Pro Techniques

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Jim Zuckerman Posted: Jul 21, 2014 1 comments
Photography gives us the ability to freeze moments in time that are impossible for the human eye to see. The collision of a drop of water with a pool of water is an event that is intriguing to see, and without the aid of a camera and flash it would be impossible to study, appreciate and admire.
Jeff Howe Posted: Jul 18, 2014 Published: Jun 01, 2014 0 comments
Last year, I decided to take on a challenge focusing on the unique natural beauty associated with wildfires in a Florida scrub ecosystem, one of the most rare ecosystems in the state. Florida is no stranger to wildfires. Nationwide, Florida has the second highest number of wildfires annually. In 2011, it was estimated that 300,000 acres of land was burned due to over 4800 wildfires. My project was centered at Indrio Savannahs Preserve, where a 120-acre wildfire was ignited by lightning in March of 2013.
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Chuck DeLaney Posted: Jul 15, 2014 Published: Jun 01, 2014 0 comments
A comprehensive retrospective of photographs by Garry Winogrand (1928 - 1984) made its debut last year at the San Francisco Museum of Modern Art and will be on view at Washington’s National Gallery of Art (March 2 - June 8) and New York’s Metropolitan Museum (June 27 - September 21). The show then travels to Paris and Madrid. It includes pictures that became well known during Winogrand’s lifetime and others that he himself never even viewed. See it if you can because it raises provocative questions for every photographer and, as the show wends its way, gives critics an opportunity to rethink his career.
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Jack Neubart Posted: Jul 08, 2014 Published: Jun 01, 2014 3 comments
“I don’t have a favorite location. I just like the challenge of where I go and what I’m presented with on any given assignment,” advertising photographer Brian Bailey declares. One assignment lasting 10 days took Bailey to the Galapagos Islands, for a sunglasses company. But many assignments involve anything but sun-drenched conditions. In fact, the road to this point was a rocky one—of sorts…
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Lorin R. Robinson Posted: Jun 27, 2014 Published: May 01, 2014 0 comments
The skies have been a source of fascination for humankind since our earliest days. But only in the past 100 years or so has photography provided tools to enable people to capture, view, and enjoy the astonishing images astronomers were privileged to see in their elaborate telescopes.
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Blaine Harrington Posted: Jun 24, 2014 Published: May 01, 2014 0 comments
The roads I follow as a travel photographer mostoften lead me to landmarks and landscapes, festivals and events, people and cultures. But not always. As you can see from the photos here, I consider photographing wildlife one of the requirements of a successful travel photographer.
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Jim Zuckerman Posted: Jun 20, 2014 1 comments
Previously I discussed photographing bubble solution stretched across a frame. You can get the same swirling pearlescent colors in the spherical surface of a bubble as it’s sitting on glass. When I was experimenting with this a few years ago, I discovered that you could even blow a bubble inside a bubble and then another one inside of that. Image (#1) is a picture of a bubble in a bubble in a bubble in a bubble.
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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 1 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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