十條不可不知的攝影用光技巧

laozai · 發(fā)表于 2010-8-29 14:53:00|來自：廣東珠海

No.5 光源越遠，光線的衰減越快，主體也越暗    這條規(guī)則指出，被攝主體的光照度與距離的平方成反比。這聽起來有些復(fù)雜，其實很簡單，舉例說明：如果你將光源至被攝主體的距離增加1倍，那么落在主體上的光線只有距離增加前的四分之一。   <blockquote jquery1283057613609="19" style="DISPLAY: none;">In other words, light gets dim fast when you move it away— something to keep in mind if you’re moving your lights or your subject to change the quality of the light.</blockquote>    換言之，光線會隨著光源的遠離而迅速衰減。這條規(guī)則我們應(yīng)牢記，如果你準(zhǔn)備移動光源或被攝主體，一定要改變光線的品質(zhì)。<blockquote jquery1283057613609="20" style="DISPLAY: none;">Also remember that bouncing light—even into a shiny reflector that keeps light directional— adds to the distance it travels.</blockquote>    同樣還要注意的是，經(jīng)過反射的光線其行進的距離也會增加，即使使用光面反光板也一樣。<blockquote jquery1283057613609="21" style="DISPLAY: none;">Tip: Set your camera’s flash (pop-up or hot-shoe) to fill flash for outdoor portraits on harshly lit days. This will lighten shadows on your subject’s face but won’t affect the background exposure—it will fall off by then.</blockquote>小提示：在天氣條件很差的室外拍攝人像時應(yīng)使用閃光燈（熱靴或彈出式均可），這樣即可以消除人臉部的陰影，也不會影響背景的曝光，因為閃光燈發(fā)出的光到達背景時已經(jīng)弱到可以忽略不計了。<blockquote jquery1283057613609="22" style="DISPLAY: none;">6. Light falloff can be used to vary the relationship between the light on your subject and your background. If you place a light close to your subject, the falloff from the subject to the background will be more pronounced. Move the light farther from your subject, and the background will be relatively brighter.</blockquote>   No.6 可以利用光線衰減改變攝影主體和背景間的關(guān)系        如果燈光距離拍攝主體近，主體和背景間的光照度查別會比較明顯；如果燈光距離主體較遠，則背景也會相應(yīng)地變亮。   <blockquote jquery1283057613609="23" style="DISPLAY: none;">The same holds true for sidelighting: With a light close to the side of your subject, the falloff of light across the frame will be more pronounced than if the light is farther away.</blockquote>    該原則同樣適用于側(cè)光：側(cè)光源離被攝主體近時，整個畫面的光線衰減將比光源離主體遠時更明顯。<blockquote jquery1283057613609="24" style="DISPLAY: none;">Tip: If your subject is frontlit by windowlight, keep the person close to the window to make the room’s back wall fall off in darkness. If you want some illumination on the wall, though, move the person back closer to it and away from the window.</blockquote>小提示：如果被攝主體的正面光是從窗戶射入的光線，那么讓主體靠近窗戶可以使室內(nèi)的背景變暗。如果你想讓室內(nèi)背景更明亮，則應(yīng)讓主體遠離窗戶、靠近背景。<blockquote jquery1283057613609="25" style="DISPLAY: none;">7. Frontlighting de-emphasizes texture; lighting from the side, above, or below emphasizes it. A portraitist may want to keep the light source close to the axis of the lens to suppress skin wrinkles, while a landscapist may want sidelighting to emphasize the texture of rocks, sand, and foliage. Generally, the greater the angle at which the light is positioned to the subject, the more texture is revealed.</blockquote>   No.7 正面光會減弱主體的紋理，而側(cè)光、頂光和底光則可以強化主體紋理     人像攝影師通常會將光源保持在鏡頭的軸線附近來弱化被攝主體面部的皺紋，而風(fēng)景攝影師更喜歡用側(cè)光強調(diào)巖石、沙石和葉子的紋理。一般來說，光線方向和被攝主體角度越大，主體的紋理就越明顯。   <blockquote jquery1283057613609="26" style="DISPLAY: none;">Tip: To retain detail in your fluffy pet’s fur, position the light source somewhat to the side rather than straight on.</blockquote>小提示：想突出寵物毛茸茸的毛發(fā)時最好將光源置于側(cè)面，比采用正面光源要好。<blockquote jquery1283057613609="27" style="DISPLAY: none;">8. Shadows create volume. That’s how photographers describe threedimensionality, the sense of seeing an image as an object in space, not projected on a flat surface.</blockquote>   No.8 陰影創(chuàng)造立體感     陰影是攝影師描述物體三維性的手段，它能使物體在照片中呈現(xiàn)出空間感，而不僅僅是物體在平面上的投影。   <blockquote jquery1283057613609="28" style="DISPLAY: none;">Again, lighting from the side, above, or below, by casting deeper and longer shadows, creates the sense of volume. Still-life, product, and landscape photographers use angular lighting for this reason.</blockquote>    同樣，側(cè)光、頂光和底光能夠在物體上投射出深而長的影子，從而制造出立體感。因此，靜物、商業(yè)產(chǎn)品和風(fēng)光攝影師喜歡使用有角度的光線。<blockquote jquery1283057613609="29" style="DISPLAY: none;">Tip: Try “Hollywood lighting” for a dramatic portrait. Position a light high above and slightly to the side of your subject, angled down, but not so much that the shadow of the nose falls more than midway down the upper lip.</blockquote>   小提示：你可以嘗試使用“好萊塢照明法”來拍攝戲劇性的肖像作品。將頂光置于主體正上方稍偏的位置，調(diào)整燈光角度，使人物鼻子的陰影落在人中稍偏下的位置上。   <blockquote jquery1283057613609="30" style="DISPLAY: none;">9. Backlight can be used as highly diffused lighting. Very few subjects are totally backlit, that is, in pure silhouette, with no light at all falling from the front. A person with his back to a bright window will have light reflected from an opposite wall falling on him. Someone standing outside with her back to bright sunlight will have light falling on her from the open sky in front of her. In either case, you’ll need to increase exposure to record the light falling on the subject—and this light will deemphasize facial texture and dimensionality.</blockquote>   No.9 背光可以作為高度散射的光源使用     很少有僅僅靠背光照明的物體，也就是說正面一點兒照明都沒有的純剪影幾乎沒有。如果一個人站在明亮的窗戶前，對面的墻壁會反射部分光線落在人身上。如果一個人在戶外，即使背景是明亮的陽光，正面也會有來自天空的光線照射。無論哪種情況，要想記錄落在主體上的光線，就要增加曝光，而且這些光線會減少面部的細節(jié)，削弱主體的立體感。   <blockquote jquery1283057613609="31" style="DISPLAY: none;">Tip: For spark in a backlit portrait or silhouette, try compositions that include the light source. This can drive your meter crazy, though, so bracket your exposures.</blockquote>小提示：在拍攝背光照明的人像或剪影時，試著將光源納入構(gòu)圖中，但是這樣會導(dǎo)致測光表讀數(shù)不準(zhǔn)，因此可以嘗試使用包圍曝光法。<blockquote jquery1283057613609="32" style="DISPLAY: none;">10. Light has color, even when it looks “white.” This is called color temperature, and our eye/brain computer is very adept at adjusting our perception so that we hardly notice it. Digital sensors and film, though, may record color casts where our eyes didn’t see them.</blockquote>   No.10 光線是有色彩的     盡管有的時候光線看前來像“無色”的，但它其實也是有色彩的，我們稱其為色溫。只是我們的眼睛和大腦組成的“計算機”能夠調(diào)整感知、適應(yīng)變化，我們很難注意到罷了。但是數(shù)碼傳感器和膠片則會記錄下我們看不到的色彩。   <blockquote jquery1283057613609="33" style="DISPLAY: none;">The color of early morning and late afternoon sunlight is warm in tone, while open shade at midday can be quite bluish. Tungsten light bulbs cast very yellow light. And any surface that light bounces off can add its color.</blockquote>    清晨和傍晚的陽光擁有溫暖的色調(diào)，中午陽光投射的陰影則會變的很藍。鎢絲燈光明顯偏黃，而且反射這種光線的表面也會呈現(xiàn)出相應(yīng)的顏色。<blockquote jquery1283057613609="34" style="DISPLAY: none;">With digital cameras, you can use the white-balance control to neutralize color casts or to emphasize them—for example, to add a warmer tone to a landscape or portrait. With slide film, you had to choose the right film for the light you’d be shooting in, or compensate with filters.</blockquote>     對于數(shù)碼相機而言，你可以使用白平衡功能來消除或強調(diào)光線的顏色。例如可以增加風(fēng)光或人像照片中的暖色調(diào)。對于膠片電影的拍攝則必須根據(jù)拍攝環(huán)境選擇適當(dāng)?shù)哪z片，或者采用濾鏡補償。<blockquote jquery1283057613609="35" style="DISPLAY: none;">Tip: Landscapes shot on clear days can be very blue, especially in the shadows. Set your camera’s color balance to Cloudy, which acts as a warming filter for a more golden glow.</blockquote>小提示：晴天拍攝的風(fēng)光片，特別是陰影部分會非常藍，這時將相機的白平衡設(shè)置為陰天可以在照片中增加金黃色，相當(dāng)于在鏡頭前加了一片暖色濾鏡。

[此貼子已經(jīng)被作者于2010-8-29 14:56:11編輯過]

十條不可不知的攝影用光技巧

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