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نسخ المطبوعات .. العناية بالصور الفوتوغرافية .. كيفية التقاط وتطوير الصور الملونة
COPYING PRINTS
Copying prints and any other flat illustration needs very little in the way of extra equipment , and once you have learned the very straightforward tech- niques , can be a useful addition to your repertoire of skills . It can be used , for example , to make a new negative from a colour print , and for copying paint- ings . There are just three important things to consider : lining up the camera so that it is straight on to the original being copied , lighting the picture evenly and without reflections , and keeping the colours the same .
LINING UP THE IMAGE
The two easiest positions for copying are flat down onto a table or work sur- face , and face on to a wall . With a photographic print or other small original , the first position is easier , but a large painting is usually best left hanging on a wall . In either case , the camera must be on a tripod . One advantage of facing down is that you can use a spirit level on both the back of the camera and on the surface to make sure that both are aligned . Otherwise , compare the edges of the original being copied with the edges of the viewfinder frame . Look for evidence of ' keystoning ' , in which two of the sides seem to lean inwards - this shows that the camera is at an angle to the original . One of the most accurate methods is to place a small mirror flat against the original , and adjust the camera until you can see the lens reflected back exactly in the middle of the viewfinder .
LIGHTING
Even lighting is important , and the best method of all is to place four lamps , one at each corner and at the same distance from the original . In practice , with small originals , two lamps work just as well . Aim each lamp towards the oppo- site side of the original rather than to the centre ; this will avoid a hot spot in the middle . Test the evenness of the lighting by holding the tip of a pencil perpen- dicular to the centre ; it should cast the same shadow on either side . To avoid . reflections off the print or painting , keep the angle of the lamps shallow . The further back they are and closer to the camera , the more the risk of reflection , which will weaken the colour .
Vertical copying
A horizontal arm keeps tripod legs out of the shot . A lamp at each corner ( below ) is the ideal light .
Horizontal copying
Using two lamps ( above ) , a flat surface can be evenly lit by aiming each at the opposite edge . The strength of the two shadows cast by a pencil held up to the surface will show if the illumination is equal . Shade the camera lens from the direct lamp light with large pieces of card .
COLOUR ACCURACY
As in copying slides , there are likely to be some variations in colour , as you are copying one set of dyes ( on the original ) onto another set ( in the film ) . The best check , and one that can be used to make corrections when printing later , is to pin or tape alongside the original a swatch of standard colours , including a neutral grey . Professionals who copy paintings use a proprietary colour guide which can be bought at some photographic stores .
LEFT AND FAR LEFT It's possible to copy more than photographs . To avoid reflections off the painting ruining the copy , keep the angle of the copying lights shallow .
BELOW A Kodak colour guide , which can help to keep original colours when printing a copy . particularly if the original is a painting .
B.S. 3020 Four - colour Inks
Kodak COLOUR PATCHES
COPYING PRINTS
Copying prints and any other flat illustration needs very little in the way of extra equipment , and once you have learned the very straightforward tech- niques , can be a useful addition to your repertoire of skills . It can be used , for example , to make a new negative from a colour print , and for copying paint- ings . There are just three important things to consider : lining up the camera so that it is straight on to the original being copied , lighting the picture evenly and without reflections , and keeping the colours the same .
LINING UP THE IMAGE
The two easiest positions for copying are flat down onto a table or work sur- face , and face on to a wall . With a photographic print or other small original , the first position is easier , but a large painting is usually best left hanging on a wall . In either case , the camera must be on a tripod . One advantage of facing down is that you can use a spirit level on both the back of the camera and on the surface to make sure that both are aligned . Otherwise , compare the edges of the original being copied with the edges of the viewfinder frame . Look for evidence of ' keystoning ' , in which two of the sides seem to lean inwards - this shows that the camera is at an angle to the original . One of the most accurate methods is to place a small mirror flat against the original , and adjust the camera until you can see the lens reflected back exactly in the middle of the viewfinder .
LIGHTING
Even lighting is important , and the best method of all is to place four lamps , one at each corner and at the same distance from the original . In practice , with small originals , two lamps work just as well . Aim each lamp towards the oppo- site side of the original rather than to the centre ; this will avoid a hot spot in the middle . Test the evenness of the lighting by holding the tip of a pencil perpen- dicular to the centre ; it should cast the same shadow on either side . To avoid . reflections off the print or painting , keep the angle of the lamps shallow . The further back they are and closer to the camera , the more the risk of reflection , which will weaken the colour .
Vertical copying
A horizontal arm keeps tripod legs out of the shot . A lamp at each corner ( below ) is the ideal light .
Horizontal copying
Using two lamps ( above ) , a flat surface can be evenly lit by aiming each at the opposite edge . The strength of the two shadows cast by a pencil held up to the surface will show if the illumination is equal . Shade the camera lens from the direct lamp light with large pieces of card .
COLOUR ACCURACY
As in copying slides , there are likely to be some variations in colour , as you are copying one set of dyes ( on the original ) onto another set ( in the film ) . The best check , and one that can be used to make corrections when printing later , is to pin or tape alongside the original a swatch of standard colours , including a neutral grey . Professionals who copy paintings use a proprietary colour guide which can be bought at some photographic stores .
LEFT AND FAR LEFT It's possible to copy more than photographs . To avoid reflections off the painting ruining the copy , keep the angle of the copying lights shallow .
BELOW A Kodak colour guide , which can help to keep original colours when printing a copy . particularly if the original is a painting .
B.S. 3020 Four - colour Inks
Kodak COLOUR PATCHES
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