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كتاب التصوير الفوتوغرافي المغلق
Creative flash
The color of light emitted by a flash can be changed simply by taping colored gelatin filters to the front of small flash guns . Large studio flash heads have built - in filter holders for inserting the glass filters . Colored flashes can be used to light the subject , or to light up selectively the background while an unfiltered flash lights the subject . Exciting dynamic back grounds can be achieved by precisely beaming a colored flash with a snoot attachment ( see p . 158 ) onto a stream of rising air bubbles in an aquarium . A silhouette can be dramatized by shooting it against a background lit by a colored flash .
If you have only a single flash , or a back ground which is too large to light by flash , com bine a pair of complementary color filters - one on the flash , and the other over the lens . For example , an orange filter covering the lens and a blue filter over the flash will render the back ground orange , yet a foreground close - up will be correctly balanced for color.
Projected images offer unlimited scope for studio backgrounds . The simplest technique is to back - project a slide onto a textureless , translucent screen . The camera is set up in front of the screen , directly in line with the subject and the projector . For most natural effects , position the flash to light the subject so it matches the lighting in the slide . Front projection is more complex to set up , since the background image is projected onto a silvered mirror along the camera axis . Special front projection units are now available in which the projector contains a flash and a modeling light for previewing the background .
Colorful kaleidoscope
I discovered that a " dimension disk " reflects rainbow - colored lines . To preview the effect of varying the angle of light , I taped a lamp to a flash , which I then moved around . I defocused the lens and opened it up to full aperture to achieve this soft - focus effect . Lens Hasselblad 80mm + 55mm extension Mag . on film ÷ 0.7 Mag . on page x0.8
A Oil and water mix
I mixed some blue ink and water with corn oil and poured it onto a glass plate . I then scraped it off with a knife and took this picture by dark field illumination , using flash to freeze the constantly changing pattern as separate oil globules coalesced into oily patches . Lens Hasselblad 80mm + 159mm ( 56 + 55 + 32 + 16 ) extension Mag . on film × 2 Mag . on page × 8
Dramatizing foil
I used a pair of Multiblitz Minilite 200 flashes , each fitted with a snoot and a colored glass filter , to take these two pictures of crumpled aluminum foil . One flash was fitted with a red filter and the other with a green one . Using the built - in modeling lights , I was able to view precisely the effects of slightly moving the angle of each flash . On the right , the foil has been lit equally by the two flashes , whereas on the left there is only the slightest hint of red . Lens Hasselblad 80mm + 64mm extension Mag . on film x0.8 Mag . on page left × 0.85 ; right x3.25
مؤثرات خاصة ..
كتاب التصوير الفوتوغرافي المغلق
Creative flash
The color of light emitted by a flash can be changed simply by taping colored gelatin filters to the front of small flash guns . Large studio flash heads have built - in filter holders for inserting the glass filters . Colored flashes can be used to light the subject , or to light up selectively the background while an unfiltered flash lights the subject . Exciting dynamic back grounds can be achieved by precisely beaming a colored flash with a snoot attachment ( see p . 158 ) onto a stream of rising air bubbles in an aquarium . A silhouette can be dramatized by shooting it against a background lit by a colored flash .
If you have only a single flash , or a back ground which is too large to light by flash , com bine a pair of complementary color filters - one on the flash , and the other over the lens . For example , an orange filter covering the lens and a blue filter over the flash will render the back ground orange , yet a foreground close - up will be correctly balanced for color.
Projected images offer unlimited scope for studio backgrounds . The simplest technique is to back - project a slide onto a textureless , translucent screen . The camera is set up in front of the screen , directly in line with the subject and the projector . For most natural effects , position the flash to light the subject so it matches the lighting in the slide . Front projection is more complex to set up , since the background image is projected onto a silvered mirror along the camera axis . Special front projection units are now available in which the projector contains a flash and a modeling light for previewing the background .
Colorful kaleidoscope
I discovered that a " dimension disk " reflects rainbow - colored lines . To preview the effect of varying the angle of light , I taped a lamp to a flash , which I then moved around . I defocused the lens and opened it up to full aperture to achieve this soft - focus effect . Lens Hasselblad 80mm + 55mm extension Mag . on film ÷ 0.7 Mag . on page x0.8
A Oil and water mix
I mixed some blue ink and water with corn oil and poured it onto a glass plate . I then scraped it off with a knife and took this picture by dark field illumination , using flash to freeze the constantly changing pattern as separate oil globules coalesced into oily patches . Lens Hasselblad 80mm + 159mm ( 56 + 55 + 32 + 16 ) extension Mag . on film × 2 Mag . on page × 8
Dramatizing foil
I used a pair of Multiblitz Minilite 200 flashes , each fitted with a snoot and a colored glass filter , to take these two pictures of crumpled aluminum foil . One flash was fitted with a red filter and the other with a green one . Using the built - in modeling lights , I was able to view precisely the effects of slightly moving the angle of each flash . On the right , the foil has been lit equally by the two flashes , whereas on the left there is only the slightest hint of red . Lens Hasselblad 80mm + 64mm extension Mag . on film x0.8 Mag . on page left × 0.85 ; right x3.25
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