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DAYLIGHT INDOORS
Although the light source is the same , daylight in interiors is a rather different proposition for photography than it is outdoors . As it streams in through windows and doorways , it is a more localised kind of illumination , and it is also significantly weaker .
Despite artificial lighting , daylight is the most common illumination in most rooms . Nearly all interiors have windows , and in many cases a room appears at its most attractive in daylight . In fact , the interiors of some churches and most old buildings were designed to be seen and enjoyed by daylight , before ade- quate , powerful artificial lighting was possible .
Interiors are such static , predictable subjects that they lend themselves well to planning . In the kind of circumstances under which you might want to photo- graph a room , you are likely to be able to choose the time of day when you do it . So , the first decision to make is whether to take the picture in the daytime , by natural light , or whether to shoot later , using artificial light . You may find that the simplicity of daylight through windows best preserves a natural , authentic atmosphere .
The quality of daylight in interiors varies greatly , depending on where the windows are , how many there are , which way they face relative to the sun , and the size of the room . Generally , windows are set in one or two walls of a room only , so that the lighting direction tends to be horizontal , and the level falls off from one side to the other .
It is the relative proportions of windows and room size that control the contrast in an interior . A complete wall full of windows along a corridor can produce quite even illumination , whereas one small window in a square room
ABOVE In a scene where the window is to one side of the frame , it is usually best to counter - balance the uneven contrast by introducing light yourself . This may either be bounced flashlight , or even a reflector ( such as a white card ) to bounce the natural daylight back into the required area .
BELOW A perfect example of a situation where the use of any source of artificial lighting would totally ruin the atmosphere of the scene . Even the ' bleaching out ' of the lighting pouring through the windows has enhanced , rather than detracted from , the image's charm .
will create a high contrast range , with the level of light falling off very quickly The window becomes the source of illumination rather than the sky or sun . If you are shooting across this contrast range , with the window on one side of the picture , it will usually be necessary to take some action to counterbalance the unevenness . Bouncing a photographic lamp off the opposite wall is one method Another is to shade the print when you are making the enlargement giving more exposure to the darker side of the room .
ABOVE Since most churches were built well before the days of powerful artificial lights , the majority were designed to be enjoyed by natural daylight - hence the large windows .
DAYLIGHT INDOORS
Although the light source is the same , daylight in interiors is a rather different proposition for photography than it is outdoors . As it streams in through windows and doorways , it is a more localised kind of illumination , and it is also significantly weaker .
Despite artificial lighting , daylight is the most common illumination in most rooms . Nearly all interiors have windows , and in many cases a room appears at its most attractive in daylight . In fact , the interiors of some churches and most old buildings were designed to be seen and enjoyed by daylight , before ade- quate , powerful artificial lighting was possible .
Interiors are such static , predictable subjects that they lend themselves well to planning . In the kind of circumstances under which you might want to photo- graph a room , you are likely to be able to choose the time of day when you do it . So , the first decision to make is whether to take the picture in the daytime , by natural light , or whether to shoot later , using artificial light . You may find that the simplicity of daylight through windows best preserves a natural , authentic atmosphere .
The quality of daylight in interiors varies greatly , depending on where the windows are , how many there are , which way they face relative to the sun , and the size of the room . Generally , windows are set in one or two walls of a room only , so that the lighting direction tends to be horizontal , and the level falls off from one side to the other .
It is the relative proportions of windows and room size that control the contrast in an interior . A complete wall full of windows along a corridor can produce quite even illumination , whereas one small window in a square room
ABOVE In a scene where the window is to one side of the frame , it is usually best to counter - balance the uneven contrast by introducing light yourself . This may either be bounced flashlight , or even a reflector ( such as a white card ) to bounce the natural daylight back into the required area .
BELOW A perfect example of a situation where the use of any source of artificial lighting would totally ruin the atmosphere of the scene . Even the ' bleaching out ' of the lighting pouring through the windows has enhanced , rather than detracted from , the image's charm .
will create a high contrast range , with the level of light falling off very quickly The window becomes the source of illumination rather than the sky or sun . If you are shooting across this contrast range , with the window on one side of the picture , it will usually be necessary to take some action to counterbalance the unevenness . Bouncing a photographic lamp off the opposite wall is one method Another is to shade the print when you are making the enlargement giving more exposure to the darker side of the room .
ABOVE Since most churches were built well before the days of powerful artificial lights , the majority were designed to be enjoyed by natural daylight - hence the large windows .
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