تويت
ضوء الشمس - ١ - مصدر الضوء .. كيفية التقاط وتطوير الصور الملونة
SUNLIGHT
There is a wonderful variety to natural light , and knowing something of its ingredients and how they interact makes it possible to use daylight for photo- graphy with confidence . It is almost impossible to control ( except on a small scale ) , but you can anticipate it , which is the next best thing . The two factors which control the quality of daylight the most are the position of the sun and the amount of diffusion by clouds , mist or haze .
The height and angle of the sun depends on the time of day , the season of the year , and on the latitude ( it is highest in the tropics ) . On a latitude in the United States or most of Europe , there is a big difference between summer and winter . In the summer , the sun is high by mid morning , and stays at its brightest until mid afternoon ( once the angle of the sun is over about 40 degrees , it is fairly constant ) . In mid - winter , the sun never reaches even this height .
ABOVE The reddish light from a sunset is expected , and compensating for the colour cast with filters would make the scene look unnatural .
ABOVE AS with the reddish sunset shown on the opposite page , the bluish light from a clear sky is to be expected and accepted as a natural part of the picture .
RIGHT Unlike the reddish sunset light , the orange cast achieved when using tungsten lighting while shooting on daylight - balanced film can have an unpleasant and undesirable effect .
BELOW From the reflected light of a blue sky at this end to candlelight end , this scale covers the range of colour temperatures most likely to be met in photography .
Colour conversion filters
A wide range of filters is available to raise or lower the colour temperature of light reaching the film . The table below shows which filters you can use with which films to produce a normal lighting effect . Adding filters reduces the effective film speed .
SUNLIGHT
There is a wonderful variety to natural light , and knowing something of its ingredients and how they interact makes it possible to use daylight for photo- graphy with confidence . It is almost impossible to control ( except on a small scale ) , but you can anticipate it , which is the next best thing . The two factors which control the quality of daylight the most are the position of the sun and the amount of diffusion by clouds , mist or haze .
The height and angle of the sun depends on the time of day , the season of the year , and on the latitude ( it is highest in the tropics ) . On a latitude in the United States or most of Europe , there is a big difference between summer and winter . In the summer , the sun is high by mid morning , and stays at its brightest until mid afternoon ( once the angle of the sun is over about 40 degrees , it is fairly constant ) . In mid - winter , the sun never reaches even this height .
ABOVE The reddish light from a sunset is expected , and compensating for the colour cast with filters would make the scene look unnatural .
ABOVE AS with the reddish sunset shown on the opposite page , the bluish light from a clear sky is to be expected and accepted as a natural part of the picture .
RIGHT Unlike the reddish sunset light , the orange cast achieved when using tungsten lighting while shooting on daylight - balanced film can have an unpleasant and undesirable effect .
BELOW From the reflected light of a blue sky at this end to candlelight end , this scale covers the range of colour temperatures most likely to be met in photography .
Colour conversion filters
A wide range of filters is available to raise or lower the colour temperature of light reaching the film . The table below shows which filters you can use with which films to produce a normal lighting effect . Adding filters reduces the effective film speed .
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