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استخدام مصدر ضوء واحد .. معدات وتقنيات إضافية .. المرشد خطوة بخطوة للتصوير الفوتوغرافي
Using one light source
When you are learning to control lighting , block out all other light from the room so that lighting effects are created by you alone . You can start experimenting with a single lamp a small flood or a spotlight - on an adjustable stand . Set up an interesting still- life subject , and place your camera on a tripod . At first , position the lamp near to the lens axis so that you can see full detail while focusing and composing . Then move the lamp , varying its height and position in re- lation to the subject . The lighting variations produced by the five different positions of quite a hard light source illustrated in the diagram , right , are shown on this page .
Notice the enormous changes produced in the apparent shape and form of the bust , even by a relatively small movement of the light source . The effect is more dramatic than similar changes in the direction of sun- light outdoors because of the absence of softening fill - in light from the sky . As well as moving the light , explore the effects on your still - life of changing from a hard light source to a soft , diffused one .
Lighting positions
1. Front lighting
Front lighting reveals detail , but also flattens subject form and tex- ture . The effect on the bust , shown above , is uninteresting - the pic- ture appears all on one plane .
2. High side - lighting at 45 °
Side lighting gives a much bolder . three - dimensional effect . However , deep shadow suppresses detail in the parts of the face furthest from the lamp .
3. Top lighting
With the lamp placed above the bust , all its top - facing surfaces are highlit . The eyes and neck are in deep shadow , but the forehead , nose and cheek bone are emphasized .
4. Low side - lighting at 45 °
Low side lighting gives a " foot- light " effect . Since the head is fac- ing the lamp , both sides of the face are lit. But an ugly shadow is cast by the nose .
5. Back lighting
The lamp is just above the bust facing the camera . Mat white paper beside the camera scattered some illumination on to the bust to give an even , low illumination .
Hard and soft lighting
Both of the pictures , right , were side - lit by the same single source , from the same height and position . For the near right picture a spot- light was used direct . This pro- duced harsh light with dense , sharp - edged shadows . For the far right picture a large sheet of trac- ing paper was placed across the light beam , close to the subject . This diflused the light , producing soft quality side - lighting that re- veals form and detail in the subject .
Using one light source
When you are learning to control lighting , block out all other light from the room so that lighting effects are created by you alone . You can start experimenting with a single lamp a small flood or a spotlight - on an adjustable stand . Set up an interesting still- life subject , and place your camera on a tripod . At first , position the lamp near to the lens axis so that you can see full detail while focusing and composing . Then move the lamp , varying its height and position in re- lation to the subject . The lighting variations produced by the five different positions of quite a hard light source illustrated in the diagram , right , are shown on this page .
Notice the enormous changes produced in the apparent shape and form of the bust , even by a relatively small movement of the light source . The effect is more dramatic than similar changes in the direction of sun- light outdoors because of the absence of softening fill - in light from the sky . As well as moving the light , explore the effects on your still - life of changing from a hard light source to a soft , diffused one .
Lighting positions
1. Front lighting
Front lighting reveals detail , but also flattens subject form and tex- ture . The effect on the bust , shown above , is uninteresting - the pic- ture appears all on one plane .
2. High side - lighting at 45 °
Side lighting gives a much bolder . three - dimensional effect . However , deep shadow suppresses detail in the parts of the face furthest from the lamp .
3. Top lighting
With the lamp placed above the bust , all its top - facing surfaces are highlit . The eyes and neck are in deep shadow , but the forehead , nose and cheek bone are emphasized .
4. Low side - lighting at 45 °
Low side lighting gives a " foot- light " effect . Since the head is fac- ing the lamp , both sides of the face are lit. But an ugly shadow is cast by the nose .
5. Back lighting
The lamp is just above the bust facing the camera . Mat white paper beside the camera scattered some illumination on to the bust to give an even , low illumination .
Hard and soft lighting
Both of the pictures , right , were side - lit by the same single source , from the same height and position . For the near right picture a spot- light was used direct . This pro- duced harsh light with dense , sharp - edged shadows . For the far right picture a large sheet of trac- ing paper was placed across the light beam , close to the subject . This diflused the light , producing soft quality side - lighting that re- veals form and detail in the subject .
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