Photography Basics
View allAll Photos Tagged howto
"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).
© Jerry T Patterson - All Rights Reserved Worldwide In Perpetuity - No Unauthorized Use. Absolutely no permission is granted in any form, fashion or way, digital or otherwise, to use my Flickr images on blogs, personal or professional websites or any other media form without my direct written permission.
▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀
Camera equipment: Canon 5D Mark III, 16-35mm f2.8L II USM lens
▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀
Here's a composite of the Northern Window and the Milky Way.
During my March 4-11, 2014 photo shoot in Moab, Utah (USA) and other nearby national and state parks, I wanted to expand my Milky Way night sky photography to include this part of the southwest. So on different nights, I photographed the Milky Way over numerous arches and monuments and because I did, the night sky went into the morning blue hour to sunrise with the result that I did not get a lot of sleep during the entire trip because even during the day I was constantly on the move.
A couple had arrived at "The Windows" in Arches National Park shortly after I did for night sky work, so we turned into a small team and went to different sites for Milky Way shots.
In this scene, I let them walk up to the northern window of "The Windows" and I signaled them to hold in place for my shot as they looked at the Milky Way rising in the eastern sky. This is one example of where you do not want to light paint an arch or monument ... it would have had a totally different and probably not as interesting effect if I had.
In 2015, I will be conducting multiple night sky / Milky Way workshops in Arches National Park in Moab, Utah. Should you be there at the end of March, please consider joining me for one or more nights as we photograph numerous sites throughout the park and other places.
Do you shoot the Milky Way but need a little help in getting the Milky Way to jump out of your photos ? If so, take a look at my ebook A Photographer's Milky Way Processing Guide - A Photoshop HowTo
▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀
My 2019 photography workshop schedule
In 2019, I will be co-leading three photography workshops.
During these workshops, we will take the group out for Milky Way night sky photography work and shoot through sunrise. In every workshop we conduct, we include 6-8 hours of Photoshop and Lightroom Milky Way post processing sessions divided into 2 days.
1) Icons of the Southwest w/Ryan Smith: ANP, Canyonlands - February 27 - March 3 (SOLD OUT) - Now completed
2) Icons of the Southwest w/Ryan Smith: Goblin Valley SP & Capital Reef - March 3 - 5 (SOLD OUT - Now completed)
3) Jackson Hole, Wyoming spring - June 12-16 (Sold Out), waiting list only now
See my Flickr Profile if you are interested in joining one of my Jackson Hole/Teton Milky Way workshops there.
▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀
You may also find me at: .. Amazon || Smashwords || 500px || 72dpi || facebook
▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀
Time to chill out to 2002's song ... Flight Of The Swan.
Thanks for stopping by.
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.
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...
Guess What? I have a New Book that just launched, and you can get it now, in handy dandy eBook form. It's all about Beginning Photography and is mysteriously called "Beginning Photography." The aforementioned book is full of over 100 pages of awesomeness. I cover a wide range of topics from Setting up your Camera, to Composition to various styles of photography... Landscapes, Portraits and Animals, Architecture, Street, Astro/night, Mobile and more. I also show you how to organize your photos in Adobe Lightroom, plus a quick intro to my favorite... HDR Photography. Grab it at store.stuckincustoms.com/products/beginning-photography-e...
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.
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.
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...
I am absolutely overjoyed! My upcoming book, Macro Photography: The Universe at Our Feet. Is here. Immense and sincere gratitude to everyone who has helped to support this project – completing this project during the pandemic has been one of the most stressful and frustrating thing in my career, but I can now bask in the light at the end of the tunnel. :)
A few rushed copies arrived this week so that I could take the product photos, get some sent off for copyright registration, test my packaging materials, etc. – with the full shipment of books to arrive on Monday (an estimate). The quality of the books is unparalleled. If you enjoyed my first book Sky Crystals, you’ll be blown away by the production quality and the final product here. It’s beyond my expectations, and my expectations were very high.
If you haven’t ordered a copy yet, the price goes up to full retail as soon as the shipment arrives on Monday. It is available in a hardcover edition @ 384 pages, or a Limited Edition leather-bound edition with an extra “encore” chapter @ 400 pages.
Hardcover Edition: skycrystals.ca/product/pre-order-macro-photography-the-un... - CAD$62.99 going up to CAD$75
Limited Edition: skycrystals.ca/product/pre-order-macro-photography-the-un... - CAD$285 going up to CAD$300+
This book is more than I could have imagined it to be from the beginning. It’s HUGE. It weighs just under 2kg and just over 4lbs with a footprint of 9.5” square. The paper was upgraded to one of the best, thickest options available. The cover of the Limited Edition has dull silver embossing while the Hardcover Edition has spot gloss in certain areas to really make an impact. But more than its physical attributes, it contains the entirety of my knowledge of macro photography is a single tome. That was an incredibly arduous task to organize and write in a way that everyone should be able to understand.
It’s also available as an eBook (interactive PDF): skycrystals.ca/product/pre-order-ebook-edition-macro-phot...
And has just been launched today as a Kindle Edition: www.amazon.com/dp/B094F63NSF/ (if you find value in a Kindle Edition, I would greatly appreciate a review to help future sales!)
This is the biggest project I have ever embarked on in my professional career. And now I’m just about to walk over the finish line. Thanks to all the compliments on my work that have inspired me to create more. Thanks to all of those who backed this project. Thanks to everyone cheering as we collectively celebrate the completion of this project. Champagne has already been consumed after the arrival of the early copies. Not to rest on our laurels, though – a logistical marathon awaits. Since every single copy of this book will be personally signed, I am handing the shipping myself. May is going to be a long and exhausting month. From every day I ship more books, I’ll be going to bed happy. :)
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...
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!
[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.
Sorry my english speaker fellows, I dunno howto translate it rather than litterally : "Say it with flowers"
En tout cas, les fleurs sont de toutes les conversations !
Prints | Facebook | Soundcloud | Instagram | Twitter | G+ | Blog | © Ben Heine
Spanish dog. Prints and gifts: bit.ly/1pomVlC
View several other "behind the scene" pictures at this link: on.fb.me/1pFjkOC
View the full Pencil Vs Camera series HERE (Flickr album). All my images are copyrighted, please do not use them without permission, thanks.
PS: Please join me on Soundcloud, I plan to add several new musical works there shortly.
For more information about my projects, please contact: info@benheine.com
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.
Hello fellow DIYers! Thank you for your time in visiting my posts
Im new to all these photography with small speedlights, and i must say it gets addicting!
So for the materials i used:
Black Plastic Folders - addicting to use for DIYS, cmon they look slick! and they're black! you can mostly find them in your nearest office supplies stores
White or Frosted Plastic Folders - found these to be vital, they give a pretty even diffusion too! you can mostly find them in your nearest office supplies stores
Disposable Silver Sink Padding - or if you cant find those you can simply use any foil or silver reflective material
Double Sided Tape Adhesive - works wonders! leaves it looking clean and slick!
black rubber foam - I taped these around the tunnel where my flash head goes, i dont like sticking anything to my rare sb800 so these things keep em in a snuggly and comfy fit. but if you're a velcro fan you can easily substitute it with velcro.
My entry for a DIY Softbox Contest!
DIY SOFTBOX 8x8 SHOT
www.flickr.com/photos/yeahenzo/sets/72157627005547960/
DIY SOFTBOX 8x8 SAMPLE SHOTS
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.
Gather what you need. Most things are household items, except for the screen and the vat. It goes easier if you work near a water source, and where you can spill water without worries.
For more in depth video on how this works check out this short clip I put together www.youtube.com/watch?v=28j5nAIVtoI
With Captain Jack Matt Smith my sigfig cosplaying as the Doctor, and featuring everyone's favorite time-traveling spaceship that looks like a phonebooth.
The interior is pretty simply built. The walls are two plates thick, and are put on 1x1 bricks with stud on one side. Basically using the fact that a brick is 2.5 plates thick to get that offset.
Over the years I’ve spent as a LEGO builder I’ve built many a tree… some beautiful, some passable, and some – let’s face it – terrible. Learn the easy why what I found out the hard way here!