تويت
الخطوة 2: استخدام صفات الموضوع / النغمة
.. بناء الصورة .. المرشد خطوة بخطوة للتصوير الفوتوغرافي
STEP 2 : USING SUBJECT QUALITIES / Tone
Most subjects contain many gradations of tone between black and white . The tonal range is affected by the lighting , the reflec- tive properties of the materials , and the colors in the subject . Subject tones may change sharply , as in the picture of the rocks and sea at the bottom of this page , or grad- uate gently , as in the lake scene next to it .
The most valuable function of tone is to convey volume and form , creating a feeling of three - dimensions in your pictures . The roundness of the man's head in the picture on the opposite page , for example , is con- veyed by graduated tone ; and in the lake scene , gently changing tone values help to convey a sense of distance by " aerial perspective " ( see p . 115 ) .
A subject may contain a full range of tones from black through to white , or it may have mostly pale ( high key ) or mostly dark ( low key ) tones , or it may be very contrasty with its tones virtually restricted to black and white alone . Low key and high key pictures both tend to convey mood and atmosphere , the first often suggesting deli- cacy , the second seriousness and mystery . Contrasty pictures usually create a feeling of strength and drama , so positioning sub- ject elements to create contrast gives them added emphasis .
Tone can be modified by the exposure you give , and through controls during pro- cessing and printing ( see pp . 84-7 ) .
Emphasis through contrast
archways sometimes create deep Shadowy doorways , windows and shadows even in soft lighting con- ditions . These may form excellent
contrasting backgrounds or frames to emphasize a subject particularly when , as above , most other areas of the picture are limited to neutral tones of gray .
Tonal range
You can create a complete tonal range as shown above by cutting out and piecing together small areas of photographs . At the low end of the scale are black and dark grays . These graduate through to pale grays and white . A picture may use the whole range or just a few values at one end of the scale or the other . For example , the picture of the rocks and sea . right , uses mainly dark tones in sharp contrast to the few pale tones , and the landscape , far right , uses mainly light tones .
Exposure and printing greatly affect the tonal range in your final print . The effects on tone of using different printing papers are des- cribed on pages 84-7 . Exposure has the most direct effect on tone . As shown on page 43 , if you measure the exposure only from the light areas of the subject then dark tones tend to merge together and obscure detail and vice versa . If you want the fullest range in your pictures you should take readings from the lightest and darkest important areas and aver- age the two readings .
Low key
The low key picture , above , has a mysterious , forbidding air cre- ated by the predominant dark tones and the few highlights .
High key
The high key landscape , above , uses pale tones from the high end of the tonal range to create a sense of space and softness .
Low key portrait
The somber , slightly mysterious atmosphere in the portrait , right , is largely conveyed by the pre- dominant dark tones of the image . The choice and arrangement of clothing , the underlit background . and the exposure which was measured only for the flesh tones all help to limit detail to the face and hands . In these flesh areas form is strongly conveyed , giving the por- trait character and individuality . Although the main body is reduced to a dark area , it is still just dis- cernible from the background . Without this separation the head and hands would appear discon- nected and lost in a sea of black .
If you are taking a low key portrait , you should always try to exclude any unimportant light- toned objects which could com- pete with the main subject .
Tone and form
The three - dimensional form of the rocks , left , is mostly conveyed by variations in tone alone . The light- ing was hard and from the side , but because the exposure was averaged from the lightest and darkest areas , detail is not lost and a wide range of tones is recorded .
High key portrait
The lightness and delicacy of the high key portrait , above , comes from its use of values at the pale end of the tone scale . This has been created by the light back- ground and clothing , fair hair , and very diffused , mostly frontal light- ing . Light - toned surroundings also helped to reflect light and eliminate dark shadows .
For high key pictures , expose normally but keep the final print light , without letting it become gray and flat ( see pp . 84-5 ) .
.. بناء الصورة .. المرشد خطوة بخطوة للتصوير الفوتوغرافي
STEP 2 : USING SUBJECT QUALITIES / Tone
Most subjects contain many gradations of tone between black and white . The tonal range is affected by the lighting , the reflec- tive properties of the materials , and the colors in the subject . Subject tones may change sharply , as in the picture of the rocks and sea at the bottom of this page , or grad- uate gently , as in the lake scene next to it .
The most valuable function of tone is to convey volume and form , creating a feeling of three - dimensions in your pictures . The roundness of the man's head in the picture on the opposite page , for example , is con- veyed by graduated tone ; and in the lake scene , gently changing tone values help to convey a sense of distance by " aerial perspective " ( see p . 115 ) .
A subject may contain a full range of tones from black through to white , or it may have mostly pale ( high key ) or mostly dark ( low key ) tones , or it may be very contrasty with its tones virtually restricted to black and white alone . Low key and high key pictures both tend to convey mood and atmosphere , the first often suggesting deli- cacy , the second seriousness and mystery . Contrasty pictures usually create a feeling of strength and drama , so positioning sub- ject elements to create contrast gives them added emphasis .
Tone can be modified by the exposure you give , and through controls during pro- cessing and printing ( see pp . 84-7 ) .
Emphasis through contrast
archways sometimes create deep Shadowy doorways , windows and shadows even in soft lighting con- ditions . These may form excellent
contrasting backgrounds or frames to emphasize a subject particularly when , as above , most other areas of the picture are limited to neutral tones of gray .
Tonal range
You can create a complete tonal range as shown above by cutting out and piecing together small areas of photographs . At the low end of the scale are black and dark grays . These graduate through to pale grays and white . A picture may use the whole range or just a few values at one end of the scale or the other . For example , the picture of the rocks and sea . right , uses mainly dark tones in sharp contrast to the few pale tones , and the landscape , far right , uses mainly light tones .
Exposure and printing greatly affect the tonal range in your final print . The effects on tone of using different printing papers are des- cribed on pages 84-7 . Exposure has the most direct effect on tone . As shown on page 43 , if you measure the exposure only from the light areas of the subject then dark tones tend to merge together and obscure detail and vice versa . If you want the fullest range in your pictures you should take readings from the lightest and darkest important areas and aver- age the two readings .
Low key
The low key picture , above , has a mysterious , forbidding air cre- ated by the predominant dark tones and the few highlights .
High key
The high key landscape , above , uses pale tones from the high end of the tonal range to create a sense of space and softness .
Low key portrait
The somber , slightly mysterious atmosphere in the portrait , right , is largely conveyed by the pre- dominant dark tones of the image . The choice and arrangement of clothing , the underlit background . and the exposure which was measured only for the flesh tones all help to limit detail to the face and hands . In these flesh areas form is strongly conveyed , giving the por- trait character and individuality . Although the main body is reduced to a dark area , it is still just dis- cernible from the background . Without this separation the head and hands would appear discon- nected and lost in a sea of black .
If you are taking a low key portrait , you should always try to exclude any unimportant light- toned objects which could com- pete with the main subject .
Tone and form
The three - dimensional form of the rocks , left , is mostly conveyed by variations in tone alone . The light- ing was hard and from the side , but because the exposure was averaged from the lightest and darkest areas , detail is not lost and a wide range of tones is recorded .
High key portrait
The lightness and delicacy of the high key portrait , above , comes from its use of values at the pale end of the tone scale . This has been created by the light back- ground and clothing , fair hair , and very diffused , mostly frontal light- ing . Light - toned surroundings also helped to reflect light and eliminate dark shadows .
For high key pictures , expose normally but keep the final print light , without letting it become gray and flat ( see pp . 84-5 ) .
تعليق