2Feb/100
Photography Lighting – The Importance of Contrast For Great Shots
The primary purpose of a photography lighting system or kit is to illuminate a subject to allow proper image capture or to achieve the desired effect. The proper illumination of a subject or a product being photographed is one of the most important details in the production of high quality photography. Photographers can utilize a wide variety of lighting devices for achieving the desired illumination.
For instance, photographers can utilize either soft boxes or photo umbrellas which are both light diffusers and can be attached to a photo light to add warmth and to soften photographic images. People often look best in photographs with diffused side lighting and a well placed backlight produces what is known as a halo effect while overhead lighting can produce a sharp contrast of light and shadows. By moving photo lighting stands further away or closer to the subject or product being photographed, you can fine tune the amount of contrast in the shot quite accurately.
In becoming familiar with this basic photographic lighting technique, you will notice a sharp improvement in the quality of your own photos. The strength of the photography lighting that you are using is also an essential factor. If you are shooting in a large studio or area, than a higher wattage lighting kit would give you the flexibility needed. Smaller wattage light kits are lighter and easily portable and best utilized by photographers who travel to photograph events such as weddings and other gatherings. These types of light kits are also a popular option for photographers who are simply wanting to be able to produce high quality product shots or single portraits while staying within an affordable budget.
High quality digital photography lighting is not only an absolute requirement of a successful photo, but it can also create emotion, depth, and mood as well. The intensity, quality, and direction of lighting can dramatically alter the final results of your photographic images. Professional photographers will often use strobe or flash lighting to achieve the incredible results they are so well known for. This type of lighting has the benefit of stopping action, consistent color temperature, and the necessary intensity to bring out the full spectrum of color within a captured photo image.
Incredible photographic results can also be produced with the use of continuous photography lighting as well. With continuous lighting, whether in fluorescent or halogen form, the lighting is quickly set up without the need for having to synchronize your camera to operate in time with the lighting source as with flash lighting. Continuous lighting is quite popular with all levels of photographers from beginners to professionals for it's speed and ease of use. Simply set up your lighting stands, position them and turn them on and you can begin shooting right away.
Fluorescent lighting kits are virtually cool to the touch and require less energy to operate making them not only cool but economical as well. Halogen light kits or hot lights, literally burn hot and produce heat and also consume more electricity to operate. This is something to keep in mind when choosing an affordable lighting solution for your photographic needs when looking at continuous lighting.
Best Iphone Reviews
2Feb/100
Using a Flash Meter in a Photographic Studio
Why does using a flash meter cause such fear and trepidation with amateur photographers when they decide to use a photographic studio? So much so I know of guys that work with continuous lights rather than flash because of their fear of the dreaded flash meter.
I assume a lot of this apprehension is generated when they read books on studio lighting, or watch 'How To use a studio' type DVD's. The truth is that it really isn't that complicated at all and anyone can use a studio flash meter easily and simply thus allowing you to take great pictures.
I know that with your digital camera you can see the pictures in the view screen on the back, but when working in a studio it's hard to see exactly what you are taking unless you upload them onto your laptop. The truth of the matter is you should still use a meter which will get you to the right starting point so you should be able to control shadow and highlight detail. So for those of you that want to know read on.
Flash meters come in many makes and then each make has many different models, however that doesn't matter as long as you know how to alter the settings on the unit and fire it. In use they all do the same thing. The flash is fired and the meter gives you a result, which tells you what setting aperture you should set your camera too.
First you will need to set the ISO on the meter so it is the same as your camera, next you need to set the shutter speed and I always suggest for the beginner set this to 125. That is all the settings you need to make. All flash meters have a white dome which you point toward the light with the back of the meter close to your subject. Then fire the flash and the meter will now tell you what aperture you should set your camera at.
It really is as simple as that and not a mystery at all, of course the trick to great studio pictures is setting the studio lights up so you produce the modelling of light and dark you require. If you have a simple 2 light set up - to start switch on one light only and fire the flash adjusting it until the flash meter reads f11 as your aperture setting. Turn this light off and turn your second light on and set this one so your meter reads f5.6 a two stop difference. This basic setting will give you super pictures to get you started and help build your confidence in a studio. Naturally you can move on from there and there are lots of simple tips and tricks pro's use to keep it all simple.
Water Filters - Reverse Osmosis - Whole House Water Filters
1Feb/100
Digital Photography Offers Photos For Money Opportunities
Digital photography is a media revolution. From catwalks to video films to magazine covers and centrefolds, technology has advanced so dramatically and rapidly that access to top of the range equipment and software is easy and affordable. Anyone can now pick up a digital camera and take astounding, graphic shots, using photographic software to enhance and create picture perfect photographs.
Photos are uploaded instantly at the click of a shutter and viewed immediately to gauge the quality, perfection and success of the shot. Photos not making the grade can be deleted, making way for more frames, or stored to review and decide on the failure factor, not to be repeated, settings.
Information can be manipulated to sell newspapers and magazines, images superimposed to show celebrities in compromising situations when really it never happened. The camera never lies is no longer a true statement. Lies can be created with the help of digital photography!
Photographers often specialise in certain areas such as nature, real estate, animals and so on, passing painstaking hours waiting for the perfect shot. When it comes to nature, it could even be annually occurring events such as the summer solstice or high tide. Timing can be crucial and the more control each photographer has to apply to the photograph the greater the opportunity of capturing that perfect picture. Regardless of the weather, the setting or the location, a good photograph can be taken in virtually every situation through using the correct equipment and techniques.
However, when making a living from digital photography, simple tips and techniques can be found everywhere in specialist publications, on the internet and by attending or undertaking courses offering guidance on photographic subjects, lighting, cameras, lenses, tripods and associated equipment.
Thousands of marketing companies look for specific photos to advertise the myriad of products and services available to consumers world wide, 24 hours a day, seven days a week, 365 days a year. Uploading photos to the websites of these marketing companies offers the perfect platform to display, share, and often sell them for a handsome, recurring profit.
Discount Halloween Costumes
30Jan/100
Lighting for Video
If you're wanting to shoot a well-lit video, there are two forms of light to consider.
LIGHTING 101:
Light comes in two basic categories:
• Diffused
• Direct
Direct light is what you have on a sunny day.
Diffused light is what you get on a cloudy day. The clouds act as a diffusion filter.
Think back to elementary school science. Light rays do not bend. If you point a flashlight, the light won't bend around the corner of the building, you'd have to move the flashlight to see the side of the building.
Direct light (sunny day) creates deep, harsh shadows that have distinct edges.
Diffused light, (cloudy day) can be very bright but completely shadow less.
Generally speaking, diffused light is best for simple video production.
The easiest way to transform a direct light into a diffused one is by bouncing it off the ceiling or wall. Do this by simply placing the light near the wall (or ceiling) and pointing it toward the wall, not your subject. The light bounces off the wall and is diffused nicely. (Don't get it too close though, I once burned a guy's wallpaper cuz a 500 watt tungsten lamp get purdy hot. Oops.)
Bouncing a light is the quick, cheap, no hassle way to do it. However, if you want to spend money and achieve better effects, professional photographic lighting uses tools like soft boxes, umbrellas, cloths and filters to produce diffused light.
The only drawback to diffusing your light is that as you diffuse, you lose intensity. Diffusion is so desired though most people accept that trade-off. Have you ever wondered why they bother to paint the inside of most light bulbs white? The answer is that the white paint diffuses the light and makes it more pleasing to the eye. On top of that, people usually add a lamp shade for even more diffusion.
Quality lighting is key to quality video production. That doesn't mean it needs to be difficult.
Digital SLR Cameras - Lenses
28Jan/100
Five Simple Tips to Create a Superstar Headshot
Have you ever checked out your competition's website? How does their headshot look? How does it compare to yours?
Many entrepreneurs are so focused on the products or services that they sell, that they forget about the importance of a good headshot to help promote their business. If you want to have the leading edge and trump the competition, you need to look credible and professional.
Be honest. Is it time to update your headshot? Confused about how to make your better? Then check out these 5 simple Tips to create a super star headshot!
1. Get a Professional Headshot
Too many people have their photo taken their photo outside in front of a tree. This looks amateur. You need to hire a professional photographer to take your picture inside a studio with flattering lighting.
2. Shoot from above
For one of your shots, try sitting down low and have the photographer get up on a ladder and shoot down. This might sound strange and feel even stranger while it's happening, but it looking up makes you lift your chin and the shot can be very flattering.
3. Don't put your hands in the shot
There is nothing more cheesy than the tired old pose of your hand under your chin. Keep your hands out of the shot, so the focus is on your face, for a photo that lets your personality shine through.
4. Have your make up applied by a professional
If you think you don't need make-up, think again. (even men need a little powder). A professional make-up artist understand photographic lighting and will make you look more energetic, more attractive and more confident, guaranteed.
5. Don't Sit Still
While the photographer is shooting, try tilting your head a little, lift and lower your chin, angle your shoulders slightly. Keep trying new positions. A good photographer should direct you to do these things, but if not, you want to make sure you keep things moving for a fresh, natural and warm (not posed) shot.
Flipping Houses - Real Estate Investments
23Jan/100
Artificial Lighting Can Duplicate Most Natural Light Situations For Close-up Photographs
Ever wonder how the photography pros seem to get those perfect close-ups of flowers, a face or an otherwise shaded object?
The photographers world is one of perfecting an art form. It's about capturing the subject in the proper light. It is not about delivering a real-life image. It's about capturing impactful color, texture and shape when engaging the camera shutter. The photographers craft is image media art.
On your next field trip to the park or on a hike into the interior of a forest, take your flash unit and an off camera shoe cord. The shoe cord is usually a curly flash extension cord that connects your camera flash shoe to your flash unit and allows you to hold the flash unit up to 3 feet away from your camera. Hold the flash unit to the right or to the left of your subject. Hold it high and over the top of your subject or, even have the light source come from below or behind your subject. Your flash can be positioned anywhere in a virtual 3 foot sphere around your camera. This provides you countless number of ways to simulate light and shadow for your close-up, still and portrait photography.
Bring along a friend. Have them hold a flash reflector, a white cloth or a reflective surface (like the one used in car windshields to reduce direct sunlight and heat buildup). Use this sun reflective surface with existing sunlight or your off camera flash. Now you have multiplied your possibilities for soft or diffused lighting for your images.
Create your own sun for those close-ups, stills and portraits. Just bring your:
1) Flash unit
2) Off Camera Shoe Cord
3) Reflective Surface for diffused lighting
4) A Friend
You no longer need to wait for that 'right light' to capture an awesome photographic image. Experiment with artificial light and you will be delighted with the results. Here Comes Your Sun.
Woodworking Tools
22Jan/100
Lighting for Portrait Photography (Part 1): Behavior of Light
Light is the raw material of a photographer. Much as the painter works with paint and the sculptor works with stone, the photographer works with light. This analogy is not precise however, because as the painter and sculptor work with actual material substances, the photographer works with a form of energy. Understanding the behavior of this form of energy that we call light, is foundational to your success as a portrait photographer. A painter may not need to know the chemical and physical properties of each component of her paints, but she must completely understand how to blend the different colors, and how the paints behave as she applies them to the canvas. Just as a painter or sculptor must gain masterful insight into the behavior of the raw materials of their arts, so must the portrait photographer gain a keen understanding of the behavior of light.
The first prerequisite for photography is light being emitted from a source. Just think about it, without light, photography is impossible. Light may be emitted from a natural source, such as the sun, or from an artificial source, such as strobes or constant light sources. In 1931, the strobe was developed for use in still photography by Harold Edgerton [http://www.edgerton.org/biography.html], an electrical engineer from MIT. Today, the strobe is by far the most used light source in the portrait studio. Advantages of strobe lighting for portrait studio photography include: reasonably precise control of light intensity and light color temperature, low heat generation compared to a constant light source, and low power consumption for the amount of light output.
The most important property of light to the portrait photographer is the light's intensity or brightness. There are several ways of controlling the intensity of light striking the subject. In the studio, the power supply of modern strobes may be adjusted. The strobes may be positioned farther away from the subject. Outdoors, you may take advantage of cloud cover or the overhang of a tree or building, or even the time of day, to control the intensity of the incident light on the subject. These methods are effective for controlling the average (overall) light intensity of the composition. Many devices have been developed to control the relative intensities of light (specular highlights) of specific areas within a composition. Devices such as scrims, gobos, snoots, grid spots, and barn doors, are commonly used to partially block, direct, or otherwise control the relative light intensities within a composition.
Another property of light of great importance to the portrait photographer is the light's color temperature. Pure white light is the result of an equally balanced mixture of the three primary colors: red, green, and blue. In different lighting conditions (e.g. cloudy versus full sun), the proportions of the color mixture may vary. Normally, the human brain automatically compensates for this, and you do not notice the difference as you leave one lighting condition and enter another. Film can not make this same automatic compensation. Therefore, differences in color temperature must be manually adjusted for by the photographer. Color temperature of various light conditions is commonly stated in degrees Kelvin. There are three standard color temperature rated films commonly used by photographers. "Daylight" film is designed to be exposed by 5500K light, and "indoor" film is designed to be exposed by 3400K light, or 3200K light for professional "indoor" film. For a greater degree of control over the white balance when using film, color correction filters are used. Most if not all digital SLR cameras have a white balance adjustment to electronically compensate for changing color temperatures encountered in various light conditions. In digital photography, when shooting in RAW format, the color temperature can easily be corrected in Photoshop.
A third property of light that is very important to the portrait photographer is contrast. A light source has high contrast if its rays all strike the subject at approximately the same angle. A light source that is diffuse has low contrast, because its rays strike the subject from many different angles. High contrast light sources produce shadows with a hard edge, while low contrast light sources produce shadows with a soft edge. This is because with a high contrast light source, where the rays all approach the subject from approximately the same angle, no light enters the edge of the shadow and the shadow's edge remains distinct. A light source's relative contrast is generally determined by the size of the light source and its distance from the subject. The sun on a clear day is relatively small in our sky, and therefore it is a high contrast light source producing hard edged shadows. On a cloudy day, the light from the same sun is spread out and diffuse. Effectively the entire sky becomes a low contrast light source, producing very soft edged shadows. In the studio, we have many light modifiers available to us, to control the effective size of the light source and thereby control the level of contrast. For any given size of a light source, as it is positioned farther and farther away from the subject we see that it effectively becomes smaller and smaller, yielding higher and higher levels of contrast, albeit lower and lower intensity.
Light acts on any subject it may strike. This much may be obvious. But every subject also acts on any light that strikes it. A subject may act on light in three distinct ways: refraction, absorption, and reflection. Refraction is the bending of light waves as they pass through a transparent material such as glass. In fact, the refractive property of glass is what is manipulated within the photographic lens, to focus an image onto the film (or digital image sensor). Absorption is the process whereby certain materials convert light energy into some other form of energy (usually heat). The absorptive property of a black painted foam core board may be used by the photographer to selectively "subtract" light, so that it does not bounce around the studio in an undesirable way.
Of the three ways a subject may act on the light striking it, reflection is the most important to the photographer. Reflection is an abrupt change in the direction of propagation of light waves that strikes the surface of the subject. In direct reflection, the light rays bounce from a smooth surface at the same angle at which they hit it. The intensity of the direct reflection mirrors the intensity of the light source. Glare, such as observed on the surface of a body of water, is a polarized direct reflection. Unlike direct reflection however, glare reflection always has a lower intensity than the light source producing it. Glare reflection may be controlled or eliminated by using a polarizing filter. Diffuse reflections occur when light from a source is reflected equally in all directions by the surface it strikes. In theory, diffuse reflections are the same intensity no matter what angle they are viewed from. The intensity of a diffuse reflection increases as the light source is moved closer to the subject. The Inverse Square Law says that the intensity of the diffuse reflected light is inversely proportional to the square of the distance between the light source and the subject. This implies, a light source at any given distance from the subject will light the subject with an intensity that is four times greater than the same light source moved to twice the distance from the subject.
An understanding of the behavior of light is a prerequisite to understanding how to control the light. We see that light can act on any subject it strikes. Intensity or brightness, color temperature, and contrast are the three properties that are of most concern to the portrait photographer. Any subject also acts on light that strikes it, either through refraction, reflection, absorption, or some combination of the three. In portrait photography, light is controlled to achieve optimum overall exposure of a composition, to develop of specular highlights, to reveal and enhance textures, forms and color saturation, and to build a three dimensional perspective. In Part 2 of this article, the fundamentals of controlling the overall exposure of a composition using the camera are discussed. Until then, good day and happy clicking.
Steve Barnes is a professional portrait photographer, free lance writer, and co-owner of Hayley Barnes Photography, in League City, Texas. Please visit his website at: Hayley Barnes Photography. Elegant portrait photographer. Children, Families, High School Seniors, and Quincea
21Jan/100
Digital Photography Tips – 3 Solid Lighting Tips
I've been taking photos since I was old enough to own my first Polaroid camera about 40 years ago. I remember how horrible the quality was. Well, we have come a long way since those days. Technology has taken the world of photography, especially digital photography, to a whole new level. However, as great as the technology is, nothing can make up for poor lighting, no matter how great the camera. I, and many others, have learned this the hard way. This article is going to give you a few solid tips on lighting that will help make your digital photography experience one that won't be one of frustration and disappointment.
The first thing you need to understand about lighting is where to place it, if you're using artificial lighting. Never place the lighting in back of the subject. This is going to result in terrible glare in your photos. You want the lighting to be in back of the photographer or off to the sides of the subject, slightly in front. The more lighting the better. A couple of 500 watt halogen lamps should be more than enough to do the trick.
You need to be careful of shadows. Too much lighting can produce too much shadow...not enough and your subject could end up in the dark. This is going to be a trial and error sort of thing. Unfortunately, with digital cameras, what you often see in the view finder is usually brighter than the finished product that you end up with. So you will have to take a couple of test photos to make sure the lighting is just the way you want it. The good thing about digital cameras is that there is no film to waste. Just delete your test shots after they are finished.
If you are using backdrops, try to choose one that is a light color. Black is definitely out of the question as it will absorb too much of the light. A plain white backdrop is best. These are not expensive. However, if you can't afford to purchase one, simply roll up some plain white material and scotch tape it to the wall behind the subject. It may seem tacky, but nobody is going to care or notice. The bottom line is that you want a photo that is clear and sharp.
These are just a few of the many things you can do when it comes to lighting and your digital photos. If you'd like a really great guide to digital photography, check out the review at my blog that you can find in my signature. It has hands down the best resource available, especially if you're not a professional photographer.
To YOUR Photographic Success,
Steven Wagenheim
Christmas Toys
21Jan/100
The Absolute Importance of Proper Photography & Interior Design & Home Staging for More Showings!
Realtors, Home Owners, & Home Investors pay very close attention to this article, it will affect all of you in more way than one. If you are not technologically savvy or are some how unaware of it you need to become aware of it quickly.
With over 80% of all home sales being directly correlated to being listed in a real estate MLS database, and now that over 79% of all consumers are actively searching the internet and websites for premium homes, the photo of the homes in these databases featuring properties will be what actually determines if a home buyer or home shopper chooses to see your property. Most disturbing is the fact that by ignoring this simple irrefutable fact in modern internet marketing may altogether eliminate your beautiful home from prospective buyers should there be some less than effective photographic or staging/interior design elements that are lacking.
Properly staged homes (lighting, props, interior design) + proper photography (proper agent selection of camera angles, lighting, proper lens & camera selection & photographic techniques) now weigh in more than ever on a potential home buyers making it to your home to actually view your property.
The question to be asked now is: Does the home I am selling look as good or better than the majority of competing properties. If not, potential home buyers may actually choose simply by the interior design and photographic expertise employed to see other properties.
Of course home price is still the largest determining factor, buyers with discerning tastes and no interest in fix-up properties or homes that may be perceived as less than "perfect" will not be getting the amount of buyers through the doors to effectuate a sale. Also considering that 62% of all home buyers are couples and 22% of all first time buyers are single females, anyone who ignores the new dynamics in internet marketing will be missing out on attracting these important buyers by failing recognize these new variables in the information age of marketing.
Cutting corners on not hiring a professional staging company or at least taking the time to either do it yourself or find a friend or family member help with the interior design/staging element could result in less than effective marketing results. Two more points are to remember to concentrate on proper lighting and the proper use of props where available. The consensus from most realtors that I have discussed this topic with is that it really comes down to being flexible mentally and using a lot of creativity and setting the time aside in your schedule where you can experiment with how the home looks through the camera frame. Many people are in such a rush to move that by ignoring the simple fact that this home will be on the world wide web with buyers actively searching 24/7 it may be one of the most important and under rated decision home buyers make when allocating resources towards attracting more buyers to the home. My opinion on this is that the more buyers who select you on their computer will = more people printing it out on paper or e-mailing it to their real estate professional for them to set up a showing appointment.
More showing appointments lead to more opportunities for a full price offer. "Change is going on all around us, let's see that change and adjust quickly", says Rick LeForce, my husband and local real estate broker here in Phoenix, Arizona.
Rick was recently highlighted in a local investor group as a keynote speaker:
"Investors, if you want to be able to see what properties to concentrate on after the home has been on the market for 90 days and will be there for another 90 days, look at the photos & the interior design, odds will be that seller will be ready to consider a discounted offer around the 180 day mark"
-Rick LeForce
Bath Salt-Dead Sea Salt-Aromatherapy
19Jan/100
A Look at the Fluorescent Light Bulbs
Fluorescent light bulbs have developed over the years to replace incandescent lamps. The most common of these lamps is the compact fluorescent lamp,(CFL), which easily fits in existing lighting fixtures and which therefore does not entail expensive adjustments to existing structures.
Despite the fact that they cost considerably more than incandescent bulbs, CFLs are preferred because they use less power and last much longer. For this reason, they are also known as energy saving light bulbs. It is estimated that a CFL can save over $30 in electricity costs over it's lifetime in addition to saving over 2000 times its own weight in greenhouse gas emissions. A major drawback with CFLs, however, is that, like all fluorescent bulbs, they contain mercury which is hard to dispose of.
The original fluorescent lamp was invented in the 1890s and was used in photographic studios and industries. Various improvements have been made in CFLs, the latest of which is the improvement developed by Ed Hammer, an engineer with General Electric, in 1973. Global available of CFLs has been possible since the 1980s and they are available in either or non-integrated types.
A CFL has two main parts, a gas-filled tube and a magnetic or electronic ballast through which the gas flows to emit ultraviolet light. While incandescent are made to have a lifespan of 750 to 1,000 hours, CFLs have a much longer lifespan and can last for between 6,000 to 15,000 hours. Of course the lifespan of a bulb will depend on a number of factors such as operating voltage and manufacturing defects.
Discount Halloween Costumes
Copyright © 2010 Just Digital Photography ·
Lightword Theme by Andrei Luca Go to top ↑
Lightword Theme by Andrei Luca Go to top ↑