tag:blogger.com,1999:blog-43062340846269074032024-02-08T02:35:49.143-08:00Enter PhotographyTips, lessons, masterclasses - master new photography tricks, tools, cameras, lenses, speedlights, lighting equipmentUnknownnoreply@blogger.comBlogger99125tag:blogger.com,1999:blog-4306234084626907403.post-11672974912409340712014-05-11T13:15:00.000-07:002014-05-11T13:17:47.976-07:00Camera holding tips and tricks<iframe allowfullscreen="" frameborder="0" height="338" src="//www.youtube.com/embed/GEimKWkWMJU?rel=0" width="600"></iframe>
<br />
Karl Taylor demonstrates in this video his methods of holding a camera with a bigger lens in order to avoid blurry images. The main goal is to remove camera shake as this will result in better quality photographs that you make. This becomes extremely important when you have to shoot in low light situations, which often demands not only higher ISO but also longer shutter speed.<br />
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<ul>
<li>Try to give your camera three points of contact: your right hand, your left hand under the lens and your eyebrow.</li>
<li>Never stand with your legs close to each other, place one leg behind the other - making your pose more stable.</li>
<li>Use any objects that you can lean to (a tree, a bench, etc.)</li>
<li>Press a shutter release button when exhaling.</li>
<li>Usually use your shutter speed related to your lens length: if you shoot with a 200 mm lens, do not use a longer shutter speed than 1/200 sec. </li>
</ul>
<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4306234084626907403.post-46120507424637866562014-04-02T13:25:00.001-07:002014-04-02T13:26:27.599-07:00Photography common myths<iframe allowfullscreen="" frameborder="0" height="338" src="//www.youtube.com/embed/SzZVzzgTxys?rel=0" width="600"></iframe><br />
John Greengo explains the common myths as he sees them.<br />
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<ul>
<li>If I see something that I like and I take a photo of it, I will get a good photo. Obviously this is not true. If you are excited about some subject and want to photograph it, it does not automatically mean the output will be excellent by its photo quality. It may mean a lot to you because of a personal moment on the photo though. </li>
<li>If you have better photo gear, it will make you a better photographer. </li>
<li>Taking pictires is easy. It is no more than an illusion. Taking a good photo takes lots of preparation, knowledge and skills.</li>
<li>Being proud of having no education in photography, not knowing ISO, aperture or depth of field things as you still consider yourself a great photographer. Unfortunately it does not work that way, you really need to know the basics before you can produce stable quality.</li>
<li>Photography is about capturing what I see. Your brain may be confused by what your eyes see. You cannot photograph everything that you see, for example motion or extreme contrast. Often you can achieve more in your photos than you could see with your eyes, either with special equipment like telescopes or special post processing.</li>
</ul>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4306234084626907403.post-83037845756424046812014-03-23T12:12:00.000-07:002014-03-23T12:12:05.550-07:00How to remember good poses for portraits<iframe allowfullscreen="" frameborder="0" height="349" src="//www.youtube.com/embed/f49cav5zcKY?rel=0" width="620"></iframe><br />
Oliver Pohlmann gives an easy tip on how you can remember good poses for your subject on a shoot. Often beginner photographers experience difficulties posing people and it may really ruin your image even if your settings were chosen right and you had an excellent composition. Just bringing an album of poses will look unprofessional and you do not want to do that. However there is a simple solution. Before you go on a shoot search on Google Images or Pinterest photographs of people in a similar shooting conditions, select 10 to 20 images and make photos of them from your computer screen. Your memory card in the camera should be formatted before you do that. So when you are on location, just view some of the images from Google Images or Pinterest on your camera screen as if you are adjusting its settings or reviewing previously done photos. The reason why you need to format your card first is that you can then move forward from the last taken photo to view those poses. It is really handy. Over the time the number of images with poses that you need will decrease and you may only need 3 or 5 poses to refer to, until you feel confidence and need to such help at all.Unknownnoreply@blogger.com7tag:blogger.com,1999:blog-4306234084626907403.post-48754081369826830852014-03-10T09:43:00.001-07:002014-03-10T09:43:59.789-07:00How to shoot corporate portraits<iframe allowfullscreen="" frameborder="0" height="338" src="//www.youtube.com/embed/JrHvCH8imQY?rel=0" width="600"></iframe>
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First you need to understand what the background will be on location. Ask your client and you may suggest some options and show some examples.<br />
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In this shoot, it was agreed to use gray background in a conference room.<br />
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Then you need a schedule of the shoot: plan every aspect of it including time for preparation and also lunch.<br />
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Mark the spot where your subject will be standing with a tape on the floor.<br />
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The main key light will come from a softbox with a grid, since the room is quite small, all the light must come to the subject and not to be wasted on walls.<br />
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Another softbox (octo shaped) will be used as a rim light. It will light the subject from behind and left. The background will be lit with a a grid light, you need to separate your subject from the background.<br />
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Since shadows are still a bit harsh on subjects' faces, it is a good idea to place an umbrella behind the camera so that it acts as a fill light.<br />
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This setup works well with people wearing dark suits. For subjects who have bright shirts, use a back flag to block the light from your main light source coming to the white shirt.<br />
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The background light is also adjusted depending on the person's hair color. Dial it down if the hair color is bright.<br />
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Ask your subjects to bring 2-3 outfits so that there are some options. Bring a hand held mirror that you can give to people and thus avoid having them leaving the room if they think they need to check their hair.<br />
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Sometimes a person has no tie but feels he should be photographed with it, so bring a nice blue tie to lend in such cases.Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4306234084626907403.post-15247809522889398212014-02-16T09:37:00.000-08:002014-02-16T09:39:24.921-08:00Tutorial on creative long exposure photography<iframe allowfullscreen="" frameborder="0" height="338" src="//www.youtube.com/embed/f21MwF8icmM?rel=0" width="600"></iframe><br />
To make good photos using long exposure you actually don't need expensive equipment. The long exposure time is usually longer than half a second. Because of this you need to have a tripod. What you have on your shot depends on the time the shutter was open. The longer it was open, some subjects in your frame may be more blurry or even disappear.<br />
You need to consider three things when you play with long exposure photography:<br />
<br />
<ul>
<li>First of all it is the amount of daylight or ambient light because too much light may come to your sensor if you leave the shutter open for a long time. So you need to adjust your aperture and ISO settings to control the amount of light, in some cases you will need a neutral density filter on your lens to block some of the light.</li>
<li>How much blur do you want to have on your picture.</li>
<li>How fast your subject is moving. If shooting a Formula 1 race, even 1/100 shutter speed will produce blurry images of the car but if you are shooting a walking person, you may need to go down to 1/15 to achieve the same effect. It is true with any moving subjects like clouds or water. If it is moving slow, your shutter speed need to be longer.</li>
</ul>
When photographing moving cars at night, you can get nice looking lines of light. If you want people to disappear from your image, for example tourists, just set a long exposure, up to 30 sec and there will be a lot less disturbing people around a sight. It works great for smoothing water (exposure time 20-30 seconds). The water becomes transparent at these settings and you can see through it.Set your camera to Shutter priority and choose different speeds.<br />
<br />Unknownnoreply@blogger.com12tag:blogger.com,1999:blog-4306234084626907403.post-9067049877711722372013-12-21T06:30:00.000-08:002013-12-21T06:30:27.068-08:00Tips for low light photography<iframe allowfullscreen="" frameborder="0" height="338" src="//www.youtube.com/embed/8K3pOueQWm4?rel=0" width="600"></iframe>
If you are frustrated by the quality of the pictures you take with your new dSLR in low light conditions, here is a video tutorial that will help you shoot better photos.<br />
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There are three main settings that affect your exposure:<br />
<ul>
<li>shutter speed - it controls how long light reaches your camera's sensor and usually you should not use longer speed than [1/your focal length*crop factor]. If you choose a slower shutter speed, your image may get blurry as the shutter speed helps freezing action.</li>
<li>aperture - it controls the amount of light coming in through your lens. A fast lens is 1.4 or 2.8.</li>
<li>ISO - it compensates for light deficiency. The higher the number, the brighter your image will be but at a cost of extra noise on your photograph. Values may be 100, 200, 400, 800, 1600...</li>
</ul>
So basically you need to choose the right equipment for low light photography in the first instance: a camera that can increase ISO without too much noise and a lens with wide aperture like 1.4 or 2.8.<br />
Set your camera to Av (aperture priority) mode, manual ISO. Try to opt for wider aperture than to higher ISO. Let your camera adjust between the shots. It works well in constant lighting situations while where light varies, you can try using Manual mode and manual ISO. In this case you need to adjust your aperture and shutter speed manually. Set your White Balance to manual as well.<br />
Not all lenses can produce a sharp image being widest open, so try to use one or two stops further.Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4306234084626907403.post-42225401886023799152013-12-04T11:25:00.001-08:002013-12-04T11:26:14.428-08:00How to increase contrast with a flash<iframe width="650" height="366" src="//www.youtube.com/embed/dlLP-4mja0Q?rel=0" frameborder="0" allowfullscreen></iframe>
Bryan Peterson gives his professional advice on how to shoot flowers and make them pop up avoiding sometimes clumsy background. All you need is an external speedlight that can help you make the background almost black. Position your flash outside of the camera, you can use a Pocket Wizard unit or a simple cable to fire the flash. He had his settings as f22, and with his flash he had to dial 1/8 power because of the short distance to the flower. Bryan wants to underexpose the ambient light in background. So he makes the shutter speed faster than in the first image shot without a flash. But he leaves the aperture the same f22. One of mistakes that people do is shooting in Aperture priority mode with a flash which means they add the speedlight light to the ambient light. You need to switch to Manual mode and set a faster shutter speed if you want to make your background darker.Unknownnoreply@blogger.com8tag:blogger.com,1999:blog-4306234084626907403.post-20585685358906817122013-11-24T01:57:00.000-08:002013-11-24T01:59:26.153-08:00Best Poses Tips for Female Portraits and more<iframe allowfullscreen="" frameborder="0" height="349" src="//www.youtube.com/embed/hKR5FrVlOSY?rel=0" width="620"></iframe>
<ul>
<li>Joe Sinnott gives his advice on portrait photography. He explains what poses are best for women. First of all your model should dress nice. It does not have to be really fancy but a t-shirt with a logo may not be appropriate even for a casual shoot. </li>
<li>Putting a hand under your chin won't work well for your portrait. You are hiding half of your face and most of your body by doing this.</li>
<li>Try not to photograph your model below the eye line. Sticking above the eye line works better.</li>
<li>Smiling is always preferred in portrait photography. But pressing the tongue to your teeth so that it becomes visible is not such a good idea.</li>
<li>Keep talking to your subject, praising how she looks and giving her gentle directions. When you refer to left or right, make sure it is your model's left and right.</li>
<li>The model needs to look into your lens, it means she looks to the viewer.</li>
<li>Shoot people a bit across their shoulders, it makes them look thinner. </li>
<li>In a shade use a reflector to add light to your subject's face.</li>
<li>Your model should be relaxed and ready to accept your directions.</li>
</ul>
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<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4306234084626907403.post-55387506264376465462013-11-12T06:53:00.003-08:002013-11-26T11:15:09.743-08:00Four tips for macro photography<iframe allowfullscreen="" frameborder="0" height="349" src="//www.youtube.com/embed/vd6-skFsPC0?rel=0" width="620"></iframe>
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Macro photographer <b>Rick Lieder</b> shares his tips on how to shoot macro.<br />
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<ul>
<li>First of all you need to have good tools, a good macro lens. The closer you are to your subject, the less depth of field you will get, sometimes it may go down to one millimeter. By all means you need a tripod to keep your lens and camera steady. In cases when you cannot use a tripod, a lens with vibration control really helps.</li>
<li>Try to get to a lower angle and shoot up. You need to be at the same level as your subject.</li>
<li>Find a dramatic contrast so that your subject pops up from your background.</li>
<li>Use manual focus only because no auto focus can know where you want your focus to be.</li>
</ul>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4306234084626907403.post-58197603409233292842013-11-05T04:29:00.000-08:002013-11-10T04:44:25.463-08:00How to light a portrait<iframe allowfullscreen="" frameborder="0" height="349" src="//www.youtube.com/embed/gmmZECtP3oM?rel=0" width="620"></iframe><br />
In this video you will see five lighting schemes for portrait photography. Photographer Jay P. Morgan demonstrates in his studio room what you can achieve with different light techniques. By the way, don't place your model in front of your camera straight, your photos will be much more interesting if your talent sits at a slight angle to your camera.<br />
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<ul>
<li>Rembrant light is the first to be demonstrated. Just put your light source (a softbox in this case) above your model at 45 degrees and 45 degrees off the center line. That way you get a small triangle on the model's face (opposite side) and this is a classic lighting scheme that you can find looking at many paintings from 17-19 centuries. There is no shadow fill, just one single light used for this style.</li>
<li>Split light can be achieved if you move your light source from the Rembrant position further, to make a 90 degree angle with model's center line. That way the light highlights the face stronger from one side and it is noticeable on the nose core. It is more dramatic lighting if you really want to make a statement. If you fill the shadow in some way, you may be more comfortable using Split light.</li>
<li>Broad light is when your light source is in the same position as with Rembrant light, but your talent moves away from the light so that we can see the lit side of her face rather that a shadow side with Rembrant. </li>
<li>Butterfly light - move your softbox forward and higher at a steep angle to your model. It is a beauty light used for women portraits, especially if you apply some reflector underneath to fill the shadows. Make sure that the shadow from her nose does not touch her lip.</li>
<li>Loop light - move your light source from the butterfly position slightly off center and then one side of your model's face will become brighter but not as dramatic as with Rembrant because now your light is much higher. It is a variation of Butterfly light.</li>
</ul>
Choosing what scheme to use should be based on your subject because if you have an older person to make a portrait of, some lighting may be better that the others.Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4306234084626907403.post-77073738592765919592013-01-27T09:55:00.000-08:002013-11-24T09:56:20.430-08:00Different Light Sources Explained<!-- This version of the embed code is no longer supported. Learn more: https://vimeo.com/help/faq/embedding --> <object classid="clsid:d27cdb6e-ae6d-11cf-96b8-444553540000" codebase="http://download.macromedia.com/pub/shockwave/cabs/flash/swflash.cab#version=6,0,40,0" height="338" width="600"><param name="allowfullscreen" value="true" /><param name="allowscriptaccess" value="always" /><param name="src" value="http://vimeo.com/moogaloop.swf?clip_id=53607601&force_embed=1&server=vimeo.com&show_title=0&show_byline=0&show_portrait=0&color=ff000d&fullscreen=1&autoplay=0&loop=0" /><embed type="application/x-shockwave-flash" width="600" height="338" src="http://vimeo.com/moogaloop.swf?clip_id=53607601&force_embed=1&server=vimeo.com&show_title=0&show_byline=0&show_portrait=0&color=ff000d&fullscreen=1&autoplay=0&loop=0" allowscriptaccess="always" allowfullscreen="true"></embed></object><br />
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Jerry Ghionis is a famous wedding photographer from Australia. He created this lighting tutorial in cooperation with B&H. Jerry covers different lighting situations (direct sun light, candles, on and off camera flash, window lighting, video light, LED light) by showing examples of his photo shooting. He shows that if you are creative with already available light sources, you may get great shots no matter what your location is. The masterclass is more for advanced photographers who know their photo gear. One of the tips he shares is how to use on camera flash. He does not mean the built-in flash in your camera, but rather a flash unit that you attach to your camera. The main rule is to bounce the light that comes from the flash off a wall or a ceiling. In order to do that you need to turn the flash head to the right angle at every shoot and change this position if you move around or go from horizontal to vertical framing. Even in a room with black walls you can still use this technique if you have something white, like a table or a reflector or your assistant's white shirt. This tutorial is highly recommended for those who want to learn profy's tricks and Jerry is generously sharing his experience with us.Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4306234084626907403.post-58522804179593639962013-01-06T11:11:00.000-08:002013-11-24T09:57:07.776-08:00How to shoot waterfalls<object classid="clsid:d27cdb6e-ae6d-11cf-96b8-444553540000" codebase="http://download.macromedia.com/pub/shockwave/cabs/flash/swflash.cab#version=6,0,40,0" height="338" width="600"><param name="allowFullScreen" value="true" /><param name="allowscriptaccess" value="always" /><param name="src" value="http://www.youtube.com/v/QNq72gbWnG0?hl=ru_RU&version=3&rel=0" /><embed type="application/x-shockwave-flash" width="600" height="338" src="http://www.youtube.com/v/QNq72gbWnG0?hl=ru_RU&version=3&rel=0" allowscriptaccess="always" allowfullscreen="true"></embed></object><br />
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Juan Pons demonstrates how you can take pictures of a waterfall so that the water looks like smoothly flowing. The only technique to use in this case is slow shutter speed because if you set a fast shutter speed, the water will be frozen in its movement. You will need a tripod to stabilize your camera. The shutter speed needs to be from 1,5 sec to 4 sec, it highly depends on how much water is falling down. If it is much water, you may get by with 1,5 sec but if there is a tiny waterfall, you had better choose a longer speed of 3-4 seconds. Set the lowest ISO that your camera can handle, usually 100 or 50 ISO. Also you can use small aperture (f8 to f16) to reduce the amount of light coming through your lens. If you are shooting in a daylight, you may need a neutral density filter (ND), they can reduce your exposure to 3 - 6 stops. A poralizer filter is also a must when shooting water to avoid its reflections.<br />
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Read this in-depth tutorial: <a href="http://photo.tutsplus.com/tutorials/shooting/how-to-photograph-waterfalls/" target="_blank">photo.tutsplus.com/tutorials/shooting/how-to-photograph-waterfalls/</a>Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-4306234084626907403.post-42537055201492960392013-01-04T22:27:00.000-08:002013-11-24T09:57:49.020-08:00How to Measure Flash Exposure<object classid="clsid:d27cdb6e-ae6d-11cf-96b8-444553540000" codebase="http://download.macromedia.com/pub/shockwave/cabs/flash/swflash.cab#version=6,0,40,0" height="338" width="600"><param name="allowFullScreen" value="true" /><param name="allowscriptaccess" value="always" /><param name="src" value="http://www.youtube.com/v/L2qIXRuRdh0?hl=ru_RU&version=3&rel=0" /><embed type="application/x-shockwave-flash" width="600" height="338" src="http://www.youtube.com/v/L2qIXRuRdh0?hl=ru_RU&version=3&rel=0" allowscriptaccess="always" allowfullscreen="true"></embed></object><br />
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If you have no light meter, <span class="yt-uix-sessionlink yt-user-name ">Mark Warren</span> can help you by giving advice on how to measure your flash exposure. Since e-TTL is not very consistent, while the manual mode ensures a very stable exposure. This is especially useful in a studio environment. First set your external flash to a wireless mode. It will be triggered by your on-camera flash unit. You need to configure your camera's settings for the wireless flash control. Set your on-camera flash to behave as a trigger only which means that it does not contribute to the overall exposure. Change the flash mode from E-TTL to manual and start off with full power (1/1). Then you are ready to begin your exposure measuring. Have a white towel placed on a chair and make a shot at 100 ISO, 1/200 shutter speed and 2.8 exposure to begin with. If your towel is blown out, you need to adjust your flash power. You may need several iterations to achieve the right flash power of your external flash unit. By the way, you are controlling your external flash power from your camera and in order to do that you have to use a camera that supports that mode as well as the brand external flash. Always consult your histogram and make sure you have no lights clipping.<br />
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This method allows you to get very consistent results but just make sure you place the white towel at the same distance where your subject will later be located, otherwise the exposure will not be right.Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4306234084626907403.post-19551585137510711622012-12-29T01:15:00.000-08:002013-11-24T09:58:53.268-08:00How Digital Camera Works<object height="450" width="600"><param name="movie" value="http://www.youtube.com/v/YxXi-_R3YTQ?hl=ru_RU&version=3&rel=0"></param>
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This video from DECONSTRUCTED gives an easy to understand explanation of how modern digital photo cameras work to produce images. Their main feature is to transform light into electricity. The light source emit photons that come to the camera through its lens. The lens diaphragm allows how much light comes to the camera and it is called aperture control. After the diaphragm the light hits a mirror and then through a prism to your viewfinder. The prism is used to make the image you see in the viewfinder right side down. When you press a shutter release button, the mirror lifts and lets the light reach the image sensor through the shutter which controls the length of time the sensor is exposed to the light. The image sensor is a set of millions cells that capture photons and generate electrons which produce an electrical charge of different intensity (depends of how much light hit the sensor). The Central Processing Unit of your camera calculates the electrical charge and converts its parameters into a digital form of binary system.Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4306234084626907403.post-80682693708784148312012-12-03T08:03:00.000-08:002013-11-24T10:34:42.555-08:00Wedding Portrait Techniques Indoors<object classid="clsid:d27cdb6e-ae6d-11cf-96b8-444553540000" codebase="http://download.macromedia.com/pub/shockwave/cabs/flash/swflash.cab#version=6,0,40,0" height="338" width="600"><param name="allowFullScreen" value="true" /><param name="allowscriptaccess" value="always" /><param name="src" value="http://www.youtube.com/v/JcOXDbAdwvc?version=3&hl=en_US&rel=0" /><embed type="application/x-shockwave-flash" width="600" height="338" src="http://www.youtube.com/v/JcOXDbAdwvc?version=3&hl=en_US&rel=0" allowscriptaccess="always" allowfullscreen="true"></embed></object><br />
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Bruce Dorn explains and shows in this video tutorial how he uses speedlights with and without softboxes and umbrellas to shoot a bride and a groom in a large hall. He has a big shoot through umbrella equipped with three speedlights. His master flash on the camera (master) controls other speedlights via wireless radio transmitter. He uses a small softbox as his key light. If you have just one speedlight, detach it from your camera (you may use a Canon speedlight cord) and point it to some reflective surface. You need to mind the color of this surface because it is going to affect the color temperature of your light coming to the subject and if it is a brick wall, you will get some red tint.<br />
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In the second part Bruce shows how he photographs a dance by using two bare speedlights pointing at each other so that the couple stays between them and Bruce can take shots from all four corners.<br />
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<hr />
Check this great list that showcases resources useful for both amateur and<br />
professional photographers:<br />
<br />
<a href="http://photographydegrees.org/must-see" rel="dofollow" target="_blank">http://photographydegrees.org/must-see</a>Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-4306234084626907403.post-68796509051433133152012-11-29T11:34:00.000-08:002013-11-24T10:35:50.957-08:00Lighting Zones to Achieve Different Looks<object classid="clsid:d27cdb6e-ae6d-11cf-96b8-444553540000" codebase="http://download.macromedia.com/pub/shockwave/cabs/flash/swflash.cab#version=6,0,40,0" height="338" width="600"><param name="allowFullScreen" value="true" /><param name="allowscriptaccess" value="always" /><param name="src" value="http://www.youtube.com/v/dRgu84ZVYB0?version=3&hl=en_US&rel=0" /><embed type="application/x-shockwave-flash" width="600" height="338" src="http://www.youtube.com/v/dRgu84ZVYB0?version=3&hl=en_US&rel=0" allowscriptaccess="always" allowfullscreen="true"></embed></object><br />
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Mark Wallace from Adorama TV explains what groups or zones are when you shoot with flash lights, either speedlights or studio lights. Zones are used to turn groups of lights on and off. It helps you save the time by allowing you to control these zones from your camera. Mark set up a lighting scheme in his studio to demonstrate how it all works. His model will be sitting still and by controlling the lights Mark is going to modify the lighting that comes to his model. This is extremely useful if you need to make photos of your clients in a studio because you will be able to shoot several different looks with all the lights already set up and all you have to do is turn on and off light zones.<br />
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The key light is always a beauty dish, then he has a small soft box as a fill light from below. Then he uses V-flats lighted by flashes. They reflect and light the model from both sides. Also Mark has a light flash pointing to the background. And there is a soft box that lights the background evenly from below.<br />
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By showing diagrams Mark illustrates how different lights work and how you can use a combination of lights to achieve different looks.Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4306234084626907403.post-68676764807718345012012-11-27T05:03:00.000-08:002013-11-24T10:36:24.004-08:00Five Focus Tips for your DSLR<object classid="clsid:d27cdb6e-ae6d-11cf-96b8-444553540000" codebase="http://download.macromedia.com/pub/shockwave/cabs/flash/swflash.cab#version=6,0,40,0" height="338" width="600"><param name="allowFullScreen" value="true" /><param name="allowscriptaccess" value="always" /><param name="src" value="http://www.youtube.com/v/x4bQc36r5ek?version=3&hl=en_US&rel=0" /><embed type="application/x-shockwave-flash" width="600" height="338" src="http://www.youtube.com/v/x4bQc36r5ek?version=3&hl=en_US&rel=0" allowscriptaccess="always" allowfullscreen="true"></embed></object><br />
<br />
Photographer Phil Steele shares 5 tips on DSLR focusing, from basic to more advanced.<br />
<ul><br />
<li>Set your focus point manually.<br />In Auto mode your camera chooses which focus point to use. Any creative mode of your camera will allow you to manually control which focus point you need.</li>
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<li>Focus and recompose your image.<br />If you do not want to mess with choosing a focus point every time you make a shot, you can select the central point as more sensitive and use it to get the focus of your subject by half pressing the shutter button and then recompose your frame to your liking. It may not work if your depth of field is very narrow (usually at larger apertures like 2.8 or 1.4. Then the advice is to try and move your camera at the same distance to the subject when doing your frame recomposing. Another issue may arise if you need to make multiple photos of the same subject, it will be inconvenient to move your camera back and forth for recomposing. In this case appointing a different focus point is a solution.</li>
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<li>Look for edge contrast<br />If there is not enough contrast, the camera cannot pick the focus and keeps hunting, for example try to focus on blue sky. That is why you need some contrast in the area where you are focusing. In this respect the central point works better as it can detect contrast both vertically and horizontally, unlike some of the other focus points.</li>
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<li>Using manual pre-focus.<br />Sometimes you need to abandon autofocus feature of your DSLR camera and use a manual focus instead. For example when shooting sport or action, you usually know where it will take place but you do not know when. So you manually adjust your focusing ring of the lens to the place where you expect a subject to be and when the action begins you just press the shutter.</li>
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<li>Use Live View for perfect manual focus.<br />Sometimes it is hard to tell when your subject is in or out of focus. In this case use Live View for enlarging the area where you are focusing on manually. When done, switch back to normal.</li>
</ul>
Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-4306234084626907403.post-57528716321944525002012-11-22T11:20:00.000-08:002013-11-24T10:36:55.899-08:00How to Use Off Camera Lighting in Open Air<object classid="clsid:d27cdb6e-ae6d-11cf-96b8-444553540000" codebase="http://download.macromedia.com/pub/shockwave/cabs/flash/swflash.cab#version=6,0,40,0" height="338" width="600"><param name="allowFullScreen" value="true" /><param name="allowscriptaccess" value="always" /><param name="src" value="http://www.youtube.com/v/pNZ23OolTcc?version=3&hl=en_US&rel=0" /><embed type="application/x-shockwave-flash" width="600" height="338" src="http://www.youtube.com/v/pNZ23OolTcc?version=3&hl=en_US&rel=0" allowscriptaccess="always" allowfullscreen="true"></embed></object><br />
Wedding Photographers Zach and Jody Gray show on set how they use off camera lighting in order to reach dramatic sky effect on your portrait photos in open air. They explain about the photography gear they use, for example a Westcott soft box 24x32 equipped with a battery powered 400 W light (you can use a flash light instead); a mono pod which gives flexibility but requires an assistant to hold it; a wireless trigger is .<br />
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They developed a 3 step system to get an amazing sky on your photo because if you expose on someone's face, the sky will be blown out.<br />
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Step 1 - Shoot at ISO 100 and 1/100 shutter speed.<br />
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Step 2 - Expose for your background so that it is 1 stop underexposed by adjusting your F-stop.<br />
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Step 3 - Adjust your flash according to the f-stop from the previous step by using a light meter. Make sure your light meter is positioned at the same distance as your model's face for accurate reading.<br />
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When you shoot outdoors with a flash, it really needs to be a big source of light with a quite powerful light coming to your subject. A bigger size light source like a soft box gives you very even lighting without harsh shadows on your model's face unlike a speed light without any modifier.<br />
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You can keep shooting with the same settings as long as the lighting conditions stay the same.Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4306234084626907403.post-51899815847139032892012-11-18T10:12:00.000-08:002013-11-24T10:37:44.363-08:00Learn from Begginer Photographers' Mistakes<object classid="clsid:d27cdb6e-ae6d-11cf-96b8-444553540000" codebase="http://download.macromedia.com/pub/shockwave/cabs/flash/swflash.cab#version=6,0,40,0" height="338" width="600"><param name="allowFullScreen" value="true" /><param name="allowscriptaccess" value="always" /><param name="src" value="http://www.youtube.com/v/G60VlLsmCUs?version=3&hl=en_US&rel=0" /><embed type="application/x-shockwave-flash" width="600" height="338" src="http://www.youtube.com/v/G60VlLsmCUs?version=3&hl=en_US&rel=0" allowscriptaccess="always" allowfullscreen="true"></embed></object><br />
<ul><br />
<li>Notice changes in lighting and adjust to them. Sometimes you may forget to change your exposure if you move from the sunlight to a shade. After you made a photo, look at your camera's screen to make sure it has not blown up or black areas.</li>
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<li>Instead of shooting hundreds of shots try to slow down and compose (frame) your image, tell your subject to change poses. It is also a good idea to limit the number of photos you will take in this session.</li>
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<li>Learn posing tricks - which poses are good for men or women. Look at other photographers' pictures to learn different poses that your model could use.</li>
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<li>Shoot in RAW, not JPEG! It will allow you to adjust the exposure of already taken images to a much greater degree. Plus you will be able to change your White Balance as you want.</li>
</ul>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4306234084626907403.post-45929551641297322011-04-04T04:05:00.000-07:002013-11-24T10:39:12.576-08:00How to Shoot in Natural Light<object classid="clsid:d27cdb6e-ae6d-11cf-96b8-444553540000" codebase="http://download.macromedia.com/pub/shockwave/cabs/flash/swflash.cab#version=6,0,40,0" height="368" width="600"><param name="allowFullScreen" value="true" /><param name="allowscriptaccess" value="always" /><param name="src" value="http://www.youtube.com/v/Ts-_aQjqSTg?fs=1&hl=ru_RU&rel=0" /><embed type="application/x-shockwave-flash" width="600" height="368" src="http://www.youtube.com/v/Ts-_aQjqSTg?fs=1&hl=ru_RU&rel=0" allowscriptaccess="always" allowfullscreen="true"></embed></object><br />
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Shooting portraits using natural light is sometimes a challenge.<br />
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The best situation is when the sun is behind clouds and your model is lit with very soft and diffused light. This type of light is non-directional and it produces an effect of subject wrapping. There are no strong lights or shadows, therefore no details are lost. The unpleasant shadows under the nose and eyes are almost invisible. If the light is too soft, your model will lack any light accent and in that case you can use a fill flash.<br />
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When positioning your subject please remember that you never should have the sun pointing directly into your subject's eyes. It is the worst position. You should do exactly the opposite, have the sun come from your subject's back. That way it will nicely highlight your model's hair. And if you use a fill flash to light the model's face, you will have a great exposure.<br />
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Even when your subject is facing the sun covered with clouds, use just a little bit of fill flash to brighten the eyes.<br />
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In front light situations there is no depth, no textures, and the details are washed out. In harsh direct sun light it is advisable to use a lens hood to protect your lens from sun rays and eliminate lens flare (the bright little circles or hexagons that appear on the image when you take photos with front lighting) and reduced contrast. When the light is hard, using a reflector will help to bounce some light back to the model's face and that light will not be as hard as directly from the sun. There are 5-in-1foldable reflectors that you can buy for about $30. Alternatively you may use a simple plain white board of a sufficient size.<br />
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Another way to take pictures under direct hard sun light is using a diffusion panel that usually comes in 5-in-1 reflectors. Naturally you will need an assistant who will hold the panel for you blocking the sun light.<br />
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Digital cameras offer much less dynamic range than film cameras. So in order to get your image without blown out areas in the bright day light, just go into shade.<br />
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It is a good idea to shoot in Aperture priority mode but pay attention to your shutter speed as well because it may increase when the sun is getting down and your photos may become blurry. If you see your shutter speed going over 1/60th of a sec, increase the ISO or switch to Shutter priority mode.<br />
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There are three elements that a photographer must understand when taking pictures: light, composition and subject. Every image has its appropriate light. If the light is not good, the photo will be a failure.<br />
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Side lighting can be used for separating the subject from a background. This trick can turn a common photo into a winner. The three-dimensionality of the subject: shape, texture, shadows, it all becomes more obvious.Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4306234084626907403.post-13997564622694440752011-03-23T00:40:00.000-07:002013-11-24T10:40:06.253-08:00Beauty Dish for Portraits<object classid="clsid:d27cdb6e-ae6d-11cf-96b8-444553540000" codebase="http://download.macromedia.com/pub/shockwave/cabs/flash/swflash.cab#version=6,0,40,0" height="368" width="600"><param name="allowFullScreen" value="true" /><param name="allowscriptaccess" value="always" /><param name="src" value="http://www.youtube.com/v/w-cQyJWNvLY?fs=1&hl=ru_RU&rel=0" /><embed type="application/x-shockwave-flash" width="600" height="368" src="http://www.youtube.com/v/w-cQyJWNvLY?fs=1&hl=ru_RU&rel=0" allowscriptaccess="always" allowfullscreen="true"></embed></object><br />
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A beauty dish is a photographic lighting device which uses a parabolic reflector to distribute light towards a focal point. The light created by a beauty dish is between that of a direct flash and a <span class="mw-redirect">softbox</span>, producing a more abrupt shadow edge transfer than a soft box. It gives the image a wrapped, contrasted look, which adds a very dramatic effect. The combination of focused and diffused light allows a photographer to sculpt the light and create shadows on edges of the face, which serve to bring out the facial features. The intensity of the light falls off really quickly, creating drama when it’s needed, but not overdoing it.<br />
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The video shows different kinds of light that you can get from a beauty dish: with or without a reflector, using grids. The difference can be easily seen by the shape of the model's shadow.<br />
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Beauty dishes are great for portrait photography, especially for showing up good skin texture, good bone structure and producing sexy shots that ‘pop’ in fashion and glamour photography. However even the cheapest one will cost at least $100. There are a number of DIY tutorials teaching you how to make a beauty dish from inexpensive materials on your own. Check this <a href="http://davidtejada.blogspot.com/2008/04/beauty-dish-for-sb-800.html" target="_blank">one</a>. You can also use your external flash with a handmade beauty dish.Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4306234084626907403.post-89938916193885486432011-02-17T10:52:00.000-08:002013-11-24T10:41:18.431-08:00How to Shoot a Reportage eBook<h4>
<span style="font-weight: normal;"><b>Enzo Dal Verme</b>, a well travelled photographer, has written a structured and inspiring manual on photography reportage. </span></h4>
<br />
It is mainly aimed at those photographers who want to enter the publishing market and produce quality photos that editors are likely to buy.<br />
<h4>
<span style="font-weight: normal;">His manual “How To Shoot A Reportage” covers a variety of topics designed to help photographers to create impactful images with an eye to the publishing market. There are about 70 pages in the ebook with lots of illustrations (Enzo's own images).</span></h4>
<br />
Even professional photographers will find some useful tricks for their next shooting trip.<br />
<br />
You need to produce a story with hot subjects. It will be helpful if you get inspired by the subject and do some research prior to the shooting. Try to choose a unique theme that can easily be sold to editors. If the story you have in mind is too complicated to do at the moment, put it in your wish list for a future job. These are some of the topics that Enzo covers in his ebook. It also explains the technical stuff: travel preparations, photo gear, photography tips, scheduling your shoot, delivering your work, etc. What I like about this book is that it is so well structured and it answers almost all questions I used to have.<br />
<br />
Read more about this ebook and purchase it here: <a href="http://www.enzodalverme.com/blog/2010/12/how-to-shoot-a-reportage-the-manual/">www.enzodalverme.com/blog/2010/12/how-to-shoot-a-reportage-the-manual/</a> [It is not an affiliate link]Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4306234084626907403.post-8355610056700920102011-01-10T06:02:00.000-08:002013-11-24T10:42:22.719-08:00TTL Metering and Exposure<object classid="clsid:d27cdb6e-ae6d-11cf-96b8-444553540000" codebase="http://download.macromedia.com/pub/shockwave/cabs/flash/swflash.cab#version=6,0,40,0" height="362" width="600"><param name="allowFullScreen" value="true" /><param name="allowscriptaccess" value="always" /><param name="src" value="http://www.youtube.com/v/Axt9zLxdE8s?fs=1&hl=ru_RU&rel=0" /><embed type="application/x-shockwave-flash" width="600" height="362" src="http://www.youtube.com/v/Axt9zLxdE8s?fs=1&hl=ru_RU&rel=0" allowscriptaccess="always" allowfullscreen="true"></embed></object><br />
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TTL means "through the lens". This is the method of metering the light that comes to the camera's sensor through the lens. Any digital camera has a built in light meter which is used to set the correct esposure (shutter speed and aperture settings) at a given ISO. It is a reflection light metering system, i.e. your camera measures the light that is reflected from a subject, a house for example. The meter gets all the light and blends it to an 18% gray. You can change the way your camera mixes up the received light in order to produce 18% gray.<br />
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<span style="text-decoration: underline;">Main metering modes:</span><br />
<ul><br />
<li><b>Spot metering</b>. Your camera uses a very small spot of the frame to calculate the exposure. Usually a central spot of 1-5% of the whole scene in size. Some cameras allow you to move that spot off the central position. This mode is used when you need to focus on one specific area of the scene, for example if there is a strong back light, you cannot use the whole frame as your subject will be too dark. So it is quite an advanced metering mode.</li>
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<li><b>Partial metering</b>. It is similar to teh spot mode but the area used for light calculation is bigger, usually 10 to 15% of the frame. It is also used when you need to exclude some really bright areas of your image, the sun for example.</li>
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<li><b>Average metering</b> averages the whole scene to produce 18% gray and often it does not work well. If you have the sun in one corner, this mode will make the whole image underexposed because it used the bright sun for its calculations. Camera manufacturers know about this disadvantage of the average mode and they created a Center-weighted average metering, which covers a centrally located area of 60-70% of the image.</li>
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<li><b>Matrix or Evaluative metering</b>. Modern cameras with powerful digital processors have this mode. The frame is split to several zones and the processor computes how these zones are lighted. If one zone is overlighter with the sun for example, the computer knows that it should not take this brightness for its calculations. This mode is recommended for those who strat their photography.</li>
</ul>
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The metering system is not too sophisticated and can be fooled by very dark subjects, if you photographing a group of people in black suits, your image will be overexposed because the camera does not expect the black color, it expects 18% gray. The same is true when taking photos of snow, it will be underexposed. The camera does not expect all that white color, it expects middle gray and it reduces the amount of light that comes to the sensor.<br />
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You can use exposure compensation or a light meter to correct your camera's mistakes.<br />
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Exposure compensation range of adjustment goes from +2 to -2 EV in 1/3 steps. So you can adjust the exposure measured by the light meter by telling the camera to allow more light in (positive exposure compensation) or to allow less light in (negative exposure compensation).Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4306234084626907403.post-37911660044327317342010-12-31T05:05:00.000-08:002013-11-24T10:43:10.893-08:00History of Photography<object classid="clsid:d27cdb6e-ae6d-11cf-96b8-444553540000" codebase="http://download.macromedia.com/pub/shockwave/cabs/flash/swflash.cab#version=6,0,40,0" height="475" width="600"><param name="allowFullScreen" value="true" /><param name="allowscriptaccess" value="always" /><param name="src" value="http://www.youtube.com/v/6Eul5bBVQ6Y?fs=1&hl=ru_RU&rel=0" /><embed type="application/x-shockwave-flash" width="600" height="475" src="http://www.youtube.com/v/6Eul5bBVQ6Y?fs=1&hl=ru_RU&rel=0" allowscriptaccess="always" allowfullscreen="true"></embed></object><br />
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"<b>Photography</b>" is composed from the Greek words photos ("light") and graphein ("to draw"). Scientist Sir John F.W. Herschel was the first one who used this term and it was in 1839. Photography means a method of recording images by the action of light on a sensitive material.<br />
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<b>Pinhole Camera</b> (aka the Camera Obscura)<br />
Photography history begins from Pinhole cameras. There are different opinions on who was the first inventor of pinhole. The first mention of the principles behind the pinhole camera, a precursor to the camera obscura, belongs to <span class="mw-redirect">Mo-Ti</span> (470 BCE to 390 BCE), a Chinese philosopher. Alhazen (Ibn Al-Haytham), a great authority on optics in the Middle Ages who lived around 1000AD, has natered the pinhole camera further. He was able to explain why the images were upside down. Around 1600, Della Porta reinvented the pinhole camera. Apparently he was the first European to publish any information on the pinhole camera and is sometimes incorrectly credited with its invention. Johannes Kepler was the first person to coin the phrase Camera Obscura in 1604, and in 1609, Kepler further suggested the use of a lens to improve the image projected by a Camera Obscura.<br />
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<b>The First Photograph</b><br />
On a summer day in 1827, Joseph Nicephore Niepce made the first photographic image with a camera obscura. Joseph Nicephore Niepce's heliographs or sun prints as they were called were the prototype for the modern photograph, by letting light draw the picture.<br />
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Niepce placed an engraving onto a metal plate coated in bitumen, and then exposed it to light. The shadowy areas of the engraving blocked light, but the whiter areas permitted light to react with the chemicals on the plate. When Niepce placed the metal plate in a solvent, gradually an image, until then invisible, appeared. However, Niepce's photograph required <b>eight hours of light exposure</b> to create and after appearing would soon fade away.<br />
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In 10 years Louis Daguerre was able to reduce the exposure time to <b>30 minutes</b>. It was the first practical use of photography and he named this method: the daguerreotype. Daguerre's process 'fixed' the images onto a sheet of silver-plated copper. By 1850 the daguerreotype became popular in Europe and US.<br />
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<b>Negative to Postive Process</b><br />
Fox Talbot is known in History of Photography as an inventor of the three primary elements of photography: <b>developing, fixing, and printing.</b> Although simply exposing photographic paper to the light produced an image, it required extremely long exposure times. By accident, he discovered that there was an image after a very short exposure. Although he could not see it, he found he could chemically develop it into a useful negative. The image on this negative was then fixed with a chemical solution. This removed the light-sensitive silver and enabled the picture to be viewed in bright light. With the negative image, Fox Talbot realised he could repeat the process of printing from the negative.<br />
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<b>Wet Plate Negatives</b><br />
In 1851, Frederick Scoff Archer, an English sculptor, invented the wet plate negative. Using a viscous solution of collodion, he coated glass with light-sensitive silver salts. Because it was glass and not paper, this wet plate created a more stable and detailed negative. It was not convinient to use this method in the field.<br />
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<b>Dry Plate Negatives & Hand-held Cameras</b><br />
In 1879, the dry plate was invented, a glass negative plate with a dried gelatin emulsion. Dry plates could be stored for a period of time. Photographers no longer needed portable darkrooms and could now hire technicians to develop their photographs. Dry processes absorbed light quickly so rapidly that the hand-held camera was now possible.<br />
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<b>Flexible Roll Film</b><br />
In 1884 Eastman patented the first film in roll form to prove practicable; in 1888 he perfected the Kodak camera, the first camera designed specifically for roll film. In 1892 he established the Eastman Kodak Company, at Rochester, New York, one of the first firms to mass-produce standardized photography equipment. <span style="color: maroon; font-family: Arial; font-size: small;"><br /></span><br />
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<b>Color Photographs</b><br />
In the early 1940s, commercially viable color films were introduced to the market. These films used the modern technology of dye-coupled colors in which a chemical process connects the three dye layers together to create an apparent color image. At first color prints were not stable because organic dyes were used to make the color image. The image would literally disappear from the film or paper base as the dyes deteriorate. Kodachrome, dating to the first third of the 20th century, was the first color film to produce prints that could last half a century.<br />
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<b>Film Speed (ISO)</b><br />
An arbitrary number placed on film that tells how much light is needed to expose the film to the correct density. Generally, the lower the ISO number, the finer grained and slower a film. ISO means International Standards Organization. The slower the film, the more light is needed to expose it.<br />
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<b>How cameras developed</b><br />
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By definition a camera is a lightproof object, with a lens, that captures incoming light and directs the light and resulting image towards film (optical camera) or the imaging device (digital camera). All camera technology is based on the law of optics first discovered by Aristotle.<br />
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After years of pinhole cameras use, George Eastman invented the Kodak camera. For $22.00, an amateur could purchase a camera with enough film for 100 shots. After use, it was sent back to the company, which then processed the film. The ad slogan read, "You press the button, we do the rest." A year later, the delicate paper film was changed to a plastic base, so that photographers could do their own processing.<br />
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Andrew Heafitz applied for and received his first U.S. patent for the <b>camera shutter</b>.<br />
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As early as 1905, Oskar Barnack had the idea of reducing the format of film negatives and then enlarging the photographs after they had been exposed. As development manager at Leica, he was able to put his theory into practice. He took an instrument for taking exposure samples for cinema film and turned it into the world's first <b>35 mm camera</b>: the 'Ur-Leica'.<br />
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<b>Polaroid or Instant Photos</b><br />
Photography history won't be complete without Polaroid photography. It was invented by Edwin Herbert Land. Land was the American inventor and physicist whose one-step process for developing and printing photos created instant photography. The first Polaroid camera was sold to the public in November, 1948.<br />
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<b>Disposable Camera</b><br />
Fuji introduced the disposable camera in 1986. We call them disposables but the people who make these cameras want you to know that they're committed to recycling the parts, a message they've attempted to convey by calling their products "single-use cameras."<br />
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<b>Digital Camera</b><br />
In 1984, Canon demonstrated first digital electronic still camera.<br />
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<b>Flashbulbs</b><br />
The first modern photoflash bulb or flashbulb was invented by Austrian, Paul Vierkotter. Vierkotter used magnesium-coated wire in an evacuated glass globe. Magnesium-coated wire was soon replaced by aluminum foil in oxygen. On September 23, 1930, the first commercially available photoflash bulb was patented by German, Johannes Ostermeier. These flashbulbs were named the Vacublitz. General Electric made a flashbulb called the Sashalite.<br />
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Very detailed history of photography up to 1920 can be found here: <a href="http://www.rleggat.com/photohistory/">www.rleggat.com/photohistory</a>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4306234084626907403.post-3293368888403244952010-12-29T10:32:00.000-08:002013-11-24T10:44:48.264-08:00How to Find a Model for Photoshoot<object classid="clsid:d27cdb6e-ae6d-11cf-96b8-444553540000" codebase="http://download.macromedia.com/pub/shockwave/cabs/flash/swflash.cab#version=6,0,40,0" height="340" width="560"><param name="allowFullScreen" value="true" /><param name="allowscriptaccess" value="always" /><param name="src" value="http://www.youtube.com/v/4TCdeWk912c?fs=1&hl=ru_RU&rel=0" /><embed type="application/x-shockwave-flash" width="560" height="340" src="http://www.youtube.com/v/4TCdeWk912c?fs=1&hl=ru_RU&rel=0" allowscriptaccess="always" allowfullscreen="true"></embed></object><br />
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If you are a beginner in photography and your interest is portraiture, you need to have a model to photograph. Of course you can use your family members or friends but sometimes it is not possible and you need to find a stranger model.<br />
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This video shows how two guys were out on a shoot and how they invited girls to model.<br />
<ul><br />
<li>Models' websites and Facebook groups can be a source for local models. Try to use a local website if possible.</li>
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<li>Make a portfolio to show a model, at least a few pictures that tell what kind of photography you do.</li>
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<li>Aim at those models who need to build up their own portfolio.</li>
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<li>Seek TFP or TFCD models. It means that neither a photographer, nor a model is paid any money. The model receives prints or a CD with digital images in return for their time.</li>
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<li>Obtain a model release which will allow you to use the photos you took. <a href="http://www.dphotojournal.com/wp-content/Model_Release.pdf" target="_blank">Download model release</a> (PDF).</li>
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<li>Ask a model to send you some of her photos to see what her strengths and weaknesses are beforehand.</li>
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<li>Be polite and business like with a model. Try to establish a good rapport with them and make the whole process easy and enjoyable. Do not touch a model!</li>
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<li>Inform the model of the location, costumes, make-up that you have planned.</li>
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<li>You need to agree beforehand on who pays a studio rent and a make-up artist costs, if any. Or whether you share these costs.</li>
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<li>Once you have done the shooting, act in a professional way to deliver your model what you have promised (prints or a CD).</li>
</ul>
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