تويت
الأصداف والحفريات ..
العالم الطبيعي ..
كتاب التصوير الفوتوغرافي المغلق
Shells and fossils
Shells and fossils can be photographed on location in their natural setting or in the studio . Fossil animals are much more common than plants , because hard shells and bones are more easily preserved than soft tissues . Fossil re mains which contrast with the surrounding rock stand out quite easily , whereas the surface relief of fossils which blend in with the rock will have to be highlighted either by low - angled sun or flash .
The best place to find shells on the shore is along the tide line . They can be photographed in a natural grouping from above ; or by using a low camera angle ( see p . 100 ) for taking one or two larger shells . The color of a shell can often be enhanced by wetting it , though this may produce distracting highlights on shiny shells .
You can use similar techniques for taking both shells and fossils in the studio . Firstly , unless the fossil is completely surrounded by rock , the color and type of background must be selected . Black velvet is good for setting off colorful shells and many fossils , but it is not ideal for pastel - colored or white shells . Secondly , careful positioning of the lighting is as important as the background and should always be considered in conjunction with it . Shadows will merge in with black velvet but will not with pale - colored boards . However , if the specimen is raised up from the background on a sheet of glass , and lit by a pair of lights each angled down at 45 ° from above , the shadows of the specimen will be cast onto the background outside the field of view of an overhead camera . Grazed lighting ( see p . 50 ) must be used to bring out surface relief and shell sculpturing . It may be necessary to place a reflector ( white board , aluminum foil or a mirror ) opposite the light source to ease very harsh shadows . Direct lighting of shiny objects will produce distracting highlights which can be eliminated by spraying them with a waxy spray . A light tent ( see p . 154 ) will provide even lighting without any reflections . The internal structure of thin shells can be revealed by lighting them from behind . This will not be pos sible with thick shells , but they can be cut into transverse or longitudinal sections .
A sectioned shell
I took this section of a blood conch by sticking the shell with modeling clay onto an upright piece of clean glass . Two tungsten halogen spotlights were angled in at 45 ° behind the glass to produce this rim - lit effect . Lens Hasselblad 80mm + 76mm ( 21 + 55 ) extension Mag . on film x 1 Mag . on page x5
Lighting a fixed specimen ▷ As this ammonite was mounted on a wall in a museum , I had to photograph it in situ . I lit the fossil by using a pair of floodlights on stands- each angled in at 45 ° - as shown in the set - up above . Lens Hasselblad 150mm + 21 mm extension Mag . on film x0.1 . Mag . on page × 0.25
Modeling with grazed lighting
The rock with fossil sea urchins was laid on a black velvet background and the camera was set up directly overhead . A single spotlight was placed level with the urchins near the upper left - hand corner of the stone , so that the tubercles on the urchin shell and its spines appear in sharp relief . Lens Hasselblad 80mm + 10mm extension Mag , on film × 0.15 Mag . on page x0.5
Highlighting the internal structure
I knew that careful positioning of the lighting for this sectioned Nautilus shell was essential , so I decided to use a pair of small tungsten halogen spotlights . I could then see precisely the effect of these continuous light sources . Before positioning the shell and lights , I draped a piece of black velvet over an upright box and down onto the table ( see the set - up on the left ) . Small pieces of modeling clay were used to keep the shell in an upright position . The lights were set up on the table behind the shell , each one angled in at 45 ° so that their combined light shone through the shell to produce a rich glowing color . In this way , the internal spiral structure is clearly seen , as well as the large chamber in which the animal lived . Lens Hasselblad 80mm + 21mm extension Mag . on film × 0.2 Mag . on page × 1
العالم الطبيعي ..
كتاب التصوير الفوتوغرافي المغلق
Shells and fossils
Shells and fossils can be photographed on location in their natural setting or in the studio . Fossil animals are much more common than plants , because hard shells and bones are more easily preserved than soft tissues . Fossil re mains which contrast with the surrounding rock stand out quite easily , whereas the surface relief of fossils which blend in with the rock will have to be highlighted either by low - angled sun or flash .
The best place to find shells on the shore is along the tide line . They can be photographed in a natural grouping from above ; or by using a low camera angle ( see p . 100 ) for taking one or two larger shells . The color of a shell can often be enhanced by wetting it , though this may produce distracting highlights on shiny shells .
You can use similar techniques for taking both shells and fossils in the studio . Firstly , unless the fossil is completely surrounded by rock , the color and type of background must be selected . Black velvet is good for setting off colorful shells and many fossils , but it is not ideal for pastel - colored or white shells . Secondly , careful positioning of the lighting is as important as the background and should always be considered in conjunction with it . Shadows will merge in with black velvet but will not with pale - colored boards . However , if the specimen is raised up from the background on a sheet of glass , and lit by a pair of lights each angled down at 45 ° from above , the shadows of the specimen will be cast onto the background outside the field of view of an overhead camera . Grazed lighting ( see p . 50 ) must be used to bring out surface relief and shell sculpturing . It may be necessary to place a reflector ( white board , aluminum foil or a mirror ) opposite the light source to ease very harsh shadows . Direct lighting of shiny objects will produce distracting highlights which can be eliminated by spraying them with a waxy spray . A light tent ( see p . 154 ) will provide even lighting without any reflections . The internal structure of thin shells can be revealed by lighting them from behind . This will not be pos sible with thick shells , but they can be cut into transverse or longitudinal sections .
A sectioned shell
I took this section of a blood conch by sticking the shell with modeling clay onto an upright piece of clean glass . Two tungsten halogen spotlights were angled in at 45 ° behind the glass to produce this rim - lit effect . Lens Hasselblad 80mm + 76mm ( 21 + 55 ) extension Mag . on film x 1 Mag . on page x5
Lighting a fixed specimen ▷ As this ammonite was mounted on a wall in a museum , I had to photograph it in situ . I lit the fossil by using a pair of floodlights on stands- each angled in at 45 ° - as shown in the set - up above . Lens Hasselblad 150mm + 21 mm extension Mag . on film x0.1 . Mag . on page × 0.25
Modeling with grazed lighting
The rock with fossil sea urchins was laid on a black velvet background and the camera was set up directly overhead . A single spotlight was placed level with the urchins near the upper left - hand corner of the stone , so that the tubercles on the urchin shell and its spines appear in sharp relief . Lens Hasselblad 80mm + 10mm extension Mag , on film × 0.15 Mag . on page x0.5
Highlighting the internal structure
I knew that careful positioning of the lighting for this sectioned Nautilus shell was essential , so I decided to use a pair of small tungsten halogen spotlights . I could then see precisely the effect of these continuous light sources . Before positioning the shell and lights , I draped a piece of black velvet over an upright box and down onto the table ( see the set - up on the left ) . Small pieces of modeling clay were used to keep the shell in an upright position . The lights were set up on the table behind the shell , each one angled in at 45 ° so that their combined light shone through the shell to produce a rich glowing color . In this way , the internal spiral structure is clearly seen , as well as the large chamber in which the animal lived . Lens Hasselblad 80mm + 21mm extension Mag . on film × 0.2 Mag . on page × 1
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