Tag Archives: Video

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.

Ansel Adams: A Documentary Film 2002

The most striking thing about this video is the way that Ansel Adams life is so carefully depicted as both an interesting story but also as a study in his philosophy as a photographer. He was filled with art, music and photography. Together they were a way for him to express his understanding of the power and awe to be found in nature. The video shows not only his personal philosophy but also some of the ideas and techniques that together made his photography so graphic, expressive and passionate.
Uploaded by: THE RAD PHO

Comments, additions, amendments or ideas on this article? Contact Us
or why not leave a comment at the bottom of the page…

Like this article? Don’t miss the next — sign up for tips by email.

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

 

Comments, additions, amendments or ideas on this article? Contact Us
or why not leave a comment at the bottom of the page…

Like this article? Don’t miss the next — sign up for tips by email.

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+.

Panorama photography – an introduction

Panorama photography | Photokonnexion.com

• Panorama photography •
There are a few important essentials to think about.
(Image taken from the video)

Getting started is easy…

Panorama photography is a great way to extend your photography skills. To make a panorama you take a whole string of shots. Then later you match them up in software and “stitch” them together to make one long image. The photographic variables are all fixed. You take lots of photos. But, only have to set the camera up once. This means you can concentrate on the scene.

Examples of panorama photography on Google images xxxx | External link - opens new tab/page

The essentials of panorama photography

Like any aspect of photography you need to have some essentials. Your camera and a lens get you started. But a tripod will give you more consistent results. It provides you with a firm platform. One that you can use to line up all the shots. A tripod is recommended because hand holding the shots can leave you with a whole bunch of badly aligned frames. Panorama photography is all about getting the full range of a scene. If you miss bits or fail to get neat alignment the image will loose its continuity. The eye is drawn a way from the image to the imperfections of the stitching.

To use a tripod properly you should also use a good tripod head. Set the camera up to get the scene you want. In this composition phase you will need to sweep through the shot. Look through the viewfinder and pan around the full scene. Get the tilt of the camera right. Have a clear idea of your sweep. Then, fix your tripod head so the camera will sweep through an arc without moving up or down. It will only pan “left <---> right” as needed. In the video you will see him using a “pan and tilt” tripod head. Once the scene is selected the tilt aspect is fixed.

Using the tripod and head means you will get an aligned sweep through your scene. This makes it easy to line up (stitch) the pictures together later. The fixed camera angles helps make alignment easy. But fixing the other settings also helps get consistent results.

Settings for the shots

There are some things that make panoramic photography easy. To get the best effect make each shot simple. Each should have settings the same as its neighbour. Wide variations of settings between shots make colours, brightness, tone and even focus create bad matches. The joins between images will show where the settings change. This disturbs the flow of the eye through the image. Here is a list of steps you go through to set up the camera – and why.

Focal length: As with the other critical settings set focal length to a fixed position. You should switch your auto-focus to manual so the focus does not change in each shot. Then, manually focus into the scene at a place that will give you good sharpness and depth. Then this should be left unchanged throughout the panorama photography sequence.

The exposure dial: Auto exposure settings change as you pan across different light levels. To avoid each frame being a different exposure use the “M”, or manual setting. Set up the exposure for the first shot. Then, keep that exposure setting through the the entire string of images. This means you will need to fix the settings for the full range of shots.

Aperture: Panorama photography is mainly about wide sweeping scenes. Landscapes are ideal. To make the scene realistic it is best to have sharpness right through the scene. Picking F11 is a good option for that. Practice your panorama photography with that F-stop to start. Once you have the techniques you can get more creative later.

Shutter speed: Hold the shutter speed fixed too. Your shutter speed depends on how you set your ISO, and the aperture too. However, don’t just think about the first frame. Study the entire scene. Is there going to be any variations in light intensity across all the shots? You want all the shots to have a similar exposure level. So do some test readings or shots with your camera light meter. Work out how much the scene varies. Avoid big light variation. It will make consistent exposure levels difficult. Look for even light across the scene. Then, find a shutter speed that will work well for all the shots.

ISO: As with the other settings, you want to hold the ISO. Choose a setting which suits the scene and ambient light overall. Fix it for all the shots.

White balance: RAW or *.jpg this is one time you MUST set the white balance to a fixed setting. If you use auto-white balance you will NOT be able to match the frames later. While white balance is generally quite stable, a colour cast from one bright reflection can significantly change the colour. That would not matter too much on one image. But it will if you have to try to match ten images each with a different white balance. That will end up giving your panorama photography a patchwork effect. Choose a white balance setting and stick with it for all the shots.

Getting the shots

Panorama photography calls on more than just scene composition and settings. Also critical is “overlap”. You want to join the images so they match. That means overlapping them in a way that allows a good join.

The skill is in picking features in your landscape you can use in the matching process. I like to use patterns or textures where possible. In the software you are going to line up each image with its neighbour. Those patterns or textures allow you to make a join look seamless. So, as you go through the scene make a mental note of where you want the join to be. Rotate the camera on the tripod for each shot. Make enough overlap each side of the frame for those points to line up. This is clarified more in the video at the end.

Landscape or portrait shots can be used for panorama photography. All the pictures need to be taken in one or the other. If you use landscape format the panorama will be very long and thin. If you use portrait format the stitched image will not be so thin. But you will need to take more shots to get the whole scene. You might choose differently for each scene. It is your choice. These choices are a key skill in panorama photography. Think carefully about your composition.

Panorama photography video tutorial

Most of the above are explained in the context of the shot sequence in this video. Panorama photography is great fun, but it does require a little thinking ahead and planning your sequence. The video should help you to fix the method and settings in your head.
What Digital Camera

Stitching the image together

There are two basic methods of stitching the final image. Again this is one of the main skills in panorama photography. You can do the work manually in an image editor. This work can be a lengthy and detailed process. Each image needs to be lined up by the patterns or textures you chose on the image as the overlaps. Then you might need to clone the images together. Bit by bit and image by image you can build up your final sequence. If you enjoy detailed image editing it is very rewarding.

The second method of joining the images is to use stitching software. There are lots of different applications available. Which one you use is a matter of personal choice. Some image editors have panorama photography stitching built in. For more advanced users there is also specialist software. These applications are available with a range of functions and prices. You should do some experiments and research to pick your preferred software.

Comments, additions, amendments or ideas on this article? Contact Us
or why not leave a comment at the bottom of the page…

Like this article? Don’t miss the next — sign up for tips by email.

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.

Comments, additions, amendments or ideas on this article? Contact Us
or why not leave a comment at the bottom of the page…

Like this article? Don’t miss the next — sign up for tips by email.

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

Comments, additions, amendments or ideas on this article? Contact Us
or why not leave a comment at the bottom of the page…

Like this article? Don’t miss the next — sign up for tips by email.

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+.

On-camera flash… advice for taming the beast

Taming on-camera flash

• Taming on-camera flash •
Left: harsh light and highlights are so unflattering!
Right: properly controlled you get proper skin tones and no highlights.
•••••||•••••
On camera flash can be a pretty tough nut to crack – learn how.
(Images taken from the video)

On-camera flash is pretty harsh…

In fact it’s often the source of ruined pictures from otherwise great dinner parties and family events. Dealing with with these little beasts takes a little work. You can make them do you bidding, you just need to know how.

A small powerful light source

The power of the little flash on your camera is misleading. For such a small light it puts out a lot of power. The learner is often caught off-guard. A great scene can be ruined by very unpleasant light, colour leached from faces, shiny reflections on faces and really hard-edged shadows. The whole thing is pretty ugly.

Here is some news. There are ways to control these little beasts and make them do your bidding.

Two of the most useful techniques for dealing with the problems are explained more fully in: Find out more about diffusing your on-camera flash. The other way is to help your flash work better in the room. Use the room itself as a way to bounce light around. Point your flash at a wall or ceiling so the light is reflected everywhere. It will make harsh flash into soft light – make it a more wrap-around light. This is always more flattering and shows the gentle curves of the face much better. It also means the light works its way around the back of the subject reducing harsh shadows cast onto the wall.

Practical use of the on-camera flash

For those quiet evenings where you are chatting with your friends and family here are some easy techniques. You can use your on-camera flash to good effect without the harsh shadows. You can escape the electric shock faces and startled expressions too. Have a look at the video and follow the sage advice of Mike Browne at a dinner party…

Using on-camera Flash Indoors – With Mike Browne


Mike Browne  External link - opens new tab/page

Using the proper tools is best

Let’s face it. On-camera flash is always going to be a bit difficult. As good as it looks in the video controlled results are always going to be difficult from such a little light source. Here is what Mike himself has to say about on-camera flash…

I’d suggest a speedlight is better because you can fit a diffuser and better still, turn the flash head in any direction and bounce the flash off a wall or ceiling.
Mike Browne  External link - opens new tab/page.

Have a look at some off-camera ideas. These are probably the most flexible options for moving your photography forward, especially for small intimate surroundings. Check out these options…

Off camera flash units

Canon Speedlite 430EX II Flash Unit – a great branded flash for general use  External link - opens new tab/page

Nikon SB-600 Speedlight – a great quality mid-range Nikon flash unit  External link - opens new tab/page

Special pick…

This high quality own-brand flash unit performs like branded units but is much more affordable. The unit provides a range of functions as well as being compact, light and robust. Great value for your money. YN560 III 2.4Ghz Wireless Flash Speedlite Support RF-602/603 YN560-III For Canon Nikon Pentax Olympus  External link - opens new tab/page

 
All these units will fire as normal when mounted on the camera. They will require an off-camera flash cord or wireless radio triggers for off-camera flash units  External link - opens new tab/page to connect to the camera when shooting off-camera.

Comments, additions, amendments or ideas on this article? Contact Us
or why not leave a comment at the bottom of the page…

Like this article? Don’t miss the next — sign up for tips by email.

Netkonnexion

Damon Guy (Netkonnexion)

Damon is managing editor of Photokonnexion.com with professional experience in photography, writing, image libraries, and computing. He is also an experienced, webmaster and a trained teacher. Damon runs regular training for digital photographers who are just starting out.
See also: Editors ‘Bio’
By Damon Guy :: Profile on Google+

Backgrounds – simple is best

Creating Perfect Backgrounds

• Creating Perfect Backgrounds •
Bryan Peterson looks at one of the simplest lessons in outdoor photography – but one that gets effective results.
[Image taken from the video]

Perfect backgrounds…

It’s easy to spoil a great subject by picking the wrong background or using one with distractions. Taking the time to look around is worthwhile – then do a background check. Here are some pointers to help.

Great images include great backgrounds

A wonderful subject is not the only thing that makes a successful image. It is the whole image that the eye sees. A great subject but a distracting background you will lose the viewers eye to the background. Equally if the background is too cluttered it will draw attention away from the subject. Strong contrasts, clashing colours, peculiar events or something ugly in the background all take their toll.

Simplify, simplify, simplify…

Try to find interesting textures, colours and scenes for the background. Keep the contrasts to a minimum. Make sure no one is going to walk into the shot or create another type of distraction. In other words make it as easy as possible for your viewer to concentrate on the subject. It is all about showing off the best – and that is what you want the subject to be.

What to look for in a background

A certain amount of uniformity helps. If your background is too diverse the eye looks to see what the background is all about. Then the subject is lost to the eye. If it is too consistent the same is true. You risk losing the viewer because there is no background interest to off-set your subject. So there is a certain amount of artistic decision required. But with practice your eye will begin to see when something draws the eye once you become alerted to the impact of the background.

The background check

No, it’s not about identity papers. The background check is all about looking around your viewfinder to see what you think of the background. When you frame up the shot it is easy to think of the composition and placing the subject in an interesting position. But forgetting to check the quality of the background is fatal. Parked cars, flying balls, litter blowing in the wind – a whole range of distractions – can all suddenly appear. Worse, they can be there all along and you have just not seen them.

To do your background check is simple. Check around the edge of the frame. Make sure no odd items are sticking into the shot. Look for an interesting texture and colour range. Make the colours complementary and well defined, but not too contrasting. Check to see there are no very bright or dark zones. Brightness drags the eye off the subject. Darkness tones down the interest in the shot.

When you have checked everything, the background should be clean, tidy, well composed and not distracting. Then you can do one last quick check on your subject. If all is well press the Definition: Shutter Button. Presto – a great shot.

Creating the Perfect Background with Bryan Peterson

By way of example Bryan talks us through a situation in a park where he makes the best of the background – checking for problems and emphasising his subject.
Adorama Photography TV  External link - opens new tab/page

Comments, additions, amendments or ideas on this article? Contact Us
or why not leave a comment at the bottom of the page…

Like this article? Don’t miss the next — sign up for tips by email.