Wide Shot

How to Photograph Firewoks Displays - Photography Techniques

How to Photograph Firewoks Displays? These are most questions that i had received from readers and most had a feeling that its really hard to capture. I could understand that as capturing a fireworks display always involve the elements of both darkness and brightness. The darkness of the sky or the surroundings and the brightness of the fireworks or sometimes the foreground.

My simple adviced to all is "grab you camera equipments and give it a try" whenever theres a fireworks displays in and around your area.

Below are some useful tips to help you get started.

Planning
Planning is the most important when photograhing Fireworks Displays and this is what most people tend to ignore. Always get to the location early. Be sure of where the fireworks are being setup and what part of the sky will it be lighting up. Try asking the organisors if possible of what they are planning. Look around the location and take note of the lightings and surroundings. You might want to decide now on what lenses and the focal lengths to use. Remember the first and most important thing in fireworks photography is planning and anticipation.

Framing and Focusing
Where to aim your camera? This is one of the most difficult part in photographing fireworks dislays. You normally need to aim your camera before the fireworks goes off. I normally spend most of my time looking in the sky rather then looking at my view finder so that i could see whats happening around me and also anticipate the moment or the right time to shot.

Always manually focus your camera or put it on infinity. Its quite impossible to use auto focus mode in low light and you may end up missing a lot of shots. So set your focusing in advanced and fix your focal lengths but remember to ajust your focusing if you happen to change your focal lengths.

Shutter SpeedIts not necessary to set your shutter speed to a very low setting. The temptation to keep your shutter open too long is because its dark and you need to do that. The problem is that fireworks itself are bright and you might over expose them and you may end up not having a clean and nice shot. What you may get is too much of the smoke in you photograph.

Aperture
What aperture to use in Photographing Fireworks Dispalys? Many people thinks that they need to open up the aperture in order to capture them right. But remember, the lights that fireworks emit is quite bright. I normally set my aperture between mid to smaller f stop and i find it tend to work well. And again it will also depends on what shutter speed you have selected.

ISO
Shot using the lowest ISO possible.

Capturing the Mood and Surroundings
When photographing Fireworks Displays many people tend to just capture the Fireworks and forgetting the foreground or the background. Remember Fireworks Displays are often relates to celebrations and occasions and I personally feels your picture must relates to the occasions and it must tell you where, what and when. Dont forget to include other elements such as people, landmarks or other perspectives to make your photograph more meaningful and the Fireworks Display looking more spectacular.

Take as Many Shots as Possible and Track Results
Keep taking as many shots as possible and do a quick check occasionally. But remember….. dont check after every shot or you may end up missing the action!!! You might not have enough time. If you are using Digital Camera take advantage of it and keep on taking.

Indoor Portrait Lighting Basics

Lighting quality can make or break a photograph. Proper lighting not only provides the camera with the necessary visibility to capture a photograph, but can be strategically utilized to portray moods and effects representing a sentiment more profound than the image itself. Photography lighting is an inexact art, lending its eminence to the vision and experience of individual photographers. Here we will examine some common portrait lighting terminology and outline a basic lighting configuration for taking stunning indoor portraits.

A portrait is a visual portrayal of a person, such as a photograph, but also entailing drawings, engravings, paintings and other representations of a person. Most people have had a portrait taken at some point in their lives, whether it was for a school yearbook photo, employee ID or a driver's license photo.

To start, you will need some type of surface to serve as a backdrop to your portraits. Portrait backgrounds are often comprised of paper or cloth that covers the background of the portrait area and continues onto the floor for continuity. Feel free to be imaginative in determining the type of background you will use for your portraits, bearing in mind that an outrageous or busy backdrop can detract from the person as the focal point of the image.

Once your backdrop is in place, have the person you intend to photograph sit or stand in the position that has been determined for the portrait. Proper lighting adjustment is unique to the sizes of different individuals, which is why your subject should be present before the lighting is put into place. Make sure your subject is comfortable and understands his or her role in the picture taking process, especially if you are photographing a child. The three main lighting sources for the shoot are outlined below:

-Key Lighting: The key light is the main light for the subject. The key light should be located three feet away from and 45 degrees to the camera's right, and be positioned barely above the height of the subject's head.

-Fill light: As its name implies, this light fills in shadows appearing on the subject's face which are caused by the key lighting. For optimal performance, fill lighting typically incorporates a reflective disc or umbrella to soften reflections. The fill light should be positioned about three feet from the subject to the left of the camera and be square with the person's shoulders.

-Hair Light: The hair light illuminates the subject from above, accentuating hair and visually distinguishing the subject from the backdrop. This light should be suspended approximately 8.5 feet from the floor, slightly behind the subject.

The three lighting techniques above may be combined with the use of a background light, which is a small light placed on the floor behind the subject and aimed at the background, eliminating shadows and adding dimension to the image. Photography lighting is commonly controlled and softened through the use of umbrellas, lighting boxes and domes, and may require a bit of trial and error to obtain images in the quality you prefer.

A Brief History of Victorian Erotic Photography

The exposure of the body through images of the nude was one of the most controversial issues in Victorian art.

Nudes were presented not only in painting and sculpture, but also popular illustration, and photography, fuelling intense debates about the relationship between art and public morals.

Pictures of nude women prior to 1835 generally consisted of paintings and drawings which were displayed in all respectability on the walls of art galleries and in country houses.

When the new technology of photography appeared around 1835 it was quickly taken up by artists, eager for new ways to illustrate the undraped feminine form.In the moral climate of the 19th century the only officially sanctioned photography of the body was for the production of artist's studies.

Erotica in the 19th and early 20th century took the form of literature, photography, sculpture and paintings, which dealt substantively with erotically stimulating or arousing descriptions.

Some photographers often hired burlesque actresses as models for nude and semi-nude photographs. The French did a roaring trade selling erotic 'postcards' to American tourists. These would now be termed soft-core, but they were quite shocking for the time.

The Victorian pornographic tradition in Britain had three main elements: French photographs, erotic prints (sold in shops in Holywell Street, a long vanished London thoroughfare, swept away by the Aldwych), and printed literature.

The ability to reproduce photographs in bulk assisted the rise of a new business individual, the porn dealer. Many of these dealers took advantage of the postal system to send out photographic cards in plain wrappings to their subscribers.

Later on publications masquerading as "art magazines" celebrated the new cult of naturism, with titles such as Photo Bits, Body in Art, Figure Photography, Nude Living and Modern Art for Men.

In truth,these Victorian photographic images of nudes are beautiful and have an innocence about them which could not really be claimed of today's Playboy centre-fold.

Oblique, Vertical and Panoramic Aerial Photography - Aerial Photography at an Angle

Whether you work in surveying or real estate, or are a business owner who needs photographs of your own establishment, it is important to know the various angles and techniques aerial photographers can use to get the pictures you need.

Here, we will discuss three different types of aerial photography: Oblique, Vertical, and Panoramic. Each method will produce a very different result and it is important to choose the method most suited to the situation you want to display.

Oblique Aerial Photography -

In oblique-angle aerial photography, the camera is focused at any angle between three degrees from vertical and the horizon. There are two basic types of oblique: high-angle and low-angle. In high-angle oblique, the apparent horizon is shown, while in low-angle oblique the horizon is not. With high oblique photography, atmospheric haze and clouds often prevent the viewer from seeing the true horizon. The furthest point viewable in high oblique aerial photography is called the apparent horizon.

Vertical Aerial Photography -

In vertical angle photography, photos are taken from an aerial platform, either stationary or moving, where the camera axis is truly vertical at the moment of exposure. In photographic terms, a 3-degree variance can occur, after that, it becomes "oblique". The advantage of vertical aerial photography is that the scale is essentially constant. Measurements of directions are easier and generally more accurate than on an oblique photograph. These types of shots often resemble a map as they look straight down and can be used to plot points on land.

Panoramic Aerial Photography -

Panoramic photography is achieved by stitching a number of photographs together to form a single "Wide" shot. Panoramic aerial photography can be done using full-sized helicopters, their unmanned counterparts, or pole cams. Pole cams are good for very low altitudes but they are limited to about 100 feet and road access is needed. Full-sized helicopters are the platform of choice for high-altitude panoramas; however new technologies permit unmanned helicopters, coupled with advanced GPS autopilot stabilization systems, to be positioned within a few feet from any elevation or location. This type of aerial photography is perfect for showing views from proposed or under-construction high-rise buildings.

Knowing the different types of aerial photography available can help you get the exact type of photos you need.

The Basic Varieties Of Camera Lenses

There are plenty of varieties of optical lenses available today which provide photographers with an array of choices. Different subjects require different lenses. Each variety is made for a certain photographic effect. But, getting all lenses for several subjects may be financially draining. The good thing to do if you're still starting out is to acquire a little know-how about the effects that each and every lens brings and from then on choose the lens that is definitely recommended for the pictures you're inclined to shoot.

It is advisable to get acquainted with every type of lens if you're fascinated with how to take professional pictures. Look into the fundamental varieties of lenses along with their uses so you can weigh up which one is best for the type of pictures you regularly shoot.

Prime Lenses
Prime lenses are lenses with fixed, non-adjustable focal lengths. A customary 50 millimeter prime lens is the ideal lens wide enough for common subjects. This style of lens is often as good as compared to the expensive lenses. With a well-built prime lens, it's also very easy to get professional-quality images. In reality, in some cases, prime lenses could be faster than zoom lenses which allow users to work with slower shutter speed mainly because it will require less light to come up with an ideal exposure.

Wide-Angle Lens
If you're inclined to shoot landscapes and wide pictures, you want a wide-angle lens. This kind of lens allows an individual to have a good, full shot of expansive landscapes mainly because it carries a wider-field of vision compared to the natural human eye. It has the capability to pinpoint the foreground and background all at once. However, if you are planning to target the details of merely one subject, the wide-angle lens might not be a good option. In the absence of such lenses, telephoto lenses may also help you take a crisp shot of any landscape subject.

Zoom Lenses
This kind of lens is the ideal selection for getting a close-up shot of the subject. Zoom lens may be the the complete opposite of prime lens that's fixed and permanent. A zoom lens helps you change focal lengths so that you can shoot sharper pictures with a more or less magnification. From landscape to portrait, zoom lenses can be employed in several types of photography. This is another popular reason why zoom lenses are classified as the most preferred lenses of seasoned photographers.

Telephoto Lens
A telephoto lens allows the user to observe the details of his subject quite his natural eye can, within a similar distance. To put it simply, it brings the distant subject far better to the photographer without moving the camera. The consumer will then take clearer shots or portraits of distant subjects.

A Basket of Fresh Bread

A Basket of Fresh Bread

There is a basket of fresh bread
on your head,
yet you go door to door
asking for crusts.
Knock on the inner door; no other.

Sloshing knee-deep
in clear streamwater,
you keep wanting a drink
from other people's waterbags...

Do not look for it outside yourself:
there is a fountain within.

-- Rumi

It's Personal: 13 Photographic Visions

For the last twelve years, it have had the pleasure to teach at the Julia Dean Photo Workshops in Los Angeles, under the leadership of the amazing Julia Dean. Starting in January at JDPW, I began working with a group of thirteen talented Los Angeles photographers--all established image makers with solo shows, books, and numerous awards under their belts. For nine months, we came together for critique, feedback, and mentor ship as the photographers created or continued significant photographic projects. The result is that each has developed a new portfolio of work, with a printed component to compliment the photographs--from newspapers, to zines, to books, and an exhibition titled, It's Personal, that opens this Friday, September 28th, at the Julia Dean Gallery in Hollywood, CA.

Needless to say I am incredibly proud of their efforts, their breakthroughs, and their ability to articulate the world around them through imagery and thought. The exhibition, It's Personal, reflects personal explorations of subjects that are meaningful to the artists. A big congratulations to all.

Here are the featured 13:

Nancy Baron’s Walking in LA is a series of photographs, which document hiking culture in Bronson Canyon in Los Angeles. Baron's lush gold-and-green-toned images capture the natural beauty that lies minutes from urban streets. Titles reflect overheard conversation at the site.

Can I Get Closer to The Hollywood Sign? © Nancy Baron

She Dumped Me as Soon as We Signed the Lease ©Nancy Baron

Marjorie Salvaterra’s Her is an examination of the psychology of age and gender. Marjorie’s self reflection on her many roles and expectations as a woman are redirected through surreal interpretations and exaggerated gestures, in portraits that are evocative of Italian cinema. Marjorie has created photographs that reflect the universal idea of womanhood and assure HER that she is not on this path alone.

Eve Unraveled, 2012 ©Marjorie Salvaterra

The Weight of Water, 2012 © Marjorie Salvaterra

Marian Crostic’s Ethereal Paris is a continuation from her popularTimeless Paris projects and books. Shot in early winter to early spring at the break of dawn, Marian captures a sense of stillness within the hustle bustle of the City of Lights. Ethereal Paris focuses on the grandeur and geometrical shapes of gardens, particularly Le Jardin Des Tuileries and Le Jardin Du Luxemberg.

Big Wheel, Paris ©Marian Crostic

Windows, Jardin Des Tuileries ©Marian Crostic

Noelle Swan Gilbert’s Wide Awake and Breathing is a series of landscapes and scenes in muted colors and tones that captures the feeling of waking up and learning to breathe again after living through a grieving period.

Taking a Break ©Noelle Swan Gilbert

Wide Awake © Noelle Swan Gilbert

Bootsy Holler’s The Visitor reinterprets intimate family snapshots while exploring time and blurring boundaries and as a way to comprehend her heritage by placing herself into each photograph. She has begun to have an understanding of how she was created over generations.

©Bootsy Holler

Cathy Immordino’s Another World is a reflection on Cathy’s feelings as an outsider in the world she lives in. Transforming landscapes found here on earth into other worldly realms. She challenges the viewer to think outside the truth of their reality. A second project, Fuck Hollywood, looks at the double edged sword of life in Hollywood.

Other World ©Cathy Immordino

Meta Hollywood ©Cathy Immordino

Jamie Johnson’s One World combines her two worlds of photography into one. On one side she is a family and child portraitist, on the other she is a world traveler exploring other cultures through a lens. Within her vast inventory of images Jamie has discovered a universality of human nature and experience. One World features two photographs captured years apart and without connection but showing similarities that speak a powerful truth about who we are. None of the photographs were staged to reflect another image.

Nomad Mom/Soccer Mom ©Jamie Johnson

Teenage Girl, Cambodia/Teenage Girl, California ©Jamie Johnson

Gray Malin’s A La Plague, A La Piscine captures the essence of the world of pools and beaches. Shooting from door-less helicopters, Gray has used the dynamic vacation destinations of the United States, Brazil and Australia as his canvas, creating a visual celebration of color, light, shape – and summer bliss.

©Gray Malin

Claire Mallett’s Drawn By Color is a love letter to the European Masters using the female figure. Using window light in much the same way as the painters did centuries before. Each portrait uses a predominant color to evoke a particular mood and atmosphere of self reflection.

Bob Bright’s Big Sur has transformed his recent trips to Big Sur into breath taking landscapes that impart the sense of wonder that greets him each time he finds a spectacular view. Bob encourages everyone to visit the Carmel, Monterey area and to see Point Lobos.

©Bob Bright

Lisa McCord’s A Southern Family is a reflection of her growing up in the south. Which she remarks, is very different than growing up anywhere else. The unique social norms of the south colored our life with richness that made us who we are.

Granny playing cards@ Lisa McCord

Granddaddy in Garden@ Lisa McCord

Ashly Stohl’s History Will Absolve Me, challenges the perception that Cuba has been frozen in time since the embargo. She seeks to capture the decline of a once flourishing culture and convey the human cost of the tensions between the United States and Cuba.

Alison Turner’s Bingo Culture is series of portraits taken in Bingo halls all across America. Alison doesn’t photograph strangers she photographs new friends, she takes time to connect with her subjects, “I truly care about each person I meet and I enjoy listening to their stories”. She realized she was looking at a cultural phenomenon that will be lost in order to make way for new technologies in gaming and social interaction. Once these dedicated players pass on, so will the bingo halls as we see them today.