How To Take Professional Quality Portrait Photography |  |
- How To Take Professional Quality Portrait Photography
- Google Glass: The Next Big Thing in Photography?
- New: Vision is Better III
- How the New National Geographic Cover was Captured with James Cameron
| How To Take Professional Quality Portrait Photography Posted: 24 May 2013 07:28 PM PDT Portraiture can be one of the most satisfying forms of photography for an enthusiastic amateur. The tips below can be of use whether you are using a digital compact, a DSLR camera, or a fully manual SLR.  “Amy 4″ captured by Glass Portraits by Elijah. (Click image to see more from Glass Portraits by Elijah.) SimplicityBackground clutter will interfere with a good portrait. Similarly, use natural light where you can, and if you must use artificial lighting, use as little as possible. PreparationSo you don’t keep your subject waiting, know which location you’re using. If shooting in a studio, have the lighting set up and the camera ready. Take some test shots before your subject arrives so that when they do turn up they won’t have to wait while you fiddle around. CompositionIt is important to master the rules before you choose to break them. One of the primary rules governing composition is the rule of thirds, which deals with where focal points, or points of interest, should be placed in a photograph. In portrait photography, the primary area of interest is usually the eyes. Experiment by putting the eyes in the middle of the frame and then off centre to see for yourself. It can help if you imagine drawing a grid across your photograph, i.e. two vertical lines down and two horizontal drawn across the image, dividing it into nine equal squares. The four corners of the middle square in the grid make better locations for your focal points than do points with the square itself. Again, experiment. In some shots, it might be best to place your subject dead centre, in others, on one edge. Eye contactThe direction of a subject’s eyes has an enormous impact on a photograph. Having the subject return the gaze of the photographer can give a sense of connection for those viewing the image. However, focusing on something else can give a sense of mystery and engages the viewers in speculating as to what they are looking at, and what it is that is intriguing them, amusing them, or surprising them. An alternative is to have your subject looking at someone or something within the shot, which sets up a relationship or a story within the image and gives a second point of interest.  “Bria’s Prom” captured by Yvonne Perkins. (Click image to see more from Yvonne Perkins.) PerspectivePortraits are most commonly taken at the same eye level as the subject. Playing around with the angle can give a completely different perspective, literally and metaphorically. For example, shooting down on your subject from above, or up at them from ground level can change the viewer’s perceptions of the subject’s power or vulnerability. LightingIt’s worth experimenting with lighting your subject, as there are boundless possibilities. Silhouetting, back-lighting, and side-lighting can enhance the atmosphere you are trying to create by emphasizing or hiding your subject’s features. ActionPosed portraiture can look very unnatural. Photographing a subject doing something they love or spending time with friends or family can result in a much more natural image, especially if you can lurk at a distance using a powerful zoom lens. This works well with children and with people who are particularly self conscious. PropsAdding a carefully chosen prop can both add insight to the subject and give the eye another point of interest within the image.  “Katrina at Springbrook” captured by Trish O’ Donnell. (Click image to see more from Trish O’ Donnell.) Close UpsA close up on a body part can be a powerful way of photographing a subject. A section of the face, the hands, or the feet can speak volumes about what has been left out. Covering UpObscuring part of your subject’s face or body is another way to draw attention to or away from parts of your subject. Continuous ShootingFiring a number of shots at a time gives you either a series of images that work together or it can help you achieve one image that is natural. This is useful when you are photographing somebody engaged in an activity or when you’re working with fidgety children. About the Author: For Further Training:The deal on the Canon EOS photography guide ends in a few days. Start using your Canon EOS camera to it's full potential with 36% off. It can be found here: Understanding Canon EOS Photography Guide Go to full article: How To Take Professional Quality Portrait Photography |
| Google Glass: The Next Big Thing in Photography? Posted: 24 May 2013 05:16 PM PDT The tech world is buzzing with news about Google Glass, the Internet giant’s latest innovation. With Google having recently released the developer version of this wearable technology, people are starting to get the chance to try out Glass’ capabilities, particularly where photography and videography are concerned. But—putting the “cool factor” aside—as groundbreaking as this gadget is, is it really practical? A spoof by comedy group Grovo offers a humorous look at the functionality (and awkwardness) of Google glass for photographers (for those of you reading this by email, the video can be seen here): Many photographers take advantage of certain camera functions and capabilities, such zoom, macro, and burst mode. As compelling as the idea of being able to take a picture of exactly what you are seeing by using a verbal cue might be, the reality of actually using Glass in everyday situations definitely comes with some limitations for photographers. To make this point, Grovo puts a Google Glass-wearing photographer in a number of hypothetical situations where using the gadget to take a picture or video would be at best impractical, and at worst extremely awkward and/or an invasion of privacy.  taking a macro shot with Google Glass For instance, what do you do when you want an up close-and-personal shot, such as at a wedding, but don’t have a zoom lens? Grovo offers the following conclusion:
Or what happens when you want to take a video of someone else doing something, but don’t want to hand over your precious (and pricey) gadget for them to wear?
As lighthearted as this comedy sketch is, is does bring up some interesting questions about technology ideas versus their real-life usefulness. And don’t go dumping your DSLR for Google Glass just yet! Join the conversation: Do you see any future for professional photographers using Google Glass or a similar wearable technology? Go to full article: Google Glass: The Next Big Thing in Photography? |
| Posted: 24 May 2013 02:24 PM PDT This new eBook, Vision is Better III, is a collection of 50 articles, tutorials, and photographic essays by David duchemin. Duchemin is a professional assignment photographer who has worked on 6 continents for a growing list of commercial and non-profit groups. This is the 3rd in a series of books, Vision is Better III can be purchased by itself or in the Vision is Better Bundle  New: Vision is Better III This is a messy book. It's random, doesn't particularly hold to one topic or theme very well and will in no time convince you the author has more time on his hands than is good for him. This book is a collection of thoughts, essays, and ill-advised rants. In short, they act like a yearbook that gives readers a no-holds-barred vantage point into the adventures and life of duChemin while at the same time providing you with fresh ideas and insights about making the most of your own photographic journey.
 Pages from Vision is Better III How to Get a Copy:The guides come in PDF format that can be read on computers, phones and most tablet computers. It can be found here: Vision is Better Bundle Go to full article: New: Vision is Better III |
| How the New National Geographic Cover was Captured with James Cameron Posted: 24 May 2013 10:31 AM PDT Many people might know James Cameron only as the lauded director of Titanic, Avatar, and the Terminator movies, but his otherworldly adventures aren’t confined to the silver screen. He was recently awarded the Explorer’s Club Medal for his work on the oceanic submersible which allowed him to dive to the “Challenger Deep” – the deepest known point in the ocean. With this medal, he takes place among the ranks of other recipients such as Neil Armstrong and Jane Goodall. For this reason, he is being featured on the cover of National Geographic’s June 2013 issue (for those of you reading this by email, the video can be seen here): In this video, photographer Marco Grob describes how he created the concept with National Geographic’s creative director Bill Marr, and all the thoughts and considerations that went into it. He then details the process he used to capture the illusion of a deep, underwater scene within the confines of his studio. Grob solves his problem by bringing in a massive tank of water that Cameron can be fully submerged in. With the help of a few assistants, he sets up several studio strobes around the tank, including a few Elinchrom Rotalux octoboxes to cast light from the front, and some smaller, more precise lights to create ethereal beacons from the back. When he arrives, Cameron quite comfortably dons a wetsuit and crawls into the tank. Being a visual artist himself, he enthusiastically offers ideas throughout the shoot, to help solve problems that arise.  June 2013 National Geographic Cover This style deviates a little from National Geographic’s usual reality-based photography, but it complements its subject very aptly. Between James Cameron’s legendary affinity for special effects, his hyperbolized approach to storytelling, and his attachment to new scientific possibilities, the product of this manufactured session describes not only the man, but what he is all about. Go to full article: How the New National Geographic Cover was Captured with James Cameron |
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