While some people believe the proverb below is really a curse, what’s often overlooked is that it’s part of three such phrases that includes “May you come to the attention of those in authority” and concludes with “May you find what you are looking for.” There is no doubt that we’re living in interesting times, photographically speaking. The paradigm shift that replaced film with silicon continues while spiraling off in different directions with SLRs delivering more megapixels and image quality than the Honda Accord-priced medium format digital backs of a few years ago and small chip interchangeable-lens mirrorless cameras that are more powerful than early digital SLRs. As the point-and-shoot market implodes, being replaced by ever-more competent smartphones, the paradigm shift doesn’t show any signs of abating, but as I’ve said here before, it’s not the tool that makes the image, it’s the photographer.
Mixing monochrome with color is a fun technique, and one of my personal guidelines about any software use is to have fun with your photography. In all of the manipulations and screen shots in this article I used Adobe Photoshop (www.adobe.com), but you can use any image-editing program that lets you apply Layers. There are a number these days, including the less-expensive Adobe Photoshop Elements and even plug-in programs like onOne Software’s Perfect Layers 2 (www.ononesoftware.com) that allow you to work in Layers from programs like Lightroom and Aperture, and Nik Software (www.niksoftware.com) products that make any adjustment you make a Layer within the file itself.
It doesn’t matter what you call it—available light, unavailable light, available darkness or low light photography—often the most rewarding photographs are produced when working under the most challenging lighting conditions. Photographs made under these lighting conditions are different from those made on a sunny day and often have a more eye-catching look. They also open the night and low light to making photos, times you might not have thought about as presenting fun photo ops in the past.
Never was there a time when it was so easy or inexpensive to create a great-looking website than right now. I created my own site (www.joefarace.com) using a WordPress template from Obox (www.obox-design.com) that’s hosted on GoDaddy.com and the whole magilla cost a little over $100—along with lots of my own time. What about your site? If you read Web Profiles regularly you know that from time to time I like to feature Shutterbug readers and if you would like to see your website or blog featured here, click my site’s Contact button and tell me about it.
The new year is a good time for a creative rebirth, so instead of trotting out all of those same old New Year’s resolutions why not try something to help you grow as a photographer? A few years ago I created an online gallery called “2011 Photo of the Day,” which was one of the hardest things I ever tried yet at the same time was rewarding because the commitment forced me to make a new image every day, even when I didn’t feel like it. Last October I introduced you to four photographers and their individual approaches to producing a photograph-a-day blog. If you missed it, you can read it on Shutterbug’s website. This year, I resolved to try a photo-a-day project in 2012 using the free Tumblr (www.tumblr.com) platform so there’s no excuse that you can’t do the same thing. If you follow me on Tumblr (http://joefarace.tumblr.com), I’ll follow you back so we can see how each of us does during the year.
Plug-In Of The Month
Want to add an arty touch to your photographs? Simplify 4 from Topaz Labs is the easiest as well as most fun way of creating digital artwork from your images. This latest version costs $39.99 and includes more than 100 presets collected into five categories—plus your own customized presets and favorites—to produce more or less instant artistic transformations. I say “more or less” because Simplify 4 offers sliders that you can use to tweak for adding depth and localized contrast, for example. There’s also a set of edge-aware and selective brushes that can be used to dodge, burn, smooth, or brush out effects.
Wherein I hereby submit your Secret Santa’s A-list of gizmos, gadgets, and gear for the digitally minded who may have thought they had everything but didn’t know that they needed more stuff to produce that ultimate image. This month’s column can be used as a shopping list for your favorite photographer or you could grab a Sharpie and circle all of the goodies you like and leave it near where your spouse eats their Wheat Chex. It’s worked for me.
One of the nicest gifts that anyone can give is a photograph. It can be a portrait of yourself and your loved ones or it can be the gift of a fine art print that you can proudly hang on the wall. Submitted for your approval this month are four photographers whose fine art work spans different genres, but what they have in common is an uncommon vision and a commitment to quality.
The Pentax K-01 belongs to a class of cameras generally known as “mirrorless”—Pentax calls it a hybrid—that combine large LCD screens with interchangeable lenses and more often than not a retro look. Marc Newson, the Australian industrial designer who crafted the Pentax K-01, works in a style called biomorphism that uses smooth flowing lines, translucency, and an absence of sharp edges. The camera is available in black, white, or Newson’s signature yellow with the designer’s logo on the bottom.
There are lots of companies making speedlight accessories but what makes Graslon’s different from the others are the mirrors. Most speedlight diffusers work in a similar way: translucent material is placed in front of the flash head to scatter light and soften shadows, but many times that light doesn’t scatter and some gets lost. Graslon’s Flash Diffusers use a series of patent-pending mirrors that enlarge the light source before sending it through the diffuser. This allows the light to travel to the corners of the diffuser so that light coming through the diffuser is balanced and, well, diffuse. Two types of diffusers, or lenses, as Graslon prefers to call them, are available: the dome spreads the light everywhere (think bare-bulb effect) to take advantage of bouncing light off walls and ceilings; the flat lens is more directional and useful when you’re using the flash as fill in no-bounce situations. Much like a Zeiss Softar filter it’s covered in hundreds of mini-lenses or bumps that spread the light evenly across its surface.