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الخطوة 6: بناء الصورة المتقدمة / المنظور الخطي .. معدات وتقنيات إضافية .. المرشد خطوة بخطوة للتصوير الفوتوغرافي
STEP 6 : ADVANCED PICTURE BUILDING / Linear perspective
Making your photographs look three dimen- sional mainly depends on your use of linear and aerial perspective . Linear perspective in a subject is created by lines appearing to converge toward one or more " vanishing points " . The more steeply you make the lines converge , the greater the sense of three dimensions . Vanishing points may fall inside the picture frame , as in the picture right , but often they will fall at imaginary positions outside the photograph .
A picture may have one or several van- ishing points . The picture shown right has one vanishing point . Two or more vanishing points are created when lines or surfaces in the picture are at right angles to each other , and are oblique to the picture plane . You can see this when you stand at a street corner looking down two streets the buildings appear to diminish and converge at two separate points . Two point perspective is shown in the picture below right .
Camera viewpoint and angle , and the focal length of the lens are important for emphasizing linear perspective . A close viewpoint used with a wide - angle lens gives a steep perspective . Receding horizontal lines converge sharply , making corners , walls or similar elements close - to loom toward the camera . A distant viewpoint with a long focus lens gives a shallow perspective . Receding horizontal lines hardly seem to converge at all .
The angle of your camera to the main lines of the subject determines which surfaces will be seen most obliquely — in- creasing the feeling of depth and which will be seen square - on - reducing the sense of depth in your picture .
Single point perspective
Diminishing , repeating elements such as the arches and their shadows above create a strong feeling of depth . The single point perspective is shown in the dia- gram below . The effect is increased by positioning the camera to one side of the arches and by including a close - up of the near wall surface . The changing forms of the arches emphasizes the sense of depth and the close - up of the wall highlights the diminishing scale of the pillars .
Two point perspective
When viewed obliquely the two near faces of the building , right , appear to taper to two vanishing points on either side of the build- ing . Bringing the two vanishing points closer together will increase the perspective . You can do this by moving in closer , so that the lines converge more steeply .
Moving the camera to the left or right will steepen the converging lines of one wall , and flatten them on the other . If you tilt the camera up or down , you will notice that vertical lines start to converge toward the top or the bottom of the frame , forming two more vanishing points .
It is a useful exercise to take up a camera position , and then study the changes in perspective on your focusing screen while you move the camera from side to side or up and down . Subject geometry alters dramatically , particularly if you are using a wide - angle lens . If you move back and change to a longer focal length lens to keep the subject the same size , linear perspective is less steep and the sense of depth is reduced ( see p . 93 ) .
STEP 6 : ADVANCED PICTURE BUILDING / Linear perspective
Making your photographs look three dimen- sional mainly depends on your use of linear and aerial perspective . Linear perspective in a subject is created by lines appearing to converge toward one or more " vanishing points " . The more steeply you make the lines converge , the greater the sense of three dimensions . Vanishing points may fall inside the picture frame , as in the picture right , but often they will fall at imaginary positions outside the photograph .
A picture may have one or several van- ishing points . The picture shown right has one vanishing point . Two or more vanishing points are created when lines or surfaces in the picture are at right angles to each other , and are oblique to the picture plane . You can see this when you stand at a street corner looking down two streets the buildings appear to diminish and converge at two separate points . Two point perspective is shown in the picture below right .
Camera viewpoint and angle , and the focal length of the lens are important for emphasizing linear perspective . A close viewpoint used with a wide - angle lens gives a steep perspective . Receding horizontal lines converge sharply , making corners , walls or similar elements close - to loom toward the camera . A distant viewpoint with a long focus lens gives a shallow perspective . Receding horizontal lines hardly seem to converge at all .
The angle of your camera to the main lines of the subject determines which surfaces will be seen most obliquely — in- creasing the feeling of depth and which will be seen square - on - reducing the sense of depth in your picture .
Single point perspective
Diminishing , repeating elements such as the arches and their shadows above create a strong feeling of depth . The single point perspective is shown in the dia- gram below . The effect is increased by positioning the camera to one side of the arches and by including a close - up of the near wall surface . The changing forms of the arches emphasizes the sense of depth and the close - up of the wall highlights the diminishing scale of the pillars .
Two point perspective
When viewed obliquely the two near faces of the building , right , appear to taper to two vanishing points on either side of the build- ing . Bringing the two vanishing points closer together will increase the perspective . You can do this by moving in closer , so that the lines converge more steeply .
Moving the camera to the left or right will steepen the converging lines of one wall , and flatten them on the other . If you tilt the camera up or down , you will notice that vertical lines start to converge toward the top or the bottom of the frame , forming two more vanishing points .
It is a useful exercise to take up a camera position , and then study the changes in perspective on your focusing screen while you move the camera from side to side or up and down . Subject geometry alters dramatically , particularly if you are using a wide - angle lens . If you move back and change to a longer focal length lens to keep the subject the same size , linear perspective is less steep and the sense of depth is reduced ( see p . 93 ) .
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