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إنشاء التركيز .. معدات وتقنيات إضافية .. المرشد خطوة بخطوة للتصوير الفوتوغرافي
Creating emphasis
The camera often records too much unlike the eye , it cannot distinguish between important and unimportant details . You can remedy this by moving close - up to exclude all the background . But frequently you want to show or at least suggest the environment , to give your subject depth and character . Several techniques can help you use the environment to emphasize and support the main subject , without detracting from it .
One of the principal ways you can direct the viewer's eye is by using perspective . If you compose your picture carefully in the viewfinder , you can make the surrounding lines and shapes create a natural frame or lead - in to your subject ( see p . 61 ) .
You can make your subject stand out from the background by selective focusing . Limiting depth of field to the main elements and leaving the rest blurred gives the subject special emphasis . Alternatively you can pan the camera with a moving subject , to render it sharp and blur unwanted surroundings , as shown below . Or you can focus on a stationary object , which will stand out if it is positioned against a moving background .
And finally , you can make use of the effects of exposure and lighting to place emphasis on one area of your picture . You can correctly expose the center of interest and under- or overexpose the surround- ings ; or light only the main subject , using studio lamps or flash .
Using perspective
The picture above uses linear and aerial perspective to convey depth and so emphasize the solitary fore- ground head and shoulders . The position of the head at the vanishing point in the composition , and at the inter - section in the scene , directs our attention .
The depth of field is shallow . reducing distracting detail in the background , but it is still sharp enough to capture the context of the portrait .
Using blur
Panning enables you to use a slower shutter speed to freeze action than when the camera is still . Prefocus on the path of the subject : move the camera in a smooth are to follow the direction of the movement .
Using lighting
The foundry where this picture was taken , right , was cluttered by machinery and pieces of metal . In order to simplify the picture and concentrate on the casting , the scene was lit by flash .
The flash unit was taken off the camera and connected to the camera shutter by a long lead . It was held above and to the left of the ladle , so that the narrow beam of side - lighting illuminated all the important elements , leaving the background and foreground in shadow . Exposure was calculated for the flash - to - subject distance . As a result the surrounding . unimportant detail is left dark .
Using selective focus
Not all pictures can be specially lit this portrait of the sculptor Giacometti below was taken in available light . A long focus lens and wide aperture were used to give a depth of field of only about 12 inches 30 cm ) . The sculptor and one of his works were the same distance from the camera . So these two elements are picked out and emphasized , while the other sculptures reproduce as dif- fused silhouettes- simplified but still recognizable in style . Exposure was measured from light reflected from the face , to leave the back- ground pale and unobtrusive .
Creating emphasis
The camera often records too much unlike the eye , it cannot distinguish between important and unimportant details . You can remedy this by moving close - up to exclude all the background . But frequently you want to show or at least suggest the environment , to give your subject depth and character . Several techniques can help you use the environment to emphasize and support the main subject , without detracting from it .
One of the principal ways you can direct the viewer's eye is by using perspective . If you compose your picture carefully in the viewfinder , you can make the surrounding lines and shapes create a natural frame or lead - in to your subject ( see p . 61 ) .
You can make your subject stand out from the background by selective focusing . Limiting depth of field to the main elements and leaving the rest blurred gives the subject special emphasis . Alternatively you can pan the camera with a moving subject , to render it sharp and blur unwanted surroundings , as shown below . Or you can focus on a stationary object , which will stand out if it is positioned against a moving background .
And finally , you can make use of the effects of exposure and lighting to place emphasis on one area of your picture . You can correctly expose the center of interest and under- or overexpose the surround- ings ; or light only the main subject , using studio lamps or flash .
Using perspective
The picture above uses linear and aerial perspective to convey depth and so emphasize the solitary fore- ground head and shoulders . The position of the head at the vanishing point in the composition , and at the inter - section in the scene , directs our attention .
The depth of field is shallow . reducing distracting detail in the background , but it is still sharp enough to capture the context of the portrait .
Using blur
Panning enables you to use a slower shutter speed to freeze action than when the camera is still . Prefocus on the path of the subject : move the camera in a smooth are to follow the direction of the movement .
Using lighting
The foundry where this picture was taken , right , was cluttered by machinery and pieces of metal . In order to simplify the picture and concentrate on the casting , the scene was lit by flash .
The flash unit was taken off the camera and connected to the camera shutter by a long lead . It was held above and to the left of the ladle , so that the narrow beam of side - lighting illuminated all the important elements , leaving the background and foreground in shadow . Exposure was calculated for the flash - to - subject distance . As a result the surrounding . unimportant detail is left dark .
Using selective focus
Not all pictures can be specially lit this portrait of the sculptor Giacometti below was taken in available light . A long focus lens and wide aperture were used to give a depth of field of only about 12 inches 30 cm ) . The sculptor and one of his works were the same distance from the camera . So these two elements are picked out and emphasized , while the other sculptures reproduce as dif- fused silhouettes- simplified but still recognizable in style . Exposure was measured from light reflected from the face , to leave the back- ground pale and unobtrusive .
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