تويت
ضوء الشمس - ٢ - مصدر الضوء .. كيفية التقاط وتطوير الصور بالأبيض والأسود
THE LIGHT SOURCE
SUNLIGHT
The amount of textural detail depends on the angle of sunlight striking the surface , so for most flat landscapes a low sun gives the greatest impression of detail . Most landscapes are , in fact , mainly horizontal , and the beginning and end of the day are traditionally favoured times for outdoor photography . As the sun rises or sets , there is a period of an hour or two in which the brightness changes rapidly , as do the shadows cast by trees , rocks , mountains , buildings and so on . When shadows are nearly horizontal , subjects tend to be more dramatically and prominently lit.
There are even more possibilities for picture variety if you deliberately search for different camera angles when the sun is low . If you photograph into the sun , there are possibilities for strong , definite silhouettes , and of atmos- pheric flare from the sun itself . Cross - lighting , in which the sun is to one side of the view , gives a good modelling and textural effect , casting strong shadows and giving views with a reasonable range of contrast . Shooting with the sun can produce very clear , sharp views . The colour advantage of a low sun - rich , warm hues - does not apply in black - and - white photography , however .
The risk involved in shooting at these times of day is that if there are any clouds around , they are more likely to block the sun at this angle . In many places it is not safe to rely on a completely clear sunrise or sunset , but this uncertainty adds to the interest of location photography .
There may be an even closer choice between shooting at sunset and at sun- rise at least if there is a selection of views rather than one single subject . Dawn photography means getting up and into position early , and this may not be easy if -you have to reach a viewpoint in darkness and anticipate exactly where the sun will rise . Only in the tropics does the sun rise and set almost vertically ; elsewhere , it moves at a diagonal to the horizon , so that first light will not be in the same place as sunrise itself . In the northern hemisphere , sunrise is south of first light , and the higher the latitude the greater the distance between the two , as the sun rises at a shallower angle . In the southern hemisphere those direc- tions are in reverse : sunrise is north of first light . In the late afternoon , all this is much simpler , as you can see for yourself the angle of the sun's descent .
ABOVE Your ability to exploit texture will effect enormously your success with black - and - white photography . Low - angle sunlight can bring out the texture of materials beautifully .
RIGHT Shooting into a low , strong sun provides the opportunity for obtaining striking silhouettes . To achieve this , however , it is important to expose for the strongly lit background , and not the subject you wish to appear as a silhouette .
LEFT Although undeniably attractive , snow scenes photographed in strong sunlight can pose problems for built - in exposure meters . The meter may be fooled into under - exposure , reading the glare sunlight on the snow as the dominant lighting in the scene . Solutions include taking a separate exposure reading from the main subject in this case the house - or taking an incident light reading with a hand - held meter .
THE LIGHT SOURCE
SUNLIGHT
The amount of textural detail depends on the angle of sunlight striking the surface , so for most flat landscapes a low sun gives the greatest impression of detail . Most landscapes are , in fact , mainly horizontal , and the beginning and end of the day are traditionally favoured times for outdoor photography . As the sun rises or sets , there is a period of an hour or two in which the brightness changes rapidly , as do the shadows cast by trees , rocks , mountains , buildings and so on . When shadows are nearly horizontal , subjects tend to be more dramatically and prominently lit.
There are even more possibilities for picture variety if you deliberately search for different camera angles when the sun is low . If you photograph into the sun , there are possibilities for strong , definite silhouettes , and of atmos- pheric flare from the sun itself . Cross - lighting , in which the sun is to one side of the view , gives a good modelling and textural effect , casting strong shadows and giving views with a reasonable range of contrast . Shooting with the sun can produce very clear , sharp views . The colour advantage of a low sun - rich , warm hues - does not apply in black - and - white photography , however .
The risk involved in shooting at these times of day is that if there are any clouds around , they are more likely to block the sun at this angle . In many places it is not safe to rely on a completely clear sunrise or sunset , but this uncertainty adds to the interest of location photography .
There may be an even closer choice between shooting at sunset and at sun- rise at least if there is a selection of views rather than one single subject . Dawn photography means getting up and into position early , and this may not be easy if -you have to reach a viewpoint in darkness and anticipate exactly where the sun will rise . Only in the tropics does the sun rise and set almost vertically ; elsewhere , it moves at a diagonal to the horizon , so that first light will not be in the same place as sunrise itself . In the northern hemisphere , sunrise is south of first light , and the higher the latitude the greater the distance between the two , as the sun rises at a shallower angle . In the southern hemisphere those direc- tions are in reverse : sunrise is north of first light . In the late afternoon , all this is much simpler , as you can see for yourself the angle of the sun's descent .
ABOVE Your ability to exploit texture will effect enormously your success with black - and - white photography . Low - angle sunlight can bring out the texture of materials beautifully .
RIGHT Shooting into a low , strong sun provides the opportunity for obtaining striking silhouettes . To achieve this , however , it is important to expose for the strongly lit background , and not the subject you wish to appear as a silhouette .
LEFT Although undeniably attractive , snow scenes photographed in strong sunlight can pose problems for built - in exposure meters . The meter may be fooled into under - exposure , reading the glare sunlight on the snow as the dominant lighting in the scene . Solutions include taking a separate exposure reading from the main subject in this case the house - or taking an incident light reading with a hand - held meter .
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