- Shape
- Form
- Texture
- Colour
Form 1
ISO 200, f/14, 1/160 sec This first image, showing form, uses low early morning sun with light cloud.
This angle of light accentuates the folds in his garments and the contours on his hands and face, giving the impression of depth and 3D. I think this soft light complements his character.
Shape 1
ISO 200, f/32, 0.6 sec A daylight lamp, fitted with a diffuser was placed behind Buddha and the image exposed for the light areas. This creates a silhouette which shows his outline shape.
Shape 2
ISO 200, f/14, 1/320 sec Early morning with the sun just over the horizon provided another opportunity to capture his shape. He is backlit by the rising sun, to obtain his silhouette. Some detail can be seen, but the overall impression is of his outline.
Form 2
ISO 200, f/29, 6 sec Taken in a light tent with a daylight lamp directed onto the left side of the tent, the soft light enhances the detail and depth while maintaining the highlights. Using the matt black background has given the impression of the Buddha floating towards the viewer.
Texture 1
ISO 200, f/29, 20 sec With the diffused daylight lamp directed at an angle of 45 Deg to the upper rear of his body and set against a matt black cloth backdrop, the folds of his garment and contours in his face and hands are accentuated. The shiny texture of his face and hair are also exhibited.
Colour 1
ISO 200, f/29, 2.5 sec Using the light tent with a daylight lamp the colours are a true representation of those in the figure. This is due to the daylight lamp being used and the calibration of the camera, monitor and printer.
Colour 2
ISO 200, f/14, 1/250 sec Early morning light with a low sun provides this warm colour which really suits him. The clear blue sky complements this colouring. Side lighting also gives him depth and form.
Shape and Spot
ISO 200, f/32, 0.6 sec Using the same arrangement as ‘Shape 1’ image but with a hand held LED torch plated onto his face, the impression of his shape is complemented by the light and calm in his face.
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