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الشكل .. الصورة أحادية اللون .. كيفية التقاط وتطوير الصور بالأبيض والأسود
SHAPE
If lines are the basic element in the construction of an image , the next level up is a combination of lines that encloses a particular shape . An enclosing set of lines is called , appropriately enough , an outline , and it is this that creates shape . Shapes exist in two dimensions , on flat images rather than in the real world : they are the projections of things , lacking volume . In other words , they are constructed by the eye , and are important as recognition symbols in human vision . How effective they are can be seen in the ease with which we can understand a complicated object from only a simple silhouette – the profile of a person's head , for example .
In fact , not only is a silhouette the most exact and pure version of a shape - it is also one that black - and - white photography is particularly well suited to re- cording . Silhouettes are the product of high contrast due to back - lighting : typical examples include a tree on the brow of a hill against a dusk sky , or a figure standing in an open doorway seen from inside . Anything that heightens the contrast beween the subject and its bright background will enhance the effect , and there are more opportunities for this with black - and - white emulsions than with colour . The exposure is important - not so full that it records details within the silhouette - but even more can be done in the printing , by choosing a hard ' , contrasty grade of paper . Indeed , a perfect silhouette is always possible by using lith film ; this can be used for the original photography , or later , to make a conversion of a more normally toned original .
To a lesser degree , shapes in black - and - white photography are thrown into prominence by any distinct tonal contrast . Without resorting to any darkroom manipulation , shapes can be made the focus of the image by deliberately seek- ing out the juxtaposition of light and dark . The less convoluted the outline , the more the sense of shape comes through .
Because shape in photography is the projection of an object onto a flat surface , the orientation and the camera viewpoint alter our perception of things . A spoked wheel seen flat - on is perfectly obvious , but end - on is hardly recognizable . This is not necessarily a problem , but if you intend to use shape as an aid to recognition in a picture , give some thought to which angle gives the clearest view .
RIGHT Any distinct tonal contrast in black and white photography throws shapes into prominence . Shapes can be made the focus of the image in the darkroom by deliberately seeking out the juxtaposition of dark and light .
ABOVE The two - dimensional nature of shapes in black and white photography means that you must adjust the way you view a three - dimensional world .
BELOW Even if a certain amount of detail can be seen in the negative , it is possible to enhance the silhouette effect by choosing a hard , contrasty paper at the printing stage .
SHAPE
If lines are the basic element in the construction of an image , the next level up is a combination of lines that encloses a particular shape . An enclosing set of lines is called , appropriately enough , an outline , and it is this that creates shape . Shapes exist in two dimensions , on flat images rather than in the real world : they are the projections of things , lacking volume . In other words , they are constructed by the eye , and are important as recognition symbols in human vision . How effective they are can be seen in the ease with which we can understand a complicated object from only a simple silhouette – the profile of a person's head , for example .
In fact , not only is a silhouette the most exact and pure version of a shape - it is also one that black - and - white photography is particularly well suited to re- cording . Silhouettes are the product of high contrast due to back - lighting : typical examples include a tree on the brow of a hill against a dusk sky , or a figure standing in an open doorway seen from inside . Anything that heightens the contrast beween the subject and its bright background will enhance the effect , and there are more opportunities for this with black - and - white emulsions than with colour . The exposure is important - not so full that it records details within the silhouette - but even more can be done in the printing , by choosing a hard ' , contrasty grade of paper . Indeed , a perfect silhouette is always possible by using lith film ; this can be used for the original photography , or later , to make a conversion of a more normally toned original .
To a lesser degree , shapes in black - and - white photography are thrown into prominence by any distinct tonal contrast . Without resorting to any darkroom manipulation , shapes can be made the focus of the image by deliberately seek- ing out the juxtaposition of light and dark . The less convoluted the outline , the more the sense of shape comes through .
Because shape in photography is the projection of an object onto a flat surface , the orientation and the camera viewpoint alter our perception of things . A spoked wheel seen flat - on is perfectly obvious , but end - on is hardly recognizable . This is not necessarily a problem , but if you intend to use shape as an aid to recognition in a picture , give some thought to which angle gives the clearest view .
RIGHT Any distinct tonal contrast in black and white photography throws shapes into prominence . Shapes can be made the focus of the image in the darkroom by deliberately seeking out the juxtaposition of dark and light .
ABOVE The two - dimensional nature of shapes in black and white photography means that you must adjust the way you view a three - dimensional world .
BELOW Even if a certain amount of detail can be seen in the negative , it is possible to enhance the silhouette effect by choosing a hard , contrasty paper at the printing stage .
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