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العمل مع غير الراقصين ..
إضافة العمل إلى اللقطات الساحرة ..
التصوير الفوتوغرافي الحديث
ACTION WITH NON - DANCERS
There are times when you will not be able to get a top dancer and yet will want action pictures . Even the most inactive model can be used in an action situation by posing her in front of some type of motion . As an ex ample , try posing your model with an automobile or people moving across the background . A slow shutter speed
will create a blurred effect for those elements that are moving . Try speeds of 1/8 , 1/15 and 1 / 30th .
One could also have the girl pose in the surf so that the wave splashes over her . A fast exposure in this situ ation will freeze the splash- 1/250 or 1 / 500th of a second . Or , in some instances , a slower speed may give a more interesting effect with the foam ing water forming streaks of motion . Be sure to have the model hold her pose so that she doesn't show move ment with the slower shutter speeds .
Running and jumping pictures are effective ; in the surf with water splash ing , is a very effective situation . An other bit of action you can work with a model that has long hair is to have her tip her head down and then throw it back so that the hair flys up . Near the end of a shooting session , you can shoot an adaptation of this : Have
your long tressed girl dip her head
ONLY a professional dancer is capable of a pose such as that at left . Action in photo at the right was carefully planned to frame the girl in the distance . Shutter was tripped at peak of the action with ball in the air .
in the water of a pool or quiet pond while she is standing in the water . With the camera at a low angle and the lighting coming from the side or 45 ° to the back , tell her to swing her head back up . This will cause her hair to create an arc of water that will glisten most interestingly as her hair extends outwards .
A pom pom college girl makes col orful action shots , especially against à blue sky . Here again , a hilltop with grass will give you an ideal setting
with the pom poms adding color .
Catching the peak of the action is only possible by tripping the shutter at the precise moment . The photog rapher either knows that moment in stinctively or he must learn to rec ognize it through practice . It is best
MODEL held her head down and on signal flipped it up causing hair to fly out to make this un usual shot . The simple action of model rolling on grass made photo at right more appealing .
to have the model perform the action a few times so you can observe its flow and can determine the instant when the action has reached its maxi mum and then almost pauses before coming down again .
A dancer leaps and a split second after she has left the ground , the shutter is tripped - even before she has reached that peak . This is neces sary because there is a slight delay from the moment the shutter is trig gered to the actual exposure being recorded on the film .
This delay is generally longer with single lens reflex cameras than with twin lens models . With the slr's the mirror must pivot out of the way of the exposure path before the shutter starts to open . The larger the single lens reflex , the longer the delay will
be between tripping the shutter and the exposure being made The 24 " x 24 slr's take longer than a 35 and a 4 x 5 " type takes even longer . In fact , with the latter , if you aren't familiar with the camera it is possible to com pletely miss the action you are trying to photograph because of the time required for the mirror to swing out of the way .
Catching peak action is especially difficult when the subject is moving across the picture . It is quite easy if she is moving towards or away from the camera or , is going practically straight up or down in front of it . Leaps are fairly easy to capture be cause the person seems to be arrested in mid - air .
Because you may not be familiar with the dancer whom you hire to model for you , it is logical to play some records so that she can go through a series of dance movements . before you start shooting . Watch her carefully and make notes of those that lend themselves to peak action pic tures . Then get your camera and have her do those steps and movements you found interesting . By positioning her body directed to the proper location against the background , you can re cord several exposures . Always re peat the action several times because each is unique .
The lighting for shooting action in the studio is much the same as for poster type color ; usually four lights on the background with two on each side so that the background is evenly lighted . The mood of the picture will determine what lights will come from the front .
Sometimes when photographing a figure subject against the lighted back ground , you can silhouette the body by not using any front illumination . Other times , just add one large um brella unit from the front . Electronic flash is a natural for studio action shooting because its short duration flash stops the motion .
OUTDOOR LIGHTING FOR ACTION
By working early in the morning or late in the afternoon , you can pretty much free yourself of the need for supplementary lighting equipment . Without a lot of lighting equipment the photographer is free to move about and become more involved with the action . The low sun crosslighting the model's body is excellent because it gives roundness with just enough shadow to delineate dimensions .
إضافة العمل إلى اللقطات الساحرة ..
التصوير الفوتوغرافي الحديث
ACTION WITH NON - DANCERS
There are times when you will not be able to get a top dancer and yet will want action pictures . Even the most inactive model can be used in an action situation by posing her in front of some type of motion . As an ex ample , try posing your model with an automobile or people moving across the background . A slow shutter speed
will create a blurred effect for those elements that are moving . Try speeds of 1/8 , 1/15 and 1 / 30th .
One could also have the girl pose in the surf so that the wave splashes over her . A fast exposure in this situ ation will freeze the splash- 1/250 or 1 / 500th of a second . Or , in some instances , a slower speed may give a more interesting effect with the foam ing water forming streaks of motion . Be sure to have the model hold her pose so that she doesn't show move ment with the slower shutter speeds .
Running and jumping pictures are effective ; in the surf with water splash ing , is a very effective situation . An other bit of action you can work with a model that has long hair is to have her tip her head down and then throw it back so that the hair flys up . Near the end of a shooting session , you can shoot an adaptation of this : Have
your long tressed girl dip her head
ONLY a professional dancer is capable of a pose such as that at left . Action in photo at the right was carefully planned to frame the girl in the distance . Shutter was tripped at peak of the action with ball in the air .
in the water of a pool or quiet pond while she is standing in the water . With the camera at a low angle and the lighting coming from the side or 45 ° to the back , tell her to swing her head back up . This will cause her hair to create an arc of water that will glisten most interestingly as her hair extends outwards .
A pom pom college girl makes col orful action shots , especially against à blue sky . Here again , a hilltop with grass will give you an ideal setting
with the pom poms adding color .
Catching the peak of the action is only possible by tripping the shutter at the precise moment . The photog rapher either knows that moment in stinctively or he must learn to rec ognize it through practice . It is best
MODEL held her head down and on signal flipped it up causing hair to fly out to make this un usual shot . The simple action of model rolling on grass made photo at right more appealing .
to have the model perform the action a few times so you can observe its flow and can determine the instant when the action has reached its maxi mum and then almost pauses before coming down again .
A dancer leaps and a split second after she has left the ground , the shutter is tripped - even before she has reached that peak . This is neces sary because there is a slight delay from the moment the shutter is trig gered to the actual exposure being recorded on the film .
This delay is generally longer with single lens reflex cameras than with twin lens models . With the slr's the mirror must pivot out of the way of the exposure path before the shutter starts to open . The larger the single lens reflex , the longer the delay will
be between tripping the shutter and the exposure being made The 24 " x 24 slr's take longer than a 35 and a 4 x 5 " type takes even longer . In fact , with the latter , if you aren't familiar with the camera it is possible to com pletely miss the action you are trying to photograph because of the time required for the mirror to swing out of the way .
Catching peak action is especially difficult when the subject is moving across the picture . It is quite easy if she is moving towards or away from the camera or , is going practically straight up or down in front of it . Leaps are fairly easy to capture be cause the person seems to be arrested in mid - air .
Because you may not be familiar with the dancer whom you hire to model for you , it is logical to play some records so that she can go through a series of dance movements . before you start shooting . Watch her carefully and make notes of those that lend themselves to peak action pic tures . Then get your camera and have her do those steps and movements you found interesting . By positioning her body directed to the proper location against the background , you can re cord several exposures . Always re peat the action several times because each is unique .
The lighting for shooting action in the studio is much the same as for poster type color ; usually four lights on the background with two on each side so that the background is evenly lighted . The mood of the picture will determine what lights will come from the front .
Sometimes when photographing a figure subject against the lighted back ground , you can silhouette the body by not using any front illumination . Other times , just add one large um brella unit from the front . Electronic flash is a natural for studio action shooting because its short duration flash stops the motion .
OUTDOOR LIGHTING FOR ACTION
By working early in the morning or late in the afternoon , you can pretty much free yourself of the need for supplementary lighting equipment . Without a lot of lighting equipment the photographer is free to move about and become more involved with the action . The low sun crosslighting the model's body is excellent because it gives roundness with just enough shadow to delineate dimensions .
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