October 22nd, 2007 choicegraphx
This is an old timers technique used by poor mans photography to create shadow less studio works before strobe lights were available. A film camera would be set on a tripod and the photographer would use a single tungsten light. Lights were turned off in the studio, camera shutter opened and the light pointed at the subject would be waved in an ark resulting in a very subdue soft shadow. In the early days exposures were a bit of trial and error.
I revisited this technique in the late 80s using a flash strobe with a bit of a twist. In almost any environment where studio lights where difficult to place or required too many lights a single flash can exceed your expectations. The only real limitation is a need for a dark space without light.
First set you camera on a tripod and frame your subject. Next determine where you think you would use studio lights to illuminate that same scene. It’s those strategic areas that you believe a studio light is needed that a flash will be popped off. To get a meter reading I use a strobe meter that you can lock the button in to get multiple readings. (I use an inexpensive Gossen Luna-Pro F with the ambient dome over the sensor.) Pop off your flash at each predetermined location at the subject and you will get your f-stop reading.
We’re now ready to paint that object with light. Set the lenses f-stop, turn room lights off and open the camera’s shutter (I usually use the bulb setting with shutter cable). Using a pencil flash light I travel from one spot to the next triggering off my strobe and close the shutter.
There are many variations to painting with light. Once I lit up a whole row of buildings with a Lumdyne flash pack, which is capable of outputting 1200 watt seconds. It was timed at twilight and an assistant was needed. The camera was about a couple hundred yards from the subject. Communicating via radio I asked the assistant to block the lens with a black non-reflective material between flashes.
Recently I used an eight second timed exposure at twilight to capture a custom painted car and surrounding environment. Three flashes capture this event as shown with my example.
This technique may take a little practice but once learned you will no longer be limited by studio lights.
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August 27th, 2007 choicegraphx
I recently responded to a Forum where someone was visiting the Florida Gulf coast and they where interested for some ideas where to shoot. So it occurred to me that many people may not know about Google Earth or the new features it offers.
For those who never heard of Google Earth it is a free interactive satellite mapping software http://earth.google.com/ allowing you to zoom, pan, overlay roads, parks and all sorts of other things anywhere in the world! Wow, this is cool but did you know that a plugin tool named Panoramio which allows users to add their personal photos as an icon position on the map as well.
I often use Google Earth to zoom into an area just to see the satellite map of an area’s feature. If I never been to the location it gives me clues to what I might be able to shoot. Now the interactive satellite software includes these icons that look as a white circle with a blue stroke and star in the center. Click on that and see views others have shot. It’s a great way to scoop out an unknown location.
Of course these photo sample views are not always professional images but it is a great resource. Not only can you see some local images but the Google Map is clear and it’s easy to determine the direction of the sun.
OK sure this is not the only way to map an unknown area for shooting images but it’s another tool for the gear bag!
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August 23rd, 2007 choicegraphx
Anybody can pick up a camera and take a photo of an interesting place, but it takes a careful and mindful photographer to take a landscape photo that is truly compelling. Most of the really impressive landscape photos that you will see have a few common elements. They have some type of foreground element, some type of framing element, and they all comply with the “rule of thirds” in some way.
When you first determine there is a scene you wish think about the story you wish the photograph to tell, then look for some sort of foreground element. Not only will this give more interest to your image but it gives your photo depth rather then a drab two dimensional plane.
By adding this biplane to the photo expands the depth tells a more interesting story.
Find objects that can frame your scene. Often I find over-hanging tree branches that can used. This is especially useful when the sky is overcast. The example above uses the bow of a larger ship to frame the sail boat.
The rule of thirds might seem overused and artistically unnecessary, but the photographers who hold true to the rule tend to create the nicest landscape photos. Since landscape photos are so broad they need some type of structure that the rule of thirds provides.
Yes turn your camera vertically from time to time. You would be amazed at how many photographs fit better into that format.
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August 21st, 2007 choicegraphx
What the heck is Depth Of Field Hyperfocal? This is the range of sharpe focus with a lens at a particular f-stop.
Professional photographers use this technique shooting great depth of field with a wide angle lens to get extraordinary sences. I like to use a 15-30 mm zoom lens on a digital 35 camera. Max out the f-stop usually around f-22 or greater and have the subject just inches from the lens with a complimentary background and bang…image with impact. Get down on the same prospective plane as the subject also helps improve the impact of the scene. It’s simple.
You can use this technique with people and tools if you want to place emphisis on the tool. Once again I have the tool, in this case a stethoscope within inches of the camera lens being held out by the doctor, results is an image that tells a better story.
Use a DOF hyperfocal chart to help correspond distance with aperture to determine the maximum DOF focus. I prefer manual focus as a must. Most cameras will allow you to turn off Auto Focus.
Don Fleming has created an electronic version of this chart. It allows you to plug in the lens, min/max distance focus, min/max f-stop and Circle of Confusion for just about any lens. Then you can print out your own chart. Visit http://www.dofmaster.com/.
There is also a field version calculator ExpoImaging ExpoAperture Field Giude you can purchase from camera stores like Adorama, a link to the calculator there is http://www.adorama.com/EXDOFN.html.
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August 20th, 2007 choicegraphx
Most folks might try using a light tent or umbrellas of some sort to photograph a coin but what about a beam splitter? A beam splitter is a piece of glass that can have 60 percent reflectivity on one side and 40 percent on the other. This is angled in between the coin and the camera lens roughly at a four five degrees. A light is placed parallel to the studio cameras film plane shinning against/through the glass and reflecting onto the coin. You can actually watch the coin lighting as you change the angle tilt of the glass. Find the lighting suits you best and click.
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