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August 16th, 1933
The AMATEUR PHOTOGRAPHER p 6 CINEMATOGRAPHER a
Try Facing the Sun
or group our models will have strained expressions through facing the sun ; moreover, an ugly shadow of the nose will be cast across the mouth. So in most cases it is better not to have the sun behind the camera.
There are two alternatives we may adopt. We may take our picture with the sun shining from one side, in which case we get good shadows and modelling. Or, we may go a step farther, and deliberately challenging the old rule, have the sun facing the camera. This lighting, known as “ back lighting ” or contre-jour, is one which can add very much to the beauty of a picture if properly used.
The effects of this lighting may be seen by examining the examples which illustrate this article. Shadows cast by objects in the picture come towards us, sometimes making a pleasing foreground pattern. The nearer objects stand out boldly from their backgrounds ; and there is a sparkle and a feeling of “ atmosphere ” about the scenes which would not have been produced if the direction of the light had been otherwise. Thus we may emphasise certain parts and subdue others, which fs sometimes a useful thing to be able to do.
For the guidance of those who have not previously used this lighting, here are a few points which must be observed if the prints are to be successful. The rays of the sun must not be allowed to shine on to the lens, or there will be a general “ fogging ” of the negative, which will ruin the picture. To prevent this, a lens hood should be used, or, if youjiaven’t one, the camera should be held in the shadow
By DONALD G. SHELDON.
ONE of the first bits of advice given to me when I took up photography was as follows : “ Always have the sun behind you.” It was some time before I realised that this “ rule ” was no rule at all, and nowadays a position with the sun directly behind me is about the last I should think of adopting.
Why this change ? Well, let us see what hap¬ pens when we do have the sun behind us. If we are taking a view, all the objects which go to make up the scene are lit from the front, and such shadows as they cast, being behind them, are
invisible to the camera. In addition, in this
” flat ” lighting there is little or no “ modelling,” in other words, the variations of light and shade which give the appearance of roundness and
solidity are lost. Since much of the charm of a
good photograph is due to the presence of shadows and modelling, it is obvious that this flat lighting has disadvantages.
If, on the other hand, we are taking a portrait
A " Contre-jour ” Portrait.
Washday.
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