Urban areas are sprawling across landscapes at a record setting pace and this creates many problems; light pollution being one of them. This poses a tough challenge for photographers who like to shoot during night time hours. The ambient glow from cities stops us from seeing the gorgeous night sky. Often you need to travel many miles before you can get away from the yellow glow of street lights. The good news is that Irix have just released a new line of light pollution filters that may help those who like astrophotography, and night time cityscapes. Read on after the break to find out more about these new filters.
from https://www.thephoblographer.com/2019/01/30/irixs-new-edge-light-pollution-filters-to-launch-in-time-for-astro-season/
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Architecture is an art form, it is a branch of science, it is a business, it is the architect’s personal expression as well as that of the commissioner. So, it is not surprising that I see architectural photography as overlapping various forms, kinds, branches of photography. This post will help me crystallize my ideas of architectural photography as I get ready for another round-table discussion at the Film Photographers Association. Fair warning: it is a long post! But in addition to carefully worded information, there is also an excellent collection of photographs from professional architectural photographers published with their permission. The photographers’ names are in the captions of the photographs. If known, the architect’s name is included before the photographer’s name. ArchitectureWhat exactly is architecture? Architecture is a blend of art and science that creates spaces for human experiences. It defines function, form, space, detail, material, and decoration/ornamentation that collectively help create the human experiences. Each element in the above shortlist has significance and each architect expresses them differently in line with the practice of their art. Through the millennia, architectural styles have gone through changes leaving traces of earlier experiences on the new creations until the new ones become strong enough on their own and then shed the lineage. Many decades ago, I visited the underground cities of Derinkuyu and Kaymakli in Cappadocia, Turkey. I don’t mean a small cave where a few people lived, I mean levels of living, producing, trading spaces, even underground burial grounds, and tunnels that connected the above two cities that are 4-5 miles apart. Even there, one could see the effort to contribute to the human experiences. Below left is a drawing showing 18 levels of a town that could house upwards of 20,000 people. Underground architecture? On one floor, for instance, was a cavity on the wall, about 5′ x 5′ and about that tall with a foot high ledge in the front. The ledge had a hole at the bottom that connected it to the outside and it was directly above a hole on the floor. Whatever for? It turned out that they would put grapes on the floor of the opening in the wall, go and stomp on it to crush the grapes to squeeze the juice which would run out of the hole and drip through the hole on the floor to the level below where they had huge amphoras to catch the juice! This is the winery! Well, we have come a long way from Derinkuyu, but the idea of creating space for human experience remains at the heart of architecture as I see it. When I say “space” I do not limit it to just the volume but the material, shape, form, function, detail, and ornamentation all combined. Photography of Architecture or Architectural PhotographyI see a symbiotic relationship between architecture and photography. Architecture is location-bound and needs visibility. Photography provides “mobility” to architecture and also uses it as a subject for its own purposes. We mostly appreciate and enjoy architecture thanks to photography. There is a rich selection of architectural beauty that most of us will not get a chance to see if it were not for photography. That said, not every photograph that depicts a building or other kinds of architecture qualifies to be called architectural photography. This is not unique to architecture as we do not call any photograph of an individual a portrait. The intention of the photographer and her/his ability to embed that into their photography makes the difference. As photographers, they “read” their subject, the architecture, and interpret the work for us to appreciate it fully. The architecture may be the subject of different kinds of photography like travel, documentary, art, product. or architecture photography. In this day of photographs flooding the Internet, one can imagine millions of selfies taken in front of almost that many architectural works. They essentially serve as a record and give bragging rights to the taker “I was in front of …” My main interest in this article lies in the last instance where the photograph is taken for architectural purposes. Clearly, this kind of work features a “product” and certainly qualifies as product photography but the sheer magnitude of the subject differentiates it from a bottle of soft drink or a fancy watch. There is, however, a good deal of overlap between the product photography and architectural photography aspects as they both try to convey a message to the viewer about the architecture and its architect. The distinguishing factor between this kind and the art photography in architecture lies in what will come forward, the photograph or the architecture; the photographer or the architect. Now, I am not suggesting that a superb architectural photograph may not be a fine art photograph. But, successful architectural photography requires that the architecture be primarily admired. This may depend, to a large extent, on how the viewer approaches the photograph. Famous architectural photographer Julius Shulman cites an instance when a viewer exclaimed “what a beautiful photograph” after looking at one of his works. That, he says, made him embarrassed and aware that he and his work need to fade behind the architecture and the architect. The opening photograph that I took in Panagia Isodion church in Istanbul, for instance, will be seen as an architectural photograph as it presents the architecture, its structure, detail, materials, etc. A different view I photographed in the same place is below. It is more of an art photograph because the viewer first sees the unusual treatment of the subject. And, even the frame is not rectangular! Hard to focus on the architecture. Up to this point, I tried to establish a backdrop for architectural photography. Now we will focus more on photography specific issues. It is important, however, that we keep the idea of architecture and that we are talking about architectural photography not photography of architecture. There are many photographs in the body of the post as well as a gallery that presents a large collection from five photographers. The photographers’ names are in the captions of the photographs which will appear when you click to enlarge them and all of the images are clickable. If known, the architect’s name is included before the photographer’s name. How to Approach Architectural PhotographyThere are photographers whose prime subject is architecture. They know their subject, they have the right equipment, they have made enough mistakes to become experts in their field. Some even have formal education in architecture. When photographing architectural subjects, there are points to remember some of which may go against the practice in other kinds of photography. What I present here will share how I see architectural photography based on my opinion, a little experience, a fair amount of reading and looking at a lot of such work. So these are not rules, just points to remember, nor are they particularly authoritative as I am not a professional architectural photographer. Think about them, take what makes sense to you, leave the rest behind. Remember, It is a Commissioned ProjectArchitectural photography should be approached as a commissioned project by an architect even when just trying to learn and experience what it is. Understanding the narrative the architect may have in mind for different purposes is of utmost importance. Never lose sight that the finished work will speak for the architect, not for the photographer. By this, I do not mean that the photographer will not bring his or her sensibilities to the final product. That is necessary and almost required. But viewers looking at the end results should primarily be impressed by the architecture, not the photograph, which becomes the messenger. We Need to Learn to Read the Architecture RightTrained architects and architectural photographers can extract much more information from this than us casual architectural photographers. But, this does not mean we should not try. I have written several articles here on reading photographs, now I am suggesting the same for another art form. Think first of the function of the structure, how well does the execution convey that? Louis Sullivan coined the phrase “form ever follows function.” The architectural form may convey this function, can we capture that? What kind of spaces does the design create, how and how well are they connected? What is the context for the structure, would this design be the same at any other place? Can we, should we convey this context, this location? Is there an inspiration for the architectural design coming from its context and environment? What are the materials used and how do they contribute to the fulfillment of the intention of the architect? When I looked at the photograph by Arnaud Marthouret below, the connection between the building design and the rocky ledge on top of the hill was the first thing I noticed. Of course, I followed that thought for the photographer for choosing the vantage point to make the connection. It is quite possible that I may be reading too much into this but better too much than too little in my opinion! All these are issues that would help the photographer to find the proper vantage points for photographing this structure. In the photograph on the right above, Peter Sieger shows us what appears to be the living quarters of a residence punctuated by an Eames chair no less. We also see the outdoor space connected through large sliding doors and the stairwell on the right implies that there is another floor below. This kind of connectivity is inherent in architecture and its photography needs to convey the same. Time of Photograph Controls the LightThe exterior of buildings is typically photographed under daylight although dusk and night photography may be suitable for some. In general, photographers seek softer light to avoid strong shadows and use this light to define its form or shape, or texture or detail. When photographing buildings, our main light is the sun and we can only position our tripod and time the photo session to get the best light angle. To a large extent, reflectors, secondary fill lights, and so on are out of the question although under some conditions other buildings around the subject may help reflect some light. To emphasize the form, you will need more than one side of the building showing and the light needs to hit it in such a way to convey its form. This will benefit from shadows cast by various design elements, balconies, overhangs, inset windows, windowsills, etc. The shadows cast by these elements should not interfere with other important design elements by covering them. If there is ornamentation as an integral part of the design, we must pay attention not to obscure them in full shadows. All these require different angles of light, thus different times of the day and possibly different vantage points. Look at the photograph by Peter Sieger and notice how the form of the building and its linear accents both vertical and horizontal come forward with light and shadow on the structure. Judging by the short shadow of the railing, the time seems to be mid-afternoon and the sun high. Respect the Scale, Proportion, and PerspectiveThe vantage point selected, camera format and the lens choice should not distort the proportion intended by the architect. There may be a temptation to exaggerate the angle of the roof, or some protruding parts for artistic reasons but we must question whether that will respect the intended scale and proportion. In order to convey a sense of scale, we may consider including known elements like a human figure, a popular model car, a mailbox, a phone booth (what am I talking about!) These elements will help the viewer better appreciate the size and the scale of the structure we are photographing. This brings another question to the table about the use of human figures to convey the function of the building. (Read Peter Sieger’s take on this.) Some argue favorably, some do not like the idea but do consider whether adding people will enhance the photograph. Meticulous interiors photographed equally meticulously may require professional models in order to do justice to the photographic and architectural structure. Sometimes the inclusion of people may become unavoidable when photographing exteriors or public places. In the photograph on the right, David Cardelus positioned his tripod at a slightly lower point probably to show the hill-top position of the hotel. The inclusion of the cars and a person going by provides a sense of scale. Now, imagine the same photograph from the other side of the building! It would probably look like a wedge of Swiss cheese as the shorter side would get significantly shorter yet and the tall edge would be towering. That, I believe would have seriously distorted the sense of scale, but, I may be wrong. Do Not Ignore Detail and DecorationSome architects like Antoni Gaudi or Louis Sullivan integrate detail and decoration into their structures, and in a very organic way. Looking at the detail and ornamentation in their work is like looking at the bark of a tree, it is very much an extension of the core structure. Such detail deserves the same level of attention given to the structure itself. Without these elements, their work is not the same. Can you imagine La Sagrada Familia without its mesmerizing detail? In his post, “Photographing Gaudi,” David Cardelus says, “In the case of photographing the works of Gaudí this idea is especially important given the density of concept and detail in all of its buildings.” It is that density and that level of organic integration of the detail with the core structure that makes the photographic attention not highly deserved, but absolutely essential when photographing their work. Learn to Use the Right Equipment and ToolsAlthough some architectural photographs deliberately use low angles, looking up to make the structure soar to the sky with converging verticals, the general practice is to keep verticals vertical. This requires either a view camera with full front and back movements or a tilt-shift lens on a 35mm digital or film camera. These allow including more of the building height without tilting the camera upwards which keeps the correct perspective by eliminating the converging verticals. Perspective correction can also be done in post-production in Photoshop or Lightroom but we must be careful so as not to distort the correct aspect ratio of the building. Simply making verticals vertical by using the Transform tool in Lightroom will most likely result in the building getting skinnier. This needs additional correction by changing the aspect ratio using the appropriate slider. Sometimes that may not be enough and careful introduction of horizontal “correction” may be applied to repair the unwanted shift in the width. Photoshop has even stronger tools for dealing with this. Its Adaptive Wide Angle filter has been my favorite since I first saw it when I was in the beta-test group of Photoshop 6 many years ago. It is still an excellent tool which can be augmented by the free transform and warp tools if necessary. I am not even mentioning the necessity of a tripod and a remote release for serious architectural work although documentary or artistic photographs of buildings can be handled without one. I took the photograph on the right with a hand-held camera looking head on to photograph the facade of the church. Needless to say, it was distorted with converging lines. I corrected it in Lightroom using the circular windows as guides to make sure the building did not look narrower than it was. How Much Change in Post-ProcessingHow much post-processing modification to apply to the images captured in the field occupies the minds and the blogs of many photographers. Architectural photographers are no exception. The dilemma is an ethical one, “is removing something from the photograph altering the meaning of the image?” I believe it depends to a large extent what is being removed from the photograph and why. In one of his posts, Peter Sieger talks about removing some cords from the area below a desk in an office. If the photograph were to be used to promote safety procedures and measures in an office environment, that removal may alter the meaning of the image. However, I see no reason for concern in removing the same wires from a photograph that presents the architectural qualities of the office. I arbitrarily removed a lamp-post from the photograph of the Albert Monument in London which significantly alters the environment, the context. Therefore, not an appropriate level of image alteration. Yes, it was quickly and crudely done to make it somewhat obvious! Treat Interior Lighting CarefullyToday, one of the obsessions of photographers is to “open up the shadows” to show more detail. This may be quite important in documenting something but when photographing interiors of buildings respect the shadow and let it be! Remember, shadows help create the form, texture, shape and all are important in architecture. When possible, use available light and when augmenting it with artificial light do not fight the natural or available light. A properly lit interior will look just right, with shadows not fighting in different directions. It is not unusual to have stronger light sources be inserted in the existing lighting fixtures to maintain the natural look of the surroundings. It is important to preserve the mood of the space without converting the photograph into a documentary image that records what is in the room for insurance purposes! Here are some examples of interior photographs, and I reluctantly put a couple of my works along with that of a fine professional, David Cardelus. Note how carefully he framed the photograph that uses symmetry in an ironic way; it is there but not exactly! And how the light falls off in distant parts of the room away from the windows. My photograph of the interior of Panagia Isodion Church in Istanbul serves as a reminder that interior photographs may offer a significant amount of detail to photograph, and the Melin Residence is there to remind us that the available light is OK! Camera HeightSometimes the camera height is determined by the subject as in the photograph of Park Güell below. By carefully adjusting the height of his camera Peter created a very interesting photograph, almost an illusion. On other occasions, keeping the camera elevated shows more of the horizontal surfaces and gives shape to tabletops, desks, and the floor as I did in the photograph of one of the floors of the Salt Lake City Public Library. Keeping it low emphasizes vertical elements, like the fronts of the desks, bookcases, columns, and the like. So, the tripod does not determine how high the camera will be set but your vision for the photograph. In his photograph, professional photographer Aaron Usher keeps the camera high enough to delineate all the elements. Aaron and Arnaud seem to follow a piece of advice from Julius Shulman who said that he would pull a couch to make room for his tripod behind it. Arnaud also shows the effect of including a person in an interior photograph. Take your pick. Camera AngleBy camera angle, I mainly refer to the horizontal angle. When photographing the exterior of buildings, the facade or its elevation may have a strong interest to keep the camera parallel to it. This yields a single-point perspective photograph which may be quite suitable for many occasions from large palaces and places of worship to modest residences. This angle emphasizes the lines, shapes, texture, the color of the structure as its form would be hidden behind the elevation view. In order to present the form of the structure, on the other hand, we need suitable lighting as mentioned above and proper camera position which will yield multi-point perspective as more than one side of the structure is shown. Showing the height, width, length of the building accompanied by proper lighting angle will create a feeling of volume or the form of the building. Interiors of large structures may also benefit from this treatment but not all the time. In the Church of St. Anthony of Padua – Istanbul, I decided to use the single point perspective with a hand-held camera in dim light. Luck! With a little more luck (read as a tripod!) I could have lined up the tops of the pews better. Note also in Arnaud’s photographs how changing the height and the angle of the camera can provide much different information. What Else?There is a view that architects design “from a teaspoon to a city” coined by the Italian architect Ernesto Nathan Rogers. And, you will see the marks of their hands from the outside to the inside of the structure, its interior decoration, furniture, to the chandeliers and the decorations on the walls. So, an architectural photographer has to be willing and able to photograph them all. The bank tellers’ cages must be fitting for a Sullivan designed bank, the furniture for a house designed by the minimalist architect Mies van der Rohe must reflect the same sensibilities. Le Corbusier, the world-famous architect has a furniture line, and I even sat in a Le Corbusier chaise lounge at a friend’s house! All these are within the scope of architectural photographers with the same sensibilities that we may aim at their buildings. Photographing ancient ruins or structures will also benefit from the same approach as if they are just built. Reading them with an eye toward understanding their function, style, space, form, etc. will help in photographing them with the same respect we show to the current buildings and artifacts. Granted, photographing in the narrow hallways of Derinkuyu may not be the easiest thing, devoid of daylight but Red Basilica in Pergamon can be fully explored, this in infrared. The ancient ruins deserve the same attention and respect we give to contemporary works. Famous Architects and PhotographersThis conversation will not be complete without mentioning the people who make all this happen, the architects and the photographers. The list is long, space is short! I will mention a few names and a few articles to get your thinking kickstarted. Architects The Internet is full of lists of the most important architects of the 20th century, so I will not list them here beyond a few names I know in this article. Here are some of these lists and significant names. I strongly suggest you look at the works with an eye not to like or dislike them but to understand their design sensibilities. The list is not in any particular order.
Photographers Architectural photographers bring us closer to the architects and their works. I have enjoyed the work of Julius Shulman since I stumbled on his Visual Acoustics movie years ago, and then acquired several of his books. Then on a PBS program, I learned about Pedro Guerrero and how he photographed Frank Lloyd Wright and his works, very interesting. I got a couple of books on him too. Around the same time, I became familiar with Ezra Stoller, another master in this field in the 20th century. When you visit their indicated Web sites you will see their wonderful work. I have seen many photographs in this genre and very recently found the works of Peter Sieger, David Cardelus, and Arnaud Marthouret. I have known Aaron Usher for some years now and he is the local go-to person for this kind of work. I suggest all of them very highly for your viewing and learning pleasure. Shulman, Stoller, and Guerrero have iconic photographs you may have seen. If you can find their movies, I highly recommend them as well. Here are some links to visit:
And, I have not even scratched the surface for either list! Keep looking, architecture and its photography can be very rewarding experiences. A Few MoviesIf you have it in your NetFlix, Kanopy, or other sources, I highly recommend the following movies that are about architects and architectural photographers.
Don’t Forget The Seed GermLest we forget that architecture is an expression of a seed idea, as Louis Sullivan called it the seed germ, I would like to close with the following Sullivan drawing and his idea that shaped his art. P.S. You can find a larger gallery of architectural photographs here. Thanks: I am grateful to my friends Mete Turan, professor of architecture and Aaron Usher, architectural photographer; Peter Sieger; David Cardelus; and Arnaud Marthouret for their time, and thank the photographers for allowing me to use and enjoy their work in this post. About the author: A. Cemal Ekin is a photographer based in Warwick, Rhode Island who has been shooting for roughly 60 years. He retired as a professor of marketing emeritus from Providence College in 2012 after 36 years of service there. Visit his website here. This article was also published here and here. from https://petapixel.com/2019/01/30/an-in-depth-look-at-architectural-photography/ What would it look like if I made a timelapse out of every single picture that I captured during a concert? I had occasionally been toying with this idea since I saw a wedding timelapse by photographer Kevin Mullins a while ago. I recently documented two concerts in a row for Denmark’s best live band, The Minds of 99. I worked for the band and had full access during the shows, so this was the perfect opportunity. I took every single picture from the first of the two shows, minus all the backstage photos, and turned 90 minutes of concert into just over 3 minutes of timelapse video. I actually only remembered the timelapse idea after the shows so I did not photograph them with the timelapse in mind. This was photographed in the way I normally cover a concert. There are 1,564 pictures in this video representing every single frame from the 90-minute-long concert. I shoot mostly on single shot mode, except for during strobe lighting, so that is a shutter click roughly every 3.5 seconds. I use Fujifilm cameras and lenses exclusively and I photographed this concert using Fujifilm X-T3 and X-T2 cameras with Fujinon XF16mm f/1.4 and XF35mm f/1.4 lenses. I was using both cameras at the same time with one hanging on each shoulder, so there are obvious jumps as I swap cameras, from the 16mm to the 35mm view and back again. Other obvious jumps happen of course, when I go from stage to the pit, to the front of the building, to the balcony etc. All photos were shot in RAW format. I applied a slight preset during import in Lightroom that just applied the Fujifilm Classic Chrome color profile and desaturated the strong colors that are present due to LED lights and haze. Just to make the images more viewable in this time-lapse. There was no cropping and no other post-processing at all — everything else, including the exposure and white balance, is straight out of camera. Except for the few images in here that are part of my picks, those had been fully developed before I thought of the timelapse idea. I shot the entire show on auto white balance and almost the entire show on auto shutter speed. I then use the exposure compensation wheel on the Fujifilm cameras to go from +3 to -3 or somewhere in between depending on what I want to expose for. The Fujifilm X-cameras keep up with mad changing lights really well, so this system works for me. Finally, I then almost blew up my aging MacBook by exporting 1564 JPEGs and loading them into iMovie to create the timelapse! The exported movie was finalized with titles and soundtrack in Premiere Pro CC. Nested in among those 1,564 frames are my fully processed picks from that night. You can view my blog post with 50 selected and edited images from the 2 concerts. This way you get to compare and see what I picked out of the 1,564 stills (some of these 50 are from show number 2). I have been a professional music photographer for seven years and am always looking for ways to improve and develop my work. Besides looking rather cool and being fun to put together, I was surprised by how useful this timelapse is for me. I can see clearly how I move and what I look for. If you are an event photographer I highly recommend trying this out. About the author: Flemming Bo Jensen is a music photographer and Fujifilm ambassador based in Copenhagen, Denmark. The opinions expressed in this article are solely those of the author. Jensen works with the biggest festivals and artists in Denmark. You can find out more about him through his website and by following him on Facebook and Instagram. Credits: Timelapse and photos by Flemming Bo Jensen. Soundtrack: ‘Fuglebur’ by The Minds of 99 and used with permission. from https://petapixel.com/2019/01/30/turning-ever-frame-from-a-concert-into-a-timelapse-of-the-show/
It's time once again for us to share our latest vintage find to those of you who are keen on expanding your camera collection with another rare addition. This time, it's another early edition Leica which not only comes in stunning black color and some brassing here and there, but also a fascinating military history. If military-issued cameras are your thing, you better make space -- and funds -- for this beauty!
from https://www.thephoblographer.com/2019/01/30/rare-leica-iiif-swedish-army-1956/
One of the reasons why many professional photographers opt to shoot in RAW as opposed to JPEG is the versatility that RAW files offer during post-processing. RAW files are unprocessed images that contain all of the data your camera sensor is capable of capturing, whereas JPEGs are compressed files that have already been processed by your camera and contain significantly less information for you to work with during post. While you can certainly manipulate JPEGs in post-production, the wealth of data stored within each RAW file gives you significantly more freedom when processing your images. RAW editors give you near limitless possibilities to fine-tune the White Balance, Exposure, HSL (Hue, Saturation, and Lightness/Luminance), as well as a myriad of other values, allowing you to create a final image that matches your unique aesthetic and vision. In this tutorial, we will be focusing solely on HSL adjustments.
from https://www.thephoblographer.com/2019/01/30/the-noob-photographers-introduction-to-hsl-adjustments/
Once in a while, we put the spotlight on some rare, original prints by iconic photographers instead of cameras and gear for our noteworthy vintage finds. Among these are Andy Warhol's Polaroid Self-Portrait, Bert Stein's worksheet from the Last Sitting with Marilyn Monroe, and a framed Ansel Adams print. Today, we're adding a signed Henri Cartier-Bresson print to the pile. Whether you're a street photography enthusiast, a Cartier-Bresson fan, or simply an avid collector of iconic photography, you might want to check this out.
from https://www.thephoblographer.com/2019/01/30/signed-henri-cartier-bresson-prints/ A little more than six years ago I wrote my first guest blog post here on Scott’s website, and it’s incredible to see both how much has changed, and also how much has stayed the same. Since my last post here I got married, moved five times, adopted two dogs, traveled to eight new countries, checked off a few items on my bucket list, and I’ve also grown my photography education business into a full-time job. While my life looks a little different than it did in 2012, my excitement and passion to grow as a photographer is the same. One of the things I love best about my job as a photographer is that I get to call all of the shots. I have gone in a solo direction with my work and get to photograph what I want and make books and tutorials that are of my own creation. It’s fulfilling, but it also takes a lot of self-determination and a good work ethic, and I’m constantly forced to stay at my own very high level of expectations. Here I’d like to share some of the things I’ve learned during my time as a photographer. Forge Your Own Path Now, a few decades later, I realize that I had nothing to worry about. Because of the Internet and digital photography, I was able to find a way to make photography my career. A path that began as with stock photography has evolved into a career in photography education. I wasn’t following someone else’s path or anything out of a book. I discovered the way on my own. Whether or not you make photography a business, you’ll likely still go down a certain path with your work. Maybe you enjoy landscapes, architecture, portraits, or flowers. Whatever it is, make sure it’s something you enjoy, and don’t be afraid to experiment with new types of photography that may be vastly different than your current photographic interests. Should you stick to one genre? Maybe. It depends on your goals and what you want to achieve as a photographer. This is a very personal decision and is entirely up to you. Personally, I enjoy photographing almost everything. Many people know me for my food photography, but I also do a lot of landscape, nature, and travel, as well as macro and water-drop photography. I’ve even done some underwater photography as well. And thankfully, with the job I chose, having a diverse set of photographic interests can be beneficial. With a wide genre of photographs in my portfolio I am able to write books and create video training that appeals to a larger audience. And I also love the challenge of learning something new, and sometimes that involves going down a creative path that is completely different from the photography I’ve made in the past. You will probably hear a lot of strong opinions on whether or not you should stick to one niche, along with many other topics relating to photography and business. Maybe they come from an anonymous voice in an online comment, or from a trusted photographer friend. I know I’ve heard my fair share of opinions from photographers who think they know what is best for me and my business. But in the end only you know what’s best for you and your photography. Listen to your gut and don’t let someone else steer you in the wrong direction. Find The Best Social Network For YOU I also have my own social network, so to speak. One of the best forms of communication I have is my newsletter. While social media is good for sharing photos and other information, so much of it gets swept away only moments after it is posted. With email, however, my messages are going directly into the inboxes of my subscribers. It’s understood that each message I send is about me and my work, which is why people signed up in the first place. And while I offer a lot of free downloads and tutorials to my subscribers, I don’t hesitate to ask for a purchase. In fact, I make nearly all of my income from what I offer my members through the newsletter. It’s my most personal—and profitable—form of communication. It also allows someone to get directly in touch with me, just by replying to one of my emails! That gives me the chance to chat one-on-one with someone, and their message doesn’t end up getting buried by the endless flood of social media streams. Challenge Yourself Food photography is one example. In my early stock photography days, I decided to give it a try, even though I knew nothing about how to properly photograph food. My initial images were awful, but as time progressed and I learned more about lighting and food styling, my images improved. Eventually I would write two books on food photography--Food Photography: From Snapshots to Great Shots—as well as a video course on the KelbyOne website. Another good example is with waterdrop photography. In fact, I came across this just by random interest. There is a device I was purchasing—the Pluto Trigger—to use for photographing lightning, and while researching it I saw that they also sell a water drop valve as an accessory. The valve was not too expensive, and I thought it might be fun to try my hand at photographing water drops. After getting the valve and doing some research online, I was able to create some beautiful photos on my first try! It’s now become one of my favorite things to photograph. Practice, Practice, Practice Even I have had my moments where my camera sat around collecting dust for a little too long, and I remember feeling rusty when I finally picked it up again. If you enjoy photographing landscapes but live somewhere that is lacking in natural beauty, maybe you can experiment with a different type of photography that is not dependent on the environment. Or maybe you could sign up for a 365 challenge, where you create a new photograph each day for an entire year. I attempted this one (and didn’t make it all the way), but it did encourage me to create a handful of good photos that otherwise would not have been created. There are a lot of other opportunities to encourage you to pick up the camera. If you’re on Flickr, you may find groups that motivate you to get out and use your camera. I even have my own “Nicolesy” group where I run monthly photo challenges (click here to check it out on Flickr). Or maybe you’ve joined a local photo club, a photowalk, or an online forum. Find something that works for you and inspires you to get out and create something. Whatever route you end up following, if photography is important to you, the best thing you can do for yourself is to create. While photography is my main focus, I am a fan of creating so many other things and have quite a few hobbies. I love to knit, I’m a big pottery enthusiast, and I also enjoy the process of working on my website and creating books and video training for my business. When I’m creating, I’m happy. You can see more of Nicole’s work and tutorials on her website, YouTube channel, and Flickr profile, and keep up with her on Instagram, Twitter, and Facebook. The post Guest Blog: Photographer Nicole S. Young (a.k.a. “Nicolesy”) appeared first on Scott Kelby's Photoshop Insider. from https://scottkelby.com/guest-blog-photographer-nicole-s-young-a-k-a-nicolesy/
After reviewing the Sigma 40mm f1.4 lens, the Sigma 28mm f1.4 DG HSM Art was a relief to handle--a smaller lens in almost every way, 28mm is also one of my favorite focal lengths. Photographers who often reach for this focal length are street photographers, travelers, and even those just looking to photograph just for fun. It is an incredibly useful focal length and works well in the documentary process. The Sigma 28mm f1.4 DG HSM Art is weather sealed, fast to focus, and delivers beautiful image quality. In fact, I'd like to call the image quality that we get here "cinematic."
from https://www.thephoblographer.com/2019/01/30/review-sigma-28mm-f1-4-dg-hsm-art-what-the-35mm-shouldve-been/
On the last episode of Inside the Photographer's Mind, we spoke with Geoffrey Berliner of the Penumbra Foundation. Geoffrey has an interesting background. He loved photography growing up, and then got into repairing fountain pens and other things, then came back to photography. Geoff is now one of the people who runs Penumbra and arguably the face of the organization. If you aren't familiar with them, they're an organization that specializes in the super old school photography techniques. It's all about doing things slowly and with magic.
from https://www.thephoblographer.com/2019/01/29/inside-the-photographers-mind-geoffrey-berliner-of-the-penumbra-foundation/ To shoot medium format had been a longtime dream of mine, but I have to admit I didn’t know it would be such a mindblowing experience. The 51.4-megapixel Pentax 645Z arrived on the market in 2014 and was the first camera to ever exceed 100 points in the DxOMark sensor test. For some unknown reason, the score and review weren’t published until 2017. There is plenty of info to be found on the Internet concerning the camera specs so I won’t cover that in much detail. What is of greater interest to me and hopefully the reader is the medium format experience. The 645Z body is larger than a regular DSLR, but it doesn’t feel heavy (3.4lbs/1.5kg). It actually feels surprisingly light in my hands, and with the 25mm or 28–45mm mounted it balances very well, and that includes mounted on my Sirui w-2204 with a K-20 ball-head. As a landscape photographer, my chief concerns in regards to a camera are dynamic range, details, sharpness, colors, noise, and ease of use. To make a long story short, when I the first time began pushing the 645Z files I almost couldn’t believe my own eyes. The dynamic range is nothing short of breathtaking. Truth be told this absolutely doesn’t feel like a four-year-old camera — on the contrary. Romsdalen, Norway, offers breathtaking scenery with mountains, steep mountainsides, valleys and waterfalls in almost every direction. The perfect location to test the capabilities of the camera. The following is a very high contrast scene with strong light radiating from behind and over the mountain ridge. I shot a panorama consisting of three verticals exposed for the highlights. This is after stitching in Lightroom and the shadows are more or less pitch black since I do the stitching before any adjustments. For panoramas, I use the Sirui LE-60 leveling base. After a few minutes of adjusting sliders in Lightroom the scene has completely changed character (the image is not finished and will be further edited in Photoshop when time permits): The Pentax 645Z is absolutely outstanding when it comes to picking up shadows with almost zero noise added and no weird magenta color casts in the deepest shadows. It also does a very good job at recovering highlights which at first sight may look blown out. One thing I noticed immediately I began scrutinizing my first batch of raws was the stunning amount of detail the camera captured. It must have been challenging for the Pentax developers and engineers to produce lenses which match the camera’s capabilities. However, Pentax has a long history of producing very good glass. Both the 25mm and the 28–45mm are super sharp. I have of yet not tested the 55mm. The 25mm is unfortunately discontinued, but new and used copies are still in circulation. Weighing in at 3.24lbs (1.47kg), the 28–45mm is quite a heavy lens, whereas the 25mm and 55mm are considerably lighter. To have a zoom lens in addition to the two primes is something I consider a great advantage in terms of added flexibility when being out in the field. I am not very fond of long treks which probably has something to do with my impatient and restless nature. In other words, carrying that extra weight of the 28–45mm isn’t a big issue for me. It is also noteworthy that the 28–45mm is 82mm and thus takes regular filters. The 25mm has this clever in-lense polarizer solution, and the Nisi 150mm filter holder for the Tokina 16–28mm fits the lens. The camera sensor has a crop factor of 0.79x so that for instance 25mm equals 19.5mm full frame. This is upstream Isterdalen in Romsdalen. The famous Trollstigen is ahead of us. There is no need for an L-bracket on the 645Z. I have mounted two Sirui plates on either side of the camera something which makes shooting verticals a breeze. Clever of Ricoh/Pentax to implement two mounting holes — one for each orientation. Who needs more detail than this: The Pentax K-1 and Pentax K-1 Mark ii have spoiled me with great, pleasing and vibrant colors. Not surprisingly perhaps does the Pentax Medium format flagship excel also in this field. It doesn’t take much in for instance Lightroom to bring out colors and color contrast. ‘Bispen’ is one of several characteristic peaks in Isterdalen: Sunsets in the southern parts of Norway can be very intense and beautiful during summer. This is from my home turf around 60 km north of Oslo, and I am very pleased with how the 645Z renders the warm tones. Both lenses produce very pleasing sunstars. I may be wrong but I believe this image is a once in a lifetime experience. The sun rose in such a way that it sailed between two mountain peaks before it was obscured by the mountain to the right. The sighting only lasted a couple minutes, and the sun took on an intense and beautiful color which cast a warm glow across the scene. For my second outing with the 645Z, I headed to Rjukandefossen, Hemsedal, Norway. I was a tad unhappy that I had to move over to this side of the waterfall in order to capture the setting sun because that meant walking across a suspiciously looking suspension bridge about which I had my doubts would carry my 210lbs+ (95kg+) camera gear. Working out with weights and doing landscape photography isn’t perhaps the best combination. The transition to the 4:3 format has gone surprisingly smooth. I find the format increasingly pleasing, and it opens up new possibilities compositional wise. The format has also challenged me to think outside the box something which isn’t exactly one of my strong sides. In addition to the aforementioned, I also notice that I am far more inclined to shoot panoramas with the 645Z than what is the case with my other cameras. Menus are easy to navigate and it doesn’t take long before one knows where to find the various settings — everything is very intuitive. A dedicated button on the camera body itself makes it very simple to shoot bracketed if so desired. The “Info” button option on the back of the camera provides a convenient short-cut to the often most used settings. The ability to have a histogram in Live-View is very handy notably when shooting long exposures. A dedicated mirror lock-up switch is also found on the camera body. I have a tendency of forgetting that it exists but as of yet none of my shots have been ruined by shutter shock or vibrations. I have had no computer issues with the relatively large files the 645Z produces. My i7 laptop has effortlessly stitched and edited a seven frame pano scene. Even my i5 travel laptop has without great problems stitched three frame panoramas. The Pentax 645Z is a value for money camera, and Ricoh/Pentax has thus made medium format available to a huge group of photographers who otherwise couldn’t have afforded a medium format system. In true Pentax spirit, the system is of course thoroughly weather-sealed. The camera with three lenses and the Nisi 100 mm filter system neatly fit into a Lowepro Whistler BP 450 AW. We will end this review with a four frame panorama of the more or less famous cabin scene — cabin to which I have developed a love/hate relationship. Admittedly, during my first years with a camera I shot this location “to death”. I have received some criticism for this. Rightly so, I would add. The criticism has had the effect on me of pushing me out of my comfort zone, so it is all positive. This is a scene which has offered me much fun and provided me with many great memories. Anyway, we are in this instance dealing with yet another extreme high contrast scene. The sun had just set behind the hill so the light bleeding into the sky was very strong. No filters were used to balance the light since I wanted to give the 645Z a really tough challenge. Well, the camera was up for the challenge. About the author: Ole Henrik Skjelstad is a landscape photographer and math teacher from Norway. The opinions expressed in this article are solely those of the author. You can find more of Skjelstad’s work on his Flickr, 500px, and Instagram. This article was also published here. from https://petapixel.com/2019/01/29/the-medium-format-experience/ |
Paul DeckerHi I Paul Decker,32 years old from Arizona,AZ,USA,working on 3D animation from the last 4 years.Here I am sharing tips about it. Archives
April 2019
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