We have gotten some letters from readers asking why we don't normally
review integral lens digital cameras, or what we call digicams. One reason is
that they come and go so quickly. It's not unusual for a digicam to be
Those of you who are regular readers of Shutterbug and visitors to shutterbug.com
know that our magazine and website offer more than comprehensive product reviews
and in-depth instructional tutorials for advanced amateur and professional photographers.
While our primary...
The lens is what we are currently calling a "dual-platform" optic,
offering full coverage for 35mm cameras and full-frame D-SLRs, and of course
whatever multiplication factor your sensor imposes on the focal length in your
D-SLR. Included is an HSM (motor) which in all cases was silent and swift throughout...
Lighting fair-skinned subjects can be a challenge, but when working outdoors or indoors, controlling the flash, managing external illumination or simply shading the areas you don’t want highlighted can yield great results. Here are some tips on lighting that also includes groups where skin tone varies. As we’ll see, fair-skinned people have a beauty all their own that can easily be brought out in correctly exposed portraits. Play around with the color temperature and see what can be done with a little extra warmth or coolness.
Creating slide shows used to be a time consuming task—getting the slides in the right order, making sure nothing was backwards or upside down in the slide tray (and not dropping the tray!), and setting up the screen and projector. And,let&...
Sometimes the lighting in your environment is too strong, whether daylight or artificial, and you need to soften it slightly—that’s where diffusion comes into play. In the following examples, we’ll look at how diffusion can soften “direct” light.
Ashleen is using a collapsible diffuser (26” Flexfill) to block the sunlight from falling on Anne Marie (#1). The semi-translucent fabric prevents the sun from falling on the subject, which can be seen by the shadow cast on Anne Marie. If we look at a medium close-up of Anne Marie we can see that the sunlight is filtered on her face casting an even, pleasant illumination (#2). Using this method is great if you want a one to one lighting ratio outdoors by just shading the sunlight falling on your subject. This method usually requires a helpful assistant to hold the diffuser, although some folks use a light stand and a C clamp to good advantage.
Nikon D700, Nikkor 24–120mm lens, f/9, 1/250th, ISO 250, daylight balanced 5600K.
Lighting portrait subjects with different hair and skin color can be a challenge, especially when you are using a dark background. With a little time spent adjusting the color temperature and placement of your lights, you won’t have to rely on color correcting the images later. No lighting challenge is too extreme if you break it down into a few simple steps. Do you want hair lighter or darker; do you want to complement or contrast the skin tone; and what is the overall “look” you desire—warm or cold? By answering these questions, you will be able to determine which color temperature of light you need to create the mood for the image. Again, don’t just set the camera on auto white balance. Set your daylight or tungsten balance lights accordingly and manually adjust the camera’s color temperature—you’ll be glad you did.
I was recently reading about American documentary photographer and photojournalist Dorothea Lange and was reminded of one of my favorite quotes, in which she said “The camera is an instrument that teaches people how to see without a camera.” Afterward, I thought it might be fun to take a look at what other luminaries have said about our craft.
One of the ways to draw attention to a subject is to find—or set up—brightly colored objects in an environment of a muted or earth-toned background. The eye is immediately drawn to color, and this is a poignant way to make a powerful and dynamic visual statement.
The rush of events in the past few years has left us all fairly breathless, what with the pace of change wrought by digital. As product trumps product, and new operating systems and formats rush to grab our attention, older systems and gearquick...
Some of the best photography is in the worst weather!” I’ve been saying that for decades and it comes from coming in from the cold, soaking wet and thrilled to death with the images I captured. The drama in the light, clouds and the response to it by nature is a once-in-a-lifetime spectacle you just can’t duplicate. In order to see it and photograph it, you have to get out in it and be able to work. And that’s where the challenge lies.