الصورة المثالية ٣-a .. كتاب التصوير علم وفن

It is about 170 cm, for example, and if we see it from a distance of thirty meters, we can also say: its height is 170 cm.. But the camera lens shows the person in the first case filling the frame of the picture, and in the second case he appears very small. We can also show any person at any distance in any size we want using the appropriate lenses.

The minimum distance at which we can see clearly (for a healthy eye) is about 20 cm. But the camera, by means of extension tubes, bellows, and a microscope, sees much closer. The eye sees everything sharp because it adapts quickly to see things that are close and then things that are far away, but the camera lens cannot. Therefore, we see some objects with sharp details, and some that are not located in the depth of the field of the lens, appear blunt. We can overcome this by using a narrow pupil. Thus, we can use the clarity and sharpness of the image or not

Technically sharp. If the lighting level drops to a certain extent, the eye does not see anything, but the camera can collect very weak rays by using a long exposure period, so it gives an image in the darkness in which the eye does not see.

Because the opening of the pupil of the eye adapts automatically to the intensity of the light, we see with the same ease when the level of illumination varies (within certain limits), and the brain cannot perceive through the eye the slight differences in the intensity of the illumination. On the contrary, the camera's pupil can't cope, so slight differences in the intensity of illumination appear in the image in the form of an increase or Underexposed film. Therefore an exposure meter must be used

Always mm bulbs, and the eye also automatically adapts to minor differences in the color of lighting, while this difference appears clearly in the image in the form of color smears. For example, if we photograph a person next to a green wall, the image will appear and the person's face has a green tinge that the eye did not perceive. Likewise, when photographing under fluorescent lighting, a green tinge will appear on the subject that the eye does not perceive. But if you know how to see the camera lens and the sensitivity of films, you can direct your eyes and mind to see what you have not seen before. The eye sees colors as colours, but the camera using black and white film sees colors as shades of grey. If we photographed, for example, a red flower in the midst of green leaves, and the red color had the same degree of brightness as the green color, we would find the image to be equally gray, and we would not be able to distinguish the flower from the leaves easily. If we realize that, we know that we can control those gray tones by using the appropriate filters. By using a green filter, the flower appears dark and the leaves are light, and by using a red filter, the flower appears light and the leaves are standing.

The eye only sees the colors of the spectrum, but the camera, with the film inside it, sees the colors of the spectrum, as well as invisible rays such as ultraviolet and X-rays, as well as infrared. The eye sees straight lines as straight, so most lenses are corrected to see like the eye. But there are types of o Lenses give henna to straight lines as they move away from the center of the image, such as a fish-eye lens that gives a spherical perspective, and a panoramic camera that gives a cylindrical perspective. It is well known that parallel straight lines, as they get farther away, appear converging. If we look at a railway line, we see the two tracks converging until they meet on the horizon. This is perceived by the eye and the lens. But the eye cannot perceive that in the vertical plane unless you think about it and force your eye to see that. For example, we see tall buildings whose walls are parallel, but the lens sees the walls converging as they move away from the lens. Therefore, if I take a picture of a building and the camera is directed upwards, I see that the buildings take a shape closer to a triangle, which the eye disapproves of.

E - Understanding symbols: This is considered an extension of the difference between eye vision and camera vision. We need symbols to express qualities in the image that we cannot express directly, such as spatial depth, color in non-colour photography, movement (in still photography) and light sources. Spatial depth or solidification: as the eye sees things as stereoscopic, i.e. they have three dimensions, while The camera sees things as flat because the image has only two dimensions, so it is necessary to refer to the third dimension, which is depth

From the camera, we can symbolize the depth in the image as follows: The convergence of the parallel lines, the farther the distance from the objects, the farther the distance from the camera, so the image of a small tree in the image appears farther than the image of a large tree in the image. Small size

If something in the picture covers something else, then the other thing must be behind the first. The difference between the sharp and blunt parts of the image suggests that they are at different depths

- Aerial perspective: by which we mean that the distant scenes appear lighter in color, as if they were covered by a white mist that tends to blue, and this is due to the effect of scattering rays as a result of humidity.

And dust in the atmosphere, lighting affects the sense of depth, so the greater the shadows on the background of the image, the greater the sense of depth. And when using direct front lighting, the image becomes flat due to the absence of shadows. The best lighting gives a sense of depth

Stereolithography is the lateral illumination. The closer the thing you are photographing is to the horizon line, the greater our sense of its distance

vice versa . Colour: In non-coloured films, colors are symbolized by different shades of gray. Therefore, it is preferable to symbolize the warm advanced colors (see the next chapter) such as red and yellow with light gray shades, and it is preferable to symbolize the cold late colors such as blue and green with standing gray shades. Our method in that is

B

different filters. C Movement: It is symbolized by one of the symbols of motion, the most important of which is: the lack of clarity in the direction (shake) in the image. We get this in two ways: either by choosing a slow shutter speed, so the moving object appears shaky, or by the rotation method, which is choosing a relatively slow shutter speed and rotating the camera with the moving object. The moving object appears sharp, while the background appears shaky in the direction of photography
D - There are other ways in which we symbolize movement, such as: That the picture be evidence of movement, such as the waves that a boat makes when it passes through the water, using some symbols of movement in the composition, such as the use of oblique, spiral, or circular lines. Sources of light: In normal images, we find that the sources of light appear as white as any white body, and in order to show that this is a radiant source of light and not just a white spot (and a spot of color in colored sources), we denote the light sources by light halos or stars, which we obtain using the pupillary aperture. too narrow or by using star filters (see filters). Continuous training and experiments: You must practice using the camera so that you can operate it automatically as if it were a natural extension of your hand and mind. As for experiences, they are your way to study, renew and achieve everything you can imagine. Here, we emphasize the need to record all your experiences so that you can benefit from your mistakes and not repeat them