Photography Tips And Tutorials

Many people might know James Cameron only as the lauded director of Titanic, Avatar, and the Terminator movies, but his otherworldly adventures aren’t confined to the silver screen. He was recently awarded the Explorer’s Club Medal for his work on the oceanic submersible which allowed him to dive to the “Challenger Deep” – the deepest known point in the ocean. With this medal, he takes place among the ranks of other recipients such as Neil Armstrong and Jane Goodall. For this reason, he is being featured on the cover of National Geographic’s June 2013 issue: In this video, photographer Marco Grob describes how he created the concept with National Geographic’s creative director Bill Marr, and all the thoughts and considerations that went into it. He then details the process he used to capture the illusion of a deep, underwater scene within the confines of his studio. Grob solves his problem by bringing in a massive tank of water that Cameron can be fully submerged in. With the help of a few assistants, he sets up several studio strobes around the tank, including a few Elinchrom Rotalux octoboxes to cast light from the front, and some smaller, more precise lights to create ethereal beacons from the back. When he arrives, Cameron quite comfortably dons a wetsuit and crawls into the tank. Being a visual artist himself, he enthusiastically offers ideas throughout the shoot, to help solve problems that arise. June 2013 National Geographic Cover This style deviates a little from National Geographic’s usual reality-based photography, but it complements its subject very aptly. Between James Cameron’s legendary affinity for special effects, his hyperbolized approach to storytelling, and his attachment to new scientific possibilities, the product of this manufactured session describes not only the man, but what he is all about. Go to full article: How the New National Geographic Cover was Captured with James Cameron What are your thoughts on this article? Join the discussion on Facebook or Google+ Article from: PictureCorrect Photography Tips

Public perception of any person with a camera in their hand in and around public landmarks, was forever changed as a result of Sept 11, 2001. It didn’t help that the paparazzi contributed to Princess Diana’s death. “back home” captured by zeynep arkok (Click Image to Find Photographer) The hordes of paparazzi through their dogged pursuit of their quarry, contributed to her untimely demise and in the end, they lost a source of income. Still, if you’re a people watcher like I am, those changes in attitudes shouldn’t dissuade you from pursuing street or candid photography of people. Psychology 101 1. To ask or not to ask. Most folks in public places don’t mind being photographed if you ask. But sometimes asking first, ruins the moment, especially if that something they’re doing is spur of the moment. Shooting your pictures first and asking for forgiveness afterwards is my advice if that’s the case. “Farmer, Hoi An, Vietnam” captured by Thomas Jeppesen (Click Image to See More From Thomas Jeppesen) But under no circumstances should you run off when discovered as if you’ve done something wrong. My years as a newspaper photographer has taught me no 2 situations are alike. You probably don’t want to read that, I know. But it’s true. Here’s why. If you ask first and they say no, then you risk tipping them off. Then they’ll either be hamming it intentionally for you, or they’ll stop and growl at you. 2. Be a good sport Just remember if they’re not happy with your presence with the camera, be a good sport and move on. Most times if you remain calm, smile and explain yourself, saying something like , “I took your picture because that looked like such a special moment between your wife/girlfriend and you.” Photo captured by Christopher Rye (Click Image to Find Photographer) I would have asked before hand but I didn’t want to interrupt your spontaneous display of affection. Place yourself in their shoes for a moment and see if you wouldn’t want a great picture of you and the love of your life smooching against a wonderful setting. Take no for an answer unless you’re a paparazzi-in-training. Never be so insistent on photographing someone to the point they consider you a stalker. Even if the law says no one should expect privacy in a public places, that doesn’t give you any special right to literally point a camera in a person’s face. 3. Be sure to smile and appear friendly. When you’re walking around with your camera and that long lens, acting aloof, distant and avoiding eye contact or sneaking around is bad body language. It suggests you’re hiding what you’re doing, so that is a no-no. “walking home” captured by andre stoeriko (Click Image to Find Photographer) You are engaging in a fun activity which is not illegal. Do I need to elaborate about your attire as well? So if your wardrobe is just a trenchcoats, sunglasses and large hats because you’re sensitive to the sun, you might consider a different kind of photography. With those caveats out of the way, here’s some suggestions on equipment and technique. EQUIPMENT A telephoto lens and a wide angle. A telephoto lens is a necessity, something in the range of 80 mm to 200 mm works well. The lens even with the lens hood doesn’t look that imposing. Longer focal lengths like a 300 mm or longer are of course better, but you will surely stick out like a sore thumb. Another lens of necessity is a wide angle something like a 15 mm or 16 mm if your camera has a magnification factor and doesn’t have a full-size sensor. Photo captured by Mike’s Photography (Click Image to Find Photographer) When you’re in a crowd and you can’t possibly move back, the wide angle lens is more versatile and easier to work, especially if it’s a zoom. Wide angles also allow you to s

If you’ve ever tried to photograph a shiny object, you know how reflections can throw a wrench into your shoot. Likewise, if you’ve ever shot anything larger than a small group of people, you’re probably familiar with the challenges of illuminating wide, often multi-faceted areas. If you combine these two situations, you might start to get an idea of the challenges behind lighting  and photographing an automobile. In this video, photographer Tim Wallace explains in great detail how to “shape” light around a vehicle – specifically, a high-end muscle car: Because the surfaces most cars are polished to a high gloss, it’s important to pay close attention to where the lights are showing in the finish. You should use clean, simple lighting accessories (soft boxes and strip lights) that can blend nicely and create attractive reflections, as opposed to barn doors, grids, or snoots which will create odd, awkward shapes. Carefully position your lights where their reflection will be minimized. In order to set this up effectively, you must compose your frame before setting up the strobes; leave it stationary on a tripod, and reference your lighting through the viewfinder (or live view). Because of the nature of reflections, they will look very different depending on what angle you view them from, so keep that angle invariable. Be patient and experiment with an ideal placement of your lights that obscures the shapes of the sources, while also lighting the vehicle broadly, evenly, and with attention to the fine detailing that gives the car its unique personality. Most sedans or coupes will require three or four different lights to cover it; trucks and vans may require five or more. Strip lights are your friend (He uses a couple of Profoto 1′x6′) for these types of shoots – they cover a wide (or tall) area, while concentrating the flash and not spilling rays in every direction (they will light the car’s length, rather than the floor below it). Once you get those principles down, automobile photography is just like any other product, except on a much larger scale. Ask yourself what it is about this vehicle that makes it more special than any other, and emphasize that strength with your lighting, composition, and choice of setting. Go to full article: Muscle Car Photography Lighting Techniques What are your thoughts on this article? Join the discussion on Facebook or Google+ Article from: PictureCorrect Photography Tips

Whenever Air Force Master Sergeant Jeremy Lock raises his camera to his eye, he becomes a man on a mission. “You look for the moment, that brief second,” he says, neatly summing up the objective of photojournalism. Lock’s exceptional work with the US armed forces, shot on 40 countries across 6 continents and spanning 2 decades, have earned him Military Photographer of the Year honors a record 7 times: In the short feature above, Lock talks about what he looks for when he wants to capture war, the sacrifices that come with the profession, and the things that he appreciates about the job. He points out how a military journalist differs from a civilian journalist — in 2006, he earned a Bronze Star for an incident in Iraq where he put down his cameras to pick up a rifle and provide covering fire while others pulled a wounded soldier to safety — while still essentially having the common goal of trying to tell the story as best as they can. He uses Nikon simply because that is what the military issued him, specifically the D700 and D800. “Whenever I am on assignment, whether its in war or on a local shoot, I carry two cameras, one with a long lens and the other with a wide. And I will have usually a 50mm lens in my pocket. I pride myself with carrying as little as possible to get the job done.” Towards the end, he speaks about how it will be tough to hang his cameras when the time comes to leave the military (Via The Washington Times & Petapixel). Still, he says will always be thankful for being given the chance to leave a photographic legacy, his mark on this world. “To truly capture war is to capture it on the face of the soldier next to you.” “You’re only as good as the last photo you’ve taken.” When Lock received his 6th MPOY award last year (Q&A at Imaging Resource), CBS made this video about him. When CBS’s Bill Plante asked him to show his favorite photo, he said: “I haven’t taken it yet. Still waiting for that one.” Go to full article: The Stunning Work of Jeremy Lock: 7 Time Military Photographer of the Year What are your thoughts on this article? Join the discussion on Facebook or Google+ Article from: PictureCorrect Photography Tips

(click on image to view larger, read easier) Because if you love both photography and reading I could really use your help. As I mention in my review of Scott Kelby's "The Digital Photography Book: Part 1", books for review are delivered on both a numerous and regular basis. So much so that it would be impossible for me to read them all. Here's how you can help me out, pick any one of the above books (first come first serve), and I will send it to you to read and write a review. Not only will the book be yours to keep, we will also provide links back to you (your website, Flickr page, etc.) as part of your intro/bio that will be part of the posted review. The only two things we ask is that you follow our review policy and have your review back to us in a two to three week time frame. So after getting this far if you are still interested simply send us an email with your book of choice along with your snail mail address and we'll send your book right out to you. You might want to include a second choice just in case your first choice is already gone.

You’ve got the Camera and the Action — now, about those Lights. We’ve rounded up our favorite easy to use lighting gadgets. And we’ve even added a new one … The Deluxe Pop-Up Flash Bounce that bounces light from any angle. Grab up these gizmos and give your photos pro-quality lighting, just the special sparkle you’ve been looking for. Deluxe Pop-Up Flash Bounce The Deluxe Pop-Up Flash Bounce redirects the harsh light from your pop-up flash. It swivels around so you can bounce your flash’s flash off of a wall or ceiling and make the light fall more evenly. Deluxe Pop-Up Flash Bounce $37 at the Photojojo Store Ring Flash Adapter Get the soft glowing look of a ring flash with the Ring Flash Adapter. It works with your external flash to surround your subject with light, for a fraction of cost of a pro ring flash. Ring Flash Adapter $40 at the Photojojo Store White Balance Lens Caps Nothing ruins great lighting like crumby white balance. The White Balance Lens Cap helps you set the perfect custom white balance every time, even in mixed light where the presets just won’t cut it. White Balance Lens Caps From $45 at the Photojojo Store Related posts: The Pop-Up Flash Bounce – Perfect Lighting with Your Camera’s Own Flash! Your pop-up flash’s measly spurt of light and shadowy results... No light? No hot shoe? No problem. The Metz 28 CS-2 Digital Slave Flash to the Rescue! Nothing will ruin a shot quicker than on-camera flash. Unless... The Ring Flash Adapter Ever wonder how photographers get that glowing halo in their...

If you’re looking to get into wedding photography or have just started out in the industry, you’re probably aware of how hectic a wedding photo shoot can be. Learning the ropes involves a lot of trial and error, which I can attest to. This simple step-by-step plan should eliminate a fair amount of hassle and ensure you enjoy your photo shoots as much as the happy couple enjoy their big day. by Lisa Gill Preparation Meeting The first step is to have an initial face-to-face meeting with the bride and groom-to-be, preferably at your studio. This is your chance to gather as many details about the wedding as possible. As a starting point, I recommend the couple are given a questionnaire to fill in, which should answer the following questions: Details of the venue and when the wedding will take place The bride and groom’s contact details The wedding planner’s details (if they have booked one) An additional contact for the day, such as the best man Where the bride and groom will be getting ready How many attendees will be present It’s also vital that you note down detailed timings for the wedding day itself – there’s no point preparing for a certain aspect of the day if you won’t have enough time to do your thing. This initial meeting is also a good opportunity to request time for group shots and bride & groom shots as part of the wedding itinerary as this is an aspect often not considered by planners. It’s also the photographer’s chance to advise the couple on what can realistically be done in the time frame provided. Preparation meetings can be arranged a year or more in advance of the big event, leaving both parties with plenty of time to agree on any changes to the original plan. Pre Wedding Shoot Not only will a pre wedding shoot give the bride and groom a taste of things to come, it’s the photographer’s opportunity to get to know the couple and build some rapport. Understandably, many couples will have some nerves around getting their photos taken and now’s your chance to allay any fears they may have. I recommend taking them out and about for this meeting – it’s far more relaxing than being in a studio under the lights. Once you’ve moved between your planned locations, taking various shots, it’s time to share any tips that the couple should be aware of. Things such as where to turn in relation to the sunlight or how to pose for certain shots. No detail is too small, as these can make all the difference to creating those striking reportage photos. by Lisa Gill Visiting the Venue In the run up to the wedding day it’s definitely worth checking out the venue, even if it’s one you’re already familiar with. Shooting at a venue you’ve previously worked at in a different season brings certain considerations – for instance, the sun may be higher or lower and the nearby flowers and trees will look different. Your primary focus on this visit however should be to establish where you’ll be taking group shots, where the sun will be in relation to the building and finding alternative locations just in case the weather tries to rain on your parade. In addition, select four to five locations for the bride and groom shots, as well as a wet weather plan for those too. One Week Before the Wedding It’s always a good idea to have a final chat with the bride and groom around a week before the wedding to make sure no details have changed. I learnt this the hard way – a groom once decided to change where he was getting ready and didn’t remember to tell us. Needless to say it caused much unnecessary panic! Also, you’ll often find a quick catch-up is appreciated by the couple – it assures them and shows that you have everything under control. The Day Before the Wedding Now that your plans are set in place, all you need to do is conduct some spot checks. I always ensure that: batteries are on charge for all the cameras, including spares extra disposable batteries are packed for my back-up lighting (such as speed lights) just in case there’s a pr

People like to take pictures of the sky — fluffy fair-weather clouds, sunsets shot with pinks and golds, great expanses of clear blue. But sometimes foul-weather skies can be beautiful in their own way. A prime example is this picture of a magnificent storm brewing off the coast of Riva Levante in Liguria, Italy: Ominous storm with waterspout touches down off the Italian Riviera (Imgur) The photo, captured by Gian Paolo Chiesi, depicts a weather phenomenon known as a waterspout, a tornado-like formation that occurs over water. Above the waterspout, many different types clouds tower overhead, looking dark and ominous while bits of blue sky try to peek through behind. Chiesi used a Singh-Ray Reverse filter with a 2-stop density on his camera. Go to full article: Interesting Photo of the Day: Ominous Storm Approaches What are your thoughts on this article? Join the discussion on Facebook or Google+ Article from: PictureCorrect Photography Tips

Topaz’s new tool Clarity is designed to help you create compelling and powerful images by intelligently enhancing contrast and clarity without artifacts or halos. It can manipulate your micro, mid-tone and overall contrast while maintaining the “natural feeling” that is best to keep. Discounted 40% off until the end of the month for the launch sale, simply remember to use the voucher code CLARITYNEW at checkout. Now available here: Topaz Clarity New: Topaz Clarity (Click to Learn More) Features introduced in Topaz Clarity: Selective Contrast Control. With Clarity, we have developed a cutting-edge process of selecting specific contrast variations in your original image, allowing you to quickly target and then increase or decrease the contrast and clarity in that specific variation. Breakthrough Halo-Free Algorithm. Boost contrast and clarity without emphasizing transitions between light and dark areas, eliminating the common problem of halos, noise and artifacts. Advanced Hue/Saturation/Luminance Technology. Using IntelliColor technology, you can easily enhance your image with the HSL filter, getting stronger, yet more natural HSL adjustments. Re-Imagined Masking Workflow. The masking module, now attached to each adjust- ment tab contains a comprehensive set of tools including an edge-aware brush, gradi- ent mask, smart feather tool, color aware tool and more. User Interface Design. With Clarity, we have continued to develop a cleaner, more modern and efficient interface to improve usability, workflow and overall aesthetics. If your interested, the launch sale can be found here: Topaz Lab’s New Clarity Tool Go to full article: Released Today: Topaz Clarity Advanced Contrast Adjustment What are your thoughts on this article? Join the discussion on Facebook or Google+ Article from: PictureCorrect Photography Tips

Have you ever wondered how a giant tower seems to appear smaller in front of a person, or how you can make an object seem closer than it is without even moving it? Let’s see how we can combine the concept of forced perspective in photography to delude the eye, even if it is for a second. What is It? Forced perspective is the concept o...