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الطقس السيئ .. مصدر الضوء .. كيفية التقاط وتطوير الصور الملونة
BAD WEATHER
Rain , snow and storms usually discourage photographers but , uncomfortable though bad weather is , it offers the chance of visual drama . Being less frequently photographed than sunsets and other easier conditions , they can appear fresh and different . One of the features of bad weather is that it moves - high winds and falling rain or snow make it a very active condition - and to take advantage of it , you need to stay on your toes . Lighting conditions can change rapidly , and this means not only being prepared to alter the exposure , but also to stay alert for changes in composition and in potential pictures . Bad weather favours small cameras , and fast film . Tripods are rarely useful , as all but the heaviest will move in wind .
RAIN AND SNOW
Falling rain or snow rarely photographs as distinctly as it looks . While you can normally see individual flakes of snow and the clear streaks of raindrops , under typical lighting conditions all this is lost in a blur on the photograph . The best way of retaining the drops or flakes is to find a view in which there is a dark background and some backlighting , such as a shaft of sunlight . This kind of condition , however , is rare . Usually , it helps to include some element in the picture that indicates rain , such as a surface of water splattered with the rings from raindrops , or umbrellas . Heavy rain and snow mute colours and give a soft , impressionistic effect , similar to haze .
ABOVE Snow can give a diffused , impressionistic effect .
BELOW AND BELOW LEFT If the weather is the subject , then the inclusion of elements in the picture that immediately define it is a good idea . The picture below is in this sense as much about rain as the picture on the left .
STORMY SKIES
Dark , louring clouds can be the most dramatic element in a stormy landscape Consider re - adjusting the composition to make the most of them ; for instance try placing the horizon line very low in the frame . If you have a graduated filter use this to exaggerate the darkness of the sky .
LIGHTNING
In a sense , lightning takes its own picture ; the flash is certainly too quick to catch by tripping the shutter . The only certain method is to anticipate where the next strike will be , place the camera on a tripod or some other secure support , open the shutter and wait . This only works when the light is so poor that you can leave the shutter open for several seconds ; night obviously the easiest . The actual aperture is not so critical , but with ISO 100 film , for instance , try f11 if the lightning seems close , f4 or f5.6 if distant .
CAMERA CARE
Most bad weather is harmful to equipment , so keep it well covered until you shoot . In driving rain , put the camera in a plastic bag , leaving one hole for the lens and another for the viewfinder ; rubber bands can secure these tightly around the camera . A friend holding an umbrella is also helpful .
ABOVE Look up , and adjust your composition to make the most of dramatic storm clouds .
BELOW The basic techniques for waterproofing a camera will also serve to keep out dust . Seal the camera in a plastic bag and secure with rubber bands . Use the open end of the bag for the lens , leave enough room inside to operate the controls and cut a small hole for the viewfinder , sealing it with another rubber band .
BAD WEATHER
Rain , snow and storms usually discourage photographers but , uncomfortable though bad weather is , it offers the chance of visual drama . Being less frequently photographed than sunsets and other easier conditions , they can appear fresh and different . One of the features of bad weather is that it moves - high winds and falling rain or snow make it a very active condition - and to take advantage of it , you need to stay on your toes . Lighting conditions can change rapidly , and this means not only being prepared to alter the exposure , but also to stay alert for changes in composition and in potential pictures . Bad weather favours small cameras , and fast film . Tripods are rarely useful , as all but the heaviest will move in wind .
RAIN AND SNOW
Falling rain or snow rarely photographs as distinctly as it looks . While you can normally see individual flakes of snow and the clear streaks of raindrops , under typical lighting conditions all this is lost in a blur on the photograph . The best way of retaining the drops or flakes is to find a view in which there is a dark background and some backlighting , such as a shaft of sunlight . This kind of condition , however , is rare . Usually , it helps to include some element in the picture that indicates rain , such as a surface of water splattered with the rings from raindrops , or umbrellas . Heavy rain and snow mute colours and give a soft , impressionistic effect , similar to haze .
ABOVE Snow can give a diffused , impressionistic effect .
BELOW AND BELOW LEFT If the weather is the subject , then the inclusion of elements in the picture that immediately define it is a good idea . The picture below is in this sense as much about rain as the picture on the left .
STORMY SKIES
Dark , louring clouds can be the most dramatic element in a stormy landscape Consider re - adjusting the composition to make the most of them ; for instance try placing the horizon line very low in the frame . If you have a graduated filter use this to exaggerate the darkness of the sky .
LIGHTNING
In a sense , lightning takes its own picture ; the flash is certainly too quick to catch by tripping the shutter . The only certain method is to anticipate where the next strike will be , place the camera on a tripod or some other secure support , open the shutter and wait . This only works when the light is so poor that you can leave the shutter open for several seconds ; night obviously the easiest . The actual aperture is not so critical , but with ISO 100 film , for instance , try f11 if the lightning seems close , f4 or f5.6 if distant .
CAMERA CARE
Most bad weather is harmful to equipment , so keep it well covered until you shoot . In driving rain , put the camera in a plastic bag , leaving one hole for the lens and another for the viewfinder ; rubber bands can secure these tightly around the camera . A friend holding an umbrella is also helpful .
ABOVE Look up , and adjust your composition to make the most of dramatic storm clouds .
BELOW The basic techniques for waterproofing a camera will also serve to keep out dust . Seal the camera in a plastic bag and secure with rubber bands . Use the open end of the bag for the lens , leave enough room inside to operate the controls and cut a small hole for the viewfinder , sealing it with another rubber band .
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