File Name: portrait tips and techniques .zip
Here are some of our best tips to help keep things fresh and unique for each couple. To create a more interesting image, we avoid shooting portraits in mid-range because the images look too ordinary.
However, what we should have done in the inspirational posts is not just provide you with some inspiration for your work, but also present useful photography techniques and photo tutorials which can help you to achieve optimal pictures for your designs. In this post we present useful photographic techniques, tutorials and resources for various kinds of photography. Among other things, we cover high-speed photography, tilt-shift photography, black and white photography, motion blur, infrared, night, smoke photography, macro photography, HDR, panoramic photography, RAW processing and others. Celebration Of High-Speed Photography This post is supposed to provide you with some inspiration of what can be done with high-speed photography.
IntroductionA simple observation, that a work of art is not the literal equivalent of the subject it portrays, has been long been known to photographers as well as artists in other types of media. Since the days of the Renaissance, painters such as Leonardo da Vinci have known that perspective rendering is an optical trick.
Many of the best creations of M. Escher exploit the visual confusion between three-dimensional reality and the way this reality is portrayed on a fl at surface. So if a photograph is not reality, then what is it?
There are a probably a number of good answers to this question. My working defi nition is that a photograph is a twodimensional image that owes some or all of its origin to a version of its subject captured using chemistry or electronics. This defi nition is broad enough to include any photograph. This is not a book about Art School rules. This is a book about becoming a better photographer.
In some respects, good composition is about keeping things simple-or at least, apparently simple. Bad composition, on the other hand, is a deal breaker; it goes beyond almost any other photographic mistake you can make. You can often fi x a lousy exposure, but if you cut off your Aunt Louisa's head, there's nothing you can do about it afterward except apologize.
Of course, you might have wanted to showDrawing is deception. But even then, you should be aware of your intention when you take the photo, and your composition should refl ect your anger. Hopefully, the book will show you some important techniques and help you avoid some basic compositional mistakes.
I've provided some suggestions for further reading in the Resources Section on page Introduction Cameras don't take photos, people doPhotographic technique can only get you so far. Technique by itself-without passion or vision-is shallow and meaningless. Cameras don't take photos; people do. That said, almost all photographers who create effective photos have mastered their craft. Sometimes I think of my camera as a musical instrument.
If I want to be a virtuoso, I need to practice. Indeed, I take photos almost every day. If a week goes by in which I haven't done much photography, then I feel rusty when I pick it up again. It takes a few hours for me to really feel comfortable and get back in my "groove. I know how the technical choices I make in the fi eld will affect my compositions; I have an awareness of the "palette" of techniques available to me; and I can use my camera and its full range of photographic tools to enhance my compositions.
Another way to say this is that understanding photographic technique is necessary to being good at composition, but it's not suffi cient. Before you get to the more abstract and virtuoso aspects of photographic composition, you need to understand the notes-the basic elements of your craft. Edge of Night, shown below, is an elaborate composite image created from thirteen four-minute exposures for the night sky , and one ten-minute exposure intended specially for the lighthouse.
I put the image together using the Statistics script, which is available in the Extended versions of Photoshop. In other words, creating this image required considerable technique in order to achieve the long night exposures and to assemble the pieces that make up the image. I needed technical "chops" to achieve this image, but I had to start out with a pre-visualization of what I wanted to achieve.
Without foresight of where I was going, I could not have created this photo. See Unleash your imagination beginning on page 82 for more about pre-visualization. The photos on this page tell a story of working with your camera, and not against it. At best, a camera is an extension of you: your implant with digital image storage capabilities.
When you are truly "in the zone," your compositional decisions are achieved almost as fast as thought-which is good because light can change very quickly. If you hesitate, you may lose the decisive moment. As the rising sun hit the walls of the valley, I placed my tripod in the snow and used a moderate wide-angle focal length to capture this image.
The moment quickly passed, and soon the light was flat and uninteresting. Moments later, the sun was up and the opportunity had passed. This measurement, in combination with the size of the sensor, determines whether a lens appears to bring things closer or makes them seem further away.
Normal lenses provide roughly the same angle of view as human sight, about 43 degrees. You can use a normal lens to make things seem, well, normal. Images, in terms of perspective and angle of coverage, will approximate human vision.
If you are working with a 35mm fi lm camera, a "normal" lens will have a focal length of about 50mm. See page 18 for information about how lenses on a cameraLenses and Focal Lengths with a digital sensor compare to lenses on traditional fi lm cameras. Telephoto lenses bring things closer think "telescope".
See pages 16, 18, and 19 for examples. Telephoto lenses are good for isolating specifi c parts of a subject against an out-of-focus or blurry background. The optics of a telephoto lens work to compact lines of perspective.
This effect can be used with moderate telephoto lenses to create fl attering portraits, and, in some cases, to increase the attractiveness of landscapes. Moderate telephoto lenses have a focal length ranging from about 70mm to about mm, and stronger telephoto lenses go up from there. Wide-angle lenses pages 20 show a more broad view of the world than we are used to seeing. They are good for bringing expansive subjects into a single frame; show a cohesive view of a scene using the inherently high depth-of-fi eld of wide-angle focal lengths.
See pages 50 for more about depth of fi eld. In 35mm terms, lenses in the 28mm to 40mm focal length range are considered moderate wide angle; focal lengths less than 21mm in 35mm terms are defi nitely extreme wide-angle. Much of the photography you'll do is with zoom lenses, which offer variable focal lengths. Some zoom lenses range from wide-angle though telephoto. So it's not strictly correct to speak of "wide-angle" or "telephoto" lenses; it may really be the focal length setting on a zoom lens that one refers to.
There are many special purpose lenses that can be used for creative compositional effects. Special purpose lenses that I use frequently include a macro lens, a fi sheye lens, perspective-correcting lenses, and a Lensbaby. Macro lenses are used to create close-up photos. A macro lens can have a telephoto, normal, or wide-angle focal length.
Wide-angle macros are uncommon and undesirable. Macro lenses can also be used to take photos that are not close-up. They tend to have a crisp, but fl at, overall look, which works well for detailed subjects, but is not fl attering for portraits. Good macro lenses are designed to be optically fi rst-rate when used with small apertures which is often not the case with non-macro lenses. For more on apertures, see pages ; for examples of macro lenses used to advantage, see pages 26 Fisheye lenses are used to capture an extremely wide-angle hemispherical view with pronounced optical curvature.
See pages 24 for more on this type of photograph. Perspective correcting lenses and the Lensbaby allow you to move the barrel position around.
Perspective correcting lenses can be precisely adjusted and are used to alter lines of perspective. The Lensbaby started out as a piece of optical glass at the end of a fl exible hose!
And while Lensbabies have come a long way from their origin, the concept of adjusting the lens tube to change the "sweet spot" of focus remains the same.
See pages 60 for an example. The image is shown here as it's been published, cropped in to create the illusion that the large sun is proportionally even larger. The smaller the sensor, the closer a given focal length lens brings you to your subject. For example, if a sensor has half the area of another sensor, then a specifi c focal length lens will bring you twice as close on a camera with the smaller sensor.
Yet small sensors often have issues with noise and resolution. But that's a different story for a different time. For more about noise, see pages In terms of focal length, smaller sensors are good for telephoto lenses and hard on wide-angles; larger sensors make for good wide-angle optics but diminish the potency of telephoto lenses. Since different cameras have different sized sensors-unlike in the days of fi lm-it is not possible to have a uniform vocabulary of lens focal lengths.
So people compare focal lengths to their 35mm fi lm equivalent by adjusting for the sensor size. This is why I introduced 35mm focal length equivalences in my description of normal, telephoto, and wide-angle optics. To make the comparison with 35mm fi lm focal lengths, you need to know the ratio of your sensor to a frame of 35mm fi lm, which is called the focal-length equivalency.
To fi nd out how the focal lengths I used compare with 35mm focal lengths, multiply my focal lengths by 1. To compute the comparable focal length on your own camera, you need to know the focal-length equivalency factor of your sensor.
Regardless of whether you're a raw rookie, an eager enthusiast or a practicing professional, there's always something fresh to learn or an old bad habit to put right. So, from your core camera craft to advanced lighting and composition, through to basic and high-level post production, this huge compendium of tips puts together some of the best fundamentals and cutting edge tricks to help you improve your photography and get the most out of your camera. If you're looking to take perfect portraits, shoot luscious landscape, capture wonderful wildlife shots and master macro, or if you're after some quick editing tips for Photoshop, Lightroom or Affinity, this is the essential guide for you. We've arranged these photography tips and tricks into sections so you can get started and improve your images right away. Each issue comes with a free disc packed with photography projects, techniques and tutorials, Photoshop lessons and much more. These are broken down into detailed guides in the magazine pages, too, so you can bring the mag along and follow the steps on your next shoot.
If you have any good recommendations, please leave them in the comments below so everyone can benefit. Night sky photography has been all the rage recently, especially over Instagram. Learn from a professional night sky photography with this excellent free ebook from Photzy. Fine art photography is a way for the photographer to express his or her work as an artist, without the constraints of a particular genre. Make sure you know where you stand regarding the law and your ownership of images.
In VOLUME 2 of the 3-volume companion guides Portrait Recipes available individually or as a bundle , various indoor portrait scenarios are illustrated, and 8 different detailed lighting setups are revealed. Detailed diagrams showing placement of lights be it speedlights or available light accompany each scenario, with EXIF settings shown, and my thought process described. These are the 8 scenarios in this volume of Portrait Recipes. Each scenario comes with its own set of challenges, and I will reveal tips that include:. How a speedlight-lit portrait compares to one that was shot entirely with available light quick. Guerrilla-style lighting techniques that deliver results with a basic set of equipment. With these tips, you can confidently tackle any lighting situation during your next portrait or wedding shoot!
This book is designed for advanced amateurs and new professionals wishing to improve their portraiture style using natural lighting techniques. A basic.
This article is based on concepts from The Photography Action Cards if you want to dig deeper for further training. Most photographers have heard of the S curve, and this example photo is a literal example of the concept. Fun Fact The S curve did not originate with photography.
Whether you are a beginner or more experienced with photography, here are some of our favorite tips that will help you improve your photography! This rule helps you take eye-catching pictures by using one of the most effective rules of composition. To use the rule of thirds, imagine four lines, two lying horizontally across the image and two vertical creating nine even squares.
As a photographer, you are always looking for skills to develop. Learning how to professionally capture portrait photography is one of them. Portrait photography can be used as a business idea or a way to capture your own personal and family life. Good portrait photographers are sought after and well respected. Product links on ExpertPhotography are referral links.
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But for many dedicated shooters, the obvious first choice in equipment is still a digital single-lens reflex (DSLR) camera. Why? First, DSLRs allow a shooter to.Paige d. B. 14.05.2021 at 18:53
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