استعمالات العدادات ٢_a .. كتاب فن التصوير الفوتوغرافي

A number of people standing on a shaded balcony.

Take a reading of the subject if possible or of a similar subject close by with the same degree of illumination

Take a reading of the topic in the normal way.

View of a street through a storefront glass from the inside. The camera is in the shadows and the subject is in the light.

Take a reading near a window or go outside to take a reading

Take a reading in the normal way on the street or use a meter to count reflected light

Now that we have reviewed the types of photometers, it has become necessary to understand the factors that affect film exposure to light. You remember, no doubt, when we explained how to measure light in a landscape, we said that the bright sky should be removed from the meter cells by tilting it slightly, because the lighting gradations are between the bright sky and the foreground. To be absorbed by the film and deal with it. Therefore, it is necessary to ensure that the luster of the scene is not to the extent that it negatively affects the scene as a whole. The ideal exposure is the exposure in which the bright parts of the scene are not burned, i.e. clearly defined, and at the same time, the objects in the shadows are also well defined. That is why he was exposed in favor of shadows because the bright parts will appear in all cases, on the contrary if we show in favor of brightness the sky here) then the shadows will not appear in any way.

Another factor affecting film exposure is that the film is capable of dealing with a subject with a sensitivity of 1/500 of a second or more. But the paper on which the negative will be printed has a maximum sensitivity of only 1/60, and there are other types that have 1/10

Only he. This narrow field of view has to be kept in mind when taking any photo in order to get good contrast. You should see the endorsement process through timing or exposure because they have a basic relationship with the degree of contrast of the image. For example, if you show a film beyond the required time, the contrast will be at its highest. On the other hand, the exposure that affects the density of the negative produces the correct exposure and endorsement, negative containing gradations

with about . Multi-chromaticity Good detail in both shadows and highlights. Moving away from this path will result in lower-level prints than required. The difficulty facing the novice is that he is unable to distinguish between a dense negative and a lightly contrasting negative. To overcome this difficulty, you have to study the following well and apply it to the negatives you have previously taken. The underexposed negative lacks detail in the shadows, and endorsement manipulation does not improve it. Inadequate endorsement of a negative subjected to underexposed exacerbates the problem, as the shadows will disappear, but the bright ones will be thin. Appear correctly and you will get clearer brights. Excess endorsement exacerbates the problem as block up blocks hinder. The shadow areas remain empty

the details . A properly exposed negative has good detail, if you show it insufficiently you will get a faded negative with no light contrast.

But if you overdo it, it will increase the light contrast, beyond the reasonable limit. Good details will appear in the shadows, but the highlights will be hindered, causing loss of detail. Thus, we find that the negative that was exposed and showed a correct shape is characterized by good details in the brights and shadows alike, in addition to wide color gradations

Exaggerated exposure produces existing (dense) negatives, and your attempt to save such negatives with insufficient exposure will help in a limited way, as shadow details will appear

The brights, but the negatives will be a little dimmer (contrast) to a lesser degree than normal. Overall . If the captured scene is characterized by severe light contrast, then the best solution to obtain an image with normal contrast is insufficient endorsement.

The normal endorsement of a negative subjected to underexposition leads to the burning of the brights and the hardening of the shadows. Details will be lost in both highlights and shadows, and the negativity will be very dense. Extensive endorsement will not help in addressing the problem, on the contrary, it will exacerbate it.

If you accidentally overexpose a film, you will lose the film permanently, because the negatives will appear so dense that printing is very difficult, if not impossible.

Finally, you can deliberately produce the errors that we talked about and keep the results as a reference for the future to produce negatives without errors. When you become able to produce negatives of good quality each time, you will resort to creative manipulation of exposure or endorsement to achieve the results you previously imagined in your mind. For example, if you take a reading of the brights without the shadows in a scene, the meter will deal with the brights and measure their average percentage, as it passed with us, without the shadows. Thus, you will get an image with a distinct impression. On the contrary, you can take a reading of the existing areas of the scene without the bright areas, to get the opposite result. All you have to do is choose the right topic and then start immersing yourself in a new experience.