User talk:Bachchaa

LIGHT Faizan,Ritika,Aparna STUDIO LIGHTING Beginners guide studio lighting and why you might need it Studio lighting can be broken down into two categories, continuous and flash. While continuous lighting has two main advantages there are many disadvantages. The good points of continuous light: It's inexpensive, and makes a good starting point for anyone on a small budget. You can see what the light is doing and where the shadows and highlights are. The main disadvantages of continuous light: It generally produces more heat than light, very uncomfortable! The light that it produces is not balanced to daylight.OK, so what does this mean in practical terms? The heat produced by a continuous light can make you and your subject very hot and bothered, but because of the very bright light it will also have the effect of closing down the iris in your model's eyes, which it is generally accepted, doesn't make a good portrait. We have all taken photos in artificial light and ended up with yellow pictures! To your eyes, the light from a tungsten bulb looks white, but it isn't. Colour temperature (the colour of the light) is measured in degrees Kelvin, daylight is around 5,600K and a tungsten bulb is more like 3,200K and therefore records on daylight balanced film as yellow. This can be overcome in three ways: Firstly, you can use tungsten balanced colour film. Secondly, you can put a filter on your lens, which will enable you to use any daylight film. The big problem with these two solutions is that as the tungsten filament in the bulb burns it leaves a small residue on the inside of the glass envelope. This means that the colour of the light gradually becomes more yellow as the bulb ages. If you are using print film or shooting digitally any colour cast can be rectified when printing, but slides cannot! The third way is simply to shoot in black & white! This brings us to flash. With a normal on-camera flashgun there is no way of knowing what the lighting effect will be except to say that if you are using it fitted on the camera - it will be pretty awful! The advantages of studio flash are - modelling lamp, consistency, power and control. Lets look at these one at a time. Modeling Lamp Studio flash units are fitted with a continuous lamp. Because of its position it gives a very accurate indication of the angle and quality that the flash will produce when fired. This makes your lighting easy to set-up, because'what-you-see-is-what-you-get'.As this lamp is relatively low powered you don't get the heat or brightness problem we talked about with continuous light. The only thing to remember is that the flash will be a much stronger light, so the shadows will be darker and the highlights will be lighter. To trick your eye/brain built-in compensation device when setting up lighting, first close one eye (a camera only has one) then squint through your lashes. This has the effect of increasing the contrast level you can see and is much more like what the camera will record. Don't forget to tell your model what you are doing or they might think. Consistency Remember how we said that as a tungsten bulb burnt it got more and more yellow? Well with flash every time you press the shutter the colour of the light from the flashtube is balanced to daylight. This means that you can use any film you like without the need for filters, even with slide film - no problem. Monoblocks vs Power Packs For most uses Monoblock, or Compact Flash Heads as they are normally called, will do most of what amateurs and most professionals require. Compacts have all the electronics built into the head (above right), whereas a Power Pack will have a separate floor standing unit with all the electronics in and a separate head, or heads, that are plugged in to this. The head contains a lamp holder for the modeling lamp, the flash tube, simple circuitry and normally a fan to keep it cool. Power Packs are generally used when a huge amount of power is required (up to 6000w/s) and when the units are going to be used at high speed over long periods e.g. for fashion photography. The parts that generate the most heat are housed in the head away from the electronics in the pack, which is also fan cooled. With the new generation Compacts, such as the Elinchrom Style unit above, many of the advantages of the pack have been removed.

DAYLIGHT Faizan,Ritika,Aparna

INTRODUCTION:-

Since reflected light is what photographic film uses to create images, lighting is clearly a key element in all kinds of photography. SOURCES Light sources are divided into two major categories, NaturalSunlightMoonlightReflected Daylight	ArtificialFlashLampsStudio Lights Note that natural light is not necessarily outdoor, nor is artificial light exclusively indoor. Some of the best outdoor shots use flash to "fill" harsh shadows, while an indoor scene may rely entirely on filtered window light.

You can get plenty of light out of the sun, that's for sure. However, you might have to wait a bit if you want the light to have the quality that you need for your picture. At high noon on a clear day, the sun is extremely strong. It generates a hard light with deep crisp shadows. It also is coming from directly overhead. Portraits in Sunlight The hardness of the light will generate dark shadows. The direction of the light will place those shadows in unattractive positions underneath the subject's eyes and nose. One solution is to move the subject into the shade where he will be lit by skylight rather than sunlight. Skylight comes from a large source and is therefore diffuse. Diffuse light does not cast strong shadows. Skylight is also rather blue and, if you are using color slide film, you might have to place a warming filter (e.g., 81D) over the lens to get natural skin tone. If your goal is to record a subject in front of a sunlit object then you can't move him into the shade. There is too great a difference in illumination between shaded and sunlit objects. Photographic film and paper cannot handle the same range of contrast as your eyes. A picture that is correctly exposed for the sunlight object will render the shaded portrait subject as solid black. A picture that is correctly exposed for the shaded portrait subject will render the sunlit background object as solid white. The best solution is to wait for the light to be coming from a different direction and/or for different weather. Near sunrise or sunset, you might be able to get flattering light on both the portrait subject and the background object. On an overcast day, light from the sun will be sufficiently diffused that the shadows become faint. If they couldn't wait, professionals would most often deal with this situation by dragging out diffusers and reflectors. In the diffuser case, an assistant holds a huge plastic-framed white cloth between the sun and the subject. In the reflector case, an assistant holds a silver, gold, or white reflector underneath the subject to push sunlight back up into the subject's face, filling the shadows. Finally, there is artificial light. If you stick a powerful flash on the camera, pointed at the subject, then the light from the flash will augment the light from the sun. Because the flash light is filling in the shadows, this is known as fill flash. Electronic flash is the same color as the sun around noontime. If you use electronic flash closer to sunset or sunrise, when sunlight is redder, objects illuminated by the flash will look unnaturally cold. Professionals deal with this by carting around assistants who cart around colored filters to paste over the flash tube.

Landscape in Sunlight It is difficult to see the shape of the landscape when the sun is directly overhead. Our eyes rely on shadows to recognize shapes. Nonetheless it is occasionally possible to get a good landscape photo at midday if the subject is reasonably compelling, especially if you are aiming at the kind of descriptive photos found in travel brochures.

!!!!!!!!!!!!!!!!!!!!!!!!TYPES OF FILMS!!!!!!!!!!!!!!!!!!!!!!!!! Faizan,Ritika,Aparna Color Slide Film Realist and European-format cameras were typically used with slide film because the final pictures would be returned, mounted in image pairs, for use in a hand-held viewer or a stereo projector. I always preferred KodachromeTM film because of the extremely fine grain and saturated color. While you can shoot slide film in the brave new world of digital imagery, I would advise against it for several reasons: ·	Cost. Slide film is the most expensive film option ·	Processing. In some areas you can get 3-hour Elite ChromeTM processing, but in most cases you will drop it off at your local processor and then have to wait several days for the film/slides. This is always true of KodachromeTM. ·	Exposure Latitude. Because of the way slide film works, it has a comparatively narrow latitude for exposure compared to most other film types. Basically, slide film doesn't cut you much slack in the exposure department! ·	Contrast Range. When you go to scan slides (or print them), the results will tend to be quite heavy on contrast. You can work around most of this with extra digital processing but it takes time better spent on other aspects of your photography. Depending on your objectives, you can get much better results using other film types, as outlined below. Black and White Film The standard medium for black and white photography is panchromatic film that, when processed, results in standard photographic negatives. In the Kodak film line, I have always found Plus-X to be very reliable with good grain structure and a fairly wide exposure latitude. It is my understanding that this film has been recently discontinued, but you can get comparable results with TMAX100. Such films produce very authentic-looking Holmes views:

While color images from other films can certainly be converted to grayscale, actually shooting the images with panchromatic film does have some other advantages: ·	Archival Considerations. Color slides and negatives will almost always show color shifts and fading with time. How bad this might be is a function of storage conditions and how much time has passed. Assuming reasonable storage conditions, B&W negatives can be considered as virtually permanent. I was going through some photographic material from my grandfather which had been shot just before WWII. Considering that almost 70 years had passed, his Kodachromes, while faded and shifted, were still capable of being restored. However, his B&W negatives were as good as they day they were processed! ·	Processing. While commercial processing of B&W film takes longer and is more expensive then it used to be (volume is very low), it is extremely simple to process B&W films at home without any real darkroom facilities. A roll-film tank, a few chemicals, and a closet to load the film, is all that is required. Once processed, the negatives can then be scanned, at which point you are off and running. In recent years, Kodak released Black and White +400 film that lets you shoot in black and white but have the film processed at your local one-hour photo lab. Essentially this film is a black and white version of Kodacolor film and it works very well. However, it is within pennies of the cost of Kodacolor and the processing costs are the same. Since the computer can instantly convert color pictures to high-quality grayscale images, I would suggest the use of standard color negative films (see below). Color Negative Films Color negative films (also known as color print films) produce a color negative when processed and the negatives are then used to make color prints. The most common color negative film families here in the U.S. are Kodacolor and T-Max from Kodak and the Fuji color print film line. Similar films are often packaged under other brand names. The advantages of using these films are significant: ·	Availability. The films are universally available in a wide range of speeds and capacities (typically 12, 24, and 36 exposures). ·	Cost. Bulk sales mean that these films are among the least expensive media. ·	Processing. One-hour processing is almost universally available. For even less money, many outlets offer one-day service. ·	Exposure Latitude. These films are very tolerant of over or under-exposure. ·	Contrast. The film and prints will scan with good color and dynamic range but without the high-contrast characteristic of slide films. ·	Grain Structure. The grain structure of these films is very good, particularly at film speeds of ASA 100 or 200. For all of these reasons, I do much of my stereo photography with Kodacolor 200TM film. In bright sun, I will be shooting at f/11 to f/16 at 1/200th of a second. This gives plenty of latitude for scenes with less light. ASA 400 is faster, but I might not be able to stop down enough in bright light and the film has more grain. All my pairs are stored in color, even if I intend to use them in black and white (grayscale). All in all, a lot of versatility and only one film to learn to live with! 1/60, 1/125 and 1/250 instead of the 1/50, 1/100, and 1/200 common to 50's-vintage stereo cameras but the practical difference in exposures will typically be insignificant.

!!!!!!!!!!!!!!!!!!!GRAIN OF THE FILM!!!!!!!!!!!!!!!!!! Photographic film, whether slide, colour negative, or black&white, contains tiny crystals of Silver Halide salts, which are the light sensitive component. When the film is developed these crystals are turned into tiny filaments of metallic silver, and in a black and white negative the image is made up entirely of these microscopic threads. The threads curl up and clump together, and this is what is conventionally called 'grain'. In a colour film, tiny blobs of dye are formed along with the silver during the development process. The silver is then chemically removed from the film, leaving only this dye image. It's these small specks of dye that are called grain in colour film, although, strictly speaking, they aren't grains at all. The faster the film, the larger the clumps of silver formed and blobs of dye generated, and the more they tend to group together in random patterns and become more visible to the naked eye. It's this random patterning, rather than the actual size of the grains that can be visibly objectionable in photographic prints. The pseudo patterning is better known as 'granularity' and it's granularity, rather than the much smaller grain, that seems to cause aliasing, as I'll attempt to show later. So, although film images appear to be continuous tone, they are actually made up of discrete little 'all or nothing' patches of dye or silver, and it's important to remember this fact. For the sake of conciseness, I'll be using the term 'grain' to mean either silver or dye image specks from now on.