Pro Techniques

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Jim Zuckerman Posted: Jun 20, 2014 0 comments
Most people find the bones of animals fascinating. Nature photographers are usually drawn to them like a magnet, and when they are in a particularly beautiful environment, they make captivating subjects. Too often, though, bones are scattered in an unattractive way or they are laying in dirt or underbrush that isn’t especially appealing. In that case, it’s a simple matter of arranging the various elements so they are more pleasing.
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Jim Zuckerman Posted: Jun 20, 2014 0 comments
One of the first techniques I learned in photography was to use long exposures at night to blur traffic lights. I liked it decades ago, and I still enjoy seeing artful streaks of light superimposed over an urban environment. You never know exactly what the resulting images will look like, and that’s part of the fun. When the background happens to striking, like the Walt Disney Theater in Los Angeles, California (#1), the combination of abstract lights and architecture makes a winning photograph.
Maria Piscopo Posted: Jun 20, 2014 Published: May 01, 2014 0 comments
What is “stock” photography, and how can it be a source of revenue? First, let’s define some terms. In most cases, rather than selling an image in the stock photo market think “license,” as stock images are not really sold—they are licensed for a particular use. The larger agencies all license Rights Managed (RM) images and many Royalty Free (RF) agencies will offer a “removal from market” option if an exclusive license is needed by the client.
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Suzanne Driscoll Posted: Jun 20, 2014 Published: May 01, 2014 0 comments
Known as a master of combining art in the traditional sense with photography, Chiarenza has been making pictures for five decades. He started out with tightly framed, documentary-style photographs that sparked a lifelong interest in abstract images and landscapes. But since 1979 he has been making collages out of scraps of paper, foil, can lids, and whatever else he finds or people send him. He then photographed the collages with Polaroid positive/negative film, always in black and white. Using light, shapes, forms, and surfaces, the results are very unique images that encourage the viewer to let his or her imagination do all the interpretation.
Jay McCabe Posted: Jun 12, 2014 Published: Apr 01, 2014 0 comments
To photograph the wild horses of the Outer Banks of North Carolina you have to deal with the fact that they are indeed wild and thus not particularly welcoming of a photographer’s attention.
But first you have to deal with the Outer Banks, a 200-mile stretch of barrier islands off the coast of North Carolina. “It’s important to have an awareness of time, tide, and weather,” Lisa Cueman says of the location. “You can get into your photography, but not so much that you lose a sense of your surroundings.”
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Jon Sienkiewicz Posted: Jun 05, 2014 Published: Apr 01, 2014 0 comments
We live in a world of color. Rendering a multicolored scene in monochrome, or as “black and white” (in quotes because that label is a misnomer), is a paradox. Back in the old film days, the difference between shooting color and shooting black and white was explained like this: amateurs begin with black and white, graduate to color, and when they really understand their art, go back to black and white. I subscribe to that theory, and that’s why my mission today is to warn you to never let your camera create monochrome images for you.
Barry Tanenbaum Posted: Jun 05, 2014 Published: Apr 01, 2014 0 comments
The camera Michael carries might be his Leica M6, loaded with either Ilford XP-2 or Kodak BW400CN chromogenic film and fitted with either a 35mm f/2 or 50mm f/2 Summicron lens; or his Fuji X10 point-and-shoot with its zoom lens set for the equivalent of 50mm; or his Nikon D200 or D700 with the manual 50mm f/1.4 Nikkor lens he got with his F3 back when he was in college.
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David Grover Posted: Jun 03, 2014 Published: Apr 01, 2014 0 comments
An exposed photographic plate or a segment of exposed film inside a dark camera body are analog equivalents of today’s Raw file. Before digital technology made it possible to capture visual images electronically, a photograph was visible only after it had been processed in a darkroom with chemicals. Now the processing is handled either in camera or by Raw rendering software. The word “Raw” is not an acronym; it’s a simple description for a file that contains pure data, invisible to the human eye.
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Chuck DeLaney Posted: May 30, 2014 Published: Apr 01, 2014 0 comments
Charles Marville: Photographer of Paris, on view at New York’s Metropolitan Museum of Art through May 4, 2014, features nearly 100 photographs and marks the first American retrospective of this Parisian-born (1813-1879) member of photography’s very first generation. Marville’s photographs are remarkable as images and also provide invaluable documentation of the transformation of Paris from a medieval city to the world capital we know today. The show is highly recommended for photographers, students of history, and everyone who loves the “City of Light.”
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Jack Neubart Posted: May 30, 2014 Published: Apr 01, 2014 0 comments
Architectural photography normally involves shooting exteriors and interiors, ranging from residential to corporate and industrial. Hospitality photography moves in a different direction. John Bellenis explains: “I would define hospitality photography as shooting hotels, resorts, cruise lines, spas, and destinations. It’s a niche market that encompasses a range of photographic disciplines: architectural exteriors, interiors, lifestyle, food, and travel. I enjoy it because it keeps things fresh and the demands are varied photographically.
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George Schaub Posted: May 28, 2014 0 comments
The image color of even a conventional black and white silver print is rarely black, white and grayscale shades. It may be warm (golden) or cold (blue) neutral or toned (sepia, magenta). Over many years print makers and chemists developed paper and developer combinations, as well as after-printing toners, to add additional color to monochrome silver prints. For example, using a warm-tone paper such as Agfa Portriga and a warm-tone enhancing developer, such as Selectol Soft, could alter image color. This yielded brownish blacks and creamy whites. A cold-tone paper could be developed in Dektol and after fixing toned in a mild dilution of rapid selenium toner for added “snap”, resulting in a “harder” bright white/deep black effect.
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Jim Zuckerman Posted: May 28, 2014 1 comments
The pearlescent colors that appear in soap bubbles are endlessly fascinating if you take the time to look at them closely. It is chaos at its most beautiful—a random mix of color that, unfortunately, we can’t freeze with our mind to examine any one instant in time. With a camera and flash, however, we can capture these amazing works of art and examine every detail, even though each design lasts only milliseconds.
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Jim Zuckerman Posted: May 28, 2014 1 comments
I have always been fascinated by a photographer’s ability to turn a common subject into a work of art. Being a photographer means seeing the artistic potential in the elements that surround us on a daily basis. I travel all over the world seeking out amazing things to shoot, but I also find them at home—in the kitchen, in my backyard or even in my office. It’s always an exciting discovery to work with a subject to which I never gave a second thought, and then one day it turns into something that is visually arresting.
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George Schaub Posted: May 28, 2014 1 comments
Human visual perception is a wondrous thing—it allows us to see a wide spectrum of colors, with all the subtleties and shades, lights and darks, pastels and richness of the earth and the heavens. To see in black and white is an abstraction of that world, one that perceives luminance, or brightness, without the benefit of hue. Yet hue, or color, and its shades, often determine what tones, or grayscale values, will be seen in black and white. If one were always to see the world only in black and white it would be considered a deficiency of vision. But to see that way occasionally, and to be able to render what we see in a monochrome fashion, opens the door to different perceptions and feelings about the world, and yields a unique form of expression in the bargain.
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David Zimmerman Posted: May 23, 2014 Published: Apr 01, 2014 0 comments
There’s nothing more discouraging than making great shots in the field only to discover that they are nowhere to be found on your memory card when you get to your home or studio. That’s why we were happy to receive this list of mistakes to avoid when dealing with memory cards from David Zimmerman, CEO of LC Technology, a company that supplies data management and recovery solutions to a wide variety of companies within the field.—Editor

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