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What is a portrait?
From the very first pictured pictures on wet plates by nineteenth - century photography pioneers to the latest images recorded as digital files on the computer, people have always been the most popular subject for photography. For amateurs, the most common reason for taking out their cameras is to record for posterity, both the individuals who are important to them, and the special moments of their life. In the world of professional photography, portraits represent a significant proportion of commissioned work.
But what do we mean by a “portrait?” One English-language dictionary defines it as a “likeness of an individual, specially of the face.” But while that definition is certainly one with which many would agree, it doesn’t really do justice to the multitude of ways in which people can be portrayed in a picture.
Lighting Matters
If you don’t have much time then sophisticated lighting setups are obviously out. Setting up a single umbrella or a softbox is relatively quick procedure. Once you’ve use it a couple of times and if you maintain the same distance, you may not even need to take a meter reading, since the camera settings will be in mind already. Keeping it simple has another advantage. The result looks clean and contemporary. Style change and picture date. You need only a glance at a picture for hair light, for instance, to see immediately that it’s old-fashioned.
Another reason for simple approach is that one light is also surprisingly versatile, depending on where you place it in relation to the subject, and whether or not you add a reflector to soften the shadow. With two lights you have more control over ratios, but also run the risk of over lighting the subject. Tried and tested setups include one above the camera and one below for “beauty lighting” and either side of the camera at 45 degrees for even coverage. Naturally there will be times when you want to use more than 2 lights, but think carefully about what each light is contributing to the finished picture. If it adds nothing, don’t use it.
Sometimes, though, you don’t need to add any additional lighting at all because the ambient illumination is perfect. Both indoor and outdoor daylight have many moods, and with a bit of help from a poly board, they can give you a quality that’s hard to reproduce artificially.
Making Light Works
understanding, measuring, and using light to create exciting and memorable images
Light is the single most important element in any picture. You try taking a picture without any! And the way you use light that often makes the difference between success and failure. You can have the most attractive or interesting model in the world, get your focus right and exposure perfectly, but if the lighting’s not good you can forget it. However, it’s astonishing how few photographers pay any real attention to light. Even professionals can be so eager to press the shutter release and get the shot in the bag, they don’t really think about how to make the light work for them. Getting to know light, and being able to use it creatively, are essential skills for any photographer. One of the best ways of developing and deepening that understanding is to monitor the many moods of daylight. You might find yourself noticing how beautiful the light is on the shady side of a building , or coming in through a small window, or dappled by a foliage of a tree. The most amazing thing about light is its sheer diversity; sometimes harsh, sometimes soft; sometimes neutral, sometimes pinkish or blue.
More doesn’t mean better
Taking picture is easy when there’s lots of light. You’re free to choose whatever combination of shutter speed and aperture you like without worry about camera shake or subject movement.
But don’t be confuse quantity with quality. He blinding you’ll find outdoor at noon on a sunny day or bursting out of a bare studio head maybe intense, but it’s far from ideal for most kind of photography. More evocative results are generally achieved when light is modified in some ways, with overall levels often much lower.
Controlling the contrast
For some situations and subjects you will want light that is hard and contrasty, with strong, distinct shadows and crisp, sharp highlights. Outdoor when it’s sunny, the shadows are darker and shorter around noon, and softer and longer when it’s earlier and later in the day. Contrasty lighting can result in strong, vivid images. However, the long tonal range you get in such conditions can be difficult to capture either digitally or in film. Care must be taken when shooting in such light so that no important detail is lost in light or dark areas.
The kind of strong contrast treatment is not always appropriate or suitable, however, and for many subjects and situations a light with a more limited tonal range that gives softer result may work better. Where you want to show the maximum amount of detail, or create a mood of lightness and airiness, with minimum of shadows, the soft lighting of an overcast day or a large softbox is unbeatable. The degree of contrast also depends on the direction from which the light is coming in every picture you are using light to reveal something about the subject (texture, forms, shapes, weight, color, or even translucency). So look carefully at what you are going to photograph, and consider what you want to convey about the subject, then start to organize the illumination accordingly.
Here are some of our shots and the lighting setup we did for them
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Faaaala Pessoal, Primeiro agradecendo a todos que comentaram na foto de ontem, falando os temas que mais gostam/gostariam de ver aqui. Um dos mais votados foi o Uso de Flash e a Foto de ontem foi uma foto que utilizei o flash e Hoje já posto o Setup.
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Você puderam ver que na foto de ontem, o mais evidente eram as "Bolinhas de Luz", o Famoso Bokeh. Ele vai aparecer quando houver pontos de Luz fora do plano Focal. Eles ficam mais evidentes quando sua lente está com uma abertura Grande, no caso de ontem minha abertura era 1.8, aí a luz vai entrar pela lente e ficar no formato da Lente (Redondo). Aproveitei as luzes da Rua e dos Prédios para o Bokeh no plano de fundo e o Pisca Pisca para o Bokeh no primeiro plano.
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Galera, se você curte fotografia, vai querer acompanhar um congresso on line (organizado pelos Irmãos Vanassi (@eduardovanassi e Gustavo Vanassi) do @fotologiacast) o #Fotoin17 (bit.ly/fotoin2017) - Vou Colocar esse link até a sexta na minha Bio. É um Congresso TOTALMENTE grátis
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What is a portrait?
From the very first pictured pictures on wet plates by nineteenth - century photography pioneers to the latest images recorded as digital files on the computer, people have always been the most popular subject for photography. For amateurs, the most common reason for taking out their cameras is to record for posterity, both the individuals who are important to them, and the special moments of their life. In the world of professional photography, portraits represent a significant proportion of commissioned work.
But what do we mean by a “portrait?” One English-language dictionary defines it as a “likeness of an individual, specially of the face.” But while that definition is certainly one with which many would agree, it doesn’t really do justice to the multitude of ways in which people can be portrayed in a picture.
Lighting Matters
If you don’t have much time then sophisticated lighting setups are obviously out. Setting up a single umbrella or a softbox is relatively quick procedure. Once you’ve use it a couple of times and if you maintain the same distance, you may not even need to take a meter reading, since the camera settings will be in mind already. Keeping it simple has another advantage. The result looks clean and contemporary. Style change and picture date. You need only a glance at a picture for hair light, for instance, to see immediately that it’s old-fashioned.
Another reason for simple approach is that one light is also surprisingly versatile, depending on where you place it in relation to the subject, and whether or not you add a reflector to soften the shadow. With two lights you have more control over ratios, but also run the risk of over lighting the subject. Tried and tested setups include one above the camera and one below for “beauty lighting” and either side of the camera at 45 degrees for even coverage. Naturally there will be times when you want to use more than 2 lights, but think carefully about what each light is contributing to the finished picture. If it adds nothing, don’t use it.
Sometimes, though, you don’t need to add any additional lighting at all because the ambient illumination is perfect. Both indoor and outdoor daylight have many moods, and with a bit of help from a poly board, they can give you a quality that’s hard to reproduce artificially.
Making Light Works
understanding, measuring, and using light to create exciting and memorable images
Light is the single most important element in any picture. You try taking a picture without any! And the way you use light that often makes the difference between success and failure. You can have the most attractive or interesting model in the world, get your focus right and exposure perfectly, but if the lighting’s not good you can forget it. However, it’s astonishing how few photographers pay any real attention to light. Even professionals can be so eager to press the shutter release and get the shot in the bag, they don’t really think about how to make the light work for them. Getting to know light, and being able to use it creatively, are essential skills for any photographer. One of the best ways of developing and deepening that understanding is to monitor the many moods of daylight. You might find yourself noticing how beautiful the light is on the shady side of a building , or coming in through a small window, or dappled by a foliage of a tree. The most amazing thing about light is its sheer diversity; sometimes harsh, sometimes soft; sometimes neutral, sometimes pinkish or blue.
More doesn’t mean better
Taking picture is easy when there’s lots of light. You’re free to choose whatever combination of shutter speed and aperture you like without worry about camera shake or subject movement.
But don’t be confuse quantity with quality. He blinding you’ll find outdoor at noon on a sunny day or bursting out of a bare studio head maybe intense, but it’s far from ideal for most kind of photography. More evocative results are generally achieved when light is modified in some ways, with overall levels often much lower.
Controlling the contrast
For some situations and subjects you will want light that is hard and contrasty, with strong, distinct shadows and crisp, sharp highlights. Outdoor when it’s sunny, the shadows are darker and shorter around noon, and softer and longer when it’s earlier and later in the day. Contrasty lighting can result in strong, vivid images. However, the long tonal range you get in such conditions can be difficult to capture either digitally or in film. Care must be taken when shooting in such light so that no important detail is lost in light or dark areas.
The kind of strong contrast treatment is not always appropriate or suitable, however, and for many subjects and situations a light with a more limited tonal range that gives softer result may work better. Where you want to show the maximum amount of detail, or create a mood of lightness and airiness, with minimum of shadows, the soft lighting of an overcast day or a large softbox is unbeatable. The degree of contrast also depends on the direction from which the light is coming in every picture you are using light to reveal something about the subject (texture, forms, shapes, weight, color, or even translucency). So look carefully at what you are going to photograph, and consider what you want to convey about the subject, then start to organize the illumination accordingly.
Here are some of our shots and the lighting setup we did for them
See my DNA... - or - View On Black
A great idea can't be dimmed. Created in the days well before Photoshop, this image is how it looked in camera.
My original concept was created for an ad agency as the cover of a retail catalog, it's been my signature image for over 25 years. Friend and assistant Michael Bodycomb (now with the Frick Museum, New York) helped tremendously with the execution to final film.
Camera: Cambo 4x5
Lens: 90mm Caltar II @ f/90
Film: Ektachrome 100 4x5
Lighting: Mixed - incandescent and studio strobe
The Peach
Three Peaches on glossy table with a flower, 1/2 of peach located 9cm away from the camera.
For more photos of the Peaches with difference locaitons and lights Click here..
::~:: Camera set-up ::~::
Camera: Nikon D90
Exposure: 0.003 sec (1/400)
Aperture: f/2.8
Focal Length: 35 mm
ISO Speed: 3200
Exposure Bias: 0 EV
Flash: No Flash
.,.,.,.,.,.,.,.,.,.,.,.,.,.,.,.,.,.,.,.,.,.,.,.,.,.,.,..,.,.
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Note that, comments with pictures or a link to a photos will be deleted
عذرا، سيتم حذف التعليق المحتوي على صور او وصلة الكترونية لصورة
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Light setup for this image: www.flickr.com/photos/terytky/3057445743/
Photo by: Seppo Hinkula
Model: Vasas Zsuzsi
Smink: Szelecsényi Rita
Ha lemaradtál az első workshopról még jelentkezhetsz az áprilisira: fotosiskola.hu/hirek
Setup de Ontem!
Nessa foto, como eu estava na correria pra sair e entregar as fotos, recorri ao sistema de disparo da própria máquina(ao invés do rádio flash), que funciona bem se não tiver obstáculos entre os flashes e câmera e se a distância não for muito grande! A carga de cada flash pode ser controlada pelo menu da própria câmera que tem 2 grupos(você pode controlar, por exemplo, os 2 flashes com cargas diferentes). O velho e funcional rebatedor(isopor) preenchendo sombras 😀👍 Deixa teu joinha aí e marca um amigo pra conhecer esse meu projeto!! Tamos Junto 👊
What is a portrait?
From the very first pictured pictures on wet plates by nineteenth - century photography pioneers to the latest images recorded as digital files on the computer, people have always been the most popular subject for photography. For amateurs, the most common reason for taking out their cameras is to record for posterity, both the individuals who are important to them, and the special moments of their life. In the world of professional photography, portraits represent a significant proportion of commissioned work.
But what do we mean by a “portrait?” One English-language dictionary defines it as a “likeness of an individual, specially of the face.” But while that definition is certainly one with which many would agree, it doesn’t really do justice to the multitude of ways in which people can be portrayed in a picture.
Lighting Matters
If you don’t have much time then sophisticated lighting setups are obviously out. Setting up a single umbrella or a softbox is relatively quick procedure. Once you’ve use it a couple of times and if you maintain the same distance, you may not even need to take a meter reading, since the camera settings will be in mind already. Keeping it simple has another advantage. The result looks clean and contemporary. Style change and picture date. You need only a glance at a picture for hair light, for instance, to see immediately that it’s old-fashioned.
Another reason for simple approach is that one light is also surprisingly versatile, depending on where you place it in relation to the subject, and whether or not you add a reflector to soften the shadow. With two lights you have more control over ratios, but also run the risk of over lighting the subject. Tried and tested setups include one above the camera and one below for “beauty lighting” and either side of the camera at 45 degrees for even coverage. Naturally there will be times when you want to use more than 2 lights, but think carefully about what each light is contributing to the finished picture. If it adds nothing, don’t use it.
Sometimes, though, you don’t need to add any additional lighting at all because the ambient illumination is perfect. Both indoor and outdoor daylight have many moods, and with a bit of help from a poly board, they can give you a quality that’s hard to reproduce artificially.
Making Light Works
understanding, measuring, and using light to create exciting and memorable images
Light is the single most important element in any picture. You try taking a picture without any! And the way you use light that often makes the difference between success and failure. You can have the most attractive or interesting model in the world, get your focus right and exposure perfectly, but if the lighting’s not good you can forget it. However, it’s astonishing how few photographers pay any real attention to light. Even professionals can be so eager to press the shutter release and get the shot in the bag, they don’t really think about how to make the light work for them. Getting to know light, and being able to use it creatively, are essential skills for any photographer. One of the best ways of developing and deepening that understanding is to monitor the many moods of daylight. You might find yourself noticing how beautiful the light is on the shady side of a building , or coming in through a small window, or dappled by a foliage of a tree. The most amazing thing about light is its sheer diversity; sometimes harsh, sometimes soft; sometimes neutral, sometimes pinkish or blue.
More doesn’t mean better
Taking picture is easy when there’s lots of light. You’re free to choose whatever combination of shutter speed and aperture you like without worry about camera shake or subject movement.
But don’t be confuse quantity with quality. He blinding you’ll find outdoor at noon on a sunny day or bursting out of a bare studio head maybe intense, but it’s far from ideal for most kind of photography. More evocative results are generally achieved when light is modified in some ways, with overall levels often much lower.
Controlling the contrast
For some situations and subjects you will want light that is hard and contrasty, with strong, distinct shadows and crisp, sharp highlights. Outdoor when it’s sunny, the shadows are darker and shorter around noon, and softer and longer when it’s earlier and later in the day. Contrasty lighting can result in strong, vivid images. However, the long tonal range you get in such conditions can be difficult to capture either digitally or in film. Care must be taken when shooting in such light so that no important detail is lost in light or dark areas.
The kind of strong contrast treatment is not always appropriate or suitable, however, and for many subjects and situations a light with a more limited tonal range that gives softer result may work better. Where you want to show the maximum amount of detail, or create a mood of lightness and airiness, with minimum of shadows, the soft lighting of an overcast day or a large softbox is unbeatable. The degree of contrast also depends on the direction from which the light is coming in every picture you are using light to reveal something about the subject (texture, forms, shapes, weight, color, or even translucency). So look carefully at what you are going to photograph, and consider what you want to convey about the subject, then start to organize the illumination accordingly.
Here are some of our shots and the lighting setup we did for them
What is a portrait?
From the very first pictured pictures on wet plates by nineteenth - century photography pioneers to the latest images recorded as digital files on the computer, people have always been the most popular subject for photography. For amateurs, the most common reason for taking out their cameras is to record for posterity, both the individuals who are important to them, and the special moments of their life. In the world of professional photography, portraits represent a significant proportion of commissioned work.
But what do we mean by a “portrait?” One English-language dictionary defines it as a “likeness of an individual, specially of the face.” But while that definition is certainly one with which many would agree, it doesn’t really do justice to the multitude of ways in which people can be portrayed in a picture.
Lighting Matters
If you don’t have much time then sophisticated lighting setups are obviously out. Setting up a single umbrella or a softbox is relatively quick procedure. Once you’ve use it a couple of times and if you maintain the same distance, you may not even need to take a meter reading, since the camera settings will be in mind already. Keeping it simple has another advantage. The result looks clean and contemporary. Style change and picture date. You need only a glance at a picture for hair light, for instance, to see immediately that it’s old-fashioned.
Another reason for simple approach is that one light is also surprisingly versatile, depending on where you place it in relation to the subject, and whether or not you add a reflector to soften the shadow. With two lights you have more control over ratios, but also run the risk of over lighting the subject. Tried and tested setups include one above the camera and one below for “beauty lighting” and either side of the camera at 45 degrees for even coverage. Naturally there will be times when you want to use more than 2 lights, but think carefully about what each light is contributing to the finished picture. If it adds nothing, don’t use it.
Sometimes, though, you don’t need to add any additional lighting at all because the ambient illumination is perfect. Both indoor and outdoor daylight have many moods, and with a bit of help from a poly board, they can give you a quality that’s hard to reproduce artificially.
Making Light Works
understanding, measuring, and using light to create exciting and memorable images
Light is the single most important element in any picture. You try taking a picture without any! And the way you use light that often makes the difference between success and failure. You can have the most attractive or interesting model in the world, get your focus right and exposure perfectly, but if the lighting’s not good you can forget it. However, it’s astonishing how few photographers pay any real attention to light. Even professionals can be so eager to press the shutter release and get the shot in the bag, they don’t really think about how to make the light work for them. Getting to know light, and being able to use it creatively, are essential skills for any photographer. One of the best ways of developing and deepening that understanding is to monitor the many moods of daylight. You might find yourself noticing how beautiful the light is on the shady side of a building , or coming in through a small window, or dappled by a foliage of a tree. The most amazing thing about light is its sheer diversity; sometimes harsh, sometimes soft; sometimes neutral, sometimes pinkish or blue.
More doesn’t mean better
Taking picture is easy when there’s lots of light. You’re free to choose whatever combination of shutter speed and aperture you like without worry about camera shake or subject movement.
But don’t be confuse quantity with quality. He blinding you’ll find outdoor at noon on a sunny day or bursting out of a bare studio head maybe intense, but it’s far from ideal for most kind of photography. More evocative results are generally achieved when light is modified in some ways, with overall levels often much lower.
Controlling the contrast
For some situations and subjects you will want light that is hard and contrasty, with strong, distinct shadows and crisp, sharp highlights. Outdoor when it’s sunny, the shadows are darker and shorter around noon, and softer and longer when it’s earlier and later in the day. Contrasty lighting can result in strong, vivid images. However, the long tonal range you get in such conditions can be difficult to capture either digitally or in film. Care must be taken when shooting in such light so that no important detail is lost in light or dark areas.
The kind of strong contrast treatment is not always appropriate or suitable, however, and for many subjects and situations a light with a more limited tonal range that gives softer result may work better. Where you want to show the maximum amount of detail, or create a mood of lightness and airiness, with minimum of shadows, the soft lighting of an overcast day or a large softbox is unbeatable. The degree of contrast also depends on the direction from which the light is coming in every picture you are using light to reveal something about the subject (texture, forms, shapes, weight, color, or even translucency). So look carefully at what you are going to photograph, and consider what you want to convey about the subject, then start to organize the illumination accordingly.
Here are some of our shots and the lighting setup we did for them
What is a portrait?
From the very first pictured pictures on wet plates by nineteenth - century photography pioneers to the latest images recorded as digital files on the computer, people have always been the most popular subject for photography. For amateurs, the most common reason for taking out their cameras is to record for posterity, both the individuals who are important to them, and the special moments of their life. In the world of professional photography, portraits represent a significant proportion of commissioned work.
But what do we mean by a “portrait?” One English-language dictionary defines it as a “likeness of an individual, specially of the face.” But while that definition is certainly one with which many would agree, it doesn’t really do justice to the multitude of ways in which people can be portrayed in a picture.
Lighting Matters
If you don’t have much time then sophisticated lighting setups are obviously out. Setting up a single umbrella or a softbox is relatively quick procedure. Once you’ve use it a couple of times and if you maintain the same distance, you may not even need to take a meter reading, since the camera settings will be in mind already. Keeping it simple has another advantage. The result looks clean and contemporary. Style change and picture date. You need only a glance at a picture for hair light, for instance, to see immediately that it’s old-fashioned.
Another reason for simple approach is that one light is also surprisingly versatile, depending on where you place it in relation to the subject, and whether or not you add a reflector to soften the shadow. With two lights you have more control over ratios, but also run the risk of over lighting the subject. Tried and tested setups include one above the camera and one below for “beauty lighting” and either side of the camera at 45 degrees for even coverage. Naturally there will be times when you want to use more than 2 lights, but think carefully about what each light is contributing to the finished picture. If it adds nothing, don’t use it.
Sometimes, though, you don’t need to add any additional lighting at all because the ambient illumination is perfect. Both indoor and outdoor daylight have many moods, and with a bit of help from a poly board, they can give you a quality that’s hard to reproduce artificially.
Making Light Works
understanding, measuring, and using light to create exciting and memorable images
Light is the single most important element in any picture. You try taking a picture without any! And the way you use light that often makes the difference between success and failure. You can have the most attractive or interesting model in the world, get your focus right and exposure perfectly, but if the lighting’s not good you can forget it. However, it’s astonishing how few photographers pay any real attention to light. Even professionals can be so eager to press the shutter release and get the shot in the bag, they don’t really think about how to make the light work for them. Getting to know light, and being able to use it creatively, are essential skills for any photographer. One of the best ways of developing and deepening that understanding is to monitor the many moods of daylight. You might find yourself noticing how beautiful the light is on the shady side of a building , or coming in through a small window, or dappled by a foliage of a tree. The most amazing thing about light is its sheer diversity; sometimes harsh, sometimes soft; sometimes neutral, sometimes pinkish or blue.
More doesn’t mean better
Taking picture is easy when there’s lots of light. You’re free to choose whatever combination of shutter speed and aperture you like without worry about camera shake or subject movement.
But don’t be confuse quantity with quality. He blinding you’ll find outdoor at noon on a sunny day or bursting out of a bare studio head maybe intense, but it’s far from ideal for most kind of photography. More evocative results are generally achieved when light is modified in some ways, with overall levels often much lower.
Controlling the contrast
For some situations and subjects you will want light that is hard and contrasty, with strong, distinct shadows and crisp, sharp highlights. Outdoor when it’s sunny, the shadows are darker and shorter around noon, and softer and longer when it’s earlier and later in the day. Contrasty lighting can result in strong, vivid images. However, the long tonal range you get in such conditions can be difficult to capture either digitally or in film. Care must be taken when shooting in such light so that no important detail is lost in light or dark areas.
The kind of strong contrast treatment is not always appropriate or suitable, however, and for many subjects and situations a light with a more limited tonal range that gives softer result may work better. Where you want to show the maximum amount of detail, or create a mood of lightness and airiness, with minimum of shadows, the soft lighting of an overcast day or a large softbox is unbeatable. The degree of contrast also depends on the direction from which the light is coming in every picture you are using light to reveal something about the subject (texture, forms, shapes, weight, color, or even translucency). So look carefully at what you are going to photograph, and consider what you want to convey about the subject, then start to organize the illumination accordingly.
Here are some of our shots and the lighting setup we did for them
What is a portrait?
From the very first pictured pictures on wet plates by nineteenth - century photography pioneers to the latest images recorded as digital files on the computer, people have always been the most popular subject for photography. For amateurs, the most common reason for taking out their cameras is to record for posterity, both the individuals who are important to them, and the special moments of their life. In the world of professional photography, portraits represent a significant proportion of commissioned work.
But what do we mean by a “portrait?” One English-language dictionary defines it as a “likeness of an individual, specially of the face.” But while that definition is certainly one with which many would agree, it doesn’t really do justice to the multitude of ways in which people can be portrayed in a picture.
Lighting Matters
If you don’t have much time then sophisticated lighting setups are obviously out. Setting up a single umbrella or a softbox is relatively quick procedure. Once you’ve use it a couple of times and if you maintain the same distance, you may not even need to take a meter reading, since the camera settings will be in mind already. Keeping it simple has another advantage. The result looks clean and contemporary. Style change and picture date. You need only a glance at a picture for hair light, for instance, to see immediately that it’s old-fashioned.
Another reason for simple approach is that one light is also surprisingly versatile, depending on where you place it in relation to the subject, and whether or not you add a reflector to soften the shadow. With two lights you have more control over ratios, but also run the risk of over lighting the subject. Tried and tested setups include one above the camera and one below for “beauty lighting” and either side of the camera at 45 degrees for even coverage. Naturally there will be times when you want to use more than 2 lights, but think carefully about what each light is contributing to the finished picture. If it adds nothing, don’t use it.
Sometimes, though, you don’t need to add any additional lighting at all because the ambient illumination is perfect. Both indoor and outdoor daylight have many moods, and with a bit of help from a poly board, they can give you a quality that’s hard to reproduce artificially.
Making Light Works
understanding, measuring, and using light to create exciting and memorable images
Light is the single most important element in any picture. You try taking a picture without any! And the way you use light that often makes the difference between success and failure. You can have the most attractive or interesting model in the world, get your focus right and exposure perfectly, but if the lighting’s not good you can forget it. However, it’s astonishing how few photographers pay any real attention to light. Even professionals can be so eager to press the shutter release and get the shot in the bag, they don’t really think about how to make the light work for them. Getting to know light, and being able to use it creatively, are essential skills for any photographer. One of the best ways of developing and deepening that understanding is to monitor the many moods of daylight. You might find yourself noticing how beautiful the light is on the shady side of a building , or coming in through a small window, or dappled by a foliage of a tree. The most amazing thing about light is its sheer diversity; sometimes harsh, sometimes soft; sometimes neutral, sometimes pinkish or blue.
More doesn’t mean better
Taking picture is easy when there’s lots of light. You’re free to choose whatever combination of shutter speed and aperture you like without worry about camera shake or subject movement.
But don’t be confuse quantity with quality. He blinding you’ll find outdoor at noon on a sunny day or bursting out of a bare studio head maybe intense, but it’s far from ideal for most kind of photography. More evocative results are generally achieved when light is modified in some ways, with overall levels often much lower.
Controlling the contrast
For some situations and subjects you will want light that is hard and contrasty, with strong, distinct shadows and crisp, sharp highlights. Outdoor when it’s sunny, the shadows are darker and shorter around noon, and softer and longer when it’s earlier and later in the day. Contrasty lighting can result in strong, vivid images. However, the long tonal range you get in such conditions can be difficult to capture either digitally or in film. Care must be taken when shooting in such light so that no important detail is lost in light or dark areas.
The kind of strong contrast treatment is not always appropriate or suitable, however, and for many subjects and situations a light with a more limited tonal range that gives softer result may work better. Where you want to show the maximum amount of detail, or create a mood of lightness and airiness, with minimum of shadows, the soft lighting of an overcast day or a large softbox is unbeatable. The degree of contrast also depends on the direction from which the light is coming in every picture you are using light to reveal something about the subject (texture, forms, shapes, weight, color, or even translucency). So look carefully at what you are going to photograph, and consider what you want to convey about the subject, then start to organize the illumination accordingly.
Here are some of our shots and the lighting setup we did for them
GUCCI Perfume - عطر غوتشي
I merged two shot in one using photoshop.
تصوير دعائي
Note that, comments with pictures will be deleted
عذرا، سيتم حذف التعليق المحتوي على صور
Ok, this is my new gear people. I´m pretty happy with them. I´ve bought 2 slave flashes with fotocell wich conects directly into 220V. I´ve mounted them on some working lights tripod and made a DIY small softbox with a chinese plastic bowl and some tissue paper. This is not the actual setup used for the "Wine and bottle" shot. It was made just to show the strobes and stuff. Hope this gives you new ideas.
© Paradox Entertainment
In Frame: Moazzam Hossain Dip
Makeup: Hasan Khan
Photo: Ali Emad sarker
Assist: Shah Mohammad
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Fala Pessoal,
Como prometido segue setup de ontem!!! Na foto de ontem eu escolhi uma Abertura menor do que normalmente uso(f/13) para que o fundo não ficasse tão desfocado e combinado com a velocidade 1/320s para que todo o ambiente ficasse 1/3 subexposto, aí o Flash corrigiu a exposição em mim!
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Para fazer esse efeito, Tirei 2 Fotos, 1 Comigo e uma sem migo (hehhe), e depois é trabalhar em cima de camadas e máscara lá no Photoshop!!
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Dear friends, after so many mail requests here´s the setup for "Gravity Drink"
Two softboxes triggered at 1/8 , and two SB-800 wirelessly triggered towards the white wall at 1/8
Just moved into a new apartment, and I've finally got my studio set up at home!
A little messy, but hey, cut me some slack ;)
This is the same setup I use for my newborns, minus the bumbo seat and add the black and white posing stool off to the side!
New session on Ink 'N' Water, I use a green ink drooped form a needle in a bowl of water, then I use the Photoshop to color it.
Click to see the original shot without colors.
for more information and studio set-up Click Here.
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عذرا، سيتم حذف التعليق المحتوي على صور او وصلة الكترونية لصورة
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Dia 139/365
Setup de Ontem! Como só tenho uma estante pra flash, tive que fazer uma gambiarra com o monopé "enganchado" na maçaneta da porta!
Tony mais uma vez me me ajudando!!!
Some accessories from my house,
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عذرا، سيتم حذف التعليق المحتوي على صور
Tea set taken with 35mm @ f/5 and some pink/red tone...
Camera:Nikon D90
Exposure:0.125 sec (1/8)
Aperture:f/5.0
Focal Length:35 mm
ISO Speed:320
Exposure Bias:+10/3 EV
Flash:On, Return not detected
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عذرا، سيتم حذف التعليق المحتوي على صور او وصلة الكترونية لصورة
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A snapshot of the home made table top which is constructed from metal and perspex that cost about RM100.00 that was assembled in 1.5 hours. Image captured with my Nokia N93 phone.
For once it is nice to have a client come to my home (a lot less work, that's for sure)! My bedroom serves has a nice studio, I think! Looks like my husband & I will be moving into the toy room! ;)
Press L!
A quick edit; I will tweak some more when I'm not about to catch a train! :) Any criticism welcome.
framed beauty : Tanjuma Afroj Akhi
wardrobe : Label Imam Hassan
make up : Monirul Islam Tuhinhin
photography by : Ali Emad Sarker
follow me on www.instagram.com/gallery_of_ali_emad_sarker/
What is a portrait?
From the very first pictured pictures on wet plates by nineteenth - century photography pioneers to the latest images recorded as digital files on the computer, people have always been the most popular subject for photography. For amateurs, the most common reason for taking out their cameras is to record for posterity, both the individuals who are important to them, and the special moments of their life. In the world of professional photography, portraits represent a significant proportion of commissioned work.
But what do we mean by a “portrait?” One English-language dictionary defines it as a “likeness of an individual, specially of the face.” But while that definition is certainly one with which many would agree, it doesn’t really do justice to the multitude of ways in which people can be portrayed in a picture.
Lighting Matters
If you don’t have much time then sophisticated lighting setups are obviously out. Setting up a single umbrella or a softbox is relatively quick procedure. Once you’ve use it a couple of times and if you maintain the same distance, you may not even need to take a meter reading, since the camera settings will be in mind already. Keeping it simple has another advantage. The result looks clean and contemporary. Style change and picture date. You need only a glance at a picture for hair light, for instance, to see immediately that it’s old-fashioned.
Another reason for simple approach is that one light is also surprisingly versatile, depending on where you place it in relation to the subject, and whether or not you add a reflector to soften the shadow. With two lights you have more control over ratios, but also run the risk of over lighting the subject. Tried and tested setups include one above the camera and one below for “beauty lighting” and either side of the camera at 45 degrees for even coverage. Naturally there will be times when you want to use more than 2 lights, but think carefully about what each light is contributing to the finished picture. If it adds nothing, don’t use it.
Sometimes, though, you don’t need to add any additional lighting at all because the ambient illumination is perfect. Both indoor and outdoor daylight have many moods, and with a bit of help from a poly board, they can give you a quality that’s hard to reproduce artificially.
Making Light Works
understanding, measuring, and using light to create exciting and memorable images
Light is the single most important element in any picture. You try taking a picture without any! And the way you use light that often makes the difference between success and failure. You can have the most attractive or interesting model in the world, get your focus right and exposure perfectly, but if the lighting’s not good you can forget it. However, it’s astonishing how few photographers pay any real attention to light. Even professionals can be so eager to press the shutter release and get the shot in the bag, they don’t really think about how to make the light work for them. Getting to know light, and being able to use it creatively, are essential skills for any photographer. One of the best ways of developing and deepening that understanding is to monitor the many moods of daylight. You might find yourself noticing how beautiful the light is on the shady side of a building , or coming in through a small window, or dappled by a foliage of a tree. The most amazing thing about light is its sheer diversity; sometimes harsh, sometimes soft; sometimes neutral, sometimes pinkish or blue.
More doesn’t mean better
Taking picture is easy when there’s lots of light. You’re free to choose whatever combination of shutter speed and aperture you like without worry about camera shake or subject movement.
But don’t be confuse quantity with quality. He blinding you’ll find outdoor at noon on a sunny day or bursting out of a bare studio head maybe intense, but it’s far from ideal for most kind of photography. More evocative results are generally achieved when light is modified in some ways, with overall levels often much lower.
Controlling the contrast
For some situations and subjects you will want light that is hard and contrasty, with strong, distinct shadows and crisp, sharp highlights. Outdoor when it’s sunny, the shadows are darker and shorter around noon, and softer and longer when it’s earlier and later in the day. Contrasty lighting can result in strong, vivid images. However, the long tonal range you get in such conditions can be difficult to capture either digitally or in film. Care must be taken when shooting in such light so that no important detail is lost in light or dark areas.
The kind of strong contrast treatment is not always appropriate or suitable, however, and for many subjects and situations a light with a more limited tonal range that gives softer result may work better. Where you want to show the maximum amount of detail, or create a mood of lightness and airiness, with minimum of shadows, the soft lighting of an overcast day or a large softbox is unbeatable. The degree of contrast also depends on the direction from which the light is coming in every picture you are using light to reveal something about the subject (texture, forms, shapes, weight, color, or even translucency). So look carefully at what you are going to photograph, and consider what you want to convey about the subject, then start to organize the illumination accordingly.
Here are some of our shots and the lighting setup we did for them
Here is the zoomed out lighting example used for my Mari photo: www.flickr.com/photos/darkain/5079697479/
a dark field, some lighting gear, some colored light emitting children's toys equal a lot of fun...
The goal here was 'fun', specifically to let people play around with this setup and see what kind of results they could get... the setup was shooting tethered so that people could see what was being captured on a near real-time basis. You can see the results of this set up here......this is a 'behind the scenes' shot.
Click Here for another view of the behind the scenes's setup.
Technical Description:
Canon 5DMkII w/ 24-70mm f/2.8L lens mounted on a Manfrotto 055CXPRO Carbon tripod, with a shutter release cable shooting tethered into a MacBook Pro running Lightroom 3. The camera was in 'bulb' mode with the shutter being opened/closed by the Canon shutter release cable (allowing the person running it to determine how long the exposure needs to be). Lighting was provided by two White Lighting X1600's mounted on C-Stands with boom arms out. The front light was up and to camera left with a large softbox difusing things, a back light to camera right was restricted with a set of barn-doors. Both lights triggered by Pocket Wizard Plus II's, Power provided by a Paul C. Buff Vagabond II. Everything was carted up there in Joleen's (my wife) 2005 Subaru WRX STI (on the left).
This photo taken by another Canon 5D with a 16-35mm f/2.8LMkII lens with another Pocket Wizard Plus II firing the strobes.
How It Works: The way the setup functions is that a puff of flash is fired when the shutter release cable is pressed, this puff of flash is the only thing that illuminates the people in the frame. After the flash people can move around with the color light sources and 'paint' until they are done. Because there is so little available light the length of time the shutter is open doesn't matter a ton, some times the people would be done in just a second or two and in others it might take ten seconds. One tip is that the strobes should be set on a low enough power that they balance out well in terms of exposure with the light sources that are being used for the 'painting', in this case the strobes were on pretty low.
wedding | portrait | event | commercial
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The equipment i use for some of "Water Splash photos" Click to see the result
My cousin bO.hAmEed92211 was shooting with me, he is one of D40 user, and he manage to get some wonderful shots, hope to see them on www.flickr.com/photos/bohameed92211 flickr account.
هذه المتطلبات الي تحتاج اليها لتصوير مراحل سقوط جسم ما او فاكه في الماء، انصح باستخدام اكثر من مصدر للاناره
.................. طريقة التصوير الاسبلاش ...................................................................
التقاط الصورة تمت باستخدام كاميرة دي 90 بوضع الفوكس اليدوي
وتثبيت الكاميره على حامل، تم استخدام مصدر اناره خارجيه وكذلك استخدام خلفيات بالوان مختلفه
بيضاء وسوداء، استخدام خاصية التصوير السريع المتوفره في الكاميره
ارجو لكم التوفيق
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The light is the key element in the photography ... For more details on How To, Click Here
`~`Camera Setup & Studio`~`
[*] Camera: Nikon D90
[*] Exposure: 0.02 sec (1/50)
[*] Aperture: f/11.0
[*] Focal Length: 78 mm
[*] ISO Speed: 800
[*] Exposure Bias: -2 EV
[*] Flash: On, Return not detected
[*] Camera on stand.
[*] LightBox with Black background.
[*] Nikon SB-900.
[*] FlashLigh. [as second light source].
[*] Low-Light room.
[*] Glass as Reflection.
تفاصيل اكثر عن استخدام الاضاءه في التصوير
اضغط هنا
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عذرا، سيتم حذف التعليق المحتوي على صور
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