Im Juli haben wir die Aktion „Raus aus dem Kreatief“ gestartet, die Euch Anregungen gibt, fotografisch neue Ansätze zu entdecken, die eigenen Arbeiten zu reflektieren und mit Techniken im Spannungsfeld zwischen Zufall und Selbsterkenntnis den eigenen Stil zu verfeinern – oder auch umzuwerfen und neu anzusetzen.
kwerfeldein – Fotografie Magazin | Fotocommunity
Archive for October, 2015
Aktion: Raus aus dem Kreatief! Teil 4
Shooting Spine-Chilling Spots:Q&A With Thomas Windisch
BOO! Did we scare you? No? Well, we have something else to get you in the Halloween mood.
We’re talking about the extremely eerie photos of abandoned buildings taken by urban explorer, Thomas Windisch.
We spoke with Thomas and learned his tips for finding and photographing what he calls “beauty in decay.”
Read on for our Q&A with Thomas! (You may wanna keep the lights on…)
(…)
Read the rest of Shooting Spine-Chilling Spots:
Q&A With Thomas Windisch (888 words)
© Taylor for Photojojo, 2015. |
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Animating Tattoos: Colored Ink Mapping Brings Body Art to Life
[ By WebUrbanist in Art & Drawing & Digital. ]
The world’s first live tattoo projection mapping event turned tattoos from static works into performance art, creating dazzling animations from inked body artworks.
Filmed in Lisbon by Oskar & Gaspar, the above video highlights the infinite possibilities of this approach, from filling in details and colors to completing partial tattoos or even animating them in living color.
Like the future tattoos from William Gibson’s book The Peripheral, the result can seem like organic behavior, with faces coming to life and snakes slithering across a body’s surface.
Remarkably, the entire film was made without any post-production – what you see as the viewer of the short film above is exactly what the audience saw on the day of the event. We still may be a ways away from embedded nanobot tattoos, but when we get there, this will be an excellent source of inspiration for the tattoo artists of the future.
[ By WebUrbanist in Art & Drawing & Digital. ]
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Nikon D810 firmware C 1.10 now available
Nikon has released updated firmware for its D810 DSLR, taking the software from version C 1.02 to C 1.10. The new firmware brings with it several changes, the majority of which are bug fixes. In addition to correcting issues, v1.10 adds an external recording control option for using the camera to start and stop third-party recorders connected over HDMI. Read more
Articles: Digital Photography Review (dpreview.com)
Snapseed for Android update brings DNG Raw editing
Google has announced Snapseed version 2.1 for Android, introducing the ability to edit Raw DNG files. While quite a few high-end Android smartphones have allowed Raw shooting for some time, editing those files hasn’t been easy. This update to the extremely popular Snapseed app will certainly change that. Read more
Articles: Digital Photography Review (dpreview.com)
29. Oktober 2015
Das Bild des Tages von: Marcus Seewald
Im Ausblick: Bewegte Bilder, Anfängerfehler und Zwillinge in der Pubertät.
kwerfeldein – Fotografie Magazin | Fotocommunity
Neolithic Modernism: History Museum Appears Carved from Stone
[ By WebUrbanist in Architecture & Public & Institutional. ]
A bold break from traditional closed-box museums, this gorgeous open Museum of Indigenous Knowledge design is as much an interactive rock-hewn landscape as a work of contemporary architecture.
Kengo Kuma & Associates of Japan are the team behind this stoney structure slated for construction in Manila and designed to showcase Philippine history starting in the Neolithic period, known for its huge stoneworks.
Populated with tropical plants, waterfalls and pools, the carved-out center of the structure is made to feel both organic and inviting, encouraging visitors to climb up, wander and explore their environs.
The building is meant to stand out in contrast not only to more minimalist and austere museums but the surrounding urban environment as well, providing relief from the relentless urban cityscape on all sites.
Restaurants and shops are located along the artificial ravine toward the base of the building, meant to be accessible independently but also a gateway to the galleries and exhibition spaces on the floors above.
[ By WebUrbanist in Architecture & Public & Institutional. ]
[ WebUrbanist | Archives | Galleries | Privacy | TOS ]
3 Tips for Waterfall Photography Beyond Just Using a Long Exposure
Of course, shutter speed plays an essential role in creating silky smooth waterfall photographs, but does it get a little too much attention in tutorial articles? I think so.
In this article you’ll learn about three other key elements to creating a successful silky smooth waterfall photograph, and when you put it all together, all you’ll need to do next is find a waterfall to photograph.
Composing waterfall photographs
Like many landscape photographs, composition plays a huge role in whether or not the final photograph you capture is more than just a snapshot. Even if you nail the shutter speed, have perfect lighting, and just the right amount of depth of field, a poorly composed image will still fall flat.
In the video below I take you through the thought process behind a waterfall photography session I went on last year. I try to drive home the point that getting the best composition of a scene involves more than just moving the camera, but also includes thinking about why the choices you make matter to the photograph itself.
When composing a waterfall scene you’ll have to take into account not just the waterfall itself, but the direction of water flow, the rocks and debris that make up the foreground, the trees in the background, and everything in-between. Next time you’re photographing a waterfall, try just moving the camera around, get high, get low, pay attention to what you see through the viewfinder, and take as many different photographs as you have time for.
Importance of light in waterfall photography
As with most photographs, light is key in setting a tone or mode of the scene, however with waterfalls it can arguably be even more important.
Not only does light determine the mood of the scene you’re photographing, but it may downright determine whether or not you can get a slow enough shutter speed on your camera for the silky smooth water that you want to create. On top of that, you’ve got to absolutely watch out for photographing on a sunny day or this might happen – look at all those hot spots!
There’s no amount of highlight recovery or post production magic that will bring this image back, and give it a more refined tone. The light simply makes the photograph feel harsh, and while the snapshot showcases the falls, it does little to make the photograph interesting.
Due to the nature of waterfalls often being off the beaten path, and being dangerous to get to, it can be difficult to photograph at sunrise or sunset if you’re not a seasoned hiker. Therefore, as a second best option, I’d highly recommend planning your waterfall adventures for cloudy day. At the very least this will reduce the occurrence of hot spots on the water, and at best it will give you a few extra stops of shutter speed to work with if you need it.
Don’t forget about water flow
When it comes to creating the silky smooth waterfall effect, the amount of water actually flowing through the waterfall plays an important role in the end result. A powerful current has more movement to it than a small stream, and as a result this high flow waterfall may not require an exposure as long to achieve the desired result.
Take a look at the following two photographs, they are from the same waterfall one year apart. the first image is during a drought resulting in a waterfall that had almost no water flowing over it, while the second image was taken after Hurricane Irene came through the area dropping more than 10 inches (25cm) of rain in some locations. As you can see, the two images offer quite a different view of this waterfall.
In most cases it’s probably better to photograph smaller waterfalls with a light flow of water when you’re looking to create the silky smooth waterfall effect, as it tends to work best with those. Often, high flow waterfalls, will simply overpower the look that you’re trying to achieve, and as a result are often better photographed at a faster shutter speed in order to freeze the motion, and showcase their power.
Overall, waterfall photography is a lot of fun, the experience of hiking to the waterfall is often just as rewarding as the photographs themselves, so be sure to enjoy the entire experience.
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The post 3 Tips for Waterfall Photography Beyond Just Using a Long Exposure by John Davenport appeared first on Digital Photography School.
Creating Ghostly Images for Halloween
While we may never actually see, let alone photograph a real ghost, we can create the illusion of a ghost image with our cameras. There is no exact science to capturing these images, and it sometimes takes some trial and error to create the effect you are looking to achieve. Still, there are several ways this can be accomplished, so let’s take a look at three of them:
- Multiple exposures in-camera
- Long exposures
- Combining images in Photoshop
Equipment
- DSLR Camera: or at least a camera that will capture multiple exposures, and allow you to set your shutter speed.
- Tripod: In most cases this is a must to keep your images aligned and sharp.
- Remote Shutter Release: Any touch of your camera can cause enough shake to create a blurry image.
- Neutral Density Filters: If you are trying to create ghost images in the daytime you may need to limit the light entering your camera to get a longer exposure.
- Flash/Speedlight: While not a necessity for capturing ghost images, one or more flash can be added to light your subject and also will freeze the movement. Which is especially helpful in ghost images done in low light.
Different types of ghost images
- Sharp transparent figure: These ghosts will be sharply focused, which means a faster shutter speed should be used, or your subject must remain motionless during the exposure. Using a short burst of flash (freezes them) on the exposure that includes your ghost will also help to accomplish this.
- Blurred motion figured: A blurred ghost is accomplished by allowing your ghost subject to move during a longer exposure. The trick here is not to have too long of an exposure or too much movement by your subject, because this may cause your ghost to completely disappear, or become so faint it is not noticeable.
Multiple exposures ghosts
Most DSLRs now have a multiple exposure function which will allow you to take two, or more, images on the same frame. This method of shooting ghosts can be used in any lighting, especially in a daylight scene. Here are the simple steps for this method:
- Choose a unique location. Though a popular location is a graveyard, be creative in choosing your spot.
- Set the exposures for the lighting of the scene. Depending on your camera, this means you may have to compensate your overall exposure to allow for the multiple exposures. Some cameras will have an auto gain setting that will auto correct the exposure to compensate for the multiple exposures (basically it adds them all together).
- Set your camera to Multiple Exposures. This function offers various amount of control, depending on the camera model. Choose the number of multiple images you want, a number that also varies among different camera models. At minimum, you will want two exposures.
- Placing the camera on a good sturdy tripod is a must, so that the background does not shift from exposure to exposure.
- Test your exposure by taking a complete set of images. At this point it is not necessary for your model (ghost) to be present.
- Once you have the settings correct for a desirable image, it’s time to add your ghost. Pose your ghost in the scene and take the first exposure.
- Remove the ghost from the scene or move the ghost to another location and take as many additional images as you choose.
- The final exposure should be taken without the ghost to allow the background to show through the ghost.
- Your camera should now display your final image.
- Repeat steps 3 through 8 until you get the desired results. It may take some experimentation.
Long exposures ghosts
Taking a long exposure shot while your ghost moves through the image will create a blurred-motion figure. This method is especially useful for ghost images in low-light situations. The best time of day to shoot this type of image outdoors is right around sunset, while there is still enough light to illuminate the background.
- Again, choose a unique location. Though a popular location is a graveyard, be creative in choosing your location.
- Set your camera to its lowest ISO and set the shutter speed to a slow speed (long exposure), typically around 10 seconds (or more, depending on the light and amount of movement your ghost makes). This means you may need to use a small aperture to achieve a correct exposure. You may even need to add an ND filter to limit the amount of light that is reflecting onto your camera’s sensor.
- Placing the camera on a good sturdy tripod is a must, because you don’t want your background to be blurry, only the subject.
- Compose your image.
- Test your exposure without the ghost so that you are happy with it before you add your ghost.
- Have your ghost rehearse the movements you are expecting. Keep in mind that the motion should be smooth and continuous. If the ghost stops moving in multiple spots during the exposure, you may end up with multiple ghosts in your image. Also, if the motion is too fast the ghost may not show up in the image at all.
- Begin shooting the long exposure with your ghost in motion in the scene.
- Check your results. Review and continue.
- Repeat steps 2-7 as necessary until you get the results that you want.
Creating ghost images in Photoshop
If your camera doesn’t have multiple exposure capability, don’t worry! You can accomplish nearly the same effect in Photoshop. This option works best on black and white images. While it is not impossible to process a ghost image with color, sometimes it is difficult to get the color tones to look right.
- Open both images in Photoshop – your background image and your ghost one.
- Outline the ghost image.
- Copy and paste the ghost image onto the background image, which will place your ghost on a separate layer.
- Select the ghost layer.
- Move the ghost image into place in the image using the Move tool. You may need to enlarge or reduce the size of the ghost (use Transform) to match the proportions of your background image.
- In the layer palate, change the transparency of the ghost layer until you get the ghostly effect you want.
- You may want to add a layer mask to the ghost to hide sections of the ghost, especially if you want them to appear behind objects in your background image. You could also use some special effects such as motion blur to add mystery to the image.
- Save the image as a Photoshop file (.psd) so if you want to edit the image later you still have the layers to edit.
- Flatten layers and save the final image as JPG or Tiff, whichever is your preferred file type.
Get out and try it
It may take a good deal of experimentation to come up with results you are looking for, but hopefully the steps above will kick-start your imagination. There are so many possibilities, so don’t be afraid to try creative methods, sometimes the best results happen when you least expect them!
Another aspect of the shot: the color of your ghost’s clothing may make a big difference in your result. Light colored clothing will reflect light, and reversely, darker clothing will not reflect much light, which will create an almost invisible effect for the ghost figure.
One reminder I’d like to pass on to you is to not trust your LED screen in low light for proper exposure. Learn to use your camera’s histogram, because in low-light an image may look really bright on the back of your camera, but still be extremely underexposed.
Now get out there and shoot, and don’t be afraid of the ghosts! (Unless, of course, you see a real one!) If you try one or more of these techniques please share your images in the comment below, I’d love to see what you come up with.
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The post Creating Ghostly Images for Halloween by Bruce Wunderlich appeared first on Digital Photography School.
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