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الملحق ..
كتاب التصوير الفوتوغرافي المغلق
Continuous light sources
In 1877 , the first studio to use electric light was opened in London , England . Exposures of between three and ten seconds were possible using a carbon . arc lamp with a four - foot reflector . Today , many professional studios rely solely on a battery of electronic flashes with a range of diffusers and reflectors to simulate natural lighting . Continuous lighting , however , is very useful for view ing precisely where the highlights and shadows will fall on small , stationary subjects . This is not possible when using small flash guns without a built - in model ing light . An advantage of tungsten lighting is that , unlike flash ( see p . 158 ) . you are not limited to comparatively slow speeds with a camera which has a focal plane shutter . All the lights illustrated on these pages are electrically powered , but the recent growth in the video industry has led to the production of continuous portable light sources which can be used on location and run off their own power source , or off an automobile battery .
The large studio spotlights and flood lights used to light expansive studio sets are generally not suitable for lighting close - ups , since they give off too much heat . Less powerful lights are useful for making copies of original artwork , draw ings , photographs and paintings . The range of subjects reproduced on pages 48-9 , and the way I chose to light them , shows how careful thought must always be given to which light source will be most suitable for a particular subject . Many pictures in this book have been taken using fiber optics ( see pp . 50-1 ) .
Whatever type of lighting I select . I often have to improvize ways and means of controlling the light . For example , I make miniature snoots from black paper , miniature diffusers from collars and truncated cones from tracing paper or Kodatrace , and I use tiny mirrors or aluminum foil as reflectors .
Recording authentic color
When copying paintings , embroidery or tapestries for reproduction in books , it is clearly important to reproduce the colors as faithfully as possible . If the original is covered by a layer of protective glass which cannot be removed , use a matte black board mask to eliminate reflections of lights , camera and hands in the glass , cutting a hole out of the centre for the camera lens to poke through . Make a seal to cut out light by fixing a sleeve of black material to the hole and gathering the free end into an elasticated band so that it fits tightly over lenses of any diameter . Glare produced on the surface of a painting by polarized light can be eliminated by using a polarizing filter over the light sources and the camera lens .
Any slight shift in the original color ation of the subject itself can be detected by placing a Kodak Color Control Patch at the edge of the frame so that it does not intrude into the subject area . This 8 inch long paper strip has unvarnished stan dard color patches ( as used in web offset printing ) printed on it . These colors can be compared with their reproduction in a transparency or a color proof .
Illuminated copy stand
The vertical column of this stand supports both the overhead camera and four adjustable copying lights . A control box provides individual switching and dimming . When angled down at 45 ° to the lens axis , the lights give uniform illumination to the baseboard . The illustration shows how a thick book , supported by two photo jacks ( see p . 152 ) , can be photographed beneath glass .
Microscope lamp A microscope lamp is a precise light source for lighting small subjects . The lamp is mounted on a 9 inch stand . Both the height and angle of the lamp can be adjusted by means of locking screws . At the front of the lamp . there is a continuously variable diaphragm which is simply controlled by moving a lever up or down . The The detailed close - ups of the front of the lamp show the diaphragm half - open ( top right ) and stopped right down ( below right ) . I use transformer to run two of these low voltage lamps off electricity .
Filter insertion
Gelatin or glass filters can be inserted into the front of the lamp , and held there by three protruding lugs .
Incident lighting
To light a solid specimen from above , a simple microscope lamp is positioned beside an overhead camera . This gives a harsh direct lighting with strong shadows , which can , if necessary , be filled in with a reflector .
Reflected lighting
One microscope lamp is directed onto an aluminum foil reflector which is curved around the specimen . It is lit by the light bouncing off the reflector in all directions . This gives lighting without any harsh shadows .
Diffuse lighting
A white acetate collar acts as a miniature diffuser cone for a pair of microscope lamps . This translucent material diffuses the direct light to produce soft , even lighting , well suited to shiny subjects .
Transmitted lighting
The specimen is placed on a raised glass . sheet , so that a mirror can be positioned at 45 ° beneath the glass . The microscope . lamp is directed onto the mirror and the light passes up through the translucent subject .
Fiber optics
Fiber optics provide a powerful cold light source for lighting small objects . This model has three flexible arms which can be bent into any position . An optional focusing lens can be placed . over the end of each arm .
Floodlight
floodlight has a large lamp with a reflector which usually gives too broad a light beam for most close - ups ; it can be useful for lighting backgrounds .
Anglepoise lamp
This is an adaptable light for focusing and for black and white photography .
Clamp - on lamp
This useful light can be moved around close - up sets and clamped onto a table , a chair or a stand .
A continuous spot
This tungsten halogen spotlight gives a high intensity narrow - beamed light .
Light box
A light box provides a diffuse light source for flat . perforated or translucent subjects .
الملحق ..
كتاب التصوير الفوتوغرافي المغلق
Continuous light sources
In 1877 , the first studio to use electric light was opened in London , England . Exposures of between three and ten seconds were possible using a carbon . arc lamp with a four - foot reflector . Today , many professional studios rely solely on a battery of electronic flashes with a range of diffusers and reflectors to simulate natural lighting . Continuous lighting , however , is very useful for view ing precisely where the highlights and shadows will fall on small , stationary subjects . This is not possible when using small flash guns without a built - in model ing light . An advantage of tungsten lighting is that , unlike flash ( see p . 158 ) . you are not limited to comparatively slow speeds with a camera which has a focal plane shutter . All the lights illustrated on these pages are electrically powered , but the recent growth in the video industry has led to the production of continuous portable light sources which can be used on location and run off their own power source , or off an automobile battery .
The large studio spotlights and flood lights used to light expansive studio sets are generally not suitable for lighting close - ups , since they give off too much heat . Less powerful lights are useful for making copies of original artwork , draw ings , photographs and paintings . The range of subjects reproduced on pages 48-9 , and the way I chose to light them , shows how careful thought must always be given to which light source will be most suitable for a particular subject . Many pictures in this book have been taken using fiber optics ( see pp . 50-1 ) .
Whatever type of lighting I select . I often have to improvize ways and means of controlling the light . For example , I make miniature snoots from black paper , miniature diffusers from collars and truncated cones from tracing paper or Kodatrace , and I use tiny mirrors or aluminum foil as reflectors .
Recording authentic color
When copying paintings , embroidery or tapestries for reproduction in books , it is clearly important to reproduce the colors as faithfully as possible . If the original is covered by a layer of protective glass which cannot be removed , use a matte black board mask to eliminate reflections of lights , camera and hands in the glass , cutting a hole out of the centre for the camera lens to poke through . Make a seal to cut out light by fixing a sleeve of black material to the hole and gathering the free end into an elasticated band so that it fits tightly over lenses of any diameter . Glare produced on the surface of a painting by polarized light can be eliminated by using a polarizing filter over the light sources and the camera lens .
Any slight shift in the original color ation of the subject itself can be detected by placing a Kodak Color Control Patch at the edge of the frame so that it does not intrude into the subject area . This 8 inch long paper strip has unvarnished stan dard color patches ( as used in web offset printing ) printed on it . These colors can be compared with their reproduction in a transparency or a color proof .
Illuminated copy stand
The vertical column of this stand supports both the overhead camera and four adjustable copying lights . A control box provides individual switching and dimming . When angled down at 45 ° to the lens axis , the lights give uniform illumination to the baseboard . The illustration shows how a thick book , supported by two photo jacks ( see p . 152 ) , can be photographed beneath glass .
Microscope lamp A microscope lamp is a precise light source for lighting small subjects . The lamp is mounted on a 9 inch stand . Both the height and angle of the lamp can be adjusted by means of locking screws . At the front of the lamp . there is a continuously variable diaphragm which is simply controlled by moving a lever up or down . The The detailed close - ups of the front of the lamp show the diaphragm half - open ( top right ) and stopped right down ( below right ) . I use transformer to run two of these low voltage lamps off electricity .
Filter insertion
Gelatin or glass filters can be inserted into the front of the lamp , and held there by three protruding lugs .
Incident lighting
To light a solid specimen from above , a simple microscope lamp is positioned beside an overhead camera . This gives a harsh direct lighting with strong shadows , which can , if necessary , be filled in with a reflector .
Reflected lighting
One microscope lamp is directed onto an aluminum foil reflector which is curved around the specimen . It is lit by the light bouncing off the reflector in all directions . This gives lighting without any harsh shadows .
Diffuse lighting
A white acetate collar acts as a miniature diffuser cone for a pair of microscope lamps . This translucent material diffuses the direct light to produce soft , even lighting , well suited to shiny subjects .
Transmitted lighting
The specimen is placed on a raised glass . sheet , so that a mirror can be positioned at 45 ° beneath the glass . The microscope . lamp is directed onto the mirror and the light passes up through the translucent subject .
Fiber optics
Fiber optics provide a powerful cold light source for lighting small objects . This model has three flexible arms which can be bent into any position . An optional focusing lens can be placed . over the end of each arm .
Floodlight
floodlight has a large lamp with a reflector which usually gives too broad a light beam for most close - ups ; it can be useful for lighting backgrounds .
Anglepoise lamp
This is an adaptable light for focusing and for black and white photography .
Clamp - on lamp
This useful light can be moved around close - up sets and clamped onto a table , a chair or a stand .
A continuous spot
This tungsten halogen spotlight gives a high intensity narrow - beamed light .
Light box
A light box provides a diffuse light source for flat . perforated or translucent subjects .
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