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التصوير الفوتوغرافي الحديث
Secrets of Outdoor Lighting
THERE ARE TWo types of outdoor daylight - hard sunlight or soft shade light . In glamour photography when more color is required or for a more dramatic effect in b / w , hard sunlight can be used . Shade light is employed when a more flattering por trait is desired .
There are good times and bad times
of the day to make glamour pictures in sunlight . The good times would be early morning or late afternoon when the sun is lower on the horizon . At noon when the sun is high , sunlight can be very unflattering . This is espe cially true when the model is standing or posing where the sun is directly overhead casting deep shadows across her face . It is possible , though , to still work in such light by adapting the pose to make use of the overhead illumination .
The best solution to the situation is to pose the model lying flat on the ground looking up into the sun . She won't be able to stare into the blind ing light so tell her to keep her eyes closed until you are set to shoot and you then tell her to open them . This pose will make use of the flat light of noontime - but , how many poses can you take with a model lying flat on her back ?
Photographers can't always work in the sun at the best time of day so they have to work out methods for controlling sunlight . The oldest and most foolproof method is the reflec tor . These can be a white card , alumi num , plywood covered with crinkled aluminum foil that has been flattened out and glued to the board , or one of the folding aluminumized cloth re flectors that have become so popular .
With a reflector you can pose the model with her back to the hard sun light and light her front with the soft , more flattering reflected light . Since
STRONG , HARD sunlight casts sharp shadow of fishnet on torso of model accenting the lines of the body as well as creating an interesting pattern . Flash at the camera was used to fill in shadows created by strong sun light from almost directly overhead of the model in opposite photograph .
most girls have a hard time not squinting with reflectors , it is best to have an assistant hold it as high as possible above the camera . This also serves to shield the camera lens from the sun .
When working for one of the men's magazines , it is a good idea to use the reflectors because they give a more natural lighting effect . When working a calendar or pin - up job with a large camera , electronic flash is best to use to light her front when her back is to the sun . Electronic flash has the ad vantage of not causing squints because the flash fires so rapidly and only dur ing the actual exposure . The model's face is in the shade away from the harsh light of the sun while waiting for the picture to be shot - so her .
shadows which brings out the form of the body . This gives roundness to the arms , breasts , legs and torso . Since the face is only a small part of a full length picture , hard lighting does not seem to matter . This holds true whether shooting indoors or out doors .
In the studio a main light and a fill - in should be used for portraits . The fill - in softens the shadows caused by the main light . Outdoors , just move into the shade .
The general rule for shade expo sures is to open up the lens two full stops . If you don't have an exposure meter along , this rule works handily .
But , there are different types of shade , just as there are different types of sunlight . There is bright shade near sand , snow or a bright building where reflected sunlight is lightening the shade . There also is dark shade under trees where there is little or no reflection .
The favorite with glamour photog raphers seems to be light shade such as around a swimming pool where there is much reflection to pep up the shade . White walls or a garage door that is white are other suitable spots . In an open shade situation like this ,
VIEW of Peter Gowland's studio on the opposite page shows how glass wall and high windows let in abundant daylight . Also note umbrella strobe unit and the electronic flash accent light on boom .
BRIGHT sunlight from high left was supplemented by a flash at the camera which opened up the detail in shadows .
you should be aware of the fact that you will get a bluish cast in your color shots . Here is where a gold - colored Reflectasol unit is useful for it bounces warm - colored light onto the model so her skin takes on a warmer color against the bluish cast of the rest of the scene . The gold reflector will be useful for most pictures shot in the shade where you can position the re flector to kick sunlght into the shaded area .
COMBINING SUN AND SHADE
For some interesting effects , try combining sun and shade . Pose a mod el in the shade with the sun lighting the background . This works very well with nude models because the body is partially silhouetted against the sunlit background . Such shots can be made with the model posed under a tree with the sun in the background ; in a cave with sunlighted fog or haze in the background ; in a stream under a bridge with the sun shining on the water and foliage beyond . The expo sure rule is to use shutter speed / lens opening which will cause the back ground to record overexposed and the subject a bit underexposed .
التصوير الفوتوغرافي الحديث
Secrets of Outdoor Lighting
THERE ARE TWo types of outdoor daylight - hard sunlight or soft shade light . In glamour photography when more color is required or for a more dramatic effect in b / w , hard sunlight can be used . Shade light is employed when a more flattering por trait is desired .
There are good times and bad times
of the day to make glamour pictures in sunlight . The good times would be early morning or late afternoon when the sun is lower on the horizon . At noon when the sun is high , sunlight can be very unflattering . This is espe cially true when the model is standing or posing where the sun is directly overhead casting deep shadows across her face . It is possible , though , to still work in such light by adapting the pose to make use of the overhead illumination .
The best solution to the situation is to pose the model lying flat on the ground looking up into the sun . She won't be able to stare into the blind ing light so tell her to keep her eyes closed until you are set to shoot and you then tell her to open them . This pose will make use of the flat light of noontime - but , how many poses can you take with a model lying flat on her back ?
Photographers can't always work in the sun at the best time of day so they have to work out methods for controlling sunlight . The oldest and most foolproof method is the reflec tor . These can be a white card , alumi num , plywood covered with crinkled aluminum foil that has been flattened out and glued to the board , or one of the folding aluminumized cloth re flectors that have become so popular .
With a reflector you can pose the model with her back to the hard sun light and light her front with the soft , more flattering reflected light . Since
STRONG , HARD sunlight casts sharp shadow of fishnet on torso of model accenting the lines of the body as well as creating an interesting pattern . Flash at the camera was used to fill in shadows created by strong sun light from almost directly overhead of the model in opposite photograph .
most girls have a hard time not squinting with reflectors , it is best to have an assistant hold it as high as possible above the camera . This also serves to shield the camera lens from the sun .
When working for one of the men's magazines , it is a good idea to use the reflectors because they give a more natural lighting effect . When working a calendar or pin - up job with a large camera , electronic flash is best to use to light her front when her back is to the sun . Electronic flash has the ad vantage of not causing squints because the flash fires so rapidly and only dur ing the actual exposure . The model's face is in the shade away from the harsh light of the sun while waiting for the picture to be shot - so her .
shadows which brings out the form of the body . This gives roundness to the arms , breasts , legs and torso . Since the face is only a small part of a full length picture , hard lighting does not seem to matter . This holds true whether shooting indoors or out doors .
In the studio a main light and a fill - in should be used for portraits . The fill - in softens the shadows caused by the main light . Outdoors , just move into the shade .
The general rule for shade expo sures is to open up the lens two full stops . If you don't have an exposure meter along , this rule works handily .
But , there are different types of shade , just as there are different types of sunlight . There is bright shade near sand , snow or a bright building where reflected sunlight is lightening the shade . There also is dark shade under trees where there is little or no reflection .
The favorite with glamour photog raphers seems to be light shade such as around a swimming pool where there is much reflection to pep up the shade . White walls or a garage door that is white are other suitable spots . In an open shade situation like this ,
VIEW of Peter Gowland's studio on the opposite page shows how glass wall and high windows let in abundant daylight . Also note umbrella strobe unit and the electronic flash accent light on boom .
BRIGHT sunlight from high left was supplemented by a flash at the camera which opened up the detail in shadows .
you should be aware of the fact that you will get a bluish cast in your color shots . Here is where a gold - colored Reflectasol unit is useful for it bounces warm - colored light onto the model so her skin takes on a warmer color against the bluish cast of the rest of the scene . The gold reflector will be useful for most pictures shot in the shade where you can position the re flector to kick sunlght into the shaded area .
COMBINING SUN AND SHADE
For some interesting effects , try combining sun and shade . Pose a mod el in the shade with the sun lighting the background . This works very well with nude models because the body is partially silhouetted against the sunlit background . Such shots can be made with the model posed under a tree with the sun in the background ; in a cave with sunlighted fog or haze in the background ; in a stream under a bridge with the sun shining on the water and foliage beyond . The expo sure rule is to use shutter speed / lens opening which will cause the back ground to record overexposed and the subject a bit underexposed .
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