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ملخص المعدات وتقنيات إضافية .. المرشد خطوة بخطوة للتصوير الفوتوغرافي
SUMMARY Further equipment and techniques
Additional lenses
Wide - angle ( short focus ) lenses give you a wider angle of view , and more depth of field than normal lenses . You can , for example , include more of a subject when working close - up ; this produces pictures with steeper perspective . Extreme wide- angle lenses begin to stretch and distort shapes in the subject , particularly toward the edges of the picture .
Long focus ( telephoto ) lenses give a narrow angle of view , a shallow depth of field , and ( by including the same amount of a subject from further away ) a flattened perspective . Extreme long focus lenses enable you to work from a very long distance , but they lower the contrast of the image , and exaggerate camera shake . Mirror lenses are lighter and smaller but cannot be stopped down ; they also make out - of- focus highlights appear ring - shaped .
Lens attachments
Color filters lighten the black and white reproduction of their own color , and darken their complementary color . Polarizing filters reduce reflections from non - metallic sur- faces . Neutral density filters allow wide aperture exposures in bright lighting . Close- up lens elements , bellows , and extension rings enable normal lenses to be used for close - up work . Alternatively you can use a specially designed macro lens for close - up work . You may need to give a longer exposure when using a close - up attachment . If your meter is a through - the - lens type it will compensate for this , otherwise you should follow the manufacturer's recom- mendations for adjusting the exposure .
Exposure and tonal range
Normal meter readings reproduce subject mid - tones as mid - gray on the print . Over- and underexposure shift tonal values up or down the tone scale . You have least latitude for exposure error with contrasty subject lighting . Extremely long exposures change the film characteristics - reciprocity failure -effectively reducing the ASA speed .
Artificial lighting
Think of tungsten lighting ( spots and floods ) and flash in terms of their " hard " or " soft " quality . Direct lighting is hard . diffused or bounced lighting is soft . In most cases you will want to control the height and direction of the main light to produce lighting similar to daylight . Use one lamp as your main source and a second lamp for local control of lighting . Diffuse fill - in illumination from a second light , for example . can be used to control contrast .
Perspective
The impression of depth in your picture is mainly created by linear and aerial perspective . Linear perspective is the con- vergence of lines , and is controlled by view- point and focal length of the lens . Aerial perspective is created by the way tones grow paler with distance . It is mostly con- trolled by lighting and viewpoint . Depth is also created by blur - differential focus and overlapping elements in the subject .
Emphasizing objects
To emphasize one object among many you can use lead - in lines , differential focus . blurred movement of surroundings , or separation by contrasting tones - con- trolled by lighting and exposure .
SUMMARY Further equipment and techniques
Additional lenses
Wide - angle ( short focus ) lenses give you a wider angle of view , and more depth of field than normal lenses . You can , for example , include more of a subject when working close - up ; this produces pictures with steeper perspective . Extreme wide- angle lenses begin to stretch and distort shapes in the subject , particularly toward the edges of the picture .
Long focus ( telephoto ) lenses give a narrow angle of view , a shallow depth of field , and ( by including the same amount of a subject from further away ) a flattened perspective . Extreme long focus lenses enable you to work from a very long distance , but they lower the contrast of the image , and exaggerate camera shake . Mirror lenses are lighter and smaller but cannot be stopped down ; they also make out - of- focus highlights appear ring - shaped .
Lens attachments
Color filters lighten the black and white reproduction of their own color , and darken their complementary color . Polarizing filters reduce reflections from non - metallic sur- faces . Neutral density filters allow wide aperture exposures in bright lighting . Close- up lens elements , bellows , and extension rings enable normal lenses to be used for close - up work . Alternatively you can use a specially designed macro lens for close - up work . You may need to give a longer exposure when using a close - up attachment . If your meter is a through - the - lens type it will compensate for this , otherwise you should follow the manufacturer's recom- mendations for adjusting the exposure .
Exposure and tonal range
Normal meter readings reproduce subject mid - tones as mid - gray on the print . Over- and underexposure shift tonal values up or down the tone scale . You have least latitude for exposure error with contrasty subject lighting . Extremely long exposures change the film characteristics - reciprocity failure -effectively reducing the ASA speed .
Artificial lighting
Think of tungsten lighting ( spots and floods ) and flash in terms of their " hard " or " soft " quality . Direct lighting is hard . diffused or bounced lighting is soft . In most cases you will want to control the height and direction of the main light to produce lighting similar to daylight . Use one lamp as your main source and a second lamp for local control of lighting . Diffuse fill - in illumination from a second light , for example . can be used to control contrast .
Perspective
The impression of depth in your picture is mainly created by linear and aerial perspective . Linear perspective is the con- vergence of lines , and is controlled by view- point and focal length of the lens . Aerial perspective is created by the way tones grow paler with distance . It is mostly con- trolled by lighting and viewpoint . Depth is also created by blur - differential focus and overlapping elements in the subject .
Emphasizing objects
To emphasize one object among many you can use lead - in lines , differential focus . blurred movement of surroundings , or separation by contrasting tones - con- trolled by lighting and exposure .
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