تويت
استمارة .. الصورة أحادية اللون .. كيفية التقاط وتطوير الصور بالأبيض والأسود
FORM
From shapes , one step further towards realism is form . This is the volume of an object , a sense of its three - dimensionality . Whereas it takes our familiarity and imagination to construct the depth and tangibility of an object from its shape alone , a photograph with a good sense of form makes this obvious by the distribution of tones .
In fact , a number of techniques combine to convey form , not the least of which is lighting . Still - life photographers , whose success depends largely on their ability to design lighting sets that are appropriate to particular objects , are among those most concerned with form . The approach of an experienced professional to a new subject for a study is first a careful examination to appre- ciate the kind of volume it has . To take objects at random , a fist , a coin and a delicate orchid have clearly different forms , and each needs a different lighting approach .
While form should not necessarily dictate the lighting treatment , it is essen- tially an attribute of realism . A strong sense of form normally goes hand in hand with clear , unambiguous representation . Techniques that aid abstraction , such as those to enhance a silhouette , work against form . As you can see from these examples , the class of lighting that usually best conveys depth and volume is that of moderately diffused side - lighting . With this , the gradation of tones across the surface of an object produces relatively gentle transition from high- light to shadow .
Our eyes use shading as a clue to the form of something . As long as the light source seems to be in a conventional position , the brain calculates from the play of tones across the surface what the projections and depressions useful experiment is to take one object , one light , and make minor adjustments to the position of the light and to the level of diffusion , making a series of com- parative photographs .
ABOVE Proof positive that our eyes use shading as the most vital clue to form . Simply adjusting the position of the light in relation to the subject alters the perception of it completely . From fairly straightforward frontal lighting ( top row , left ) to top lighting ( top row , right ) , from hard lighting from a single side ( bottom row , left and right ) to off - centre top lighting with a reflector ( top row , centre ) , basic adjustments to a lighting arrangement can drastically alter the impression given by an image .
ABOVE Still life photographers , whose success depends upon their ability to match lighting sets to subjects , are particularly concerned with form .
ABOVE LEFT Diffused sidelighting is ideal for conveying a sense of form , producing as it does relatively gentle transitions from highlight to shadow .
LEFT Using light to accentuate prominent features in the subject , like the larger flat facets of this mineral , can enhance form .
FORM
From shapes , one step further towards realism is form . This is the volume of an object , a sense of its three - dimensionality . Whereas it takes our familiarity and imagination to construct the depth and tangibility of an object from its shape alone , a photograph with a good sense of form makes this obvious by the distribution of tones .
In fact , a number of techniques combine to convey form , not the least of which is lighting . Still - life photographers , whose success depends largely on their ability to design lighting sets that are appropriate to particular objects , are among those most concerned with form . The approach of an experienced professional to a new subject for a study is first a careful examination to appre- ciate the kind of volume it has . To take objects at random , a fist , a coin and a delicate orchid have clearly different forms , and each needs a different lighting approach .
While form should not necessarily dictate the lighting treatment , it is essen- tially an attribute of realism . A strong sense of form normally goes hand in hand with clear , unambiguous representation . Techniques that aid abstraction , such as those to enhance a silhouette , work against form . As you can see from these examples , the class of lighting that usually best conveys depth and volume is that of moderately diffused side - lighting . With this , the gradation of tones across the surface of an object produces relatively gentle transition from high- light to shadow .
Our eyes use shading as a clue to the form of something . As long as the light source seems to be in a conventional position , the brain calculates from the play of tones across the surface what the projections and depressions useful experiment is to take one object , one light , and make minor adjustments to the position of the light and to the level of diffusion , making a series of com- parative photographs .
ABOVE Proof positive that our eyes use shading as the most vital clue to form . Simply adjusting the position of the light in relation to the subject alters the perception of it completely . From fairly straightforward frontal lighting ( top row , left ) to top lighting ( top row , right ) , from hard lighting from a single side ( bottom row , left and right ) to off - centre top lighting with a reflector ( top row , centre ) , basic adjustments to a lighting arrangement can drastically alter the impression given by an image .
ABOVE Still life photographers , whose success depends upon their ability to match lighting sets to subjects , are particularly concerned with form .
ABOVE LEFT Diffused sidelighting is ideal for conveying a sense of form , producing as it does relatively gentle transitions from highlight to shadow .
LEFT Using light to accentuate prominent features in the subject , like the larger flat facets of this mineral , can enhance form .
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