens 80mm Hasselblad + 92mm ( 55 + 21 + 16 ) extension Mag . on film × 1.2 Mag . on page × 7
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