Wednesday, August 31, 2016

Posted by Unknown |
Sixties Fashion Photography

Sixties fashion photography embraced the bubbling dynamism of the era. Instead of simply capturing beautiful women standing still as mannequins in lovely clothes, fashion photographers of the sixties showed the modern woman living an independent life. Fashion models stepped out of the studio and into the streets of Paris and Rome, and editors began showing images of women pausing outside a cafe to listen to a street musician, or throwing her head back in laughter. Photographers of the sixties bent the traditional rules of fashion photography and blazed a new trail that influences the contemporary fashion and photography world to this day.

Bob Richardson

    1960s fashion photographer Bob Richardson brought a gritty sexuality to a fashion world that previously handled couture with a pristine white glove. His images defied tradition and left a lasting legacy through the use of techniques now rendered common. For example, Richardson was the first fashion photographer who underexposed film until the details of the clothes darkened into obscurity. Bob Richardson received a diagnosis of schizophrenia in the 1960s, the symptoms of which worsened with his use of drugs and alcohol. After a period of homelessness in the 1980s, fans rediscovered Richardson's work and he once again shot images for the world's most glamorous fashion magazines. Richardson passed away in 2005. His son Terry carries on in his father's role as a fashion photographer.

Richard Avedon

    Richard Avedon in 2003
    Richard Avedon in 2003

    During the early 1960s photographer Richard Avedon held gallery exhibitions of his work at the Smithsonian, published compilations of his work in hardback, and covered the civil rights movement as a photojournalist. In April 1965, Avedon guest edited the 20th anniversary edition of Harper's Bizarre. The cover featured model Jean Shrimpton wearing a spacesuit-inspired pink helmet in a photograph shot by Avedon himself. From 1966-1990, he worked as a staff photographer for Vogue magazine. Avedon's images showed women in action. His models laugh as they leap and skate across the page, all while impeccably dressed in beautiful clothes.

David Bailey

    British Vogue hired David Bailey as a photographer in 1960, and he spent the decade documenting the celebrities and models of "Swinging London." Bailey injected a punk aesthetic into the fashion world through his dramatic lighting and austere settings, and cemented his relationship with the world of rock 'n' roll with portraits of the Beatles and Mick Jagger. He published two books over the course of the decade, "Box of Pin-ups" in 1964 and "Goodbye Baby & Amen: A Sarabande for the Sixties" in 1969. Bailey's fashion work often featured the most famous models of the day, including Jean Shrimpton, Twiggy, and Penelope Tree wearing the newest fashions on the streets of New York City and London.

Norman Parkinson

    When the 1960s hit, Norman Parkinson's resume already included nearly two dozen years as a fashion photographer for Harper's Bazaar and both British and American Vogue. Parkinson began the 60s as associate editor of Queen Magazine, an influential fashion magazine. In the late 60s, he resumed his position as a staff photographer for Vogue. Parkinson continually reinvented himself throughout his career, maintaining a reputation for professionalism and charm throughout his documentation of the beautiful women that introduced English style to the world.


Sixties Fashion Photography

Sixties fashion photography embraced the bubbling dynamism of the era. Instead of simply capturing beautiful women standing still as mannequins in lovely clothes, fashion photographers of the sixties showed the modern woman living an independent life. Fashion models stepped out of the studio and into the streets of Paris and Rome, and editors began showing images of women pausing outside a cafe to listen to a street musician, or throwing her head back in laughter. Photographers of the sixties bent the traditional rules of fashion photography and blazed a new trail that influences the contemporary fashion and photography world to this day.

Bob Richardson

    1960s fashion photographer Bob Richardson brought a gritty sexuality to a fashion world that previously handled couture with a pristine white glove. His images defied tradition and left a lasting legacy through the use of techniques now rendered common. For example, Richardson was the first fashion photographer who underexposed film until the details of the clothes darkened into obscurity. Bob Richardson received a diagnosis of schizophrenia in the 1960s, the symptoms of which worsened with his use of drugs and alcohol. After a period of homelessness in the 1980s, fans rediscovered Richardson's work and he once again shot images for the world's most glamorous fashion magazines. Richardson passed away in 2005. His son Terry carries on in his father's role as a fashion photographer.

Richard Avedon

    Richard Avedon in 2003
    Richard Avedon in 2003

    During the early 1960s photographer Richard Avedon held gallery exhibitions of his work at the Smithsonian, published compilations of his work in hardback, and covered the civil rights movement as a photojournalist. In April 1965, Avedon guest edited the 20th anniversary edition of Harper's Bizarre. The cover featured model Jean Shrimpton wearing a spacesuit-inspired pink helmet in a photograph shot by Avedon himself. From 1966-1990, he worked as a staff photographer for Vogue magazine. Avedon's images showed women in action. His models laugh as they leap and skate across the page, all while impeccably dressed in beautiful clothes.

David Bailey

    British Vogue hired David Bailey as a photographer in 1960, and he spent the decade documenting the celebrities and models of "Swinging London." Bailey injected a punk aesthetic into the fashion world through his dramatic lighting and austere settings, and cemented his relationship with the world of rock 'n' roll with portraits of the Beatles and Mick Jagger. He published two books over the course of the decade, "Box of Pin-ups" in 1964 and "Goodbye Baby & Amen: A Sarabande for the Sixties" in 1969. Bailey's fashion work often featured the most famous models of the day, including Jean Shrimpton, Twiggy, and Penelope Tree wearing the newest fashions on the streets of New York City and London.

Norman Parkinson

    When the 1960s hit, Norman Parkinson's resume already included nearly two dozen years as a fashion photographer for Harper's Bazaar and both British and American Vogue. Parkinson began the 60s as associate editor of Queen Magazine, an influential fashion magazine. In the late 60s, he resumed his position as a staff photographer for Vogue. Parkinson continually reinvented himself throughout his career, maintaining a reputation for professionalism and charm throughout his documentation of the beautiful women that introduced English style to the world.



  • 1960s in fashion - Wikipedia, the free encyclopedia

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    The 1960s featured a number of diverse trends. It was a decade that broke many fashion traditions, mirroring social movements during the time.In the middle of the ...


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  • Mod Fashion, History, Trends and Photo's

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Tuesday, August 30, 2016

Posted by Unknown |

When you finally start to get serious jobs as a professional photographer, agents, editors and clients are going to want you to email your portfolio to them. If you are like most photographers, your portfolio is in high resolution and takes up huge quantities of memory, so emailing a portfolio is not necessarily an easy task. It's never a good idea to send a full-resolution copy of your book unless you have a very specific and good reason to do so -- like your client has asked to see full-resolution photos. Once you make lower-resolution copies of your images, you can create a ZIP file to email your photography portfolio. Using ZIP format ensures that the person who receives the images will be able to open and view them, regardless of the operating system he uses.

Instructions

    1

    Create low-resolution copies of the images in your portfolio, such as a maximum of 1,200 pixels for the longest edge. Create a folder on your Desktop, give it your name as the title and then move the low-resolution images to the folder.

    2

    Rename your images with your name followed by a number. For example, use names like "johnsmith001," "johnsmith 002," "johnsmith003" and so on. Use the numbers to control the order of how you want your images to be viewed. Make the opening image "001," the following image "002," and so on. This ensures that the person viewing your portfolio will view your images in the order you want.

    3

    Create a ZIP archive of your folder. For Windows, right-click the folder. Select "Send To" and then "Compressed Folder." For Mac OS X, hold the "Option" key, and click the folder. Choose "Archive" from the Actions menu. Rename your ZIP file with your first and last name.

    4

    Open your email program or navigate to your Web mail and create a new message. Click the "Attach" button or link and select your ZIP file as the attachment.


When you finally start to get serious jobs as a professional photographer, agents, editors and clients are going to want you to email your portfolio to them. If you are like most photographers, your portfolio is in high resolution and takes up huge quantities of memory, so emailing a portfolio is not necessarily an easy task. It's never a good idea to send a full-resolution copy of your book unless you have a very specific and good reason to do so -- like your client has asked to see full-resolution photos. Once you make lower-resolution copies of your images, you can create a ZIP file to email your photography portfolio. Using ZIP format ensures that the person who receives the images will be able to open and view them, regardless of the operating system he uses.

Instructions

    1

    Create low-resolution copies of the images in your portfolio, such as a maximum of 1,200 pixels for the longest edge. Create a folder on your Desktop, give it your name as the title and then move the low-resolution images to the folder.

    2

    Rename your images with your name followed by a number. For example, use names like "johnsmith001," "johnsmith 002," "johnsmith003" and so on. Use the numbers to control the order of how you want your images to be viewed. Make the opening image "001," the following image "002," and so on. This ensures that the person viewing your portfolio will view your images in the order you want.

    3

    Create a ZIP archive of your folder. For Windows, right-click the folder. Select "Send To" and then "Compressed Folder." For Mac OS X, hold the "Option" key, and click the folder. Choose "Archive" from the Actions menu. Rename your ZIP file with your first and last name.

    4

    Open your email program or navigate to your Web mail and create a new message. Click the "Attach" button or link and select your ZIP file as the attachment.



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Monday, August 29, 2016

Posted by Unknown |
How to Use a Nikon SB800 Flash for Outdoor Fill Flash

Shooting photographs outdoors often results with subjects that have dark shadows on their faces and even under the eyes. Camera-mounted flashes tend to get used primarily indoors, not outdoors. But by using just enough flash to eliminate the shadows, the photographer will end up with a picture where the subject and the background are evenly lit.
Nikon's SB-800 flash is a powerful unit that is capable of handling most situations that a photographer will encounter. The SB-800 is well suited for fill flash photography and it is easy to manually adjust the flash's exposure compensation settings. Follow the steps below and see for yourself how using a flash outdoors will improve your photography.

Instructions

    1

    Mount the SB-800 on the camera body. Turn on the camera and flash, and get familiar with the flash controls. With the flash in the "TTL" mode, press the "SEL" button to highlight the Flash output level compensation value.

    2

    Use the "+" or "-" buttons, which are located above and below the "SEL" button, to adjust the exposure compensation. The exposure can be set from "-3 EV" to "+3EV" in one to three steps. Press the "SEL" button one more time when the correct setting has been selected.

    3

    Position the subject as desired outdoors, and take a photograph with the flash turned off. Review the photograph in the camera's LCD screen. If the subject has unwanted shadows or is dark compared to the background, turn on the flash and take another shot at "0" compensation. Normally, a full power flash setting will wash out or leave hotspots on the subject. If this is the case, proceed to Step 4.

    4
    Flash Compensated

    Take a series of photographs while varying the exposure compensation, as described in Steps 1 and 2. Start at "-1EV," and depending on the results, adjust compensation up or down. After each shot, carefully review that photograph until the setting is found that produces a result that the photographer likes.


How to Use a Nikon SB800 Flash for Outdoor Fill Flash

Shooting photographs outdoors often results with subjects that have dark shadows on their faces and even under the eyes. Camera-mounted flashes tend to get used primarily indoors, not outdoors. But by using just enough flash to eliminate the shadows, the photographer will end up with a picture where the subject and the background are evenly lit.
Nikon's SB-800 flash is a powerful unit that is capable of handling most situations that a photographer will encounter. The SB-800 is well suited for fill flash photography and it is easy to manually adjust the flash's exposure compensation settings. Follow the steps below and see for yourself how using a flash outdoors will improve your photography.

Instructions

    1

    Mount the SB-800 on the camera body. Turn on the camera and flash, and get familiar with the flash controls. With the flash in the "TTL" mode, press the "SEL" button to highlight the Flash output level compensation value.

    2

    Use the "+" or "-" buttons, which are located above and below the "SEL" button, to adjust the exposure compensation. The exposure can be set from "-3 EV" to "+3EV" in one to three steps.

    Enhance your photography skill,The Top Secret Photography Techniques

    . Press the "SEL" button one more time when the correct setting has been selected.

    3

    Position the subject as desired outdoors, and take a photograph with the flash turned off. Review the photograph in the camera's LCD screen. If the subject has unwanted shadows or is dark compared to the background, turn on the flash and take another shot at "0" compensation. Normally, a full power flash setting will wash out or leave hotspots on the subject. If this is the case, proceed to Step 4.

    4
    Flash Compensated

    Take a series of photographs while varying the exposure compensation, as described in Steps 1 and 2. Start at "-1EV," and depending on the results, adjust compensation up or down. After each shot, carefully review that photograph until the setting is found that produces a result that the photographer likes.



  • Guide to Nikon TTL Flashes - Page 2 - photo.net

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Posted by Unknown |
Bird's Eye View Definition

A bird's-eye view is an image gained when the position of the observer is significantly higher than that of the subject. Looking down upon a subject can be achieved in a number of ways and may serve several different purposes. For filmmakers and photographers, bird's-eye views are a way to add interest to a shot or relate important information about the subject.

Terminology

    While some glossaries refer to a bird's-eye view as any point-of-view that is above the subject, others specify that the image must be seen from a very high angle. Generally the height of the observer relative to the subject must be conspicuous. Thus, a photograph of a person, taken from the eye level of a slightly taller person, is not said to be a bird's-eye view. A photo of a person taken from the roof of a two-story building would qualify.

Uses and Effect

    Bird's-eye views are useful in a number of scenarios. Overhead shots of buildings or a landscape can be useful for establishing a setting or including a large visual field within a single image. Similarly, viewing a human figure from above can locate them in their space in a way that lower angles might not. The psychological effect of a bird's-eye view is to make the subject appear smaller and, by association, weaker or more subdued. In cinematography, movie characters shot using bird's-eye view are often the objects of sympathy.

Techniques

    There are many ways to achieve a bird's-eye view. One of the simplest is to mount a camera at a high location, such as on a scaffold or other structure. Climbing to the top of a building or using a ladder are other ways to place the point-of-view above a subject. For larger subjects or higher bird's-eye views, helicopters, airplanes, and cranes can be useful to place the camera in an appropriate position. Another way to produce bird's eye view is to lower the subject, either by constructing a pit or trench or by actually decreasing its size if possible.

Examples

    Landscape photography sometimes makes use of a bird's-eye view, with photographers in helicopters literally assuming the position of a bird. Commercially produced photos of famous buildings or cities are often made in the same way. Surveillance footage is also frequently shot from a high position, using a bird's-eye view to display a large field of view and covering as much of a space as possible. In art, paintings or photographs that employ a bird's-eye view convey psychological tension by placing the viewer in an unnatural position.

Related Techniques

    The opposite of a bird's-eye view, or a very low point-of-view, is sometimes referred to as a worm's-eye view. This can serve to make the subject appear tall and imposing. Worm's-eye views are common in cinematography as a means of making characters appear more powerful. An exaggerated version of a bird's-eye view, in which an extremely high angle is employed, is sometimes called a God's-eye view, although there is no clear distinction between the two terms, as it is simply a matter of degree of emphasis.


Bird's Eye View Definition

A bird's-eye view is an image gained when the position of the observer is significantly higher than that of the subject. Looking down upon a subject can be achieved in a number of ways and may serve several different purposes. For filmmakers and photographers, bird's-eye views are a way to add interest to a shot or relate important information about the subject.

Terminology

    While some glossaries refer to a bird's-eye view as any point-of-view that is above the subject, others specify that the image must be seen from a very high angle.

    Enhance your photography skill,The Top Secret Photography Techniques

    . Generally the height of the observer relative to the subject must be conspicuous. Thus, a photograph of a person, taken from the eye level of a slightly taller person, is not said to be a bird's-eye view. A photo of a person taken from the roof of a two-story building would qualify.

Uses and Effect

    Bird's-eye views are useful in a number of scenarios. Overhead shots of buildings or a landscape can be useful for establishing a setting or including a large visual field within a single image. Similarly, viewing a human figure from above can locate them in their space in a way that lower angles might not. The psychological effect of a bird's-eye view is to make the subject appear smaller and, by association, weaker or more subdued. In cinematography, movie characters shot using bird's-eye view are often the objects of sympathy.

Techniques

    There are many ways to achieve a bird's-eye view. One of the simplest is to mount a camera at a high location, such as on a scaffold or other structure. Climbing to the top of a building or using a ladder are other ways to place the point-of-view above a subject. For larger subjects or higher bird's-eye views, helicopters, airplanes, and cranes can be useful to place the camera in an appropriate position. Another way to produce bird's eye view is to lower the subject, either by constructing a pit or trench or by actually decreasing its size if possible.

Examples

    Landscape photography sometimes makes use of a bird's-eye view, with photographers in helicopters literally assuming the position of a bird. Commercially produced photos of famous buildings or cities are often made in the same way. Surveillance footage is also frequently shot from a high position, using a bird's-eye view to display a large field of view and covering as much of a space as possible. In art, paintings or photographs that employ a bird's-eye view convey psychological tension by placing the viewer in an unnatural position.

Related Techniques

    The opposite of a bird's-eye view, or a very low point-of-view, is sometimes referred to as a worm's-eye view. This can serve to make the subject appear tall and imposing. Worm's-eye views are common in cinematography as a means of making characters appear more powerful. An exaggerated version of a bird's-eye view, in which an extremely high angle is employed, is sometimes called a God's-eye view, although there is no clear distinction between the two terms, as it is simply a matter of degree of emphasis.



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Posted by Unknown |
The Lighting Techniques for the Portrait Photographer

Photography is not just pointing a camera at something and snapping a picture. Its also about mastering the tools of the trade. Painters mix colors together to create different textures and effects in their paintings. Filmmakers test different lenses. The most powerful tool for a photographer is his lighting equipment. Lighting adds drama, softness, coldness, and casts shadows to create emotions. Bad lighting techniques produce unflattering portraits.

Lighting Equipment Set Up

    The Key Light (or main light) is set up in front of the subject. Its function is to draw attention to the center of the face and shape your subject. To the right or left of the Key Light, yet still facing the subject, is the Fill Light. It offsets the shadows created by the main Key Light. It controls how light or dark shadows are in the face and around the subject by diffusing the light produced by the light in various ways. A popular method of diffusing the light is by using frosted plastic. Background lights give your photograph a 3-D feel by pulling the subject away from the background used in the picture. It isnt aimed at the subject at all. It is aimed at the background wall.

Distorting Features

    Cover up unflattering features that your subject doesnt want emphasized with special lighting techniques. Broad Lighting requires the use of a stronger Key Light or Main Light. The face is turned towards the camera. This technique flattens out the features of the face. For example, this lighting technique is used to fatten up slim narrow faces. For the opposite effect, photographers use short lighting. They turn the subject away from the camera and use a softer fill light.

Butterfly Lighting

    Every woman wants to look like a model in photographs. Butterfly lighting is used to achieve a dramatic and glamorous effect. The key light is positioned directly in front of the subject. It creates symmetry in the face by producing shadows under the chin and the nose that center the face. This tactic attempts to re-create the bright light of the sun by using high powered key and fill lights. In the book, Lighting David Prakel writes that the butterfly shadow produced under the nose is used to perfectly position the lights for emphasis on eyes and cheekbones.

Rembrandt Lighting

    Named after the famous painter, Rembrandt Lighting seeks to create a dramatic photograph in the likeness of Rembrandt's famous paintings by emphasizing the beauty of the natural face. It combines butterfly style lighting with short lighting technique. The subject looks away from the camera and key light. To create the shadow for symmetry, however, the lights are placed at 45-degree angles to create those shadows on the cheek.

Tips

    Hang lights from the ceiling to get another angle for casting shadows. Control your lighting based on the mood you want to set for the photograph. Cover your frame with the subject. All the shots dont have to be close ups of the face. Zoom the camera in as tight on the subject as possible. Focus on keeping the subjects eyes within the top third of the frame. Use props and backlighting to create texture and a multi-dimensional feel to the photograph. Try different camera angles to capture the most dramatic shadow positions.


The Lighting Techniques for the Portrait Photographer

Photography is not just pointing a camera at something and snapping a picture. Its also about mastering the tools of the trade. Painters mix colors together to create different textures and effects in their paintings. Filmmakers test different lenses. The most powerful tool for a photographer is his lighting equipment. Lighting adds drama, softness, coldness, and casts shadows to create emotions. Bad lighting techniques produce unflattering portraits.

Lighting Equipment Set Up

    The Key Light (or main light) is set up in front of the subject. Its function is to draw attention to the center of the face and shape your subject. To the right or left of the Key Light, yet still facing the subject, is the Fill Light. It offsets the shadows created by the main Key Light. It controls how light or dark shadows are in the face and around the subject by diffusing the light produced by the light in various ways. A popular method of diffusing the light is by using frosted plastic. Background lights give your photograph a 3-D feel by pulling the subject away from the background used in the picture. It isnt aimed at the subject at all. It is aimed at the background wall.

Distorting Features

    Cover up unflattering features that your subject doesnt want emphasized with special lighting techniques. Broad Lighting requires the use of a stronger Key Light or Main Light. The face is turned towards the camera. This technique flattens out the features of the face. For example, this lighting technique is used to fatten up slim narrow faces. For the opposite effect, photographers use short lighting. They turn the subject away from the camera and use a softer fill light.

Butterfly Lighting

    Every woman wants to look like a model in photographs. Butterfly lighting is used to achieve a dramatic and glamorous effect. The key light is positioned directly in front of the subject. It creates symmetry in the face by producing shadows under the chin and the nose that center the face. This tactic attempts to re-create the bright light of the sun by using high powered key and fill lights. In the book, Lighting David Prakel writes that the butterfly shadow produced under the nose is used to perfectly position the lights for emphasis on eyes and cheekbones.

Rembrandt Lighting

    Named after the famous painter, Rembrandt Lighting seeks to create a dramatic photograph in the likeness of Rembrandt's famous paintings by emphasizing the beauty of the natural face. It combines butterfly style lighting with short lighting technique. The subject looks away from the camera and key light. To create the shadow for symmetry, however, the lights are placed at 45-degree angles to create those shadows on the cheek.

Tips

    Hang lights from the ceiling to get another angle for casting shadows. Control your lighting based on the mood you want to set for the photograph. Cover your frame with the subject. All the shots dont have to be close ups of the face. Zoom the camera in as tight on the subject as possible. Focus on keeping the subjects eyes within the top third of the frame. Use props and backlighting to create texture and a multi-dimensional feel to the photograph. Try different camera angles to capture the most dramatic shadow positions.



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