One of the biggest things that you’ll learn as a photographer is how to meter correctly. Something that I’ve personally learned is that no camera in the world can tell me what I want. And if you’re a computer programmer, you know that any machine can’t think: it can only do what you tell it to. So in order to figure out how to get your image to look the way that you originally thought, you need to figure out how to expose a scene according to what you want. We’re refraining from saying the word “proper exposure” because no exposure at all is proper–it’s only what you want it to be.
So what do you need to remember? Check out our tips below.
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This post originally appeared on the B&E Photographs journal on July 23, 2014, and is being syndicated at The Phoblographer with Brandon and Erin Wehman’s permission. All photos taken by B&E Photographs. Used with permission.
It’s no secret, especially to their followers, that photographer, co-founder of B&E Photographs, and adventurer Brandon Wehman offers a lot of great photography insights (and travel destination tips) on his site, B&E Photographs. In fact, back in May The Phoblographer syndicated one of his blog posts, Backpacking with a DSLR, which offers tips on how best to carry, secure, and make your DSLR accessible while on a backpacking trip.
This time around, Brandon, who incidentally was a certified public accountant before becoming a full-time photographer, shares his knowledge on something that a lot of professional photographers might not know about or understand well but is, in fact, of great importance when you’re making money as a photographer – the dreaded SALES TAX.
Read Brandon’s piece after the jump for a better understanding of how a sales tax works in a photography business.
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Macro photography can be one of the most arduous things to capture requiring lots of gear and patience, but luckily ePhotoZine.tv photographer Peter Bargh is here to teach about a simpler solution called focus stacking. Similar to stitching together a panorama except on a micro-scale where shooters will take multiple shots of the same object at different focusing distances. Effectively this combines frames with different parts of the subject in focus to produce one highly detailed picture–which also prevents diffraction when your lens is stopped down too far.
Bargh starts off the video explaining the pitfalls of using the smallest aperture when lenses designed to shoot best at f8. Using a miniscule aperture also means you’ll need a tripod to keep the camera steady for long shutter speeds or invest in a ring light, which can introduce unwanted light streaks. As Bargh highlights going with a wider aperture also allows bokeh to invade most of the frame.
This is where focus stacking comes to save the day. All shooters have to do is keep the camera steady with a tripod or in hand whilst they take multiple images of the subject at different focusing distances. Once users have the images they can migrate the images over to piece of software. There are a few programs that will stitch together images including Zerene Stacker and Photoshop, but Bargh suggests Helicon Focus as the best paid solution.
The video is admittedly somewhat dated but the advice Bargh gives is timeless and still useful to this day. Check it out past the break. [click to continue…]
All photographs taken by Alma Haser. Used with permission.
Strange and complex conceptual images define award-winning London-based photographer Alma Haser’s body of work, separating it from all others. From her ongoing The Invitation of Life series, in which she drapes her subjects with a thin see-through fabric, to the awesome album covers she’s photographed, she combines her minimalist style with peculiar ways to represent the stories and concepts she wants to convey.
And in our humble opinion, none of her photographs are more distinctly representative of her craft than Cosmic Surgery, a bizarre and thoughtful series born of her love of origami and a need to create something unsettling.
“Alma has always made things with her hands and now tries to find ways to combine her fine art background with photography. She has used origami in the past as props in her photographs, but in this series ‘Cosmic Surgery’ the origami has become an integral part of the final image. With the simple act of folding an image Alma can transform each face and make a sort of flattened sculpture. By de-facing her models she has made their portraits into her own creations.”
Minimalistic and weird all the way through, Cosmic Surgery is a portrait series in which the subjects’ faces are replaced with their origami versions that are created using multiple prints of their own faces. In effect, the subjects transform into something disturbingly inhuman or into characters in an insanely hallucinogenic horror story.
And yet, inexplicably, while the integral elements in these photographs are disconcerting, the process of making them is meditative and their overall impact to spectators is somehow calming and familiar.
See the rest of the photographs from Alma’s series after the jump.
To experience more of Alma Haser’s incredible work, visit her website.
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Want more Useful Photography Tips? Check them out here.
Lots of folks say that you should only use a flash during the evening hours and in dark situations. But the truth of the matter is that during the daytime is perhaps the best time to use flash. For example, let’s say that you want to photograph someone and there is bright sunlight in the scene. If you make them face the sun, they’ll squint a lot. Conversely, if you make them not face the sun, you’ll need to overexpose a lot to get the details on their face–which is called backlighting. The solution then is to backlight the subject and expose normally while illuminating their front with a flash. That way, you get a more balanced image overall in terms of exposure ratings.
But besides this, using a flash during the day only adds to the beauty that natural light can deliver. It can bring out details in your subject that you wouldn’t see otherwise (specular highlights) and it can also fill in shadows when done correctly to give a very beautiful and shadowless look. But to do this, you’ll need to either set your flash to the widest zoom head angle or bounce it off of very wide surface. Alternatively, you could also use a softbox of some sort.
When adding flash to a daylight scene, it’s best to add it a little bit at a time–gradually making it stronger until you feel that you have something close to the image that you want.
Try this quick tip, and be sure to check out our other bite sized useful photography tips.
One of the main characteristics in digital photography is that you can shoot more at no extra cost. With film, every frame is money spent, which can inspire more carefully thought-out compositions. If you’re footing the bill, that’s something to keep in mind. DSLRs, on the other hand, lend themselves to a certain laziness–a sort of haphazard shooting that can lead to large crop of bad photos, and when you’re sitting down to edit, you don’t want to trudge through the muck. This isn’t always the case, but it happens.
More importantly, whether you’re at a concert, a party, on assignment or anything else, you’ll want to use the film mentality while taking advantage of digital’s inherent capacity for multitudes. One of the worst feelings is when you realize during the editing session that there’s a shot you need that you didn’t get for whatever reason. It’s happened to me and many others, I’m sure.
Shooting more often entails having several different angles of the same scene. It means that you have more options to work with, some of which could possibly be repurposed for future projects, but it also means that you need to be just as judicious in your editing process. Don’t allow a photo through that doesn’t fit the bill entirely, but don’t delete it. You might be able to use it somewhere else.
Working with more photos can be overwhelming at times, but it’s easier to cut down than having to struggle to find the right one in a smaller batch. Exercise care in shooting means you’ll have an easier time editing because it feels far better to deal with a batch of good photos than a mixed bag.
When you shoot more, you also stand a greater chance of getting the perfect shot. Why settle for anything less?