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Image by Reid Hannaford. Used with permission.

Photographer Reid Hannaford is working on a 365 project where he got the idea to create the image above. Reid tells us that he always tries to tell stories through his images; and for this shot he was trying to establish a sort of ethereal portrayal of someone who has been hanged and is no longer tethered to the earth. “The sheet around the face was to create a sense of anonymity and facelessness. I wanted to evoke a sense of distress in the viewer — as they wonder what is happening to the man in the image.” says Reid.

He inspiration came from René Magritte and his surrealist images. Lots of his images show off sheets over a model’s head. But Reid also says that he gets inspiration from lots of sources like paintings, films, music, poetry and experimental theatre.

As far as how this was shot, Reid uses a Canon 550D and a 50mm f1.8 with a tripod, remote trigger and a 580 EX II flash. “As of right now I’m 117 days in, taking a photo every day for a year. It’s been a transformative experience thus far, as taking images every day really pushes you to be imaginative with new concepts and work in sometimes less than ideal conditions.” says Reid. “Naturally not every shot of my year so far has been amazing, but I’m certainly growing as a photographer and artist and I encourage anyone interested in photography to try a project of their own. This image, “The Hanged Have Fallen”, is from day 105/365, and I definitely plan to do more surrealist work later in the year.”

Sony 35mm f1.4 photos

Sony has been working on responding to the criticism that they don’t have enough lenses for their full frame E mount system in a similar way that Fujifilm did when coming out later on the scene: by cranking them out. But the Sony Zeiss 35mm f1.4 doesn’t feel rushed at all. In fact, it feels very timeless and beautiful. This lens has a very unique design with its aperture ring–it’s the first Sony lens to have one and is designed for videographers who want easier control over their lenses. Rather than fully building a cinema lens, Sony solved the problem by giving it autofocus abilities that also work well for still shooting.

With a metal exterior, weather resistance, and solid focusing abilities for its size and weight, there is very little for us to not like about this lens.

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This blog post was originally published by Chris Garbacz. It is being syndicated with permission.

Have you ever wondered what it would be like to shoot a wedding? That is exactly what this wedding photography for beginners post is all about!

I’m super excited to share this with you, a full overview, behind the scenes of exactly what goes on, the fun stuff, the stressful stuff, what needs to be prepared and basically just a really awesome summary of the whole day, start to end.

Weddings are a serious matter, the real deal and you don’t get any second chances. That’s why you need to be prepared, organized and know your stuff!

So, let’s set the scene: you have booked the wedding a year ago, regularly communicated with the couple throughout the year, had a pre-wedding meeting to go through the timeline of the day and all other details (I’ll go through this in detail in another post), and now the time has come, tomorrow is the wedding day!

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Chris Gampat The Phoblographer Profoto B2 First impressions review portraits with Lauren (3 of 8)ISO 1001-160 sec at f - 2.8

Low Key Lighting, notice the shadows

What is High Key and Low Key lighting? The folks over at Adorama TV try to explain it to you in under three minutes. Dan in the video after the jump explains that high key lighting is when your lighting is very low contrast with almost no visible shadows. This is done often in portraiture and is very forgiving.

In comparison, low key lighting has very high contrast. It can make a subject really pop in a scene.

Dan’s video is after the jump, but we’ve added extra examples of High Key and Low key lighting after the jump.

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Zachary Shenal Adventure (7 of 15)

All images by Zachary Shenal. Used with permission.

Photographer Zach Shenal has been shooting adventure work for around a year and a half, and his work is bound to make him one of the more up and coming adventure photographers that we’ve seen in a while. After buying a DSLR while in the US military, he got really into photography. He started out shooting landscapes until the photo bug bit him and he was reading every tutorial he could find.

“I never really got into portraits as passionately as landscapes, but there is just something pleasing about showing a person interact with his/her environment.” Zach tells the Phoblographer in his pitch email.

Zach has an interesting sense of composition and creates scenes that show drama and use photojournalistic elements to tell stories. All of these combined make him an excellent adventure photographer that we just had to talk to.

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Chris Gampat Julianne Margiotta's Edits (54 of 56)ISO 4001-60 sec at f - 3.2

We’re going to share with you a little fact about exposure and the way that your camera works. Are you ready?

First off, cameras are programmed to do specifically what you tell them to do. They’re not supposed to think and in fact, they can’t. If you tell it to take a photo of a scene, you have to figure out what parameters you’re telling it to use. Shooting in Auto? It’s going to do pretty much anything. Shooting in aperture priority? It will do a bit less work based on what you’re telling it to do. Shooting in manual gives you complete and full control over the results of the image, but again it’s doing what you tell it to and nothing more.

This is why working with a camera’s metering can be very frustrating when it comes to wanting to get the image that you actually have in your mind. But here’s how you navigate that problem.

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