كيف تصنع لقطة ليلية ناجحة .. كتاب فن التصوير الفوتوغرافي

How to make a successful night shot:

Your first night shots will undoubtedly be a view of a street lit up at night, as amateurs usually start with such shots because the streets are the first thing they encounter at night.

It is not necessary for these streets to be highly lit in order to urge the amateur to capture them. Rather, it is sufficient for them to be illuminated with a single lamp in one of their corners in order to inflame the imagination of the amateur and unleash his ideas. The general atmosphere of the snapshot helps to capture that.

In this type of shot, you often need long exposures to record the details well. Therefore, it is necessary to use a tripod and a wire to release the shutter to avoid camera shake. This wire is usually installed at the top of the shutter release button: street scenes are at their best immediately after it rains, because the reflections of the lights on the wet street floor will give a dramatic dimension to the image, entering a new life that did not exist before. A study of footage of that night taken by a professional will show you what we mean by this

Do not be disturbed by the movement of cars on the street you are photographing when you are using the B stance and a three-legged pillar, as the cars will not appear in the picture because of their speed, but they will leave, according to their path, a trail of lighting due to their headlights

And if you do not want these bright tails, you can resort to covering the lens while cars pass with a piece of black cardboard while the shutter remains open. and if you were

Counts in seconds the amount of exposure you make, stop counting for the duration you cover

has the lens. The use of the B-stop is not limited to photographing dark streets, but you can make beautiful exposures with fireworks (night light) by leaving the shutter open with the help of a shooting wire and a substrate and drawing objects and circles with these lights in the air. It will appear on the negative impressively, but beware of your appearance in The picture and you move these lights in front of the camera.

different substrates:

If you happen to forget your pillar at home, then you need one in one of the shots, you can use a wall near the place of photography or any other fixed object to lean on.

The camera is a good pillar for it

If you are one of those who forget a lot and are forced to use the previous method most of the time, you should not forget that a comfortable stance is the basis for a successful image, meaning that you must comfortably space your feet to ensure stability. Hold the camera at eye level, then press it slightly against the face to make it one deep piece with it, then hold your breath and press the shutter button. Take a breath.

Available light problems Interior shots:

It is fast. The available lighting is an important factor for creating a distinctive atmosphere in the interior shots. The use of flashes or floodlights will spoil the atmosphere created by the available lighting, because it is intrusive. However, the main obstacle in the images taken with available light is the lack of optical contrast. Also, the poor lighting forced you to use film to compensate, which compounds the problem because its wide field doubles the weak contrast.

The solution here is to underexpose to bring contrast and then appear in excess to compensate for that, but this is not an ideal solution to the problem because this measure will reduce the speed of the used film at the time when you need it most.

The ideal solution would be to push the movie speed two or three times. Pushing the film is the best solution that professionals resort to when they are forced to work in poor lighting conditions. This principle is based on increasing the speed of the film when filming by two or three additional stops as needed, provided that the endorsement time is also increased, which raises the degree of contrast to the normal level for a film of the same speed. paid to it.

A window is and color films can also be pushed, but you must first make sure that the film accepts that because there are some types that are not suitable for the push process. When the lighting is coming from a single light source, the light contrast is large, and the degree of contrast depends on a subject on how close it is to the light source. An example of this is a portrait sitting near: the sun's rays enter it, the light source in this case. Window Put your subject near the window and study the result. You will notice that the side closest to the window is well lit, but the shadows on the other side are very heavy. Move your subject away from the window and the contrast will disappear

Photograph a subject close to the window and you will notice that even fast films cannot adequately record details in the highlights and shadows together, and ceiling lighting has the same previous problem. Instead of coming from the side, it comes from above the head. In this case, the shadows are under the nose and chin, and in the eye socket. . coming from

Despite these problems, we find many pictures taken near the window that were full of details, and the reason is due to the use of reflectors, as they throw enough light in the shadows to bring the degree of contrast to an acceptable amount. and with

For shots close to the window, use a white reflector close to the subject. Beware of bringing it too close to the subject so that it does not appear in the final image.

In general, try to have the interior shots executed in rooms with light walls / colors, because dark colors absorb a lot of light in a way that makes it more difficult

your business

Photography in large rooms:

You will have to shoot inside indoor spaces that are lit by different types of lighting at the same time, such as mosques and churches. Windows are usually sufficient

These places are long-term for lighting all parts of the building, so you will find that sometimes with lighting is not enough to achieve a large depth of field, forcing you to use exposures. And if you want to photograph stained glass, that's another matter. Take a normal reading of the light passing through the stained glass and then photograph.

You encounter similar problems when shooting in large stores or museums where different types of lighting are available at the same time. This multiplicity of lighting types does not affect the mono chrome film - black and white - but it has a destructive effect on the color film because it spoils the color balance in it v

Sometimes you find yourself forced to photograph in such circumstances because not photographing means losing the shot completely, and here you can be convinced of a color image with little color balance. This is better than nothing. In general, photographing interior shots in the available light is not an easy matter, as it

It is a great challenge for the amateur and professional alike, and it is the test of your knowledge of many photography techniques, such as lighting, film types, and many other things.