تويت
الخط .. الصورة أحادية اللون .. كيفية التقاط وتطوير الصور بالأبيض والأسود
LINE
In an image that must work with a single scale from dark to light , the basic graphic elements have a special importance . These are the components of all images : lines , shapes , forms , texture and the tonal range . Powerful black - and- white photography usually makes conscious use of one or more of these . The subject of a photograph may well be the most important and memorable part of the picture , but how you , the photographer , treat it graphically can make an enormous difference . It is even possible to make compelling images out of their design alone , with objects that are themselves of little interest .
The most basic of these elements is the line . It can be long , short , straight , curved , in different directions and of different thicknesses . Lines can separate the parts of a picture or join them , and they often have an irresistible tendency to pull the viewer's eye along , leading it from one area of the frame to another . While there is no pure , single line in nature ( everything has some thickness and substance ) , they abound in images as edges and as connections between strings and rows of objects . The painted line on a road , the edge of a building , the horizon , and the stem of a tall plant are all obvious lines ; the eye and brain , however , also make up lines from only a few clues . A row of soldiers on parade is interpreted as a line , but so is the direction in which a moving object travels . Even the direction in which a person looks can be interpreted as a kind of line .
Lines can have an understated psychological effect , giving a sense of move- ment or an impression of mood . For instance , horizontal lines tend to produce feelings of stability and solidity , while vertical lines have rather more energy . Diagonals have the most sense of movement , instability and dynamism . Curves also have some of the diagonal's movement , but temper it with a feeling of smooth gentle progression . Much of this stems from the experiences that cer- tain lines conjure up . Gravity has much to do with the different sensations from horizontal and vertical lines ; flat surfaces are bases , and supports for objects .
ABOVE Exploiting lines can be a matter of being aware of potential . Here , the converging guitar necks draw the eye , and tipping the guitars towards the viewer has given the picture further punch .
BELOW LEFT Although sometimes not immediately apparent , line has an understated psychological effect . In this case , a simple diagonal cutting across the frame has lent a dynamism to what is a very basic photograph . In effect , line is the subject .
LINE
In an image that must work with a single scale from dark to light , the basic graphic elements have a special importance . These are the components of all images : lines , shapes , forms , texture and the tonal range . Powerful black - and- white photography usually makes conscious use of one or more of these . The subject of a photograph may well be the most important and memorable part of the picture , but how you , the photographer , treat it graphically can make an enormous difference . It is even possible to make compelling images out of their design alone , with objects that are themselves of little interest .
The most basic of these elements is the line . It can be long , short , straight , curved , in different directions and of different thicknesses . Lines can separate the parts of a picture or join them , and they often have an irresistible tendency to pull the viewer's eye along , leading it from one area of the frame to another . While there is no pure , single line in nature ( everything has some thickness and substance ) , they abound in images as edges and as connections between strings and rows of objects . The painted line on a road , the edge of a building , the horizon , and the stem of a tall plant are all obvious lines ; the eye and brain , however , also make up lines from only a few clues . A row of soldiers on parade is interpreted as a line , but so is the direction in which a moving object travels . Even the direction in which a person looks can be interpreted as a kind of line .
Lines can have an understated psychological effect , giving a sense of move- ment or an impression of mood . For instance , horizontal lines tend to produce feelings of stability and solidity , while vertical lines have rather more energy . Diagonals have the most sense of movement , instability and dynamism . Curves also have some of the diagonal's movement , but temper it with a feeling of smooth gentle progression . Much of this stems from the experiences that cer- tain lines conjure up . Gravity has much to do with the different sensations from horizontal and vertical lines ; flat surfaces are bases , and supports for objects .
ABOVE Exploiting lines can be a matter of being aware of potential . Here , the converging guitar necks draw the eye , and tipping the guitars towards the viewer has given the picture further punch .
BELOW LEFT Although sometimes not immediately apparent , line has an understated psychological effect . In this case , a simple diagonal cutting across the frame has lent a dynamism to what is a very basic photograph . In effect , line is the subject .
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