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Well, certainly news that shocked me. I have felt a bit numb the past 2 days, but it is starting to sink in. This is such an honor to have work in this show. You can read more about the show here: www.karenburnsfineart.com/event/159025/american-artists-p...
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Setup shot for my first attempts at smoke photography.
for your reference the picture has notes with what everything is :)
Thoroughly enjoyed doing these, and looking forward to having another go at them again soon. Lots of room for improvement.
Thanks for looking!
Results below.
My week on the seamless white background is soon coming to an end, but for now: this!
Lighting
One small flash, triggered with Cactus V4 radio triggers, shot through an 80cm white umbrella, on camera left just outside the frame - 1 o'clock.
Yes, I like using only one light when possible.
Faaala pessoal, como falei ontem, o setup de iluminação mais uma vez foi simples, utilizei somente um Flash e um rebatedor (Aqui, gostaria de falar para TODOS que estão começando a utilizar flash(e mais além, até começando a fotografar), tenham um rebatedor, pode ser como esse da foto mesmo, uma folha de isopor, é MUITO barato e você vai notar uma diferença na sua iluminação, se quiser investir mais um pouco, por menos de 100 reais vc encontra rebatedor 5em1)
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E o processo de manipulação da foto de ontem foi o seguinte:
Para facilitar a vida, tirei 2 fotos... a minha normal e depois uma foto so da camisa aparecendo a parte interna. Depois joguei no Photoshop, fiz a “seleção da minha cabeça “, removi utilizando máscara (assim utilizamos um processo não destrutivo) e com a foto da parte interna, eu ajustei à parte antes removida!!!
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Tony veio me ajudar novamente, mas ele NUNCA vai perder a Boca... pense num cachorro pra comer!!! 😂
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Peaches and Flower, two Peaches on glossy table with a flower, the flower located 9cm away from the camera.
[:] Equipments [:]
[x] Home Made Light Box.
[x] Towel as background.
[x] Normal Room light. [Ceiling fluorescent light bulbs]
[x] Nikon D90 + Nikon 35mm lens.
:~: Camera Set-up :~:
Camera: Nikon D90
Exposure: 0.003 sec (1/400)
Aperture: f/2.8
Focal Length: 35 mm [Nikon 35mm lens]
ISO Speed: 3200
Exposure Bias: 0 EV
Flash: No Flash
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Note that, comments with pictures or a link to photos or personal photos or personal flickr accounts will be deleted
عذرا، سيتم حذف التعليق المحتوي على صور او وصلة الكترونية لصورة
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The DIY Home Studio – This is my setup for the 32" Softbox. Stobe positioned camera right almost 45º from the flowers. Also the head tilt is 45º from level to reflect light off the backdrop and reflector.
Photoflex 42” White reflector used to bounce the light from the window back into the daffodils.
Calumet Genesis 200w Strobe @ 25% power.
32" Calumet Softbox
Clear Plexiglas for reflection
26” White (Craft) seamless paper for backdrop.
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
© arkworld photography
I had to try one of these shots. The idea is just too cute. It was a lot of fun shooting this one. As soon as she laid down and I put the shoe on her belly, the baby started kicking like crazy. I had to reposition the shoe a few times. We got such a kick (no pun intended) out of that. :)
* On a side note...we pulled this shoe off the foot of her toddler's Cabbage Patch doll. :D
[View Set]
See my DNA... - or -View On Black
Assignment was to photograph a tabletop. Trouble is - my cat Snickers (AKA "Catzilla") thought he was king of the mountain.
Fort Worth Camera Club assigned print image for the "Tabletop" closed competition. Judge thought it was Photoshopped and it didn't merit a ribbon. It wasn't (well, maybe just a little - but very little - I enhanced the flash on the girl's camera...).
I thought it didn't matter about whether Photoshopped or not...
How about you? Does it matter?
...and I'm serious about whether it matters or not ANYTHING is Photoshopped... I'd like some comment about the content of this image...
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Strobist data: studio setup with Novatron strobes (one head blue gelled and bounced into ceiling for overall ambient twighlight feel, one head through a 48" medium softbox with eggcrate grill (behind and below set) and gels for sunset glow against white seamless and small domed pocket strobe (AA battery powered) at front of car to illuminate as if reflected by headlights.
Lens Canon 10-22mm @10mm, f/11.
100 ISO. No tourists - or cats - were harmed in the making of this photo.
Still life photography with one studio light and reflector. Light above the subject with softbox, reflector with white cover to the front to reduce shadows
'CH' Perfume with Mr. Stick ...
[~] Home Made LightBox.
[~] Nikon SB900. [ On camera ]
[~] Small HandFlash light. Behind the CH bottle.
[~] Home Made Mr. Stick.
تصوير دعائي
:~: Camera Set-up :~:
Camera: Nikon D90
Exposure: 0.005 sec (1/200)
Aperture: f/1.8
Focal Length: 35 mm [Nikon 35mm, f/1.8]
ISO Speed: 400
Exposure Bias: 0 EV
Flash: On,
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تجارب في مجال الاضاءه
استخدام صندوق الانارة مصنوع في البيت باستخدام ادوات منزلية
تم استخدام زجاجة عطر كموضوع للتصوير
استخدام فلاش من نوع نيكون " اس بي 900" مع خاصية التزامن اللاسلكي
لقراءة الموضوع بشكل تفصيلي ومعاينة الصور المختلفة مع تغيير موضع الفلاش وقوة الانارة الناتجه
ارجو الاطلاع على الوصلة التالية
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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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This Crockery Jar been used as an Object in my lights introduction lesson.
Click Here to read more about the Lights/Strobist Lesson.
Hope to be useful for some one.
تجارب في مجال الاضاءه
استخدام صندوق الانارة مصنوع في البيت باستخدام ادوات منزلية
تم استخدام اناء فنخاري كموضوع للتصوير
استخدام فلاش من نوع نيكون " اس بي 900" مع خاصية التزامن اللاسلكي
لقراءة الموضوع بشكل تفصيلي ومعاينة الصور المختلفة مع تغيير موضع الفلاش وقوة الانارة الناتجه
ارجو الاطلاع على الوصلة التالية
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Note that, comments with pictures will be deleted
عذرا، سيتم حذف التعليق المحتوي على صور
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The Avocado 'N' action ..
Information Card:
Common Name: Avocado, Alligator Pear (English); Aguacate, Palta (Spanish)
Origin: The avocado probably originated in southern Mexico but was cultivated from the Rio Grande to central Peru before the arrival of Europeans.
Avocados will grow in shade and between buildings, but are productive only in full sun. The roots are highly competitive and will choke out nearby plants.
Fruits: West Indian type avocados produce enormous, smooth round, glossy green fruits that are low in oil and weigh up to 2 pounds. Guatemalan types produce medium ovoid or pear-shaped, pebbled green fruits that turn blackish-green when ripe. The fruit of Mexican varieties are small (6 - 10 ounces) with paper-thin skins that turn glossy green or black when ripe. The flesh of avocados is deep green near the skin, becoming yellowish nearer the single large, inedible ovoid seed. The flesh is hard when harvested but softens to a buttery texture.
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Read More about the LightBox, Click Here!
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Note that, comments with pictures or a link to photos or personal photos or personal flickr accounts will be deleted
عذرا، سيتم حذف التعليق المحتوي على صور او وصلة الكترونية لصورة
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Another pretty simple and affordable strobist set up with speed lights: 2 Yongnuo 560 III's -one in 22" socked beauty dish slightly above in front on 1/1 and the other bare on 1/16 to camera left. The backdrop is just a plain white wall in the shade outside (it was still an hour before sunset so pretty light out)
Antique studio photo on glass plate (8x10) found at a local thrift shop, re-photographed Dec 1st 2011 Panasonic Lumix FZ-50. Photographer simulates water reflection with a mirror at an angle.
The Way to the Coffee or the Coffee Path.. The Studio ... light Box
[:] Equipments [:]
[x] Home Made Light Box.
[x] Wallpaper background.
[x] Normal Room light + Nikon SB900.
[x] Nikon D90 + Nikon 35mm lens @ f/5.6.
[x] Coffee & Tea cups.
[x] Coffee beans.
:~: Camera Set-up :~:
Camera:Nikon D90
Exposure:0.001 sec (1/800)
Aperture: f/5.6
Focal Length:35 mm
ISO Speed:3200
Exposure Bias:0 EV
Flash:On, Return not detected
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Note that, comments with pictures or a link to photos or personal photos or personal flickr accounts will be deleted
عذرا، سيتم حذف التعليق المحتوي على صور او وصلة الكترونية لصورة
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Please full view for detailed information about light setup and modifiers. Thank you for all your comments!
This is one of photos back to 1998 Austria trip, I can't remember the park name.
Photo been converted from a 35m Negatives; I start this project to Convert my 35m old film Negatives to JPG files, this is one of the shots I apply the crop to remove the film shadows/borders also a 'MoreGreen' lightroom2 preset.
The result is not bad, but not so good, I think I learned some thing new here. Read more on the link below..
Click for More Details on How to: Convert the Negative to JPG files
Or download my lightroom preset from Here..
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Note that, comments with pictures or a link to photos or personal photos or personal flickr accounts will be deleted
عذرا، سيتم حذف التعليق المحتوي على صور او وصلة الكترونية لصورة
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Two studio light setup with lights to left and right of the subject. One softbox and one umbrella. Power on low. Black card used for the base and background
Some frames from our last photo shoot session for Teknari (www.teknari.fi), car obviously from Alfa Romeo. I had change to shoot this beauty with decent set of light gear and amazing space. These are just some quick picks from couple of hundreds frames and I´m going to upload all the best ones in couple of weeks.
Information about gear and stuff below:
Location: Suvilahti, Kattilahalli (Helsinki, Finland)
Nikon D2X
AF Nikkor 28mm f/2.8 D
Ai-s Nikkor 50mm f/1.2
1 x 10 000w Tungsten Light
2 x 5000w Tungsten Light
1 x 20*30 feet overhead frame
2 x 12*12 feet overhead frame
...a lot of setupping.
Also big thanks goes to Lasse Nevantausta and Jalmari Mattila who helped with the setup!
Please comment. :)
2011 All Rights Reserved. Mikko Miettinen/T.Magazines Oy www.teknari.fi
In Frame : Mantaha Warda
Makeup: Glamaddiction_by_mysha
Wardrobe : Zannat Mouri
Photo: Ali Emad Sarker
Assist: Rifat Hasan Dipro
Model: Joy Pagurayan
She is Saniata ti Ilocos Sur for the year 2011
Saniata is an Ilocano term for "Muse".
This was a setup with 2 Arrilite 2000 Open face lights, low shutter speed and a white backdrop to create this high-key shot.
You can find a large number of full-resolution photos under a Creative Commons license on my official website: nenadstojkovicart.com/albums
Promessa é dívida... Está aqui o setup utilizado para realizar a foto de ontem... o "Combustível" que usamos para o Fogo, foi através de um produto de limpeza ( O bom era que depois que o fogo apagava ficava com um cheiro massa kkkkk).
Quando cheguei na casa do meu amigo(@elcioduarte )logo vi um Vidro que estava em cima do sofá e já decidi que usaria para obter o reflexo do carro, e aproveitei o coloquei 2 camisas pretas em baixo(Já que o vidro era transparente)... Depois fiz a fotometria do ambiente para só entrar uma luz que vinha de fora da varanda... Depois entrei com a Luz principal no Softbox 60x60 e pra concluir utilizei um refletor prata para preencher as sombras (principalmente na roda traseira)...
Fizemos a foto... já tava legal... mas aí o Dono da casa soltou um... " Se tivesse uma fogueirinha ia ser massa né?" ai foi a deixa necessária(aqui vale deixar claro que para Élcio não desistir @larifmacedo foi fundamental kkk)...
Para "misturar" a Luz do Flash com a Luz do fogo(ambiente) eu reajustei a configuração da câmera deixando um tempo de exposição mais logo(aqui vale lembrar que fica melhor disparar o flash na primeira cortina do obturador) para captar a chama...
The word "fragile" has been on my mind lately. I have always thought of the mind being very strong, but watching my mother struggle with dementia makes me realize how fragile the mind can be. These worn/fragile items were pulled out to paint because they are, indeed, fragile and in need of a little extra care. We all do from time to time, don't we?
The cloth has seen better days, bristles are falling out of the brush, splint weavers are brittle and broken - but I love them still, perhaps because they have weathered the storms. The basket was made by my grandfather's brother, Otto, and was given to my grandmother, Emma, to use as her egg gathering basket.
It is one of those paintings I got lost in, losing track of time while working and just enjoying giving these simple objects my full attention.
In Frame : Mantaha Warda
Makeup: Glamaddiction_by_mysha
Wardrobe : Zannat Mouri
Photo: Ali Emad Sarker
Assist: Rifat Hasan Dipro
Some of Computer fundamentals, 80% are Math and Equations, 20% programming. It's like other languages, 80% for the grammars, 20% for how to read and write; then you should be able to read and write anything.
At the end computer programming is a language like tongue or human languages, Don't use it, you will lose it.
I am not a student, i shoot this as a subject to use my SB-900 speedlight and my NEW light room.
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Note that, comments with pictures will be deleted
عذرا، سيتم حذف التعليق المحتوي على صور
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Aston Martin Car Photography
Full Video at www.youtube.com/watch?v=wRLWekOiY9Q
A short sample of some of the work that I produced recently for an ad campaign for Hasselblad featuring the very latest and first £1m supercar from Aston Martin, the One-77. The work was all shot exclusively on a Hasselblad H3DII and has just gone live today, 1st January 2010, on the main Hasselblad global website which is a great achievement for all at Ambient Life as this is our first piece of work for Hasselblad. I am pretty well known for my work with all things automotive in the UK and abroad but as we push into 2010 we are starting to enjoy a more diverse range of work which is always good as well as continueing with our seminars with Jaguar and Land Rover.