How to use live light in shooting

On-site lighting is the best foundation for creative photography. Because relatively dim living light is more vivid than ordinary light and can increase the effect of photographic images, many professional photographers are willing to use living light when taking pictures. So how to use it? The following is for reference only!

The specific method is as follows:

The main problems encountered in live light photography are often low illumination and excessive contrast. The greater the contrast, the greater the influence of the lines and shapes of the object on the image effect.

The aperture of the lens is very important for live light photography. Therefore, trapp Moore thinks: "High-speed lens (referring to large aperture lens) has definite advantages. High-quality F 1.4 or better F 1.2 lens can get fresh effect even with full aperture. " However, photographer Pierce said: "You don't have to have a large aperture lens to shoot live light photography. Ordinary lenses of F 1.8 or F2 can make you take good photos. " "In most cases, good photos can be taken with a standard lens, a wide-angle lens or a telephoto lens (90mm- 135mm)." But because the maximum aperture of most telephoto lenses is F3.5 or F4, the speed is too slow when the light is dark.

Fast film is the first condition for the success of live light photography. The general calibration speed is ISO 400/27. Movies can often be forcibly developed to IS0 1600/33. Even ISO 3200/36. . The coarsened particles produced by photosensitive water washing can better contrast the environmental atmosphere of the scene light. New1501000/31. Or higher' color film, also greatly increased the chance of shooting in dark conditions.

Trapp Moore pointed out: "If you want to achieve accurate color reproduction, the color balance of the film used will achieve the best results as long as it matches the type of light that illuminates the subject. Therefore, when taking pictures at dusk, you can use sunshine-balanced film to get real results. If you shoot markets and cinemas in the middle of the night, or take ordinary photos with artificial light, you should use Kodak Aiketakrom 160, tungsten filament light balance. Usually the calibration speed is 150 160/23. If the speed of film is increased, it can be forced to develop to IS0320/26. , and will not bring adverse effects to image particles. It must be remembered that forced development will affect the whole film, so all the pictures should be shot quickly. "

However, to obtain accurate colors, it is not always possible to choose a film type suitable for each lighting environment. In fact, some photographers like to use the wrong film to achieve unconventional effects. Here, another way to get accurate color is to add a compensation filter in front of the camera lens.

Trapp Moore believes that the biggest difficulty in spotlight photography is to estimate the exposure correctly. In many cases, the automatic control system on a single-lens reflex camera will indicate insufficient light. In fact, there is not enough light to record the whole tone range of the subject, not that it is impossible to record the strong light and intermediate tone above the dim light. If you measure the light near the subject, the reading under strong light is likely to show Li on the exposure stage. If you can't get close to the subject, you can measure the reading on the back of your hand, and then calculate the exposure time according to the reading. If you don't think this method is reliable, you can take more photos with different exposure times, which is the best way to ensure at least one successful photo in the case of uncertain light. If the exposure time is longer than 1/60 seconds, it is necessary to keep the camera stable when shooting to avoid image blur and jitter. At this time, it is best to use a tripod or find a suitable bracket nearby. Photographer Pierce believes that fixing the camera on a tripod has another advantage, that is, it can extend the exposure time to remove some fast-moving objects in the picture. If someone walks in front of the camera, try to narrow the aperture and make a long exposure. In this way, unless someone stands still in front of the camera, it will not be recorded on the film. In this case, the longer the exposure time, the better the effect. For a really long exposure, if someone stands in front of the camera and stops for a few seconds, you might as well cover the camera lens and wait for someone to walk away before continuing the exposure. If you deliberately want to take this kind of photography in a crowded place, you can consider taking a long exposure with a slower film.

F. Henler, an American photographer, often likes to pursue natural light effects in his works, so he almost always shoots with live light. F. Henler pointed out: "Using live light doesn't mean taking every object you see into the picture. The effect of photos is not everything. For example, sitting with some interesting people, it may be people's facial expressions that are interesting, not the table and the surrounding environment. Using the spotlight at that time, we can emphasize the face and darken other objects. Don't worry about the pure black part of the work. If these pure black parts are useful, they are also necessary. "

What people usually call "spotlight photography" first refers to indoor photography. Henle believes that the use of spotlight can actually make indoor shooting easier, not more difficult: "One reason is that it won't affect the subject because of too many devices. Too much light will produce a purely artificial environmental effect, which is often revealed in works. "

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