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الضوء المتاح في الداخل ..
المبادئ الأساسية للبورتريه ..
كتاب التصوير الفوتوغرافي
Available light indoors
It is often best to use natural light alone when shooting portraits indoors , so that you avoid difficulties with color balance ( see pp . 30-2 ) . The mixture of light sources in the home some times make additional lighting whether tungsten or flash - inadvisable , particularly with color film . The chief requirements for available light photography are a reasonably bright day , a suitably placed window , and a tripod . Seat your subject near the window , making sure that no direct sun falls on him or her . It is almost impossible , especially with color film , to control the contrast between bright patches of sun shine and comparatively dark , shadowy por tions of the scene . Try to use diffused , bright daylight , and avoid shooting right into the window if you are using a low camera position , or you will include a large area of sky . Although this rarely results in flare , the light that enters the lens is sufficiently strong to reduce contrast and color saturation . In order to balance window light so that it does not affect quality , and yet retain some of the attractive back lit effect , you must have either light - colored walls , or a natural fill - in like a large piece of paper or a white sheet to reflect light back onto the sitter's face . Take an exposure reading by holding your hand in the light which illumin ates the sitter's face so that you do not disturb your subject .
Using window light A large window will enable you to illuminate an indoor subject by natural light . Here , plenty of light was flooding in through a sizeable window in the subject's living room . And a white wall to the left of the sitter provided the right amount of fill - in . Nikon FE , 24 mm , 1/60 sec at f2.8 , FP4 .
Positioning the subject in natural light A In available light the usual . arrangement is to seat the subject in a chair in front of the window , see left . For this photograph I decided to try a variation I placed my subject on a staircase between two corridors , lit by daylight from a large window on one side , with fill - in on the other side . As the light level was still low , I used a fairly slow shutter speed and asked him to sit still . Pentax 6 × 7 , 55 mm . 1/30 sec at f1 1. Ektachrome 200 .
Shooting an indoor subject from outside This shot was taken as I was leaving at the end of a session . Again , I used an exterior shooting position to avoid problems of contrast . The other advantage of this is that . you enhance your shot by using the window or door as a frame . The mass of ivy and the reflections of sky and clouds in the window add an air of mystery to the image . I composed my shot carefully so that the subject's face was not obscured by cloud . Mamiyaflex C3 , 65 mm . 1/125 sec at f8 , Ektachrome 64 .
المبادئ الأساسية للبورتريه ..
كتاب التصوير الفوتوغرافي
Available light indoors
It is often best to use natural light alone when shooting portraits indoors , so that you avoid difficulties with color balance ( see pp . 30-2 ) . The mixture of light sources in the home some times make additional lighting whether tungsten or flash - inadvisable , particularly with color film . The chief requirements for available light photography are a reasonably bright day , a suitably placed window , and a tripod . Seat your subject near the window , making sure that no direct sun falls on him or her . It is almost impossible , especially with color film , to control the contrast between bright patches of sun shine and comparatively dark , shadowy por tions of the scene . Try to use diffused , bright daylight , and avoid shooting right into the window if you are using a low camera position , or you will include a large area of sky . Although this rarely results in flare , the light that enters the lens is sufficiently strong to reduce contrast and color saturation . In order to balance window light so that it does not affect quality , and yet retain some of the attractive back lit effect , you must have either light - colored walls , or a natural fill - in like a large piece of paper or a white sheet to reflect light back onto the sitter's face . Take an exposure reading by holding your hand in the light which illumin ates the sitter's face so that you do not disturb your subject .
Using window light A large window will enable you to illuminate an indoor subject by natural light . Here , plenty of light was flooding in through a sizeable window in the subject's living room . And a white wall to the left of the sitter provided the right amount of fill - in . Nikon FE , 24 mm , 1/60 sec at f2.8 , FP4 .
Positioning the subject in natural light A In available light the usual . arrangement is to seat the subject in a chair in front of the window , see left . For this photograph I decided to try a variation I placed my subject on a staircase between two corridors , lit by daylight from a large window on one side , with fill - in on the other side . As the light level was still low , I used a fairly slow shutter speed and asked him to sit still . Pentax 6 × 7 , 55 mm . 1/30 sec at f1 1. Ektachrome 200 .
Shooting an indoor subject from outside This shot was taken as I was leaving at the end of a session . Again , I used an exterior shooting position to avoid problems of contrast . The other advantage of this is that . you enhance your shot by using the window or door as a frame . The mass of ivy and the reflections of sky and clouds in the window add an air of mystery to the image . I composed my shot carefully so that the subject's face was not obscured by cloud . Mamiyaflex C3 , 65 mm . 1/125 sec at f8 , Ektachrome 64 .
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