Mak­ing use of scale

For ev­ery tex­ture there’s an ideal area, and there­fore an ap­pro­pri­ate scale, from cen­time­tres to kilo­me­tres

NPhoto - - Niko Pe­dia Free­man On... -

When you think about it, it’s ob­vi­ous: tex­ture de­pends on scale and dis­tance. As the main land­scape on page 81 il­lus­trates, sub­jects in their own right, like rice stalks, look like sur­face tex­ture when seen from far enough away. The op­po­site also holds true. Some tex­tures come alive only when you close in on them so that the eye fo­cuses on the macro de­tail.

In the ex­am­ple here, of a Ja­panese ‘hi­bachi’ or bra­zier (shown at two scales), the light­ing is very dif­fer­ent in the two ver­sions. In the wider view (above), a high broad light, plus a sec­ondary broad light un­der the cam­era, help re­veal the form of the hi­bachi, whereas the crafts­man­ship that went into the sur­face tex­ture needs some­thing dif­fer­ent.

Only a close view re­veals the car­pen­ter’s skill, which ex­tends to the cre­ation of what looks like wood grain, but which in fact has been carved by hand. The mix­ture of this rough, wood-grain tex­ture and the smooth rounded curves of the carved gourd calls for a flash (mod­i­fied with a soft­box), aimed from a low an­gle – in ef­fect, a hy­brid of the tex­tu­ral light­ing styles shown on page 80.

Fram­ing can also help em­pha­sise tex­ture if you com­pletely crop out any back­ground, so that the tex­ture be­comes a kind of pat­tern.

An over­all and close view of an exquisitely carved Ja­panese hi­bachi; one scale re­veals form, the other tex­ture

Newspapers in English

Newspapers from Australia

© PressReader. All rights reserved.