The Photoreportage and the Photojournalism The travel photoreportage: if you go somewhere on vacation and if you take photos

step by step to keep impressions and emotions alive, it doesnt mean that what you actually do can be called a travel photoreportage. Whenever you want to make such reportage you should start by carefully planning it. That might appear to be quite an easy task at first sight and only at a close analysis a series of problems usually occur. For e ample, what kind of film and what type of camera is needed or what kind of stand or flash is necessary! When are all of these devices useful, and how is it done in such a situation! "ets suppose that you have made up your mind to take a #ourney during which you should reali$e a photoreportage about a certain village market, but the market happens to take place only once a week, in the morning, and it is on that very day that you couldnt wake up on time. The best thing, if you work according to a plan is to establish where when and how you take the photos. %efore proceeding make sure you know how long it takes you to gather all the necessary material and which are the first pictures. &ake an introduction within the framework of the photoreportage. &ake up your mind if the reportage will be accompanied by a written te t or if an ordered wordless presentation of the images is sufficient. 'f you know e actly what the sub#ect will be and how the reportage will end, the photos will supply enough introductory information for the sub#ect and will be able to arouse the interest towards it. 'f the pictures are (scattered, a unitary, chronological development of the sub#ect is impossible to obtain. The same thing it happens with your travel photoreportage which are meant to render a certain information or situation. 'n the contrary case the person who will look at them will find them quite boring or meaningless. To reali$e a reportage that will always be admired you need something very important in this domain: e perience. )ou must take a lot of photographs in various conditions, which demand technical knowledge and a lot of skill. First of all you should focus your attention upon the photographed sub#ect and you shouldnt forget that e perience is the best teacher. *ont be afraid of making mistakes, you will learn out of your own mistakes, and the higher the technical quality of the photograph is, the greater the value of the moment immortali$ed through your photograph will be. 'f you have chosen the travel reportage, and if your sub#ect is a foreign country, you should be well informed about the procedure of the customhouse control. )ou need, among the documents you take on your #ourney a copy of the buying license for an e pensive or an old camera mostly if you intend to cross the borders of the +uropean ,nion. 'f you have voluminous equipment you can obtain a customhouse declaration emitted by the customhouse authorities, specifying each ob#ect with its own fabrication code. The keeping conditions for the camera can vary. *ont forget that photographing at increased variations of humidity and temperature has a great influence upon the functioning conditions of your device. The photo camera and the other materials are to be kept away from humidity. -nd there is a good way for doing that: use the silica gel small bags, a hygroscopic material used for removing the humidity of the air away. 'ntroduce two small bags within the slipcover of the photocamera or in the bag with the equipment in order to absorb the humidity. -fter a couple of days, warming up the small bags with silica gel is recommended for the humidity to evaporate. )ou can repeat that, as many times you like. *ont forget that all the films in your bags are e posed to the action of .oentgen rays. The modern check of the luggage using the .oentgen rays doesnt deteriorate the films. /nly the highly sensitive films are not allowed to be e posed to such procedures because of the fogging risk, but in the case of the films with lower sensibility than 0111 '2/, there is no danger in most of the +uropean airports. )ou must be careful to protect the photosensitive materials and to keep them away from the action of high temperatures. )ou should think about the manner of depositing the films if the temperature e ceeds 31 degrees. The depositing place must be

carefully considered. - breakfast can, stuffed with a rag, can keep the air colder with 01 degrees than a black bag which is kept in the sun the whole daylong. When returning from the #ourney, it is important that you should get the films developed as quickly as possible because the latent image is more instable than the developed one. 4umber the films in chronological order. &ention on each photo the sub#ect. )ou can have the photos developed in two turns and not all of them at once. When you develop them in two turns the degree of risk is diminished. Immortalizing an Important Event: the Wedding Within a circle of friends, if you have the reputation of good photographer, the possibility of being asked to photograph a wedding ceremony is not e cluded at all. 2uch a sub#ect requires knowledge and skill. )ou are not to take photos in the conditions you could establish but in pree istent ones according to the ceremony at the civil state or at the church. The rapidness of development of the ceremony leaves almost no repetition of a certain frame, thus e isting the risk of having an important moment lost for good or badly caught and which cant be rendered. The custom for the ceremony at the civil state or at the church doesnt allow the arrangement of the sub#ects within the frames, even forbidding the direct contact of the photographer with the participants. The success depends thus mostly on the knowledge the skill of the photographer and on his capacity of choosing the best moment for taking the picture. /n one hand, the emotion produced by such an event can only stimulate your artistic inclinations, but on the other hand you may not have the required e perience for a professional photographer yet, knowing very well the order of development for the ceremony at the civil state and at the church. 'f you dont find disturbing, you are recommended to take the wedding photos at least in the beginning, under the guidance of an e perienced photographer, familiari$ed with the development of these ceremonies. The frames that surprise the agreement and the recording of the young men in the civil register shouldnt be placed at the end of the film. The tall inside space of the town hall or of the church represent a special background but the light of the rooms is not ideal for the photography: in most of the cases during daytime the direction of the light is not proper 5contre#our6, and at night the light comes from a too great height from the chandeliers. 'nstalling supplementary light equipment is usually disallowed. That e plains the necessity of using the flashes7 so dont forget to have a blit$

ready for your camera. 'ntroduce new batteries and load the storage battery, for they can turn very useful in unforeseen situations. To assure the optical quality of an image, you should use targets with different focal distances for different scales of photography. )ou wont be always able to replace the targets along the short ritual of the wedding7 therefore using a $oom ob#ective is desirable.

-t a wedding, the image of the bride is the most important and thus rendering it in detail is a must: the cut of the wedding dress is of a great importance. -s the ob#ects taken in the photo differ from the contrast point of view, 5the wedding dress is white and the bridegrooms suit is dark6 it is indicated to render the details in the perspective of lights and shadows, but the choice of e posure is difficult. )ou could establish it relatively to the white wedding dress to which you add 8 or 9 levels. For a complete determination of the e posure you deduct 0:8 +;. Taking the photos in the parks or in any kind of open space is constrained by circumstances. 'f it rains, you chose, together with the young married couple a more suitable place for photography. The manner of work depends, in these situations, on the type of photocamera that you have, on your skill and on your artistic e perience you possess. To establish the style of your photographs: romantic, classical, modern, artistic, or funny, it is very important for you to know the couple well enough. The choice belongs to the young couple7 your task is only to fulfill their wishes, even if you would like to reali$e the images differently. -nyway, for them it is their wedding day whereas for you its #ust another day of work. <aid or nor, you are there in that special place to photograph the ceremony the way the young married men wish. The Photojournalism ,nlike the ordered photographs, many photoghraphers are concerned with the photo#ournalism, (flying in search of novelties. To be more specific, if you photograph an e ceptional event, which can become interesting for a newspaper or other media, you could sell the photographed material to an editorial board. -nyone can take pictures for the press for a certain amount of money. The newspapers and the reviews have a well:planned system of rewards for the photos taken by different persons. 'f you want to do that you should take pictures that could present a certain interest for the

publications, but e perience again is required. The photo#ournalism is not an easy activity. &any times, the events that can be considered as news cant be also considered as good news. The proverb =no news is not necessarily the best news> can also apply in an up side down manner in the case of the reporter: the most important news is usually shocking or thrilling. Technically speaking, there are a lot of details that could be mentioned about the way one can open his way in the domain of photo#ournalism. -lmost all photographers who work for different periodicals prefer the black:and:white photo materials with increased photosensitivity for they allow the immediate processing of the film and its fast printing. The speed in the reali$ation of the photographs must be high. - reporter usually has the possibility of rendering an event in its e act development, without interfering in the presented facts. When immortali$ing an event, the photoreporter testifies for the unfolding of the events and establishes what, where and how it has happened, offering in this way all the necessary information about it. 'f a reporter lost his time on measuring the e posure and on fi ing the photographic devices, he would simply have no time for taking the photos of the respective events. - black:and:white film of 911 '2/ sensitivity can render a large range of contrasts and lights of the photographed ob#ects, in the conditions of acceptable granulations, responding to all the requirements of newspaper or review typography. The photoreporters prefer using superangular ob#ectives in order to highlight the main theme more powerfully within the framework, but the use of superangular ob#ectives presupposes the necessity of taking the pictures from a very short distance. The use of flashes leads to an increase of the contrast. 'f you do that on purpose, in order to darken the background, the photo will e e cellent, but if you do it unintentionally, you could obtain a luminous foreground pro#ected on the dark background of the secondary plan, spoiling thus the balance of the sub#ect. 'f the background enters the sub#ect of press photography, the details are definitely not to be neglected7 on the contrary, they should be accurately e hibited. 'n the case of using black:and:white materials you could interfere with the contrast in the photos through different methods of magnifying and screening of the photographic copies, widely spread in photo#ournalism. 'n photo#ournalism of course even the raising of the first pillar for a new building presents a great interest, as well as the handing of a declaration or the e hibition of a new monument. 2uch events are important for the mass media but the photoreport is the one to be taken into consideration first of all even if a single photo represents it. -nother useful advice refers to the reali$ation of the photographs. 'f a photo is reali$ed by more photoreporters at the same time, you should try not to disturb the activity of the other reporters present there. They will be hardly content to have you covering the entire sub#ect for some moments fi ing a superangular ob#ective on the camera and trying to carefully regulate the frame. When selecting the best:reali$ed photographs, you should be very e igent. 'ts better to take only a couple of very valuable photos than taking a great number of a middling quality. Insuring the photographic devices 'f you are not a beginner in photography, you must already know about the large amount of e penses that the acquisition of the adequate photography equipment presupposes. Therefore you must understand that such investments need to

be protected in one way or another, not only through the e pensive insurance taken before leaving on holidays, but also through a common policy for goods insurance. 'n this case the advantage is that it can last for years. )ou spend more money but in the case of having it stolen, you get an acceptable compensation, according to the insurance policy. The insurance company usually has to fulfill its obligations. When you go to take photos in the open space, in nature, and when you sneak out in places where you could have marvelous images, the camera is e posed to the risk of deterioration. -nd such situations, assuming personal risks, can also be assured. .ead carefully the insurance policy and check step by step all the included riders. The Portrait The dictionary e plains the term of portrait as =the rendering of the characteristic features of an individual, such as seen by an artist>. The portrait is one of the main genres of photography art. 'ts comple ity resides in the fact that it doesnt suppose a mere rendering of the e ternal appearance but at a certain degree, it reveals the character, the personality, the inner lived e periences, the psychology of the portrayed person. With what should we start! ?ow are we to render the features of the model! That is the main concern artistically speaking, that we should have before pushing the button of the photo camera. 't is very important that the person, whom we photograph, should not feel embarrassed in front of the camera and should not watch the device tensely waiting for the opening of the strangleholder. +very person must be prepared before facing the camera. Thats why you should start your photography meeting by talking to the model in a casual manner, because such a chat diminishes the tension, calms down the person that will be photographed and allows him@ her to keep a certain position and a tensionless look. /nly when you feel that his@her attention is no longer focused upon you, you must intuitively hunt the moment you want to catch. The resemblance with the original is the most important condition in reali$ing a portrait. -ny lack resemblance is a deterioration of the rapport between the photographed person and his@her image. The principle of such a rapport depends on the purpose and on the destination of the photograph. 'n certain cases the image of a person is destined to the identification, which presupposes a clear and precise focali$ation of all the features of the face7 but such a photo cant be called a portrait. 'n the portrait intended to be artistic, the model doesnt appear as a faithful copy but as a representation of certain characteristic features. The reflection of the personality in a portrait is determined by certain elements of the face 5eyes, lips, forehead6. 'f the respective person openly displays his@her real feelings, the general resemblance will be perceived even when certain parts of the face appear in the dark or unclear. To obtain the resemblance it suffice to highlight some features of the face, or you can even limit to the one which is more e pressive. The first steps are always the most difficult to make and if you study a couple of portraits you will succeed in reali$ing yourself portraits as relevant as those made by a professional photographer.

The Hair The quantity of hair and its arrangement have a very important role in a photograph. 'f you have a person who is almost hairless it is better to concentrate the attention upon his figure. *ont orientate the light too high lest you should create lights and shadows on the skin above the forehead. 'f the person is slightly bald, you can apply an indirect lighting of the edges, but its best that you shouldnt place the model frontally in relation to the camera. - feminine hairstyle with rich locks may be highlighted through the light according to the final purpose of the photo. - slight lighting of the hair can create in many cases a special effect. Thus, a separate light source can be used, placed in such a position as to outline only the hairstyle. Thats why the source of light should be always put only in the back or under a large lateral angle. 'f you make a color photo, you could focus upon the hair with a filter of colored light, but in this case a great attention is required. 'f the hair is dark, you can use many nuances but pay attention in the case of light:haired models. For the slight lighting of the hair nuances of blue and even red are to be used. The red light has the tendency to create especially cast upon the hair, a marvelous romantic aura. /n this purpose you could develop a color film in front of the light bulb, but paying very much attention. %e careful not to get it warmed up because it can lose the color or even burn. *ont try this method with a flash for the energy necessary to lighting the ob#ect will be too low. The Ears -lthough the ears are not a part of the face, a lot of attention should be paid to them. )ou might have to photograph a flap:eared man. 'magine how that portrait would appear if the light is frontal. To obtain a well:done portrait you can modify the position of the model in connection with the camera. 'f you twist the model at 9A degrees in relation to the camera, you will notice that the visible pair of ears is not so highlighted anymore, becoming a harmonious element of the portrait. The outline of the face is no longer interrupted7 the visible ear is not unpleasantly striking whereas the opposite ear is completely out of sight.

-nother solution could be to photograph the model from the profile, so that the ear will e hibit less disturbing proportions, without getting out from the outline of the face. <ay attention to the main light not to be directed straight towards the ears. -s the ears are a thin cartilage, in a powerful light they can even appear slightly transparent, unnatural. Try to avoid such lighting. For the persons who wear big earrings you can concentrate attention upon the ears. The earrings are an important element for the e pression force of a portrait, and an important part in the hairstyle, but photographing the #ewels requires a lot a care. The earrings hanging up side down produce a very anesthetic impression in a photo, and if that happens the only one to be blamed is the photographer. The Eyes 't is known that the eyes can have any kind of e pression. They can e press anger, love, fear, ama$ement as well as many other feelings, and this phenomenon is permanent. 't is impossible to have a single moment passed without the eyes e pressing anything. Thus, it is very important that their e pression to be the wanted one the moment you press the button of the photo camera. %e careful as well at the frequency with which the respective persons blink. 't is no secret that a person waiting for the flash to come increases the frequency of blinking. 't may happen that you take the picture the very moment he closes his eyes, therefore you should try to avoid making such mistakes. -fter preparing the model for photography, you can ask him@ her to turn his@ her eyes to one side and then to look at your direction again before the moment of e posure. 'n this short interval when the model moves the eyes a pleasant glow appears in the widely opened eyes. The downcast looks confer a sad or dramatic e pression on the portrait. -n upwards:oriented look gives an interrogative air in a photo, also rendering a hopeful attitude. - fi ed look often appears to be in love. The half:closed eyes render a sober air, whereas the widely open eyes e press fear or ama$ement. )ou can e press many other emotions according to the degree of closure of the eyes. These details are very important when you want to create a portrait as e pressive as possible, reflecting the inner world of the sub#ect. -lso pay attention to the eyebrows, for they have an essential role in the e pressiveness of the eyes. <laced very close to the eyes their movement is reflected in the e pressiveness. )ou must observe the depth of the eyes in the eye socket. For those who have bulgy eyes and hardly deepened you must fi the light that can highlight that characteristic. ' dont advise you to have a profile portrait for the bulgy:eyed men, because the image wont be a pleasant one. When you photograph a man with the eyes deepened in the eye sockets, you can use a great range of angles to take the photo. 'f the eyebrows are dark and strongly outlined, you must pay attention to the angle which can influence the e pressiveness of the portrait. )ou need to have both eyes lighted and the source of light shouldnt be too high or to be a lateral strong one. We should also draw your attention upon the eye accessories. The contact lens, for e ample, represents an impediment for the reali$ation of a photo portrait. 't may happen that fi ing a lateral source of light, the outline of the lenses should become visible. The lenses of the glasses dont represent a problem for the photographers if using skillfully oriented lights. The lenses are a simplified model of the lenses of the camera ob#ective: they let the lights penetrate through their surface and the eyes of the person wearing glasses behave the same way the camera ob#ective does, transforming a virtual image into a real one. When you make up your mind to reali$e the portrait of a person wearing glasses, you should pay attention to the shape of the glasses upon the outline of the cheeks. %ecause we look

through the optic system of the ob#ective and also through the glass of the spectacles, it is possible that these lenses should contribute to the formation of the image. 'f the spectacles are frontally seen through the ob#ective, there are no significant differences in rendering the image through the optic system of the device. )ou should carefully take care with the double focali$ation lenses that the a e of passage from one type of lens to the other should not fall in front of the pupils. The glasses with double focali$ation lenses are easily noticed after the cut on the surface of the lens, but in a photo they wont be perceived at any scale. 'f you make up your mind to photograph a person wearing glasses not from the front but from the lateral side, you must take care that there is no deformation on the outline of the cheeks. This outline can be modified because the ob#ective of the device covers the entire face, deteriorating certain elements of the image which are visible in the camera after they are reflected through the glass of the spectacles. 'n this case the outline of the cheeks is slightly modified. With the change of the angle under which the photographs are taken, the outlines of the cheeks are also modified. The shadow of the frames can create on the cheeks the e aggerated magnifying effect upon the eyes of a frontal portrait, because the lenses of the glasses e ercise an influence on the image that is formed in the ob#ective of the photo camera. +ven without a photo camera one could notice a certain magnifying effect of the eyes at an attentive look at that person through his@ her glasses. "ighting a person who wears glasses can be made in different manners. *ont forget the rule according to which the incidence angle is equal with the reflection, meaning that if you place one of the sources of light directly in front of that person, it can be reflected by one or by both of the lenses of the spectacles. The same thing can happen when a layer of reflection covers the lenses of the glasses. /ne of the methods recommended for the organi$ation of the light in the case of the portrait of a person wearing glasses is the use of a diffuse light falling laterally upon the photographed model. For the reflection of the light fascicle, you must fi a screen of reflection in the other part of the cheek. )ou will get this way a diffuse light, homogeneous and pleasant and there will appear no kind of light stains or shadows. The Nose 'f someone has a prominent nose, it doesnt necessarily means that we should render it as such in the photograph. ?uman nature has created the nose in many shapes and si$es, making it a significant visible detail of human aspect. There are men having an aquiline nose or a straight one or even a snub nose. The concern is to render as fine as possible this variety. )ou cant of course, tell someone with a big aquiline nose that he@ she shouldnt have a profile portrait7 that will be no pleasant remark. -fter you attentively study the model, try to imagine how the type and the dimension of the nose will look in the picture. - man with a long straight nose is better to be photographed under an angle of 9A degrees, lest the nose should dominate the whole figure. For a big aquiline nose you can give up the profile photographing e cept for those cases in which the person really wants to be thus photographed. )ou should carefully let him@ her know that under such an angle, the nose will be disproportioned and unpleasantly striking. 'f the man has a snub nose, you could render the portrait best under a carefully chosen angle, so that the model is always differently positioned in relation with the camera and the light. The frontal photography in the case of snub:nosed model is not indicated. -fter you look through the sight of the photo camera, and you ask the model to slightly raise the head, you always choose the angle under which the imperfections of the figure shapes are not striking and you should never take a picture from the angle which renders visible the orifices of the nostrils.

The Mouth The shapes of the mouth can vary from a small mouth with thin lips to a big mouth with thick lips. +ach of them has its own charm. )ou should observe if the teeth are beautiful, but that doesnt mean that all the models should smile. &any photographers, especially when they are beginners and they have to make their first portraits, try to obtain from their models the smallest smile, but this is necessary when you want that person to e hibit a friendly e pression. - simple image offers more elements in revealing the inner life of that model. ;isual observation is the main method for the spotlighting of its characteristics, through the turn of the head from the camera. -ll these recommendations start from the fact that in photography a three:dimensional ob#ect, such as the model is rendered only two:dimensionally 5the photo6. Within the photo we are to create a sense of profoundness by properly establishing the photography angle and a suitable light. Children s Portraits The photos taken of the children must be luminous and lively, thats why a good light is necessary. )ou should use a diffuse light, powerful enough for the short:e posure photographs. The e pression of their figure is so changing that you may not even notice the moment they close their eyes. Those who imagine that a child is easy to photograph is deeply wrong. ?is mobility, dynamism, the permanent modification of the e pression of a childs figure require a certain skill in accomplishing such portraits. 'n principle, all children like to be photographed. They like to work upon their appearances and they gladly take any position, but this disposition forces the photographer to focus all his attention on the child. Try to make more frames in order to obtain results as satisfactory as possible. The best thing is to lower the camera at the level of the childs eyes. When the child looks at you from below, he appears little and insignificant in the picture. The babies that are too small to walk can be placed on the belly. )ou should get the camera at the level of their eyes, and you should put their hands in front lest they should keep their faces downwards. To photograph the children, the use of a standard ob#ective is indicated. Photographing the !nimals The difficulty in photographing the animals resides in their permanent movement7 thats why the photography must begin when the animals are in a position as quiet and still as possible, for e ample when they eat or rest. The best model of learning how to reali$e the portraits is to photograph the domestic animals at the $oo and natural reservations. <hotographing the animals demands technical e perience, methods and special equipments. The equipment must be a mobile one and easy handle. ,se the photo cameras with refle system of small dimensions, because the optic system of such devices meant for the choice of the frames and regulation of the ob#ective, allows you to supervise the photographed ob#ective until the moment of photography.

't may happen quite often to take pictures at great distances7 the equipment must contain ob#ectives with large focal distance for the different focal distances. )ou are advised to use light filters which allow you to enlarge the technical possibilities of a photo. For negative material use the black:and:white panchromatic and i$opanchromatic films, as well as the color films of increased sensitivity. To process the black:and:white films use slow revelatory equali$ers. The Photos "or #ocuments /ne of the most widely spread types of portraits is represented by the photographs for documents. The variety of documents which need photos also presupposes different si$es, such as: for the foreign passports: 9BA cm7 for the driving license: 3.AB9.A. 'n spite of this variety of the photos for the documents, there are established rules that a photo destined to official documents needs to observe. 'n other words you cant choose your own style of lighting or a stand point according to the model but nevertheless you must try to obtain photos as beautiful as possible, resembling miniature portraits. The demands for the photos meant for the official documents have been officially communicated and completed during the last years. 'f you have made up your mind to make photos for the documents you are advised to study first the technical requirements of their reali$ation. There are some rules for all the types of documents: the portrait contains the bust7 it is taken frontally, on a luminous

background. The lighting is obtained from two sources of light, a principal one and a secondary source, of filling in7 and sometimes for rendering the portrait livelier, a modeling light could be also added. 'n required cases, the photographed persons can wear glasses, but the head cant be covered. The photos for documents can e both black:and:white and colored. The $ighting 'n this chapter, the technical details will be e plained in order to reali$e a portrait. The photos can be taken inside or outside, in the nature. The best thing to do is to take the first steps in making the photo portrait on nice clear weather. The cause is pretty simple: the natural light that all you need to do is make good use of it. The best thing is to photograph on sunny days when only some light white clouds are on the sky. The clouded sky which retains a certain quantity of light , diminishes the contrasts of the image. The inside photo is much more comple , it requires artificial light equipment that you must learn to use. 'n the art of the photography a classification of the types of lights has already been made. Thus the light can be main light, of the filling:in type or an outline light. The first highlights the shape of the ob#ects, their volume, the main composing elements which remain in a certain shadow. The filling: in light, which is not very clear, lights the shadows and softens the passages from the dark sides to wards the more luminous ones. The third light, the outline light, accentuates, as one could deduce from the name itself, the outline of the ob#ects highlighted on the background. With the inside photography, the outline light must be placed behind the model and must be sufficiently powerful. %The High &ey' For a photo reali$ed in a =high key> light, colored or black and white the luminous soft tonalities are characteristic. 'n such a portrait must be without shadow, only with dark separate stains, such as the eyes, the eyebrows and partially, the outline of the face. - certain mood can be rendered in this style, a mood usually associated with femininity, tenderness, lyricism and kindness. When you make a =high key> portrait it is better that you should use a soft diffuse light almost without shadows. 4o source of light should be oriented towards the model7 the

whole light must be reflected by a white surface. )ou need at least three sources of light: two on both sides of the model, with two white reflecting screens, and the third one for the lighting of the background. The background should usually be luminous and more lighted than the model. The e posure is calculated with respect to the main elements of the sub#ect. -n undere posed e posure is not admitted because the entire effect would be spoiled by the high contrast and by the lack of details in the areas covered by shadows. %The $o( &ey' The =the low:key> portrait is a reversed =high:key> photo. -s you can see the dark tonalities dominate together with the strong shadows7 many areas are hardly lighted. The most e pressive portraits are reali$ed by using a single source of light 5the pro#ector6, oriented towards the face or towards parts of it. The outline of the head and shoulders is hardly visible. 'f you want to light the dark parts you fi a reflector. The e posure is determined with respect to the lights and shadows at the difference of more than four units the elements of the luminous $ones disappear. The )se o" $ight *ilters in +ealizing the Portraits For the reali$ation of the portraits the filters of light are used to diminish the contrasts of the image to have soft tonalities you are advised to use special filters for diffusion and diffusion rings. These accessories are to be fi ed on the camera ob#ective after the e ecution of the regulation. %ecause most of the skin imperfections or flaws have red nuances, they can be attenuated or even removed through a yellow or an orange light filter. For the freckles and the lips to become clearer or for the skin to have a bron$e nuance you must fi a blue or green light filter on the ob#ective. )ou can e periment the work with the light filters only for the black:and:white portraits. )ou must remember that any light filter fi ed on the camera ob#ective e ercises its influence upon all the parts of the photographed person7 thats why sometimes it is preferable that you should filter only the light of the separate source lighting the ob#ect directly. Thus you must fi a filter of the necessary color in front of the main source of light, directed for e ample towards the face, and leave it without modifying the light of another source. -pplying a polari$ing filter, which allows the removing of the undesired brightness on the nose or forehead skin, can also modify the color of the models skin. The polari$ing filter can also be used to remove the undesired reflections on the spectacles lenses and on the #ewels. The Necessary #evices "or the +ealization o" the portraits The most comple portraits are not due to a very e pensive or perfected device, but to a serious perseverant artistic work, using quality devices and sure materials, the characteristics of which have been studied in detail by the photographs.

For the portraits, you need a device to allow the reali$ation of quality images. 'f you make up your mind to reali$e common portraits in a natural frame, the best is to choose a single:ob#ective refle device of small dimensions. 2uch devices are very light and they are not e pensive. They can be equipped with replaceable ob#ectives and the reali$ation systems for the frame and focali$ation of the image through the ob#ective are remarkable through their great e actness. -nd yet, the small dimensions of the negative requires an attentive photography7 in order to obtain good quality results, you are advised to take pictures on a film with small sensitiveness and granulation. 'f you make up your mind to go for the studio portraits, you should get yourself a medium:si$ed device with the CBCcm or CBDcm frame dimensions. For the portraits you dont need to choose too many ob#ectives7 the best would be to use no more than three main ob#ectives. Eenerally speaking, a good standard ob#ective is sufficient for most of the portrait types, but if you need to introduce in the frame a part of the surroundings, to remove from the ob#ect as far as possible the framing surface, you are not to get very close to the face of the model, in order to avoid its deformations. 'f you want to reali$e a foreground portrait, the focal distance of the standard ob#ective is insufficient and you will need a large focal distance ob#ective. The advantage of large focal distance ob#ectives consists of the fact that , due to the small field profoundness of the ob#ective, the background often appears in pictures as if wet and the figure of the photographed person becomes artistic, without an e act rendering of the skin details and flaws. 't is obvious that these characteristics of the ob#ectives can be used only in the cases when the photography is reali$ed at small values of the diaphragm for the diaphragm magnifies the field profoundness of the ob#ective and diminishes the mild character and the harmony of the optic image. The more the ob#ective is diaphragmed, the clearer the skin flaws appear in the picture. The $ighting in the ,tudio The results of the photography using discontinuous source of light cant be guessed and evaluated from the beginning, but with the acquiring if the necessary e perience you will e able to foresee the effects it

e hibits. The solving out of such principle problem is the placement of a continuous source of light. 2uch an

illumination assures a continuous light placed in the same position as the light bulb of the flash. -ctivating the continuous light you can appreciate how the blit$ will work during the photography process. With a regulated emission of the flash you can use a continuous light, called continuous control light. 'f you use several sources of constant light you can appreciate the e act composition of the lights assemble, thus having the guarantee that the illumination produced by the flashes will produce the same effect you see if you look at the photographed ob#ect from the point where the device is to be positioned. The lights and the reflections, together with the color rendering and the positioning of the shadows in the image, are in this way, already known7 thus we can find out everything that is relevant for the photography. With most of the studio flashes, different types of reflectors can be placed. The diffusion screens or the shadows soften the illumination. -n important element used for the reali$ation of the portraits is the reflection screens, fi ed at a certain distance from the model for the illumination of the shadows. The $andscape

Introduction 4e t we will present another one of the photography genres: the "andscape. 't can be rural, urban, the panorama of a building sight or an impressive architecture. <icturesque color mi ing with different tonalities, special graphical effects, all of them created by the nature itself can occur. 'n time, the rendering of the landscapes has preoccupied those who were concerned with the figurative art as well. -s the

photography didnt e ist yet, the man represented everything around him through paintings. The disadvantage was that to render the combination of so many and varied elements, was not an easy thing to accomplish. The painted landscapes were beautiful but the degree of faithfulness was e clusively determined by the painters manner of work. From this point of view, the photography is a figurative art allowing you, in a few seconds to render an ob#ect to its utmost detail, which to a painter would take months of work. The photography is an artistic image offering more details and representing a more real world. -ny picture is a personal vision, an interpretation of the surrounding world. Working with the camera, the photographer adds to the landscape his on artistic and technical approach. Why does he do that! There are many e planations. /ne of the relevant arguments is the beauty itself of the landscape. 't is easy to understand why the same landscape is never rendered identically even if it is looked at from the same place. +ach photograph sees the landscape in his own way, which allows him to have his own vision upon things that is not necessarily an e pression of the classical beauty. -n industrial comple can be represented in pictures with a special elegance and style7 even a pile of old steel can offer a beautiful picture if the landscape is rendered in a personal manner, in which the common vision upon the surrounding world is completed by the photographers own vision upon things. The Techni-ue o" +ealizing the $andscapes )ou can use any kind of device to reali$e the landscapes, but some of them present certain advantages. 't is easy to walk in the fields, in the forests and on the mountains with a small:si$ed camera, but that doesnt allow you to photograph landscapes of small details. For such photographs a medium:si$ed device is preferable because you will be able to more clearly render the details in a picture and the colors as well or to use the perspective in order to render the surface of a landscape. The most practical are the refle :focus devices which allow you to see at real si$e the chosen frame and to organi$e the composition. /btaining technical high:level photos is possible only if you will have a correct preparing for photography. First of all you should evaluate the photography conditions. Fonsider the light you will work with: against the light, in the lateral light or under the frontal light of the sunrays. Whatever lights you will use, you have to correctly measure the e posure. 'n the beginning when you make up your mind to photograph landscapes, it may seem a very easy and accessible thing to do, but things are different. )ou will soon fall upon a great deal of questions: What ob#ective is to be used! What will be the standpoint! What kind of film is necessary! What light filters are used in photography! 's it possible for the flashlight to be used as modeling light! 's the stand necessary! We can help you find some answers to these questions and to many others. The Illumination and the Particularities o" the E.posure Measuring The greatest influence upon the landscape is e ercised by the weather, the natural illumination conditions. - landscape can be photographed any time during daytime, in any season and on any kind of

weather. 't is important that in every concrete case of photography the illumination conditions should be those required by the ob#ective, and those that allow a more profound and e pressive presentation of the content, of the ideas. The illumination conditions are determined by orientation: if in the moment of photography, the sun is behind the photographer, the illuminated ob#ects are perceivable as plain7 with a lateral light the ob#ect are seen best, but in most of the cases a lateral light from the front is chosen, maintaining the volume and minimi$ing the visible shadowed areas. 'n the morning and in the evening when the sun is not very high, the surrounding ob#ects produce shadows on the hori$ontal surfaces: the illumination is ma im on vertical surfaces. /n daytime, at noon, the landscape is illuminated especially from above. The contrast becomes

powerful and the shadows thrown upon the ob#ects are shorter. <hotography of the steep rocks and of the

high coasts can be e pressive even in the sunset light, which permits the highlighting of the relief. &ost of the times, the landscapes are photographed in an outline light, accentuating the outline of the ob#ects and amplifying the fog effect that allows the rendering of the structure of the ob#ects, of the land, of the grass, of the water surfaces or of the snow. -t the photography of landscapes, the correct e posure of the film is very important because we have to deal with variations of contrast and light. - correct e posure assures on the whole, good images. The position of the sun is also important because in the case of the landscapes, the supplementary illumination using the flash is not possible. The supplementary artificial lighting with light bulbs is not applied. For the photo you can freely operate in any position of the sun: and even more, you can photograph landscapes even on nighttime. The measuring in such conditions of illumination is more comple , because only the light which enters through the optic system of the photo camera, is calculated, without observing the lack of lining effect of the photographic emulsion characteristics. - good and correct e posure is reali$ed through two methods. The first one of them represents the measuring of the e posure with the spotmeter, differently e ecuted for the positive and for the negative materials. For the negative materials in order to obtain an e act result, we start from a value measured in the shadowed areas. That is not usually made in equal proportions and it is recommended the 91:C1G rapport 591G for the lighted areas and C1G for the measuring of the shadowed $ones6. -t the photography on positive material you have to measure in the most illuminated areas that give a good rendering of the image on the film slide. The second method for the reali$ation of the measuring consists of using the refle device with TT" system. The TT" system allows the reali$ation of e act e pometric measurements, but practically it doesnt take into account the fact that in the photography we look at the concrete ob#ect through the sight. The photo camera processes the image automatically, without elements of artistic approach. 'f you want to take nocturne pictures without having any relevant e perience, you can make a series of frames, that is more photos of one and the same sub#ect, but with different e posures. 'f you use a TT" measurement you take A photos: :8levels: 0level, the e posure corresponding to the TT" results, H0level H8levels. 'n such a series there can be found a correctly e posed photo. 'f you apply several times this method you will be able to take shorter series of photos, because you will understand and you will handle in a better way the results of the measurement made by the device. There are also some types of professional devices which allow the automatic reali$ation of photos with the change of e posure parameters. /nce the correct value of e posure is determined, another problem can occur. "ets suppose that in the camera we have a film designated to photography at a 0@0A second e posure or even shorter, that is the =2> film. 'n this case we have to appeal to a corrections table of the irregularity characteristics in order to discover the value for the increase in the e posure time. 2ometimes there can also appear applying recommendations for the light filters. There are special films designated to long e posure, type ="> films, which differ through the chromatic sensitiveness too. + posure time in seconds 0@011 0@0111 0 01 011 4o 4o 4o 4o "ight filters for chromatic compensation 4o H I steps H0 I steps H 8 I steps Forrecting of the e posure

The /0jective /ne of the encountered problems when we prepare for the photography is the framing, determined by the comprising angle of the ob#ective, that is, by its focal distance.

-ny ob#ect has a focal distance which influences the largeness of the frame edges. For a landscape the choice of an ob#ective with different focal distances is preferable because they give you the possibility to choose the photography point first and then the most suitable ob#ective. That allows you to render more e pressively the particularities of the landscape and to obtain interesting pictures from the artistic point of view. 'f you want to obtain the special effect of a building outline on the background of clouds, it is better to use a superangular ob#ective, because the distance between ob#ects will be larger. -t the photography with a distance:ob#ective the same image becomes more condensed, as if everything were close within the frame. .egarding the positioning of the device in rapport with the photographed ob#ect 5the landscape6, we can say that the angle under which the camera is fi ed determines in a great measure the naturalness of the photo. 'f you fi the camera hori$ontally on both possible a es of inclination, the photo will preserve the natural effect. 'f you incline the camera forwards, the hori$on appears in the upper:side of the picture, towards the frame e it. 'nclining the camera backwards, the hori$on is very low. 't is interesting to e periment these things, but make sure that the photography angle is determined by the photographed ob#ect and by its position. *eformations often appear in pictures. 2upposing that you photograph a landscape in which high buildings appear. %ecause of the big height you have to orient the camera upwards, but you cant step backwards. )ouve got nothing else to do e cept for working with a superangular ob#ective in the impossibility to avoid deformations. What can you do if you cant increase the distance to the ob#ective! )ou keep the device perfectly hori$ontally in order to avoid the perspective deformations7 you are advised to use the medium:si$ed devices of CBC cm, so that when copying you shouldnt need to frame the image anymore. When framing the CBC negatives the areas from the lower and from the upper sides are e cluded 5or at a vertical composition of the frame the parts on the left and on the right of the negative are e cluded6 )ou have to establish what film you use according to the station point as well. - positive or a negative, be it black:and:white or colored depends on the final purpose of the photography. 'n principle, any film if o. k. for the landscapes, but the more lowly sensitive film is preferable because it has a finer granulation and it allows the obtaining of a better quality magnifying. $ight *ilters ?ave you made up your mind to use a light filter in the photography or will you content yourself with an image as it is! 'f the landscape is somewhere in a place directly lighted by the sunrays, especially in the mountains, at a great height above the sea level, you need a ultraviolet filter. 't is a completely different thing if you decide to use a polari$ing filter. There are many varied and serious arguments to use it. /ne of the most often used light filters for the landscapes is the degrade filter, used in the diminution of the luminousness or in the modification of the tonality of certain image areas. Thus you can create special artistic effects that would allow your own artistic approach and the obtaining of an important modification in the foreground or background color. The delimitation line of the filter may coincide with the hori$on line, influencing both the color and the contrast of the sky rendering. The diversity of effect filters is quite large, enabling you to apply your own artistic vision for each landscape7 nevertheless, dont e aggerate with the interventions upon the frame. 'f you place an ob#ect in the foreground of the landscape, you can use a flash for supplementary illumination. The flashlight has to be transmitted e actly on the moment when the stranglehold of the camera is entirely opened and it has to e oriented e actly towards the photographed ob#ect. /n what situations can you artificially illuminate certain ob#ects! The foreground is to be illuminated in the cases when the ob#ective is not as illuminated as the other ob#ectives of the frame, like the e ample of the photography against light. 's a stand needed for the photography of the landscapes! 2uch a photo is naturally taken with the help of a stand.

/nce fi ed on the stand, the photographer has the possibility of approaching or moving away from the ob#ect and of more carefully choosing the composition of the frame, checking the correctness of the choice regarding the standing point and the height of the device7 thus he can even wait for the moment of photographing. 'f you use the stand you should also use a fle ible releaser. )ou can work without the stand if you take pictures on daytime, on a good light and with a short e posure time. ,pecial ,ituations The landscapes can appear even more beautifully if we obtain a greater profoundness of the perspective. That is possible through an e act composition of the frame, without unnecessary details that distract the attention upon unimportant things. The good organi$ation and the harmony of the frame often render easy the use of foreground elements on artistic purposes: the branch of a tree, the architecture of a building, sometimes even people. The landscapes presenting in the foreground a person who wears contrasting colors, especially red are special. The red, even in small quantities, draws the attention upon it: it should be placed in the frame somewhere to complete and not disturb the composition of the photo: therefore use the red nuances carefully.

The ,unset The pictures taken at sunrise or sunset draw attention through their special range of colors and nuances and through the strong chromatic contrasts. -s a rule, the most interesting photos are those in which a big part of the frame is occupied by the sky. The place where the sunset is remarkable is definitely on the surface of a water: a lake or even the sea. Whats so special about a sunset! The sun if often used as an artistic element within a landscape or it may even become the main sub#ect of the image. We usually take photos with the light produced by the sunrays, but in this case we must not photograph the solar disk itself. *uring the day it is almost impossible to take a photo in the sun direction, but when the sun approaches the hori$on and starts lowering its color temperature changes from yellow to dark red. The energy flu of the rays, part of which represented by the visible light itself, diminishes. 2uch a combination of parameters turns the sun photography into a unique chance7 nevertheless there are some considerations to take into account. )ou should choose a stable point from which the foreground should have a clear and detailed composition. The sunset on the sea is marvelous and the sunset above the hori$on line may e hibit a mysterious air. The sunset in which only the sun and the sky are visible must fascinate through the chromatic range, whereas the impression aroused by the photo will be strange. *uring the sunset the sun may be a little more and clear, which will strengthen the effect of the sunrays and at the same time it will create the impression of bigger dimensions than the real ones. The reflected light is the one to create this magnifying effect upon the si$es. For the beginning of the sunset you can use chromatic correcting filters in order to correct the color up to the level of normal daytime light. With the color filters you can derive the color range present in the beginning of the sunset, towards a red nuance. This is the way to obtain a special effect of the color range, living the sun within the frame at a great high above the hori$on. -ccording to the place where you are the color of the daylight quickly or slowly turns into the purple of the sunset. -t the tropics the sunset is much faster whereas in the north countries it is much slower. )ou can photograph not only the sunset but sunrise as well when the dew evaporates, the fog slowly rising and the air becoming drier. The chromatic are modified7 the tonalities turn pink and blue, than yellow and blue. 'n the photo there appears a light pink:blue fog which high lights the airy perspective. )ou may happen to see the sunset from a plane. )ou may see the aura of the sun above the high edges of the clouds, directly illuminated by the sunrays, unfiltered by the thick layers of the atmosphere or clouds. The supplementary illumination of the sunset depends on the photography reali$ation moment. )ou can start from the fact that in a weak light the red tonalities become saturated. 'n the case when photographing on slides, the e posure is shorter, the image density will be normal. 'f the e posure is longer the image density decreases and thus the visual effects of the sunset diminish. The automatic e posure cameras e hibit the tendency of shorter e posures7 thats why at the sunset photography they can be oriented directly towards the solar disk. 'f the photo camera has a special correction button for the photos taken against the light, you can use for weak:illumination photos. 't is good that your camera is equipped with automatic control of the flash. 'f you supplementary illuminate the sun with it the automatic system of the camera reacts and chooses a shorter e posure time, allowing the removal of the flaws provoked by the camera movements. With long e posures you are advised to use the stand. 'n case you dont have an automatic control of e posure in order to obtain red nuances and the sunset effect, you can increase the e posure with one or two levels so that sun shouldnt appear as a round yellow stain. 't is preferable that you dont take only one picture, but a series of pictures, out of which you can choose the best one. The Photography o" the Winter $andscapes The principal element of the winter photographs is the snow, together with the hoar frost which covers the land, the trees and the buildings. The winter landscapes are a very pleasant and picturesque sub#ect, but they require a certain skill to the photographer. 'f you go to the mountains on winter holidays,

dont

forget

to

take

photo

camera.

)ou can never lose the impression those special places and beautiful moments left upon you if you dedicate a little while to the photography of the snowy landscapes. )ou should carefully choose the photography moment, considering the position of the sun in rapport with the landscape. *ont forget the ultraviolet filter, necessary in the mountain areas. 'f your camera functions entirely on automatic system, you can introduce the correctors when you fi the sensitiveness at the film loading. )ou should do that because the e ponometer incorporated in your device is not equipped with the illumination particularities of certain special situations. 't perceives the big quantity of light as such. 'n this case, the snow:covered surface has a much greater capacity of reflection than the etalon standard of the gray, which is of 0JG7 thats why you have to make the necessary correction. /n a sunny cloudless weather, you can apply a H8 level correction. 'f your camera doesnt e hibit the capacity for such ad#ustments, you can modify the '2/ sensitiveness value with H9 levels. 'f that is also impossible to make, because the device observes only the *K code of the film cassette consider the following advice. Take a piece of untransparent adhesive band 5black or white6 and stick it on the code of a *K 811 '2/ film before loading the film in the photo camera. Thus you accomplish a one level correction. The stability interval of the modern films allows the cover of the remaining difference )ou can do the same thing with a 911 '2/ film, so that the *K code cant be automatically be read by the camera7 but on this film you cant take photos on a bad snowy weather. -ll the other photography conditions will be wrongly e posed. These simple pieces of advice can be applied only if the camera, in the absence of the *K code checking automatically fi es the sensitiveness of the film to 011 '2/. The *oot0all ,tadium +ven if sub#ects like a sport room or a stadium dont enter the landscape domain, we have decided to present them as situations similar to the landscapes that actually lead in practice to numberless mistakes. 2upposing

that when measuring the e posure, the device indicates the fact that a photography without a supplementary illumination is possible with long e posures. 4evertheless on concrete situations you may fall upon moving ob#ects or the lack of the stand. The answer is as simple as the question: do we need the flashlight! 4/L The flashlight will never be able to assure the illumination at a great distance from the camera in the conditions of a photography in nature, unlike the inside ones. When determining the directory number of the blit$, the measurement is made for the outside conditions of photography. - common white ceiling in a commonly high room, functions like a reflecting screen. 'f you measure the illumination capacity of the flash in an open space, you will notice that the flashmeter indicates with 8:3 levels less than inside a room. The solving out of this problem in this situation will be the using of a highly sensitive film because the flash decreases proportionally with the square of the distance. The Panoramic Photography The panoramic photography is the photo having a high rapport between the height and the largeness of the frame comparatively to a common si$e of the negative. The panoramic photo can be e tended both in height and in largeness, allowing the reali$ation of some landscapes, which comprise an entire picture in a single frame. The work principle is quite easy. With a special panoramic device you cover a large sight. There are varied models of panoramic devices. The simplest are one:use only and when you buy them they are ready to be used and they are loaded with a film. With these things you can reali$e panoramic photos in normal photography conditions, but because of the optic simplicity the diaphragm must have a small opening. 2uch devices have steady values of the diaphragm and focal distance and have to be loaded with a highly sensitive film so that you could work with steady values of the diaphragm. The sight is pretty simple and it hardly allows a fi ed framing of the photography. -t the loading of a small:si$ed film in camera only a small area with a width equal with the common length of a small:si$ed negative, and with a 08mm height. 2uch photos are printed on DB8A cm format paper, but copying with magnifying through pro#ections is also possible7 but because of the big values of '2/ sensitiveness an increase of the granulation is obtained. The advantage of such devices is due to their small prices and the disadvantage is that they cant be loaded the second time again7 thus they are a supplementary factor of pollution. There are also cheap models of panoramic devices 5F A16, which can be used with any type of small:si$ed film. ,nlike these ones there are also other e pensive models of panoramic devices. Wholly they divide in 8 categories: circular and sectional. The circular panoramic devices have a rotary ob#ective. 2uch an ob#ective rotates along a channel placed in front of the film, allowing in the photography the covering of a 3C1:degree surface. The sectional panoramic devices allow the obtainment of some photos that cover a 011: 031:degree surface or even more. There are also panoramic devices that function both on smallMformat films and on wide ones, of up to C cm width.

The basic principle in constructions is the growth in the dimensions of the device corpus. The entire length of the negative which is used, is e posed through the ob#ective placed in the middle. The "inhoff is nothing else than a normal camera, at which the ob#ective is placed in the upper side, on the middle of the film, in order to diminish the deformations produced at the photography of the architectonic ob#ectives. 2uch devices are e pensive and this is the reason for which they are produced in a small number comparatively to the common devices. 4one of these devices has an incorporated e ponometer, and when using them, you have to consider using a separated manual e ponometer. 2uch professional panoramic devices are difficult or even impossible to be loaded with photographic negative material because of the substandard formats of the frames. The photographic materials are specially conceived for certain types of panoramic devices and are designed to e clusively for polygraphy. The most widely spread photographic materials are the slides for they can be directly scanned and rendered in a proper shape for the black:and:white or for the color printing. The negative of the CB0N cm format doesnt enter any of the magnifying devices, and this is why the copy with color pro#ection magnifying represents an e pensive and long process. 4one of the presented panoramic devices can be built with a refle system because of the big format of the frame and this is the reason for which all panoramic devices have a simple sight placed on the device corpus in the upper side. - small level is often fi ed on the device to avoid the ruffling of the film hori$ontally. With these devices looking through the sight requires e perience, because each person sees differently. The frame never e actly corresponds to the one rendered by the edges of the sight. &aking panoramic photos with a common device is also possible. )ou place the device on a stand and you make sure that the device and the rotation surface of the stand are perfectly hori$ontally fi ed. 4ow you photograph the left part of the chosen panorama. .emember the e act point to which the image in the sight arrives. Turn the camera to the right so that you entirely cover the image rendered in the first photo and then take the picture. Fontinue photographing in the same manner till you arrive to the right edge of the panorama or till you cover the 3C1 degrees all around. Eet the film developed in a photographic laboratory and specify that you must assemble these photos in a panorama. Then cut the pictures carefully and stick them together side by side. 'snt the result e traordinary! $i"eless Nature and the ,portive ,u0jects 'n this section we will present some other photographic genres: the sportive photography and the lifeless nature. We will try to describe in details these genres so that you could deal with them by yourselves7 but you should remember that first of all the best teacher in the photography art is the practice, which means that you should go on taking as many photos as possible. The Photography o" the ,portive ,u0jects The photography of the sportive sub#ects demands not only technical e perience but also the knowledge of the characteristics and the rules in the sportive competitions.

and

This is the only way in which the most important moments in a sportive competition can be surprised photography mistakes can be avoided.

"ets follow in detail what are the conditions that must be observed when photographing the sportive sub#ects. We know that the photo devices with automatic control of e posure are designed for many types of photos. 'f you have made up your mind to deal with the sportive photography it is good for you to know that the device you use should respond to the utmost e igencies. The sportive sub#ects that suppose high speed imply the use of proper e posures according to the speed of the respective sports. For e ample, on the &onte Farlo circuit a First Formula car has a very high speed and thus the e posure must be fi ed at the 0@08A: 0@8A1 seconds interval. 'n other words, if we choose a 0@0C1 e posure, or even bigger, the car will be seen unclearly. The farther the ob#ective is from the camera, the longer can the e posure b and the other way round. Thats why when getting the same ob#ect photographed with two ob#ectives of different focal distance, you have to establish different e posures. - long focal distance ob#ective renders the image at big scale and thus there is a shorter e posure than with the superangular ob#ective. With regard to the ob#ectives that we will use, they are in a great measure determined by the type of sport that we want to use. 'f you watch from the tribune a volley match in a closed space you can use a common ob#ective.

't is best that you should be equipped with a transfocali$ing ob#ective7 thus you would be able to catch the most important moments if you fi the ob#ective towards the distance:ob#ective. 'f you work with a transfocali$ing ob#ective or with a distance:ob#ective, you should also consider its luminousness. -nd more, the bigger the focal distance is, the greater the probability of the clarity to lack becomes, because of the movements of the camera7 short: e posure photographs on highly sensitive film are better. The photography of car during the race can e done in two manners: with a photo camera held in a still position or through the =chasing photography>. 'n the first case the photography is made with a still camera. %ecause of the high speed of the ob#ect, a pretty short e posure time is established together with the corresponding diaphragm. Try to make the best choice because according to them the field profoundness also modifies. 'f you prefer in this case a greater e posure, you can obtain a larger range of field profoundness, but the ob#ects in fast movement wont be clearly rendered. This method allows you to amplify the movement effect, but the disadvantage consists in the fact that because of the moved image of the main ob#ect, its details are also lost, which is not always desirable. The second method called =the photography with chase> allows you to render a clear ob#ect on a still background. Through this method try to keep the moving ob#ect in the same place of the frame by turning the camera in the moving direction of the ob#ect. Thus the photographed ob#ect will be clear and still whereas the moving wheels will give the impression of speed. The background will be unclear and moved. For this type of photos the so:called sights for sportive photos are especially designed, some frames that can be fi ed on the device in order to freely follow the photographed ob#ective. To apply this method you can use a standard ob#ective or a large angled one. *ont fi a too wide opening of the diaphragm. The *lashlight 1the 2litz3 The flashlight is not very useful for the photography of sportive sub#ects because the distance to the photographed ob#ect is too big for the regular flashlights. The idea that a blit$ assures an illumination distance of no more than 01 meters is not available for the photography in a sport room and no more for the open spaces. The confusion appears because in the determination of the ma imum distance of illumination it was considered that at 8.Am above the head there was a white ceiling, which didnt diffuse the light in all directions but reflects it orienting it towards the photographed ob#ect. When using a blit$, if the distance to photographed ob#ect is not very big, any image appears =fro$en>. 'f you are at a small distance, you can use a blit$, when you photograph for e ample a volley player re#ecting the ball with a quick blow in a high leap above the net. The #irected $ight The static sports like billiard or chess are not e actly a sub#ect suitable for flashlight illumination. The tension of the fight between the two players could be better rendered through a directed light, a light mainly concentrated upon the playing table. To choose the proper light you have to measure the e posure through the method of local or spot determination in the centrally illuminated area of the photographed ob#ect. The light directed towards the players and limited to a certain surface can be correctly e posed only at e act measurements. The bigger the contrast of the photographed ob#ect is the more e act the e posure must be made. This is another reason against the use of the blit$ for such sports, which suppose intellectual concentration: the blit$ could distract the attention of the players, disturbing them. The )se o" /0jectives (ith 2ig *ocal #istance

'n certain sports, such as the football, the photo reporters occupy special places behind the two gates. 'f you work with a long focal distance, you can photograph through the net of the gates, which wont be perceivable. When photographing the game scenes in the punishment quarter or of the gate front, it would be better if you didnt use such an ob#ective but a superangular or a standard one. When you use long focal distance ob#ectives or distance:ob#ectives, dont you forget the countersun. &ake sure you fi an ultraviolet filter. even on a cloudy weather this filter doesnt absorb the light but it provides the protection against the dust and the scratches. 'f you use a refle system ob#ective you are advised to avoid taking pictures in the sun direction lest the photo should have light stains.

The ,trangleholds The variety of stranglehold types is an element that we should keep in our mind when photographing the sportive competitions. The mostly spread stranglehold for refle devices is the curtain one. 't can be either a stranglehold with curtain that moves hori$ontally 4 or a stranglehold with vertically moving lamella. 'n principle the difference between them is not very big but when photographing sportive competitions you should know what stranglehold is to be fi ed on your device. The reason: supposing that you photograph a racing car, which moves with a high speed, and you use the 0@0111second e posure7 in the picture the car will appear slightly flattened. That can be easily e plained: the curtain stranglehold, in fact the curtain of the stranglehold, being very narrow, moves hori$ontally against the car. The directions can be opposed7 the ob#ect can move towards one direction and the curtain of the stranglehold towards the opposed one. 't would be better if you should check the orientation of the curtain in this manner: you are in a train or in a car, and you orient the camera perpendicularly on the moving direction. +stablish a short time of e posure and the corresponding diaphragm. Take a picture in the usual conditions of high: speed movements. Thus in the photos you will be able to see in what direction the stranglehold moves. 2uch an effect is visible with the vertically moving strangleholds, but as the stranglehold moves on a minimum surface 589 mm6, the deformation will be much smaller. With the central strangleholds there appears no deformation, but such

strangleholds cant insure e posures smaller than 0@A11 seconds and they are not recommended for the photography of sportive competitions of high speed. The Mechanisms o" !utomatic )n"urling o" the *ilm 'f you watch professional photographers, you will immediately notice that they try to catch a certain image in a certain place. They usually work with more devices, always equipped with automatic unfurling of the film. 2uch mechanisms can be practically applied at any kind of camera with refle system. 'n the present, many cameras are equipped with internal unfurling mechanisms of the films. - manual unfurling is out of the question. The unfurling speed is often variable. There are mechanisms for which C seconds are enough to unfold a 3C:frame film, but even so at the photography, they unfurl four frames in appro imately 0.A seconds each. The Photography o" $i"eless Nature The dead nature is a composition of several lifeless ob#ects, united according to a certain theme. The reali$ation of dead nature is a good e ercise for the composition and illumination methods. The dead nature must clearly e press a certain idea. 't may be composed of ob#ects gathered according to their usage or of ob#ects which appear to be different and incompatible but they are unified by a clear idea. "ifeless nature is often an integrating element of the portrait. The things surrounding a man in a picture have an important role, strengthening the reality of the portrait and outlining the psychological profile of the sub#ect. The lifeless nature can be considered as a condensed history of man. The things made by a man can tell about him as much as a portrait. 'n the present photo the reportage of lifeless nature is really interesting, describing the world of the contemporary man. For e ample a =chased> sub#ect y the photographers is the placing of the instruments on the working table locksmith, giving birth to new ideas in the technical esthetics. 'n the present the advertising in which lifeless nature appears are widely spread, evoking not only applied decorative art products but industrial ones as well, together with clothes or te tures. To create an artistic work of art presenting lifeless nature you must perfectly master the photographic technique. )ou must learn to render the form of the ob#ects and their structure7 only thus the graphic and the painting of lifeless things, usually unperceivable can be seen. )ou need a fine clearness of the image7 it is better for you to photograph with medium:si$ed refle devices. /n one hand they give you the possibility to take large:scale photos from small distances7 on the other hand the possibility of seeing the image on the opaque glass of the sight e ists, of controlling the field profoundness of the presented surface, the rendering of dark areas and the result of the action for different optic elements. To obtain great field profoundness you are advised to take photos with small openings the diaphragm, which requires the use of the stand. With the illumination certain artistic problems specific for the lifeless nature, are solved out: the tonality, the luminousness of the image and the compositional balance. For the illumination of the lifeless nature artificial illumination sources are regularly used. The lifeless nature can be photographed by day at natural light. With such light the necessary tonality the illumination of the dark areas and the placement of the luminous areas are obtained through the application of some reflecting screens of white paper aluminum folio or the mirror. When photographing on black and white material the use of combined sources of light, natural and artificial is allowed. The lifeless nature requires a restrained composition of the frame: its surface must be limited to guide the attention upon the ob#ects, each of them needing a certain idea weight. The background must be so organi$ed as to have a calm appearance, homogenous and rarely with nuances from the luminous to the dark. The luminous ob#ects can be better seen on a dark background and the other way around. The background should usually be slightly unclear. )ou can use as a background a smooth wall, cardboard or special scenery, for e ample the curved drawing thick paper. The tonality of the background can be controlled through the proper illumination. The composition of the lifeless nature depends entirely on you7 you can freely e periment shapes and colors. Take a look from time to time through the sight because your angle ob the ob#ective differs a little from the sight angle of the eye. The angle under which the photo is taken has a special importance and depends in great measure upon the characteristics of the photographed ob#ect. %efore starting the photography, you are advised to check if everything is well fi ed, answering to some questions: in what device has the necessary film been loaded! 's the illumination well organi$ed within the frame! From what place has the e posure to be measured! ?ow do you obtain the contrast for the photographed ob#ects! -re all the ob#ects in their places!