Pro Techniques

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Barry Tanenbaum Posted: Jul 26, 2013 Published: Jun 01, 2013 1 comments
There are stories we tell to explain ourselves, to clarify who we are, and to account for why we are who we are. And no matter what the apparent subject of these stories, what they are always really about is the past. “The past is never dead,” William Faulkner said. “It’s not even past.”
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Huub de Waard Posted: Aug 16, 2013 1 comments
One of my favorite books as a child was Eric in the Land of the Insects, written by the Dutch author Godfried Bomans. In this humorous fantasy, 9-year-old Eric enters the landscape painting that hangs on his wall and discovers a world of man-sized wasps, bees, butterflies, and other insects that are stunningly similar to the world of humans. Once photography became a part of my life my world was populated with grasshoppers, spiders, snails, flies, dragonflies, and butterflies—Eric’s world.
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Scott Stulberg Posted: Jun 01, 2007 0 comments

Mirroring photos has always been one of my favorite techniques, and it is a relatively easy way to come up with some fun and creative images. Mirroring images consists of duplicating part of a photograph and flipping it around in different ways to create a mirrored effect. I use all kinds of subjects for these creations and I am constantly looking for things that would produce...

Maria Piscopo Posted: May 15, 2014 Published: Apr 01, 2014 0 comments
While you as the photographer own the copyright to images you create, this does not negate the privacy rights of any recognizable individual in your photo. Knowing when you can sell or lease that image with or without a model release is important. In this article we cover that ground as well as the impact of social media and new technology on privacy rights and model releases.
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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.
Norm Haughey Posted: Oct 01, 2008 3 comments

As mentioned in the previous tutorials, the impact and success of a studio portrait is often the combined result of lighting, composition, body language, lens choice, camera angle, clothing, color, texture, and even luck. Armed with a few portrait techniques, however, your work will improve dramatically. There are many portrait-making methods that can help you develop your own...

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Maynard Switzer Posted: Dec 05, 2012 2 comments
Travel is, by definition, motion, and among the photos I always look for on my travels are the ones that capture people in motion. For me motion falls into two categories: one I call sports movement, the other fashion movement. Sports movement is the bobsledder on his run down the track that results in a photo that’s a rush of color and a blur of background; fashion movement is motion that’s almost stopped—“almost” because the person’s activity is implied in the captured movement, and that’s what I do most of the time.
Roger W. Hicks Posted: May 01, 2005 0 comments

Photos © 2004, Roger W. Hicks, All Rights Reserved

We fly less than we used to. Terrorists don't worry us: realistically, flying is still far safer than driving. But we don't like the hassle, three-hour check-ins, restricted carryons, frequent x-rays, and endless security checks. In that sense, the terrorists have made us (and many other people) change...

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Jon Canfield Posted: Sep 01, 2009 0 comments

Well, things have gotten much easier with Hahnemhle’s Gallerie Wrap. Available in Standard and Professional systems, the kits include everything you need to create a gallery wrap canvas print in about 5 minutes.

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Rosalind Smith Posted: Dec 01, 2007 0 comments

It's challenging to get the right combination of true color, composition, and light playing on figures who are moving in unprecedented positions at a rapid rate of speed. The dancers are theatrical, sassy, and innovative, and this is where Boston photographer Jeffrey Dunn shines as he photographed America's Ballroom Challenge for Public Television's presentation...

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Jack Neubart Posted: Dec 01, 2007 0 comments

Just when I thought I'd seen her at her best, Lois Greenfield steps it up a notch and amazes me once again with her sharp eye for the body in motion. "Sharp" is the operative word here. Many photographers, myself among them, may accept a little blur in a fast-moving subject. Not Greenfield. She learned long ago that if sharpness and crisp detail are important to...

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Jim Zuckerman Posted: Apr 01, 2009 0 comments

One of the traditional compositional guidelines that many artists and photographers adhere to is that a subject’s movement should go toward the center of the frame. You can see this method of composing an image in the photo of the frigate bird (#1) that I placed on the left side of the frame; it is flying toward the imaginary vertical center line of the image. Similarly, I placed the tall...

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Jay Abend Posted: Dec 01, 2000 0 comments

You're all familiar with Murphy's Law--Anything that can possibly go wrong will go wrong. Certainly being a working photographer is a great way to see Murphy's Law in action on nearly a daily basis. While I pride myself on being prepared for every...

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Jay McCabe Posted: Mar 15, 2013 Published: Feb 01, 2013 1 comments
Bill Pekala, head of Nikon Professional Services, came to the US Open at the Billie Jean King National Tennis Center in Flushing, New York, last August to run the NPS operation at the matches. Sports events can be the ultimate proving ground for camera gear, and one of NPS’s primary roles is providing their member professional photographers with the assurance of dedicated on-site support.
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Steven Rosen Posted: Oct 31, 2011 Published: Sep 01, 2011 1 comments
It was 9pm on a Saturday night in April of 2008, and I had spent the day, as I spend so many days, at my computer, editing and retouching. My husband was out of town and I was feeling antsy and bored when an e-mail arrived with a list of goings-on in my Brooklyn neighborhood. Sandwiched between a Jewish Singles social and our community theater’s latest production was a listing for a “Dances of Vice” costume party at the Montauk Club. I sat up straight. The Montauk Club is modeled after a Venetian palazzo and I’d long admired the exterior. This was my chance to finally see what was inside.

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