Trick Photography and Special Effects
Scumbling is the opposite of glazing. A scumble uses a lighter opaque paint, spread thinly enough so as to become translucent, over a darker passage. The optical effect thus produced is bluer than the paint applied, as the underlying layer is not completely obscured, and exerts its influence on the overall sensation, as has been previously described. It is very effective in softening surface textures, as soft cloth, such as velvet or cotton, or youthful complexions, the surface of a peach, etc., and, as mentioned, for indicating atmospheric haze over distant land planes and in the sky near the horizon. Overcast skies may be scumbled all over, as in Bouguereau's The Broken Pitcher.
Many cameras cannot meter through Lensbaby lenses, and you must use manual exposure or exposure compensation (in AV mode) to achieve the correct or desired exposure. You can set your aperture (because you know that value) and then adjust the shutter speed until the exposure reaches your desired aesthetic look.
Wash drawings, tike photographs, consist ol graded tones ol black. They have on advantage over a photograph because the artist may use his Own style and still produce a photographic effect whereas the camera is limited to the absolute tar simile of the subject. When making wash drawings for reproduction, it is bet' 'o use about two values of gray, with block and white, in order to produce the greatest contrast. You start in the usuol manner by making a careful guide drawing on tissue which is alto used to trace through onto a good sheet of wash board. It pays to use the best boord you can get. This will insure good reproduction (rom a half-tone plate.
Here I have taken a section from an action painting and blurred it before overlaying it with thin, sharp-edged black and white lines and shapes. This 'depth of field' photographic effect is relatively modern as (excepting Vermeer and a few others) the artists of the past insisted on bringing everything into focus. It must be said their clients often demanded this.
With a wash drawing, you have a means of creating a photographic effect plus an assurance of better reproduction than can be obtained from a photograph. The line and wash drawing, however, also produces the realism of a photograph plus the expectation of greater definition when reproduced on newspaper stock. In using any of the techniques, you must know how to prepare your drawing and you must learn to do this without sacrificing your style. It is important for you to know whether your drawing will be printed on coated magazine paper or newspaper stock because coated stock has a hard finish surface and the printed impression will be sharper. Closely drawn lines will not have a tendency to run together and the whites between the lines will thus be maintained. Newspaper stock, 011 the other hand, has a soft, pulpy surface, so there is a tendency for closely drawn lines to spread when printed, destroying the whites separating the lines and causing a smudge. When making line drawings for...
I did not utilize any particular lighting formulas. I set my camera on aperture priority and used exposure compensation to capture the correct ambient exposure. From there, I used my main flash on full power (ETTL) to illuminate the subjects and adjust the power of the secondary flash up and down (eventually to +1 3) until I got the correct highlight strength.
In some situations the light is nice and flattering but simply insufficient to capture action or movement. Here you can use artificial light to capture the movement and perhaps still balance with ambient light. Furthermore, if you want motion blur in the background, you can use a slow shutter speed to blur the background. While blurring the background, you use a flash to stop the motion of your subjects. This is another creative effect I utilize often to convey energy and movement in a still frame. Figure 10.5 conveys the feeling of movement and excitement in the big city. By using a slow shutter speed (approx 1 8 sec in this image) and moving the camera during the exposure, I was able to create the blurred lights of the background. I was able to stop action on the subjects by utilizing an off-camera flash to illuminate the couple.
Semiopaque by the physical thinness of the application (scumble) or by the addition of a transparent medium. Its thinness allows the background paint to contribute to the painting. The optical effect of transparent paints or glazes is to retain clarity. The optical effect of opaque paints or glazes is to lose clarity. Scumbling is the method of applying thin layers of opaque paint.
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