Archive for the ‘Tutorials’ Category
Apple has just announced a series of free workshops aimed at wedding and event photographers. The workshops will focus on Aperture, Apple hardware, and will feature presentations by professional photographers who are yet to be named.
Each attendee will also receive a free Aperture tutorial DVD. The workshops are free and available on a first come first serve basis. To register, simply go to the website, select the workshop you would like to attend and fill out the form.
For more information and to register for a workshop, click here.
While many alternative photographic processes date back to the beginning of the last century, there are a few that are still in their infancy. The advances in digital photo editing and inkjet printing have introduced us to a whole new world of hybrid processes, using both traditional film and darkroom based photography in conjunction with these new digital tools. Most notable of these processes is the creation of negatives from a digital file. These digital negatives are produced by manipulating a source image digitally, whether it is scanned film or from a digital camera, and printing it on a transparent or opaque material for contact printing in a traditional darkroom. Just about anybody can print a decent quality photo from their inkjet printer, and many of you know your way around the darkroom quite well, so it would seem that bringing the two processes together would be a simple task. This couldn’t be any farther from the truth.
“The Polaroid image transfer process relies on the ability of dyes in the Polaroid emulsion to migrate to an alternative receiver surface during the development process. The “normal” Polaroid process is interrupted and the “negative” is placed on another material (usually paper). The dyes that will form the image are encouraged to transfer by the use of heat and pressure. This process was accidentally discovered when a Polaroid negative was left sitting on a lab counter, according to legend!”
More information on Polaroid Transfers:
– Brad Gillette
The Sabatier process is often mistakenly referred to as “solarization.” In actuality, these are both distinctly different processes. Solarization occurs while the film is still in the camera. It results when film is overexposed to the point that the silver halide crystals have been completely saturated with light, which means it has reached “gamma infinity”. When this occurs, the crystals with the most exposure begin to reverse themselves. A good example of this is in a print where while everything else appears normal, the sun is a deep black. The Sabatier process however, is done entirely during the printing stage, with no special exposure of the film necessary. In the simplest of terms, it is when you re-expose the paper with light halfway through the development process. This results in the darker areas of the final print being rendered as normal, while the lighter areas are reversed.
Welcome to the west Michigan fall / winter where Lake Michigan can drop several inches of snow on us before the leaves on the trees finish changing color. And with snow and photography comes aggravation. Snow is something that freaks cameras out. Here you have this bright white stuff covering the majority of the frame and a camera that tries to expose for that, what you get is snow that’s a bit dark and dull.
Typically snow is 2 stops brighter then the 18% grey that the camera exposes for, for that reason, your handy dandy EV compensation button comes in nice and handy. If photographing landscapes with majority of snow, set the EV to +2. This will render snow, white, and keep your other subjects (non-snow) from being overpowered by the snow.
*This section is based on how to do this for my Nikon D70, please comment, if you know, how to do this with your brand of camera*
One really nice thing about snow, is that it makes it incredibly easy to set your white balance. Whichever camera you have, take it OFF of auto white balance and set it to “Preset”, then hold down the WB button until the PRE flashes on the LCD. At this point, take a photo of the white snow and look on your top LCD and make sure it’s flashing -GOOD-. This will set the white balance to the color of the snow, which should be white.
Also, remember, bracketing your shots is your friend in strange lighting conditions. Here are some other tips, courtesy of OutdoorEyes.com:
A Few Tips:
1) There seem to be too many gray skies during the winter. Use a graduated filter to color the sky while leaving the foreground natural.
2) When photographing wildlife in snow, the best way to reduce contrast is to use a fill flash.
3) Get prepared the night before and have everything at your fingertips. You become slower in cold weather and it is much harder to do the simplest movement with layers of clothing and gloves.
4) The sunlight during the early morning and late afternoon offers unique photography opportunities due to the reflections and colors. Get an early start and you will be rewarded.
5) Look for the contrasting lines and objects that appear when the snow does not completely cover the landscape. Place yourself in multiple positions to find the most dynamic photograph. Don’t forget to add some color to the photograph as it will create a dramatic effect with the white snow.
6) Night photography can be accomplished from the light of the moon. The landscape lights up under the light of the moon and the reflection of the snow.
7) To reduce some sky in the photograph, position yourself at a higher location and look down.
8) Look for the birds. If it is snowing, use a slow shutter speed for the snow to add an interesting effect. Keep in mind, though, that it is a hard combination of wildlife and a slow shutter speed.
How To Take A Good Shot With Snow In It:
The snow reflection goes from forty to fifty percent with dirty snow, up to eighty to ninety percent with fresh fallen snow and even higher reflection with wet, fresh fallen snow.
1) If the freshly fallen snow is pure white, meter the pure white area only with spot-metering. There will not be any detail in the snow. Open up 2 stops.
2) If the snow is side lit and you see a lot of detail in the snow, then the snow is not pure white. Pure white has no detail. Textured snow is 1 1/3 to 1 1/2 stops lighter. If you open up to 2 stops, your photograph will be too light.
3) If the day is sunny and the snow is in shadows, it can vary up to 1 stop.
4) If the day is overcast, meter the snow and open up 2 1/2 stops.