تويت
تجريد المألوف ..
التأثير البشري ..
كتاب التصوير الفوتوغرافي المغلق
Abstracting the familiar
We recognize familar objects by their shape , color and context . Abstracting one character istic and suppressing the others can create images that are often quite difficult to identify . Close - up photography , by enlarging an object or by illustrating a small portion , can produce effective abstractions , especially if it is com bined with techniques which emphasize shape or color . Once part of the object is abstracted and the scale no longer known , it becomes difficult , if not impossible , to relate it back to the object as our eyes normally see it .
Abstraction can be achieved by blurring or defocusing the image ( see p . 76 ) , or by creative lighting ( see PP . 58 and 140 ) . All the pictures on these pages , however , are photographs of everyday household objects . By getting in close and omitting any other objects to give a scale , the ordinary object becomes extra - ordinary . In each of the pictures , quite simple lighting was used , but both this and the magnification scale were carefully thought out so as to pro duce the desired effect .
It is almost impossible to teach anyone how to photograph abstracts , since it is something you , as a photographer , either see immediately by some innate sense or else are totally blind to . There are some photographers , like artists , who become so infatuated with abstraction that they are unable to see and take a picture unless it appears as an abstract .
Series of abstract close - ups can be achieved by working with distinct themes . These can include water , lines , circles or a single pre dominate color . Darkroom manipulation , using techniques such as solarization and reticula tion , is another way of abstracting familiar objects ( see p . 138 ) .
Perforations
I used a block of four postage stamps for this greatly enlarged picture showing the surprisingly ragged edges of the perforations which border each stamp . I used scotch tape to stick the edges of the stamps onto a piece of glass so the block was completely flat . The glass was laid on top of a small table with a circular central hole , so that the stamps could be lit by dark field illumination as shown in the set - up on p . 55 . Lens Leitz Photar 25mm Mag . on film x4 Mag . on page × 17
Snap fastener profile
I separated a snap into two parts .
I laid one on a piece of glass which was held in a clamp stand above a table covered with white board . A direct light source had reflected the snap in the glass ; I therefore used a pair of Multiblitz Minilite 200 flashes pointing away from the glass . The light from each one bounced off a white umbrella and onto the glass at an angle of 45 ° . The camera was set up at a low angle so as to get the snap in profile . Lens Hasselblad 80mm + 103mm ( 55 + 32 + 16 ) extension Mag . on film x1.6 Mag . on page × 5
Clothespins ▷ I cut a piece of cardboard and clamped wooden clothespins alternately on opposite sides of it . In this way created an abstract design of five pins , showing part of the metal spring on each one By placing the pins on the base of a copying stand I could set up the camera overhead and get the film plane parallel to them . The light was provided by single anglepoise lamp with an aluminum reflector on the opposite side of the lamp Lens Hasselblad 80mm + 55mm extension Mag . on film × 0.7 Mag . on page × 2.5
Door mat
I bought a new Chinese . door mat for this textured abstract . I laid the mat on the baseboard of a copying stand and set up the camera above it . As I wanted to graze the light ( see p . 50 ) across the mat's surface , I used a snoot attachment ( see p . 158 ) for the Multiblitz Minilite 200 flash to concentrate the light into a narrow beam . I was able to preview the precise effect of this lighting by means of the built - in quartz halogen modeling light . Lens Hasselblad 80mm + 31mm ( 21 + 10 ) extension Mag . on film * 0.35 Mag . on page × 0.7
Food grater
I used a new flat food grater to take this picture showing some of the rows of small raised cutting edges . The highly polished metallic surface is difficult to light , since it easily reflected any lights back into the camera . I decided to graze a pair of fiber optics across the surface so that only the raised portions became highlighted and stood out from the rest of the shadowy unlit grater . Lens Hasselblad 80mm + 97mm extension on bellows Mag . on film x1.3 Mag . on page × 4.4
التأثير البشري ..
كتاب التصوير الفوتوغرافي المغلق
Abstracting the familiar
We recognize familar objects by their shape , color and context . Abstracting one character istic and suppressing the others can create images that are often quite difficult to identify . Close - up photography , by enlarging an object or by illustrating a small portion , can produce effective abstractions , especially if it is com bined with techniques which emphasize shape or color . Once part of the object is abstracted and the scale no longer known , it becomes difficult , if not impossible , to relate it back to the object as our eyes normally see it .
Abstraction can be achieved by blurring or defocusing the image ( see p . 76 ) , or by creative lighting ( see PP . 58 and 140 ) . All the pictures on these pages , however , are photographs of everyday household objects . By getting in close and omitting any other objects to give a scale , the ordinary object becomes extra - ordinary . In each of the pictures , quite simple lighting was used , but both this and the magnification scale were carefully thought out so as to pro duce the desired effect .
It is almost impossible to teach anyone how to photograph abstracts , since it is something you , as a photographer , either see immediately by some innate sense or else are totally blind to . There are some photographers , like artists , who become so infatuated with abstraction that they are unable to see and take a picture unless it appears as an abstract .
Series of abstract close - ups can be achieved by working with distinct themes . These can include water , lines , circles or a single pre dominate color . Darkroom manipulation , using techniques such as solarization and reticula tion , is another way of abstracting familiar objects ( see p . 138 ) .
Perforations
I used a block of four postage stamps for this greatly enlarged picture showing the surprisingly ragged edges of the perforations which border each stamp . I used scotch tape to stick the edges of the stamps onto a piece of glass so the block was completely flat . The glass was laid on top of a small table with a circular central hole , so that the stamps could be lit by dark field illumination as shown in the set - up on p . 55 . Lens Leitz Photar 25mm Mag . on film x4 Mag . on page × 17
Snap fastener profile
I separated a snap into two parts .
I laid one on a piece of glass which was held in a clamp stand above a table covered with white board . A direct light source had reflected the snap in the glass ; I therefore used a pair of Multiblitz Minilite 200 flashes pointing away from the glass . The light from each one bounced off a white umbrella and onto the glass at an angle of 45 ° . The camera was set up at a low angle so as to get the snap in profile . Lens Hasselblad 80mm + 103mm ( 55 + 32 + 16 ) extension Mag . on film x1.6 Mag . on page × 5
Clothespins ▷ I cut a piece of cardboard and clamped wooden clothespins alternately on opposite sides of it . In this way created an abstract design of five pins , showing part of the metal spring on each one By placing the pins on the base of a copying stand I could set up the camera overhead and get the film plane parallel to them . The light was provided by single anglepoise lamp with an aluminum reflector on the opposite side of the lamp Lens Hasselblad 80mm + 55mm extension Mag . on film × 0.7 Mag . on page × 2.5
Door mat
I bought a new Chinese . door mat for this textured abstract . I laid the mat on the baseboard of a copying stand and set up the camera above it . As I wanted to graze the light ( see p . 50 ) across the mat's surface , I used a snoot attachment ( see p . 158 ) for the Multiblitz Minilite 200 flash to concentrate the light into a narrow beam . I was able to preview the precise effect of this lighting by means of the built - in quartz halogen modeling light . Lens Hasselblad 80mm + 31mm ( 21 + 10 ) extension Mag . on film * 0.35 Mag . on page × 0.7
Food grater
I used a new flat food grater to take this picture showing some of the rows of small raised cutting edges . The highly polished metallic surface is difficult to light , since it easily reflected any lights back into the camera . I decided to graze a pair of fiber optics across the surface so that only the raised portions became highlighted and stood out from the rest of the shadowy unlit grater . Lens Hasselblad 80mm + 97mm extension on bellows Mag . on film x1.3 Mag . on page × 4.4
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