![]() I took the pictures on this page with the Leica M7 / Leica M Elmarit 2.8 28 asph. In wet weather it’s best to have the wind behind you so that the drops don’t get on the lens. Ewa Marine) or using an analogue single-use camera for occasional recordings in clear weather. However, it is definitely worth investing in rain protection or even underwater protection (e.g. To protect the camera and lenses if they are are not protected from splashing water, you can use an umbrella or a simple plastic bag. Especially with digital cameras in combination with inexpensive kit lenses, there is a high risk that the automatic camera’s inadequacies will “improve” the image internally and render such images unusable. It should dissolve finely to give the clouds and plumes a fine nuance.įilms with high contrasts, but also cameras that automatically sharpen an image, turn such subjects into dull, boring images. The same applies to film in analog photography. The strengths or weaknesses of a lens are particularly evident in fog or rain. Because neither the best film nor the finest sensor is of any use if the lens in front of it does not also provide a fine resolution. And you can talk back and forth – a really good lens has its price. In order to achieve the best results in such situations, you shouldn’t skimp on a good lens. The shorter the focal length, the stronger the contrast. Distant subjects can be highlighted with a wonderful low contrast using a telephoto lens. Which focal length I use definitely has an influence on the contrast. Especially with haze, drizzle and fog, the parts that are important to the image have to be in the foreground in order to give the image a certain depth. The image structure must not be neglected. Whoever stays inside misses dreamlike and authentic motifs. The supposedly bad weather has a lot of attractions. Such shots live from very restrained contrasts. In no case should you artificially increase the contrast. The recordings should remain gray in the lightest areas in order to leave enough drawing of the plumes. Since the tonal values are consistently in the middle range, you can rely on the automatic exposure. This makes it possible to predict which picture elements will become visible and which will disappear in the veil. ![]() You can watch and wait as the landscape changes in slow motion. Strong gusts of wind are rarely to be expected in such weather, so the water surface remains calm. Colors are wonderfully muted and give the picture a unique calm and melancholy. Especially over meadows and lakes, the swaths lie close to the ground and again reveal areas for the view. The rain is so fine that the camera and lens can still bear it and is not visible as rain in the pictures. In seconds and minutes, the landscape shows itself in new facets. Because you have a mixture of fog and rain. Motifs with less but strong structure are helpful here.ĭrizzle is actually pretty great. So you can increase the brightness in post-processing as much as is necessary for the image effect. In contrast to film, with digital photography one exposes the bright areas. In digital photography you have to make sure that there are no white spots in which no image information is preserved. In analog photography, this is less of a problem, as you can usually expose on the darker areas. If the sky is uniformly gray without any visible clouds, you should overexpose the selected subject by one or two f-stops. So have different brightnesses and ideally horizontal and vertical lines. The surroundings should offer enough contrast. So you can use the time between morning and afternoon for such recordings. Of course, they look like a large diffuser, but the diffuser is also illuminated from above by the sun. With such pictures, the gaze often stays longer than with the usual suspicious summer-sun-blue-sky -Photos.īut here, too, there are a few things to consider in order to achieve the best effect. Environments that are “naturally” reduced in color are wonderfully emphasized in their sadness by gray weather. Now is the time for the subjects that may not immediately catch the eye. If the sky is overcast, the shadows disappear and the colors are muted. But numerous motifs only really work when the weather is cloudy or even wet. Everyone can take good-weather photos, at least one would think.
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