تويت
مصابيح فوتوغرافية أخرى .. مصدر الضوء .. كيفية التقاط وتطوير الصور بالأبيض والأسود
THE LIGHT SOURCE / OTHER PHOTOGRAPHIC LIGHTS
Despite the convenience of portable flash , it gives little opportunity for creating attractive or interesting lighting - a typical unit is so small that it gives hard shadows when used directly and is too weak to give a useful light level if heavily diffused or reflected . For controlled indoor photography , different photo- graphic lamps are needed , powered from a mains outlet .
There is a basic choice between electronic flash and tungsten lighting , and the decision about which to use depends on both cost and the type of photo- graphy intended . A typical mains - powered flash unit suitable for amateur use weighs several pounds and is a self - contained unit intended to be mounted on a lighting stand . More powerful systems have the flash heads separate from a power pack ( principally capacitors and a control panel ; but these are heavy , not so portable , and more expensive ) . Photographic tungsten lamps are , on the whole , lighter and simpler , a well as being cheaper . Both flash and tungsten lamps are designed to be used with attachments that control the diffusion and concentration of the light reaching the lens .
Flash freezes most movement and is relatively cool in operation - there is a low - wattage modelling lamp next to the flash tube to show what the lighting effect will be . The colour temperature is matched to the daylight and it can be used either in combination with existing daylight or in isolation , depending on the shutter speed . Guide numbers are not used for mains flash , as these units are hardly ever operated as naked lights ; instead , the ratings are in joules ( watt- seconds ) . A unit of 200 to 500 joules is sufficiently powerful for most indoor tasks with a 35mm camera .
Tungsten lighting is hot in use , but has two advantages . You can see exactly how the lighting will appear in the photograph , and there is no limit to the amount of light to which you can expose the film ( it needs only a longer exposure time , whereas a flash unit must be triggered repeatedly , which can take even longer ) .
Two other kinds of equipment are needed for these lamps : supports and attachments for controlling the quality of the light . Lighting supports do not need to be quite as rigid as a camera tripod , but they must be fairly versatile . To make the most of a photographic lamp , you must be able to support it in a variety of positions , usually overhead . The basic support is a collapsible stand with tripod legs and an adjustable central column . For holding a light directly overhead , however , use a boom arm , ceiling fitting , or a crossbar supported beween two stands . The position of the lamp is often critical .
BELOW RIGHT The light from powerful electronic flash heads can be softened by bouncing it into an umbrella . The softening effect makes this technique particularly suitable for portraiture .
BELOW , MIDDLE A rondo light , or ' softbox ' , has the effect of diffusing light , spreading it over a relatively large area in the process . Suspending a softbox above a still life set is a common technique , giving as it does the gentle lighting so vital to this type of work .
BELOW Although hot in use - and therefore usually unpopular with models - tungsten lighting enables the photographer to see exactly how a scene will look in the finished picture .
The quality of the light depends on what you place in front of the lamp . As we saw earlier bouncing the light off a bright surface has an immediate soften- ing and broadening effect , but there is no need to rely on the way a room is decorated . Portable diffusers can be bought or made , and include collapsible umbrellas ( the inner linings can be white , silver , or even coloured , such as gold ) , sheets of white card or paper attached to stands , and large styrofoam / polystyrene sheets .
Diffusion gives a similar effect to most of these reflectors , but works in a different way . A translucent material is held in front of the light , which is aimed towards the subject you are photographing rather than away from it Umbrellas of a different kind , with a translucent fabric , can be used in this way , as can tracing paper , thin white cloth stretched on a frame , opalescent plastic , or specially constructed boxes known as area lights . Diffusing a lamp rather than reflecting its light usually allows a smaller aperture setting .
Sometimes , instead of broadening the light and making shadows softer , a more concentrated spotlight effect is needed . The best attachment for this is a lens , but a cheaper alternative is a cone - like fitting known as a snoot , or even a sheet of black paper rolled into a tube .
Finally , the light can be shaded and directed , by using flaps attached to the lamp housing ( known as barn doors ) , and by pieces of black card attached to stands and placed appropriately .
ABOVE AND LEFT Good lighting is essential for photography a typical set of equipment includes a standard reflector ( 1 ) , narrow angle reflector ( 2 ) , soft light reflector ( 3 ) , a hazy light ( 4 ) , a rondo light ( 5 ) and the power pack ( 6 ) . The spotlighting effect in the picture ( top ) gives sharp dense shadows , while in the high key shot ( above ) there are no deep shadows and the tones are from the light end of the scale .
ABOVE A simple but remarkably effective lighting arrangement for use in the studio ; note how the single light source is diffused with the use of a screen , guaranteeing that the results will not be harsh .
Equipment for Indoor Lighting
1 Electronic flashgun plus battery pack .
2 Re - chargeable power pack for
... 3. A ringflash , for use in macro photography .
4 Electronic flashhead .
5 Reflector hood for flash .
6 An umbrella , for reflecting flashlight .
7 Flashhead with reflector hood attached .
8 Hand - held light meter .
9 Snoot , for directing studio lighting . 10 Booms and stands , for supporting flash heads .
11 A flashgun plus re - chargeable battery pack .
12 An SLR plus bracket - mounted flashgun .
13 Lens filter holder .
TOP A typical studio set - up for still life work ; a softbox -literally an electronic flashlight contained within a box , one side of which is covered with a diffusing material is suspended above the set to give gentle lighting . The white card is arranged as shown to give ' seamless ' results .
ABOVE A great shot - but note that diffused lighting had to be used , or else the reflective subject would give harsh results .
THE LIGHT SOURCE / OTHER PHOTOGRAPHIC LIGHTS
Despite the convenience of portable flash , it gives little opportunity for creating attractive or interesting lighting - a typical unit is so small that it gives hard shadows when used directly and is too weak to give a useful light level if heavily diffused or reflected . For controlled indoor photography , different photo- graphic lamps are needed , powered from a mains outlet .
There is a basic choice between electronic flash and tungsten lighting , and the decision about which to use depends on both cost and the type of photo- graphy intended . A typical mains - powered flash unit suitable for amateur use weighs several pounds and is a self - contained unit intended to be mounted on a lighting stand . More powerful systems have the flash heads separate from a power pack ( principally capacitors and a control panel ; but these are heavy , not so portable , and more expensive ) . Photographic tungsten lamps are , on the whole , lighter and simpler , a well as being cheaper . Both flash and tungsten lamps are designed to be used with attachments that control the diffusion and concentration of the light reaching the lens .
Flash freezes most movement and is relatively cool in operation - there is a low - wattage modelling lamp next to the flash tube to show what the lighting effect will be . The colour temperature is matched to the daylight and it can be used either in combination with existing daylight or in isolation , depending on the shutter speed . Guide numbers are not used for mains flash , as these units are hardly ever operated as naked lights ; instead , the ratings are in joules ( watt- seconds ) . A unit of 200 to 500 joules is sufficiently powerful for most indoor tasks with a 35mm camera .
Tungsten lighting is hot in use , but has two advantages . You can see exactly how the lighting will appear in the photograph , and there is no limit to the amount of light to which you can expose the film ( it needs only a longer exposure time , whereas a flash unit must be triggered repeatedly , which can take even longer ) .
Two other kinds of equipment are needed for these lamps : supports and attachments for controlling the quality of the light . Lighting supports do not need to be quite as rigid as a camera tripod , but they must be fairly versatile . To make the most of a photographic lamp , you must be able to support it in a variety of positions , usually overhead . The basic support is a collapsible stand with tripod legs and an adjustable central column . For holding a light directly overhead , however , use a boom arm , ceiling fitting , or a crossbar supported beween two stands . The position of the lamp is often critical .
BELOW RIGHT The light from powerful electronic flash heads can be softened by bouncing it into an umbrella . The softening effect makes this technique particularly suitable for portraiture .
BELOW , MIDDLE A rondo light , or ' softbox ' , has the effect of diffusing light , spreading it over a relatively large area in the process . Suspending a softbox above a still life set is a common technique , giving as it does the gentle lighting so vital to this type of work .
BELOW Although hot in use - and therefore usually unpopular with models - tungsten lighting enables the photographer to see exactly how a scene will look in the finished picture .
The quality of the light depends on what you place in front of the lamp . As we saw earlier bouncing the light off a bright surface has an immediate soften- ing and broadening effect , but there is no need to rely on the way a room is decorated . Portable diffusers can be bought or made , and include collapsible umbrellas ( the inner linings can be white , silver , or even coloured , such as gold ) , sheets of white card or paper attached to stands , and large styrofoam / polystyrene sheets .
Diffusion gives a similar effect to most of these reflectors , but works in a different way . A translucent material is held in front of the light , which is aimed towards the subject you are photographing rather than away from it Umbrellas of a different kind , with a translucent fabric , can be used in this way , as can tracing paper , thin white cloth stretched on a frame , opalescent plastic , or specially constructed boxes known as area lights . Diffusing a lamp rather than reflecting its light usually allows a smaller aperture setting .
Sometimes , instead of broadening the light and making shadows softer , a more concentrated spotlight effect is needed . The best attachment for this is a lens , but a cheaper alternative is a cone - like fitting known as a snoot , or even a sheet of black paper rolled into a tube .
Finally , the light can be shaded and directed , by using flaps attached to the lamp housing ( known as barn doors ) , and by pieces of black card attached to stands and placed appropriately .
ABOVE AND LEFT Good lighting is essential for photography a typical set of equipment includes a standard reflector ( 1 ) , narrow angle reflector ( 2 ) , soft light reflector ( 3 ) , a hazy light ( 4 ) , a rondo light ( 5 ) and the power pack ( 6 ) . The spotlighting effect in the picture ( top ) gives sharp dense shadows , while in the high key shot ( above ) there are no deep shadows and the tones are from the light end of the scale .
ABOVE A simple but remarkably effective lighting arrangement for use in the studio ; note how the single light source is diffused with the use of a screen , guaranteeing that the results will not be harsh .
Equipment for Indoor Lighting
1 Electronic flashgun plus battery pack .
2 Re - chargeable power pack for
... 3. A ringflash , for use in macro photography .
4 Electronic flashhead .
5 Reflector hood for flash .
6 An umbrella , for reflecting flashlight .
7 Flashhead with reflector hood attached .
8 Hand - held light meter .
9 Snoot , for directing studio lighting . 10 Booms and stands , for supporting flash heads .
11 A flashgun plus re - chargeable battery pack .
12 An SLR plus bracket - mounted flashgun .
13 Lens filter holder .
TOP A typical studio set - up for still life work ; a softbox -literally an electronic flashlight contained within a box , one side of which is covered with a diffusing material is suspended above the set to give gentle lighting . The white card is arranged as shown to give ' seamless ' results .
ABOVE A great shot - but note that diffused lighting had to be used , or else the reflective subject would give harsh results .
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