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التصوير الفوتوغرافي الحديث
Backgrounds for Glamour
IF THERE IS One aspect of photog raphy that the neophyte overlooks , it is attention to backgrounds . This is particularly true in glamour work where one is apt to be so pre - occupied with the subject that other elements are not given importance . Only when the films have been developed and prints made are the costly errors obvi ous and then it is too late .
The glamour subject should be the center of interest of the picture , not just to the photographer . The only way to keep her as the main subject on film is to make sure the back grounds are complementary , not dis tracting .
This may sound like an easy ob jective , but it isn't . The eye , unfortu nately , does not see as much as the camera . One must train himself to know how the scene , as seen by the
eye , will look on film . When we look at a model posed on the sand or against a scenic background , there is separation between her and the distant objects . The camera , however , records a flat plane and those hills that looked so pretty suddenly interfere with the line of the body and head . Or , an un noticed tree or powerline pole spoils the whole thing . To be on the safe side , look for clear areas . Use trees or objects to frame your subject but make sure that directly behind her ( no matter how distant ) , there are no hills , trees or poles .
THREE contrasting backgrounds are seen in these pictures ranging from a cinder black wall to seamless paper and nature's backdrop of grass and trees .
التصوير الفوتوغرافي الحديث
Backgrounds for Glamour
IF THERE IS One aspect of photog raphy that the neophyte overlooks , it is attention to backgrounds . This is particularly true in glamour work where one is apt to be so pre - occupied with the subject that other elements are not given importance . Only when the films have been developed and prints made are the costly errors obvi ous and then it is too late .
The glamour subject should be the center of interest of the picture , not just to the photographer . The only way to keep her as the main subject on film is to make sure the back grounds are complementary , not dis tracting .
This may sound like an easy ob jective , but it isn't . The eye , unfortu nately , does not see as much as the camera . One must train himself to know how the scene , as seen by the
eye , will look on film . When we look at a model posed on the sand or against a scenic background , there is separation between her and the distant objects . The camera , however , records a flat plane and those hills that looked so pretty suddenly interfere with the line of the body and head . Or , an un noticed tree or powerline pole spoils the whole thing . To be on the safe side , look for clear areas . Use trees or objects to frame your subject but make sure that directly behind her ( no matter how distant ) , there are no hills , trees or poles .
THREE contrasting backgrounds are seen in these pictures ranging from a cinder black wall to seamless paper and nature's backdrop of grass and trees .
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