Category Archives: Video included

Ansel Adams – a photography legend

A documentary about Ansel Adams.

• Ansel Adams – a documentary •
[Image from the video]

Images that expressed the majesty in nature.

Ansel Adams became a legend in his own lifetime. He saw something special in landscapes. That “something” bought alive the majesty we feel when we are awed by natural landscapes. Yet he was much more than a photographer. He was a musician, thinker, energetic conservationist AND an extraordinary photographer.

Special talents defined Ansel Adams

From early in life Ansel Adams was fascinated by music. He taught himself to play the piano. His father saw an extraordinary talent emerging. He took him out of school to concentrate on his music skills. He was home educated using some of the best instructors and teachers available. His musical skill developed and he exhibited great talent. Then in 1916, he encountered a book which excited an interest in the big landscapes that became his life’s work. His father took him to Yosemite with the rest of the family. He later said of the this experience…

“…the splendour of Yosemite burst upon us and it was glorious… One wonder after another descended upon us… There was light everywhere… A new era began for me.”
Ansel Adams

During the first visit to Yosemite Ansel Adams was given a Kodak “Box Brownie” camera. From that moment his approach to the extraordinary landscapes that he loved so much was changed. He became transfixed by his photography. However, his love of music came first. For a number of years during his 20’s he pursued a career as a concert pianist.

Ansel Adams met the woman who later became his wife in a small studio where he was practising his piano while on his summer sojourn in the Sierra Mountains. The affair was on-and-off for a number of years. Ansel Adams struggled to reconcile the two passions of his life – music and the great landscapes of the Sierra Mountains.

In the summer of 1923 Ansel Adams, then 21, had, what he later described as, a “transcendental experience” while out in the mountains. He struggled for another seven years with his artistic inclinations and his ambition to become a musician. But finally the mountains drew him back and he had grown tired of the the petty politics of the life of a musician. From that time on he dedicated his life to trying to capture the wonder and sharp detail of his earlier transcendental experience.

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Headshot poses – make your portrait right

Headshot poses :: Keep it simple.

• Headshot poses •
Keep the shots simple and try to reduce any distracting elements in the shot.
(Image from the video)

Your portraits need to be suitable for your subject…

When you want to do a portrait your subject will often not know what to do. Headshot poses are usually pretty simple. But the subject will look to you for direction. You will need to help them pick the right pose.

What inexperienced photogs forget is that male and female poses are different. So they tell their subject to pose how they do when feeling good. That may not be right for someone of the opposite sex to you.

Think about the gender of the subject in headshot poses

If you are a female, think carefully about your headshot poses for a male. Maleness tends to be angular, more aggressive in stance. Males are often better seen head on where their size seems a little more imposing. A hard, upright position indicates maleness. So does harder shadow lines on the face and angular light direction.

If you are a male photographer, you may think in male terms. Female headshot poses are better as more rounded poses than male shots. Inclined heads and slightly turned bodies are best – not looking directly at the camera. Find ways to pose your women subjects in a smaller more understated pose. Remember, shadows on a female face are more flattering when they are soft and give a more rounded appearance.

Circumstances may effect the headshot poses too

There are a lot of different reasons to take a headshot portrait. They may have particular poses attached to those circumstances. For example business poses still have a masculine and feminine aspect. However, they would tend to be more understated than a free posing session. The same might be said of guests at a wedding – and so on. So you need to consider why the headshot poses are being taken.

Clothing is important too. Headshot poses tend to include only the upper body. So if the clothing is distracting it can draw the eye away from your subjects face. Don’t try to get your subject to do a heavy make-up or high-quality hair do if you are trying for a natural shot. Let the inner person come out. Headshot poses are best done in as simple way as possible. There is going to be a high proportion of face in the shot. Overdoing other things will detract from that.

Setting the mood for your headshot poses

Here are a few extras for you…

  • Relax. Sometimes you can get very uptight when shooting portraits. This will get your subject uptight too. So before you start shooting, take a deep breath, breath out slowly. Then spend a few moments talking to your subject to put them at ease.
  • Jokes help to relax an uptight subject. If you tell a light-weight joke it will help set a light mood.
  • Subjects often have a very uptight face to start with. Sometimes all the expression goes of their face. It is fun and will lighten things up if you tell them to pull a few faces – do it with them. That will help get a few giggles and they will have more expression after doing it.
  • When doing the poses make sure you complement your subject. Headshot poses are best done with natural facial expressions. Reward those with a complement. “Lovely smile”, “Nice eyes”, “love that expression”, and so on. This builds a rapport with your subject. It helps them feel comfortable as they pose too.
How to Pose someone for Headshots

In this five minute “headshot poses” tutorial you are lead through a range of things to consider…
Tony Northrup

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Damon Guy - Netkonnexion

Damon Guy (Netkonnexion)

Damon is a writer-photographer and editor of this site. He has run some major websites, a computing department and a digital image library. He started out as a trained teacher and now runs training for digital photogs.
See also: Editors ‘Bio’.
By Damon Guy see his profile on Google+.

Looking good – the essence of the professional photographer

Looking good :: To be a pro-photog just look the part...

Looking good is obviously the main aim here!
(Image from the Video).

The important part of being a pro-photographer…

Looking good and owning the top kit is essential. Otherwise we won’t know you are a successful photographer (not!). In this hilarious spoof on professionalism the video provides a humorous insight into looking good as photographers. Maybe some see themselves that way. Maybe it’s how others see us too!

How to look like a Pro Tog


DigitalRev TV Looking good :: DigitalRev TV | External link - opens new tab/page

Creative comedy

The video takes a poke at photogs who are a bit “up themselves”. And, perhaps some are a little over the top. Creative comedy like this is needed to make us laugh at ourselves sometimes. Looking good is important as in any business. It is also something we should not do to excess.

What we should not be doing…

We are all proud to be photographers. It is a passion and a lifestyle. It is also a competitive business and an actively developing one. The video shows us something we should be careful about. Gear lust is an affliction that many beginner photographers have. They spend all their time scouring the magazines and websites for the latest and greatest equipment. Looking good and having the latest technology seems to be the aim. The truth of that is that it is not what photography is about.

What we should be doing – it’s not about “looking good”

Photography is about getting pictures. It is about making those pictures good enough so they create an unforgettable image in the mind of the viewer. It is worth remembering that…
Despite excellent technology you can

  • Still make mistakes.
  • Produce a picture that says nothing.
  • Make a picture that’s ugly and of no value.

In other words, bad pictures can come from great technology. Also, excellent images and art can be produced using non-cutting edge equipment. Just look at any number of photography websites – Instagram is one example where all sorts of art is produced without top quality DSLR equipment.

Photography is about how you take your picture and what you show in it. Our passion is a unique synthesis of art and technology. But the technology can range from a simple pin-hole box “camera” to the worlds leading-edge DSLR. Both can surpass each other if used in the right way.

The lesson in this…

Looking good with up to date equipment can be important. But don’t aspire to the most expensive and up-to-date equipment just because looking good makes you fit the part. Concentrate on getting your technique and your skills right. Learn to produce great images. Understand your art – your pictures will be much better for that focus. Give up any obsession with the new and shiny.

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Damon Guy - Netkonnexion

Damon Guy (Netkonnexion)

Damon is a writer-photographer and editor of this site. He has run some major websites, a computing department and a digital image library. He started out as a trained teacher and now runs training for digital photogs.
See also: Editors ‘Bio’.
By Damon Guy see his profile on Google+.

Using polarising filters

The polarising filter helps reduce glare in the photograph| Photokonnexion.com

• Beach Huts •
Using polarising filters reduce glare, reflection and colour fade in your photograph. These filters are easy to use and produce great results.
[Image from the video]

Filter with a hidden impact

Photographic filters are light modifiers. They have a variety of different effects. Polarising filters are just one type of photographic filter. When you look at one it appears dark. It looks as if it would have no effect except to reduce the light in your image.

What does using polarising filters do for your photo? Light from the sun tends to be scattered by the atmosphere. The waves of light are out of alignment. When the light is very bright the glare causes a bright haze of light. This over-brightness can act to overwhelm a photograph. It especially tends to wash the colour out of the sky, whitening it. Using polarising filters helps reduce the glare. It filters out some of the light that is not aligned. Only the polarised light passes through the filter. This aligned light has reduced glare allowing the colours to come out. Skies are darkened. Reflections are reduced.

The results of using polarising filters

The result of darkened skies, reduced reflections and better colours can be dramatic. Here are a whole range of images on Google using polarising filters Images on Google using polarising filters | External link - opens new tab/page.

Worst and best case scenario for using polarising filters | Photokonnexion.com

• Worst and best case scenario for using polarised filters •
Careful positioning and using polarising filters dramatically affects the outcome.

Using polarising filters can have a dramatic effects on your image. The top picture shows the worst case scenario. Light is almost directly into the lens. It is bouncing off glass and polished surfaces into the lens too. The sky is very bright with scattered light from direct, harsh sunlight. There is a hazy glare from brightness. There is also flare and very bright spots from reflections. This photo was taken without using a polarising filter.

In the second (lower) photo the position is different. The direct sunlight is not directly entering the lens. Even so, without using a polarising filter there would be problems. Notice the bright blue sky. This would have been a very washed-out blue on this very sunny day. Notice the windscreen is almost transparent? The polarising filter has reduced the bright reflections and specular highlights. The reflections on the bonnet are also pleasant and not over-white. The car paintwork has a quality colour-depth. The whole quality of the lower photo seems better. All this despite the harsh direct light.

Actually using polarising filters

In the video Mike Browne shows how to use these useful filters. In particular you need to remember three things of particular interest…

  1. Using polarising filters is most effective when the light is coming at the lens from about 45° off the optical axis.
  2. While using polarising filters you will need to rotate the filter to find the most effective polarising position. You need to re-adjust it every shot. Each shot will have a different angle of light to the lens.
  3. Using polarising filters reduces the light able to enter the lens. Your light may be reduced by over two stops with a poor quality version.


Mike Browne

Quality

High quality Polarisers are more expensive. They are time consuming and expensive to make. They also use expensive materials. However, the better ones maintain photographic quality. So it is worth spending the extra money. Poor quality polorisers may increase the digital noise from light scatter in the filter. They may also create aberrations and distort the image.

All photographic filters reduce the light entering the lens. A quality polariser will also reduce the light. But, they will affect the light much less than a poor quality polariser. Using polarising filters of a low quality may reduce the incoming light by as much as three stops. A quality polariser will tend to reduce light by only two stops (or less). So think carefully about what you purchase.

Buy now…

When buying a circular polarising filter make sure you get one that is the right size. The filter size of your lens is normally written on the inside of the front of the lens.

Recommended!

Circular polarising filters  A range of circular polarisers on Amazon | External link - opens new tab/page

When using polarising filters buy the size that fits your lens. Also remember that the quality of the filter can affect the photo. High quality polarisers reduce aberrations. A higher quality filter will not reduce the light as much as a poor quality one.

Review a range of different filters here…
Circular polarising filters  A range of circular polarisers on Amazon | External link - opens new tab/page

 

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Damon Guy - Netkonnexion

Damon Guy (Netkonnexion)

Damon is a writer-photographer and editor of this site. He has run some major websites, a computing department and a digital image library. He started out as a trained teacher and now runs training for digital photogs.
See also: Editors ‘Bio’.
By Damon Guy see his profile on Google+.

How digital cameras work – With James May

How Digital Cameras Work?

• How Do Digital Cameras Work •
You don’t have to know how your digital camera works to enjoy it. But knowing a little helps you to enjoy it better.
[Image taken from the video].

Understanding your camera better…

You don’t need an in-depth know how. Just enough to make it easy to learn more. Knowing a bit about how digital cameras work is really useful. Here is a quick and easy intro…

A few words from me

Those who know the world famous TV show, Top Gear How do digital cameras work: link to Top gear on Wikipedia - External link - opens new tab/page know James May External link - opens new tab/page. He has a zany sense of humour. Recently he’s been doing simple science videos. In the video he shows how digital cameras work. Off-hand jokes and jibes at Richard Hammond How do digital cameras work: Richard Hammond - Jibes - External link - opens new tab/page make the fast-paced video fun. Watch and learn how your camera works.

How digital cameras work. With James May.

Head Squeeze  How digital cameras work - from Head Squeeze :: External link - opens new tab/page

Some things to think about…

The history in the video is a bit misleading. How digital cameras work was worked out in the 1970s. By the 1980s sensors were quite advanced. But, it was not until the 1990s that digital image sensors became consumer items. Then camera makers made them small and cheap. To find out more see: A History of Photography (pt.6). The Digital Age.

Mr. May gets the idea of a pixel wrong too. He talks about pixels being on the sensor. Many people have this idea. Pixels are in images on screen. Data for digital images is collected on a digital image sensor. Each point where the data for each pixel is collected is called a photosite. Just remember, photosites collect data on the sensor. Pixels display the data in the image on the screen.

For more information about pixels check these links…
Definition: Pixel; Pixels
Definition: Photosite; Photosites
Definition: Sensor; Image Sensor; Digital Image Sensor

For some more context on pixels in your images check this: Getting down to pixel level.

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Damon Guy - Netkonnexion

Damon Guy (Netkonnexion)

Damon is a writer-photographer and editor of this site. He has run some major websites, a computing department and a digital image library. He started out as a trained teacher and now runs training for digital photogs.
See also: Editors ‘Bio’.
By Damon Guy see his profile on Google+.

Camera grip – hold your camera correctly

Improving your camera grip.

Improving your camera grip is an important part of developing your skills.
[Image taken from the Joe McNally video below].

Your camera grip is a critical skill.

Do it wrong and you’ll have problems getting a sharp image in many situations. You may even give yourself bad posture and back pain. Learning to have a good camera grip will help develop your skills in many ways.

Camera grip and overall stance

The way you grip your camera works as part of your overall stance. You can get the grip perfect, but with a poor stance it will ruin the impact of a good camera grip. In Simple tips for a good photography stance I set out a detailed plan for a good stance. It will be worth reading that before you see the videos below.

Joe McNally – Da Grip

In this video Joe shows us how to properly hold the camera. He apologises for how this best suits a left-eyed shooter. However, the technique can apply to both left and right eye shots. So don’t be put off. Watch to the end. Joe makes many of the points I do in Simple tips for a good photography stance and this article. He shows you how to properly grip your camera. He also demonstrates how to control it from this grip too.

JoeMcNallyPhoto External link - opens new tab/page.

Sharpness and camera grip are close friends

When teaching I have often found that poor stance and grip go together. They result in soft shots and poor quality images. I try to help people to be more deliberate and use relaxed but firm control. Then, if they hold a good stance and a good grip the sharpness and image framing seem to come together.

In the next short video Gavin Hoey goes through his method for a camera grip. It is very similar to Joes grip and my camera grip too. Everyone has quirks and slightly different ways to do it. The important thing is to follow the basic plan and practice until your shots are sharp and controlled. Then you will see the benefit of good stance and camera grip.

Gavin spends time on some other aspects of sharpness too. This nicely shows how all these methods come together. Great stance, camera grip and control of your camera will develop your skills in leaps and bounds. For more on improving your sharpness check out this article :: The Zen of sharpness – 12 easy ways to improve.

No more blurred photo’s… Ever!

Gavin Hoey External link - opens new tab/page.

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Damon Guy - Netkonnexion

Damon Guy (Netkonnexion)

Damon is a writer-photographer and editor of this site. He has run some major websites, a computing department and a digital image library. He started out as a trained teacher and now runs training for digital photogs.
See also: Editors ‘Bio’.
By Damon Guy see his profile on Google+.

Portrait context is about the artist as well as the subject

Portrait context is important in photography

• Portrait context is important in photography •
[Image taken from the video].

Art in a portrait…

…includes much more than meets the eye. Photographers taking their first steps with portraits often see only the person in front of them. But the portrait context also includes the scene, the artist and their culture.

Portrait context – a historical boundary

Portrait art historically reflected the fashions and ideas of the time. For example early civilisations tended to depict people in profile. These flat two dimensional portraits were a mark of early Egyptian art. Much later, in the 14th century, the Renaissance masters did portraits as a three dimensional rendering on the canvas. They used artistic tools the Egyptians did not have.

Today the portrait context is still related to the knowledge and experience of the artist. And, they are partly bound by the conventions of their time, culture and so on. You can never fully be divorced from your context. But, we are free to take a wider, more context-free view of portraits. Artists and photographers are trained to take a broad, imaginative outlook. Art and photography schools give the imaginative freedom of students a wide scope. Breaking the bounds of traditional portraiture is a part of that freedom.

Breaking the bounds of portrait context takes careful thought

Portraiture starters often only see their subject through “everyday” eyes. Most of us are not trained in the ways of imaginative scene setting. So we tend to take portraits that represent our every day view of people. There is nothing wrong with that. Family, friends and others make a fun photograph. The images can be pleasing and satisfying.

Great portraiture goes deeper than that day-to-day view. To push the boundaries of your portraits, think in a different way. The portrait photog should consider their own vision and experience. They also need to think of the environment, cultural context, story and location of the shot. The photographer should understand who they are as well as knowing something of the portrait subject.

Of course knowing these things does not produce a great image. What makes a great portrait is pre-vision. It is how you bring out something in the subject, the scene or the portrait context that is remarkable. This takes a unique perspective.

The art of portrait photography

A strong portrait steps out of the everyday view. In the video we get the perspective of a number of portrait photogs. Each has looked into the portrait context in which they are working. With forethought and insight they have constructed artful portraits. They have also made driven and powerful images of their subjects. Each has a clear understanding of the portrait context. Each has a clear view of what they want to say.

The lesson is, look for a point to make. Understand both what you are working with and what you are working to express.
PBSoffbook  External link - opens new tab/page

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Damon Guy - Netkonnexion

Damon Guy (Netkonnexion)

Damon is a writer-photographer and editor of this site. He has also run some major websites, a computing department and a digital image library. He started out as a trained teacher and now runs training for digital photogs.
See also: Editors ‘Bio’.
By Damon Guy see his profile on Google+.