Detailing: How To
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"E mi venne in mente che non esiste
nessun manuale che parli del problema essenziale (...): tenere a quello che si fa. Questo è considerato di
scarsa importanza, o viene dato per scontato.
(...)
vedere se questa strana separazione tra quello che l’uomo fa e quello che l’uomo è
potrebbe aiutarci a capire che cosa diavolo è andato storto in questo ventesimo secolo..."
Questo brano è tratto dal romanzo di R. Pirsig "Lo Zen e l’arte della
manutenzione della motocicletta" (ed.: Adelphi).
Minneapolis Minnesota downtown skyline view from a little hole in the jump fence offda E. Franklin Avenue bridge that crosses over Interstate 35W
I’m getting a few questions how this was done: I had my tripod setup for about 2 hours on the bridge. I took some pictures at dusk when it was still light out and then again later when it got dark and all the city lights turned on. This image is a composite of 2 pictures manipulated in Photoshop. The base picture was one of those shots taken at dusk using a 30 second long exposure to capture the car light streaks on the highway. To get that long shutter speed in dusky light, I used a Lee ‘Big Stopper’ 10 stop ND filter with ISO at 100 and an small Aperture of f/20 (shutter at 30 seconds). I took another 'night shot' without any filters later in the evening from that same spot to capture the buildings when the city lights were on. In Photoshop, I used the 30 second exposure 'dusk shot' as the base layer and then put the 'night shot' on top in a different Layer. I masked off everything except the buildings on the night shot Layer and changed the Layer Blend Mode to ‘Color Dodge’ – that mode will keep pixels if they are lighter than the layer below and will hide pixels if they are darker – the effect is like turning on all the lights of the city :)
A muchas gracias out to Cousin Greg for watching my back in that rather spicy neighborhood and my apologies to that other photographer for hogging the fence hole for so long :O
Fill the blender about 2/3 full of water. Be kind to yourself and let the water temperature be between tepid and bathwater warm, no need to go plunging your hands into cold water.
When I asked a local if I should trek to Many Glacier, the answer was "It's the heart of Glacier, you have to". Many Glacier in Glacier National Park. Montana USA
Edit: I have an update here!
Some people have asked me how I take photos of my pots, so the notes in this picture should cover everything I know! The light setup and backdrop cost me less than $100. I shoot with a Nikon D80 using either a Nikon 50mm 1.8 lens or the Tamron 90mm 2.8 macro, but you could shoot with anything that you can mount to a tripod. I keep the F/stop at F/13 to get the biggest field of depth without worrying about sensor size diffraction.
Getting a decent backdrop is pretty critical. Pots don't look right unless they're against a gradient backdrop. If a pot is on a flat color then it looks like it's floating in the air. A gradient grounds the pot. I shoot against a "thunder gray" Flotone backdrop from B&H. The smaller backdrop will barely accommodate my larger platters. The Flotone backdrop is beautiful, but it scratches easily. I figure I can get away with taking photos of thirty or forty pots before I need to replace the backdrop.
I intentionally use harsh lighting-- you may want to soften yours. An easy (but flammable) way is to tape sheets of white copy paper over the lamp shells. I've done this for brief stints, but I wouldn't do this for extended periods of time. I use harsh lighting because my pots are often very shiny in areas and very matte others. I like to bring this out by emphasizing the light reflection on the shiny parts. I used to shoot in a light tent and I found the resulting photos rather boring.
The final result is: www.flickr.com/photos/searleb/2133181112/. My setup is always changing as I need to photograph new and different pots!
Good luck, and if you try this technique, let me know!
-Brian
Kiwi falling on a spoon with red colored water..
I bought a lot of different fruits, but kiwi / red was the best combination..
This is the first one of this series.. It was hard to decide which one to take, it tried it 7 times and I really like 4 of them..
Finally I arrived to assemble my light barrier (hiviz.com).. As delay unit I used my arduino.. Triggered with 165ms preflash delay..
Sony A550
Sony 18-55mm @ 55mm
ISO 200 - f14 - 4s
If somebody is interested in setup pictures or howto I'll write it next week..
Strobist:
SB28 behind kiwi pointing on white background @ 1/4 Power, triggered with RF602
SB28 into reflecting umbrella 5 o'clock @ 1/4 + 0.3 Power, triggered with RF602
Inspired by SICOdent's Snail
Highest position in explore: #8 on Saturday, July 31, 2010
More images and tutorials on my website: www.pascalbovet.com
Follow me on twitter: www.twitter.com/pascalbovet
Some of you asked me about the lockers which I built for the Star Wars Crew Room: flic.kr/p/2gShdgj
It isn't that complicated, I used SNOT brackets. The technic bricks are necessary to attach the lockers to the wall.
This shot is one in a series about engraving stones and tiles using a sandblaster.
Full description of the sandblasting process here: buildmakecraftbake.com/2009/03/how-to-tuesday-sandblastin...
Just realized this is possible and wanted to keep it for future reference, as I have no direct need for it now. Hope others find it useful too. This should allow for reasonably decent angled stripes too because you could continue to go diagonal with multiple 2x2s, 3x3s or 4x4s in a row.
There are slight gaps, but not large enough to fill with ½ plate elements. Those gaps can be used as subtle greebling, so it's not that bad if you can make it work for you.
Note I did not have a 3x3 plate at hand but it's not required: the solution shown here is one plate higher than a single 3x3 plate would be. If you want to cover things with tiles, the extra plate height is unavoidable for 3x3 and 4x4 anyway.
You can do this with larger wedge plates too, obviously.
The Sun light was long gone. I had very poor illumination for the shot. The option was to have the lens wide-open to F1.8, and a long exposure to keep the low ISO. Add these elements and you get this purplish sky with nice reflections on the water.
Have you ever tried using Adobe Photoshop only to end up in a total state of confusion?
One minute you’re adding a layer mask and the next, you’re rolling around in a sobbing heap on the floor with your computer on fire? We’ve all been there. It’s not just you.
Relax and breathe a sigh of relief because ‘Photoshop For Morons‘ is finally here.
www.fototripper.com/store/photoshop-for-morons-hd-video-t...
Mastering splash: the magic behind our liquid photography: 2PCB Einsteins, action mode (1/6000 sec). canon 1Ds, 180mm macro, 1/250 F13
The full shoot explained here:
www.pixiq.com/article/mastering-splash-magic-behind-a-liq...
Hello Flickr :) Hope you are enjoying your sunday! Even if there is no weather and time for taking new images, I would like to post something for you today! A small how-to about my Photoshop and Lightroom works. You know such sceneries already. Here is the how-to :)
Overall processing time: 20minutes.
Have a great day! Take care!
[ View On Black ]
Taken with a Nokia N73.
* Exposure: 0.001 sec (1/1000)
* Aperture: f/2.8
* Focal Length: 5.6 mm
* ISO Speed: 100
* Software: Adobe Photoshop CS2 Windows
A rather basic How-To on how I hacked a Mamiya RB67 to take a 35mm film canister:
1) Get the barrel of a Biro. Confirm that it fits in to the holes at either end of a 35mm film canister.
2) Cut two short lengths off the barrel. You'll have to eye-ball the lengths. You may want to specifically cut lengths that will put the 35mm film right at the top or bottom of the plate. Mine is a little way down from the top, to make sure the full height of the film was exposed, but also lead to some of my framing not coming out as expected.
3) File slots in to both ends of both of your peices of barrel. The slots mean that you can push the barrel further in to the 35mm canister, meaning it is held in place more firmly. The slots at the other ends should be wide/deep enough to sit on the lugs where the 120 film roll usually goes.
4) Put it all together, and pull the film over the plate, and around the take-up spindle, just like a normal 120 film.
5) Make a mental note of where on the back plate the film is sitting. When taking photos, remember that the image is top-bottom reversed in the camera, so if the film is sitting along the bottom of the plate, it will expose the top of the image you see in the view-finder.
6) As you wind the film on, you may find that the frame-counter does not advance. This means you have to flick the mechanical lever that is usually used to allow you to perform multiple exposures, just to make the camera let you expose a frame. This does then mean you don't have that lock-out protection, so you have to be quite systematic to avoid accidental double-exposures. Other people have reported that the frame-counter still works fine, meaning you don't have to fiddle with the mutli-exposure lever.
7) When the film is finished (I got about 16 exposures on a 36-exposure 35mm film) you need to unload it IN THE DARK, either in a dark room, or with the cartidge in a dark bag. Simply pop the 35mm cannister and the take-up spool off the lugs and manually wind the film back in to the cannister. You might want to practice this bit with a duff film in the light, so that you know what you're doing in the dark.
Hope someone finds this helpful!
Hacía tiempo que no subía nada a Flickr. Aprovecho para subir la foto que ilustra el artículo sobre cómo hacer fotos de gotas de agua de dZoom.
Es muy sencillo. ¡ Animaros !
Well, this is how I do it anyway... there are programs that will do it for you as well but I don't have any of those. Do give it a try, it's quite addictive.
[STEP 1]
Take an empty 120 spool (I'm sure you have a few lying around; you know, from the B&W film you developed on your own, or when you respooled a 120 onto a 620 spool?), and mod as seen here.
First, saw off the part in red. Then, carefully carve out the parts in blue so that you get something like what you see on the left. I did all of this with an Exacto knife set I bought at an art supply store. The saw worked for the red portion, and one of the carving knives worked well for the blue portions.
Note that the width of the two "forks" has to be much narrower than it originally is. See where I've carved it down where the two arrows are.
The length of the forks do not have to be exact. The longer one here is 9mm and the shorter one is 6mm. It don't matter too much because it's actually the wider round stubs that puts a limit on where the film canister goes. And praise almighty, the combined leghts are just perfect.
Smith River, Redwood National Park, Smith River National Forest. A mere days ago, I was able to drive on this rock bar along the Smith River. After days of steady rain, the river reclaims it as a river bed. This long exposure shot was no easy feat in driving rain, getting a tripod and camera gear into the water while holding an umbrella was quite the fun time. Hiouchi, California USA
Check out my latest how-to post: Build Yourself a LEGO Wall. These are all exterior wall ideas, interiors coming sometime soon!
This is what the interior of the shuttle and its engines look like.
On the top of the thrusters there are two modulex tiles connected to clip plates.
Here's an update on my previous photo rig. I'll only annotate things that have changed, so take a look at the old one for more detail.
Reader Flickablogga gave me a great critique on the previous photo and pointed out that I had huge double reflections by using both lights at full power. This is something I hadn't noticed before, but you can see it throughout most of my previous work. Based on his critique, I've moved using only one main light and one for fill with a cheap white umbrella. In the past I've used wax paper or copy paper to tone down the harsh lights, but $20 umbrella gives a much larger source and does a much better job without muting the light too much.
One of the problems with my pots is that the stop range between the whites and blacks is huge using the shooting strategy above. At the same time, my pots have very saturated colors and if I compress the exposure so that the highlights are properly exposed, I have trouble hanging onto the correct color. The reasoning is that our eyes can see a dynamic range of 10-14 stops while our cameras can take photos of only about 8 or 9. If you compress the range so that you can hang onto lights and darks properly, you lose something in the middle.
To compensate for this, I've also recently tried shooting pots in HDR (high dynamic range) as well. I'm skeptical of this strategy for now, but I think the pros are currently outweighing the cons (there are definitely both). I've been taking 3 to 4 photos in 1.5 stop increments and combining them with software (Photomatix Pro). This gives me the extra 3-4 stops that our eyes can capture but the camera cannot.
HDR removes a lot of the camera work of getting the exposure correct, but it does take more computer work afterward. I have the HDR software tuned to keep the correct color saturation of middle exposure but uses information from the extreme exposures to keep the whites and blacks properly exposed. In the process of converting to jpegs, the whites and blacks get compressed but the middle exposure is left the same (the reverse of shooting normally). For example, here is one pot with HDR and without HDR. Without a doubt, the HDR version has much more accurate color representation in the mid-range of the exposure (the interesting part).
However, I think something is lost in the HDR version-- the colors are almost too well balanced. I think this is primarily because jpegs can only represent 8 stops of data and the extremes are just too compressed. What are your thoughts? Also, if you Strobist guys can think up a way to do this without HDR, I'd love to about hear it.
The effects of different writing implements on handmade post-consumer recycled paper (no size added). For better detail, look at the different sizes.
For an example of how watercolour looks on both sized and unsized paper, and a very basic how to look here.
2/3 of the chocolate has been melted in the microwave for about 30- 45 sec. Stir the melted chocolate and add the rest of the chocolate chopped in small pieces to the bowl. When the desired temperature of 33- 34 degree C (91- 93 F)has been achieved, allow the chocolate to rest for a few minutes. Stir again, then the chocolate will be ready to use.
Cut small pieces of parchment paper (30x 10 cm/ 12x 4 in) and place on the work surface. Dip two fingers into the chocolate and without removing any excess, use a stroking action to paint a shape approximately 6 cm (2 1/2 in) long onto the strip, trailing off the base. Repeat to fill the sheet- about 30 pieces are required for the cake, but make extra to allow for breakages.
As the sheet is filled, take hold of both ends of the strip and gently fold it 90 degrees lengthways. Leave it up against a baking tray or similar edge to hold the right angle while the chocolate sets. When set, gently peel off the decorative pieces and trim the base to neaten.