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Posts Tagged ‘Hard’

Learn sql the hard way free pdf

22 Aug

I feel as though I put my best foot forward, easy process that gets to the root learn sql the hard way free pdf of your database health and performance pains. If a user executes a SQL statement, and then gives up the space when the work is done. Armin Ronacher’s Thoughts And Writings A blog […]
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Think Tank teams up with SKB for hard cases, launches MindShift ‘PhotoCross’ sling bags

03 Jul

MindShift Gear has announced ‘PhotoCross,’ a new lineup of sling bags designed for adventure photographers. Coming alongside this announcement is one from sister company Think Tank Photo, which has teamed up with SKB to offer the latter company’s hard cases fitted with soft inner dividers and organizers from Think Tank. The SKB/Think Tank hard case lineup currently includes 10 models.

The new hard case lineup comprises ‘SKB designed by Think Tank’ models featuring SKB’s own waterproof and durable iSeries hardshell exteriors. Think Tank has fitted its own internal modular organizers and protective padding into the cases, including movable dividers and lid organizers. The hard case lineup ranges in price from $ 109.99 to $ 329.99.

Joining those hard cases is MindShift Gear’s PhotoCross 10 and PhotoCross 13 bags for photographers in the field. Both bags feature space for photographic gear and either a 10-inch tablet (the PhotoCross 10) or up to a 13-inch laptop (the PhotoCross 13). The bags’ designs include T-pulls, carrying handles on both the side and top, a 320G breathable air-mesh back panel, a pocket that can accommodate most 1-liter water bottles and a 3-point harness.

The PhotoCross 10 bag can accommodate either a mirrorless camera body and up to five lenses or an ungripped DSLR and up to two lenses plus a tablet. The larger PhotoCross 13 can accommodate up to an ungripped DSLR alongside up to four lenses – including a 70–200mm F2.8 lens, MindShift explains – plus ‘some’ 13-inch laptops. The PhotoCross 13 will cost $ 129.99; PhotoCross 10 will cost $ 114.99.

Via: Think Tank Photo

Articles: Digital Photography Review (dpreview.com)

 
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Druid Awakening: A Dozen Hard Rockin’ Modern Stonehenges

20 Feb

[ By Steve in Art & Sculpture & Craft. ]

stonehenge-clones-1a

These 12 modern homages to Stonehenge would likely bemuse, befuddle and bewilder those who constructed the original prehistoric standing stone circle.

stonehenge-clones-1b

stonehenge-clones-1c

Much like the original Stonehenge built roughly 5,000 years ago, these so-called “Clonehenges” were built for reasons that aren’t always obvious. Take the quite realistic standing “stones” above.

stonehenge-clones-1d

Even if they were to survive in situ for several thousand years, it’s extremely doubtful future archaeologists would deduce they were merely props used in the movie Transformers: The Last Knight. Already in the can and scheduled to be released on June 23rd of 2017, the hollow faux Stonehenge was constructed not too far from its real-world model in Wiltshire, UK.

Stonehenge In Africa

stonehenge-clones-2a

Stonehenge in Africa? It’s more likely than you think at this riverside lodge, conference and team-building venue in Parys, Gauteng, South Africa.

stonehenge-clones-2b

To quote the company website, “As Guests enter Stonehenge, they are greeted by (a) large replication of the celebrated Stonehenge Monument.” OK, so the stones are obviously machine-cut and don’t look more than a few months old but keep it to yourself: you’re here to build a team, not an ancient ceremonial site.

Stonehenge of Orem’s Stonehenge, Utah

stonehenge-clones-3a

Self-described as “A Place of Healing”, Stonehenge of Orem is a small (36 beds) assisted living facility for the elderly located in American Fork just west of Orem, Utah.

stonehenge-clones-3c

stonehenge-clones-3b

Built in 2012, the home’s henge is smaller than its inspiration both in breadth and height though at least the designers resisted the urge to smooth out the rough spots. We’ll leave the debate over whether an ancient monument, fake or not, is appropriate decor for the grounds of an old age home to others.

Stonehenge in Hefei, China

stonehenge-clones-4a

China is infamous for recreating other nations’ cultural properties (the Eifel Tower, London Bridge and an entire Austrian alpine town named Hallstatt come to mind) and indeed, there are several fake Stonehenges in China. Typical of the genre is this ersatz Stonehenge in Hefei, Anhui province.

stonehenge-clones-4b

The actual reproduced stones and layout are actually better than most but when it comes to context, well… let’s just say that a major part of the real Stonehenge’s mystical grandeur derives from its relative isolation. Somehow the sight of modern highrise apartments in the near background detracts from the overall sense of wonder any monument should inspire. Dudes, do you even henge?

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Druid Awakening A Dozen Hard Rockin Modern Stonehenges

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[ By Steve in Art & Sculpture & Craft. ]

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Pelican Air 1535 Rolling Hard Case with TrekPak Dividers Review

16 Jun

Pelican Air 1535 Rolling Case w/TrekPak Divider System
$ 315/£220 | www.pelican.com | Buy Now

For decades now, Pelican cases have been the go-to solution for anyone who needs maximum protection for their equipment. The company’s website is filled with user stories about explosions, lion attacks, shifting pack ice and airplane crashes where the gear inside the case survived. Recently, Pelican introduced the Air series of cases designed to be up to 40% lighter than their standard cases, with the same promises of extreme durability.

Many working photographers will factor in things like maximum comfort and gear accessibility when choosing a bag. But when you travel thousands of miles every month and your gear puts the food on your table, getting everything there and home in one piece becomes secondary to things like leather accents or ventilated shoulder straps. In and out of planes, taxis, luggage carts and TSA inspection checkpoints, whatever is carrying your cameras, lenses, and accessories has to do its job well or you won’t have your job much longer.

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It’s on those high standards that Pelican has built its reputation for being the ultimate in gear protection. I still remember being seeing promotional material showing a Pelican case being run over with a car and thinking that was pretty amazing. While I never had a case subjected to any of that sort of treatment, I did drop one off a chairlift back when I was doing snowboard filming. While I felt like an idiot, the miniDV camera inside survived just fine.

At the time of announcement, Pelican also said that the Air cases (along with a few others in the lineup) would have the option of coming with the TrekPak divider system instead of the standard pick ‘n pluck foam or padded divider inserts. I recently had a chance to run the rolling airline carry-on sized Pelican Air 1535 with the TrekPak system through its paces.

Specifications

  • Exterior 55.8 x 35.5 x 22.8 cm (21.96″ x 13.97″ x 8.98″)
  • Interior 51.8 x 28.4 x 18.3 cm (20.39″ x 11.20″ x 7.21″)
  • Weight 3.9 kg (8.69 lbs) without foam/inserts

By way of comparison, the similarly sized Pelican 1510 weighs 5.4 kg (11.99 lbs) without foam. Pelican says that the weight savings in the Air series comes from a newly developed generation of their HPX resin as well as hollowing out or honeycombing areas (the latch clasps and the extending roller handle for example) that were previously solid.

In Use

Hard cases are big and clunky and something of a pain to use if you are used to soft bags and packs. They bang into things, aren’t particularly ergonomic, and are a hassle to schlep long distances. That said, one of the best compliments I can give the Air 1535 is that using it is just like the 1500 series cases I have used in the past, but much lighter. It loads, latches, and generally seems just as tough as every other standard Pelican case I have ever used.

I would encourage anyone looking to get a hard case of this size to be sure to choose one with the roller option. Your back will thank you as you try to make it across a busy airport for a connecting flight. Even with the weight savings of the Air line, these things are still heavy loaded up. The 1535 loaded with the gear shown in the article images checked in at a beefy 11.3 kg/25 lbs.

That said, there are a few minor frustrations that remain. For some reason, Pelican chose not to use the easy pushbutton latches from their Storm Case series. Pelican’s standard double-throw latches work well and have been proven over the years. However, they are also loud as heck (particularly when closing) and can be a bit difficult for some people to use because they require a bit of force to operate.

‘You should not expect the 1535’s wheels to
easily go off-roading’

Also worth noting is that the wheels on the 1535 do not protrude very far from the bottom of the case. This makes it easy to stack cases without them rolling around on each other, but it also means that there is not much ground clearance. You should not expect the 1535’s wheels to easily go off-roading, rolling on ground much rougher than airport concourses will lead to some scraping and scratches.

Like most hard cases, the lid of the Air 1535 doesn’t open much past 90 degrees (straight up) and can easily flop shut when bumped or jostled. Just another reminder that these cases are for transport far more than for working out of.

One nice new feature is the card holder. It clips in and out easily with the lid open, but locks in once the lid is closed, and can be mounted on the side or end of the case. It can be used as a luggage tag when traveling or for an equipment list while on location or in storage.

TrekPak system dividers

If the Air 1535 is the steady performer who has hit the weight room in the off season and come back in better shape, then the TrekPak system may be the rookie superstar.

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Both the pick ‘n pluck foam and padded divider systems have taken care of camera gear for decades. The pick ‘n pluck foam is extremely protective and customizable to exactly the size and shape of the gear you are carrying, and the padded divider sets allow you to change the layout of your case for different gear and still protect quite well. But the foam is also fairly tedious to cut out correctly and doesn’t offer a way to use the same case for different gear without buying a whole new set of foam. Dealing with velcro can also be a hassle, and the more you change it, the more it breaks down. The TrekPak system claims to improve on both by offering a completely customizable system that not only protects but is easily modified.

The TrekPak dividers are corrugated plastic sandwiched with 3mm/0.125″ of dense foam on each side. This makes for a light yet protective divider in between each piece of gear. Setup was easy – I took the gear that I wanted to carry in the Air 1535 and laid it out in the case. Then I took a measurement for each divider and used the clever TrekPak cutter to trim the sections to fit. A U-shaped pin with a ribbon pull-tab holds the dividers together and allows for legitimately quick and easy repositioning.

‘I do admit to feeling somewhat uncomfortable making the cuts, as if perhaps I had made a decision that I was going to regret down the road’

All together, it took me around 30 minutes to get everything cut and laid out. And to be honest, a lot of that time was spent dithering about how I wanted to organize. I do admit to feeling somewhat uncomfortable making the cuts, as if perhaps I had made a decision that I was going to regret down the road. This is probably a point in favor of the padded dividers, if I’m being honest.

That said, you do get 80 inches of the TrekPak dividers (and 20 ‘U’ pins) to set up your case. Extra divider sections are available and are not terribly expensive, ranging from $ 3.50 to $ 15 depending on size.

What’s the bottom line?

Hard cases are bulky, less comfortable to carry and heavier than soft-sided bags. But when you need a hard case, there is no soft case that can do the same job. If you are looking for an airline carry-on sized hard case, there is every reason to consider the Pelican Air 1535. Significantly lighter but just as tough as the original 1500 series cases, the Air 1535 will protect your gear while giving you a much better shot at avoiding airline overweight fees.

While the older style pick ‘n pluck foam and padded divider systems certainly worked well enough, the TrekPak system is well ahead of the other options for anyone who thinks they might be carrying different gear regularly.

Overall, the 1535 with the TrekPak dividers would easily be my first choice if I were going to be doing a lot of traveling with my gear. These cases aren’t cheap, but neither is the gear they protect. I wholeheartedly trust the Air 1535 to get everything there and back in one piece; there’s not a lot more you can ask from a case like this.

What we like

  • Lighter weight than previous Pelican cases, still tough-as-nails
  • Conforms to carry-on sizing rules (check your specific airline)
  • TrekPak is easy to customize while still light and sturdy
  • Roller option is a back-saver
  • Clever card holder

What we don’t like

  • Expensive
  • Still heavy compared to typical bags/packs
  • Latches are loud and can be tough to use

Articles: Digital Photography Review (dpreview.com)

 
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Lee announces very hard neutral density grads for seascapes

08 Apr
Before and after with the Lee Filters Very Hard ND graduated filter

Lee Filters has announced a new range of neutral density graduated filters that have an extra hard transition from dark to clear, making them suitable for shooting seascapes and scenes in which the horizon is very flat. Along with these new ‘very hard’ graduates, the company has launched another range that has a ‘medium’ strength transition that sits between the traditional ‘hard’ and ‘soft’ grades.

Both of the new grades are available in half-stop incremental strengths from one to four stops, and in sizes compatible with the Seven5, 100mm and SW150 systems.
For more information visit the Lee Filters website.

Pricing

Seven5 medium grad (single filter 0.3ND to 0.9ND) RRP £51.88 (excl VAT)
Seven5 medium grad (single filter 1.2 ND) RRP £77.82 (excl VAT)
Seven5 medium grad set (0.3ND, 0.6ND & 0.9ND) RRP £138.35 (excl VAT)
100mm very hard & medium grad (single filter 0.3ND to 0.9ND) RRP £71.86 (excl VAT)
100mm very hard & medium grad (single filter 1.2 ND) RRP £108.86 (excl VAT)
100mm very hard and medium grad sets (0.3ND, 0.6ND & 0.9ND) RRP £179.66 (excl VAT)
SW150 very hard & medium grad (single filter 0.3ND to 0.9ND) RRP £79.70 (excl VAT)
SW150 very hard & medium grad (single filter 1.2 ND) RRP £119.55 (excl VAT)
SW150 very hard & medium grad sets (0.3ND, 0.6ND & 0.9ND) RRP £215.00 (excl VAT)


Press release:

LEE Filters introduces very hard and medium neutral-density graduated filters to its systems

Traditionally, neutral-density graduated filters have been available exclusively in hard and soft versions. However, because all neutral-density grads in the LEE Filters range are made by hand, it is possible to be extremely precise with the depth of the transition between the coated and clear sections of the filter. As a result, LEE Filters has the capabilities to manufacture ND grads in medium and very hard versions. In the past, these were available exclusively as custom-made filters for professional photographers. Now, however, they have been made available to all those who use the Seven5, 100mm and SW150 systems.

The medium and very hard grads not only expand a photographer’s creative options, they also allow for even more exact control when balancing lighter and darker areas of the frame. The very hard grad (available for the 100mm & SW150 systems) is perfect for seascapes that feature a completely flat horizon line, while the medium grad (available for the Seven5, 100mm and SW150 systems) is that perfect ‘in-between’ strength that is ideal for any scene in which an element of the composition – a mountain or a building, for example – protrudes into the sky.

Both ND grads are available in 0.3ND (1 stop), 0.45ND (1½ stops), 0.6ND (2 stops), 0.75ND (2½ stops), 0.9ND (3 stops) and 1.2ND (4 stops) strengths.

For further information, contact LEE Filters on 01264 366245; sales@leefilters.com; www.leefilters.com

Articles: Digital Photography Review (dpreview.com)

 
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How tough can it be? LensRentals looks at why it’s so hard to make lenses

11 Feb
Just check it and fix it, it can’t be that hard. Can it?

Why can’t you just make them better? It sounds like a reasonable question until you start unpacking exactly what it entails. This is exactly what Roger Cicala and company do in the latest LensRentals blog post. As usual with Cicala’s posts, the closer he looks, the more complicated the question becomes. So why can’t everyone just (repeatably and affordably) make lenses, you know… better?

With his usual critical (and somewhat wry) eye, Cicala looks at the importance and challenges of quality assurance (the processes to ensure you build things to standard) as well as quality control (checking that you’ve done so). This includes a look at the impacts of design tolerances, manufacturing tolerances, repeatability and the need to make products affordably-enough that people will be willing to buy them. And just what can you do with the ones that aren’t quite right?

It’s a long article but if you’ve ever wondered why they don’t just check and fix every lens as the last step of the production line, or you’ve found yourself using the phrase ‘you get what you pay for’ and you’d like to understand why it’s often true, it’s well worth a read.

And, if you get a chance to read it all, we’d love to know whether you end up more impressed by Leica’s ability to make expensive, mechanically simple, manual focus single-focal-length lenses really well or by the ability of the big brands to build collapsable, image stabilized kit zooms for next-to-nothing and have them work at all. Let us know in the comments.

Articles: Digital Photography Review (dpreview.com)

 
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How to Create and Use Hard and Soft Light in a Studio Setting

11 Oct

Hard light vs soft light craig wagner studio 3

When setting up your lights for studio photography, you first need to consider what lighting setup will create the look you are going for. Is your light going to fall into the category of hard light – or will it be soft? What’s the difference?

Let’s first look at the basic characteristics of hard and soft light sources, and the different feel each creates when shooting the same subject.

HARD LIGHT

Imac hard light example craig wagner

In general, a single-point light source, aimed from a distance is referred to as hard light, much like our sun on a clear day or a streetlight at night.

Hard light example levis jacket studio 3

This hard light source creates a high contrast look, where the transition between highlights and shadows is sharp and well-defined.

Keds shoes hard light example craig wagner

In some cases, this contrast can look harsh (and unwanted).

SOFT LIGHT

Imac soft light example craig wagner

On the other hand, a soft light source is a larger, broader, light placed relatively close to the subject. A cloud-covered or overcast day, where diffused sunlight reflects off a large concrete wall would be one example of a soft light source.

Breakfast oatmeal soft light example craig wagner

The light tends to be flatter in contrast, and the highlights hold more detail, with the shadow’s edges being soft and open.

Reverend nats hard cider soft light example studio 3

Generally this is a more pleasing light, but not necessarily the only light-source.

Many factors go into choosing light quality and the type of light source on set. One may be the direction given from an art director or client where you may be asked to match images from an existing campaign. They may want you to recreate a natural lighting condition (such as hot harsh desert sun on a pair of boots, or cool early morning light falling on a table setting).

The subject matter itself can also have a strong influence on your choice of light source. A highly reflective (like glass or chrome), or high-contrast product can be quite the challenge if you try lighting it with a hard light source. Fighting spectral highlights, or holding detail in the shadows and highlights, can be a pain if you have to use hard lighting alone.

If you’re lucky enough to be given creative freedom by the client, or working on a personal project, you might be illustrating a mood or an emotion and will use appropriate lighting needed to create it. Careful choice of lighting, and mixing your hard and soft light sources, will allow you to achieve that.

How to set up for a hard light shoot

Hard lighting setup diagram craig wagner

Imac hard light example craig wagnerFor the studio hard-light set, place the key (main) light (a strobe head with a 12” modifier) to the left and slightly behind the subject. The initial beam may be too broad, so to concentrate the light you can add a 35-degree grid to the modifier.

For this setup, final adjustments to the height and position of the key light were made, in order to modify the angle and length of the shadows on the table and floor, as well as to illuminate the edges of the computer screen in a pleasing manner. A 4’x8′ sheet of black foamcore was placed to the right of the set to deepen the shadows and remove unwanted reflections. Two smaller sheets of white foamcore were set low, in front and to either side, to control the amount of detail in the front edge of the table and legs.

A second strobe head with a 7” grid modifier was set high, and to the back of the set. Its angle was adjusted to illuminate the upper right corner of the background, which you can see in the photo (right).

How to set up for a soft light shoot

Soft lighting setup diagram craig wagnerImac soft light example craig wagnerTo create the soft-light look, the key light is set in the same place, but a 4’x4′ full diffusion panel is placed between the light and the subject, just out of the frame. Remove the grid from the key light to broaden the light. The black foamcore is replaced by a sheet of white to fill or open the shadows (but the two sheets out front remain). The background light is pulled back, the grid removed, and a diffusion disk added to soften the beam and cover the entire background. In this way the whole set appears bright and soft and with a lot of ambient light filling the image (left).

How to change a hard light source into a soft one

You may get into a situation where you’ve set up your light source and find you actually want to go the other direction with it. In this case, it is quite easy to change one type of light source into the other. You can diffuse a hard source into being soft, by placing diffusion material between the lighting and the subject, which allows you to control the angle and light gradient. You can also just attach a softbox to the light to soften the light and make it into a broader, even source. You can also take a soft source that you’ve set up and change its distance from the subject in order to make it a harder, more focused light. You can also bounce the light around more using reflectors, umbrellas, or a handy wall in order to soften it and make it less directional.

Combining hard and soft light

The ultimate tip for studio photography is to be flexible with your lighting setup regardless of your years of know-how. You may have an idea in mind for the final look you want for the photograph, but you may find that on set the product looks quite different under various lighting conditions. Be prepared to play around and try things – because often a mixture of both hard and soft light can show the product to its full advantage.

Stash tea flower teacups hard light example studio 3

Soft light example with a hard light rim (kicker or accent) light from behind. Notice the hard shadow on the table in front of the cups – that is created by the hard rim light.

Once you have a full understanding of hard and soft light sources, you can combine the two lighting techniques. For example, the set might have a general, overall softness to its light, but you might use a rim (or accent) light to give the shot more mood or dimension, or to accent certain elements of items in frame. Mastering both types of light allows you to have the ultimate control over your lighting, and the final image that comes out of the camera.

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The post How to Create and Use Hard and Soft Light in a Studio Setting by Craig Wagner appeared first on Digital Photography School.


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How to Make the Most of Hard Light with Black and White Photography

12 Mar

Black & white photography

The quality of light is an important aspect of successful photography – good photographers spend hours chasing the most suitable light for the type of photography they do. That usually means working at the beginning or the end of the day, when the sun is low in the sky and the light has many beautiful qualities.

But what about the middle of the day? Many photographers avoid shooting in direct sunlight in this period, especially in summer, because the light is so hard and strong. You can’t use it for portraits (unless you use flash, which is the subject for another article) or find a place in the shade for your model. It’s nearly impossible to use it for landscapes, because they always look so much better in the softer light, characteristic of the the day’s end.

Perhaps the problem is not so much bad light, but a poor match of light to subject. So the question becomes, is there a subject that you can successfully shoot in strong, midday light? I believe there is. I like to use this part of the day for photographing a subject comprised of strong lines and graphic shapes – architecture.

Black & white photography

Two photos of the same structure (Monument to the People’s Heroes in Shanghai) taken moments apart. In both cases I was exploring the shape of the structure against the blue sky, shooting with a wide-angle lens from ground level looking up. The first image concentrates on shape and line. The second is more abstract. I used a polarizing filter to darken the sky, and photographed the sunlit monument against it for maximum tonal contrast.

This may seem a little strange because buildings are often best photographed during the golden hour, but there is no reason why you can’t shoot during the middle of the day as well. The only drawback is that colour photos of buildings taken at this time of the day, often with a deep blue sky in the background, are usually not very exciting.

But switch to black and white photography and it’s a different story. Without colour, and the strong distraction of a deep blue sky, the photographic possibilities change entirely. Suddenly you’re not looking at the colour of a scene. Instead you’re exploring line, shape, texture, form and shadow. Then, take those photos into Lightroom and there’s all kinds of wonderful, creative things you can do in post-processing to enhance the image.

Black & white photography

Details like this sculpture can work very well in midday light as the hard shadows suit the material it is constructed from. I enhanced the black and white version of this photo in Lightroom by using an Adjustment Brush to increase Clarity and Contrast on the metal surfaces in the image.

Learning to see in black and white takes time, but there are a couple of things you can do that will help.

The first is to shoot in your camera’s black and white mode, but with image quality set to Raw. When you play back your image on the camera’s LCD screen it is displayed in black and white, yet because you are using Raw you have the full colour file to work with in Lightroom or Photoshop.

You will probably find it useful to spend some time looking at your photos on the camera’s LCD screen during the shoot to see how the colour scene in front of you translates to monochrome. As you gain experience you will need to do this less and less, but it can be incredibly helpful the first few times you try.

If you have a camera with an electronic viewfinder, the camera displays the scene in black and white in the viewfinder. This is even more useful because you don’t have to visualize how the colours in the scene will convert to black and white. The camera does it for you and you can concentrate on creating beautiful compositions.

The second is to use a polarizing filter to turn the already blue sky an even darker shade of blue. This can look fantastic in black and white. If you enable the red filter setting in the camera’s black and white mode options it will make the blue sky darker yet, and it may even turn black. Position a sunlit, light-toned, building in front of that dark sky and you have some amazing tonal contrast and the basis for a dramatic black and white architectural study.

Black & white photography

It is easy to be seduced by colour, especially when presented by colour buildings such as these ones in Burano, Italy. This photo was taken around midday, but because the sun was overheard it cast a raking light over the front surface of the buildings, bringing out the textures in the wall. I increased Clarity in Lightroom to emphasize the texture in the black and white conversion.

I’ve concentrated on photographing buildings in this article, but I’d like to hear what other subjects you shoot during the middle of the day. Please let us know in the comments.

Black & white photography

This photo, also taken in Burano, is a study of the shape of the house against the deep blue sky (emphasized by a polarizing filter). The symmetry of the house is broken by the chimney on the left.


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Mastering Lightroom ebooksMy Mastering Lightroom ebooks will help you get the most out of Lightroom 4 and Lightroom 5. They cover every aspect of the software from the Library module through to creating beautiful images in the Develop module. Click the link to learn more or buy.

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How to Use Hard Lighting to Create a Dramatic Portrait

15 Dec

When was the last time you did not primarily light your scene using a large soft source, such as a soft box or umbrella? Large soft sources easily create a beautiful, wrap-around quality of light. Just pop one up and you have instant “good” light.

before-after-lightroom-adjustments-01.jpg

Final image: before and after in Lightroom

Though soft light is beautiful and has its place, it represents only one part of the artist’s palette. In this article we are going to dissect the lighting setup for a men’s fashion shoot, and look at how using hard light can add dramatic impact to your photographs.

I think two-time Academy Award-winning cinematographer Haskell Wexler said it best when it came to using hard light:

“Everybody should still work in hard light as well. Not to do it and to say that it has to be all soft light is like throwing away part of the artist’s palette. I think the more variety you can have, the better it will look. To be able to light well in hard light makes the soft lighting a piece of cake, because soft light is very forgiving. Soft light, uncontrolled, is still acceptable photographically. It is really hard for soft light to look bad, but it is really not hard for hard light to look bad.”

The feel the magazine wanted was a dramatic, high-contrast look. One of the problems with soft light is that it can be hard to control and can easily kill the contrast of your scene – especially in small spaces. The location for our shoot just so happened to be one of those small spaces, so I decided that reflectors and honeycomb grids were the best tools for the job.

Location picture

The shoot was held at a local area builder’s office. The office provided the perfect backdrop for the shoot, but did not offer a lot of room for equipment.

In the pre-planning phase, I chose to use a simple three light setup which included a key light, a fill light and kicker. I had room on camera left to place the main key light, but did not have much room for a kicker opposite camera right; however, there was a window.

As luck had it, the office window overlooked a back patio that had electrical outlets, so I did not have to rely on a battery pack or generator. The only problem was that the patio was a lower in elevation than the office window, so I had to extend my 13′ light stand up to its near maximum height.

To secure the stand, I fastened several 10 pound ankle weights to the legs. Ankle weights are a great and inexpensive alternative to sandbags. The set I use cost about $ 20 at Walmart, and came with Velcro straps for easy attachment to light stands or boom arms.

Since the strobe was outside the window and placed a distance from the model, I attached a radio slave and set it to full power. (The strobe was rated at 600ws)

Back in the office, I took a meter reading using a light meter with the dome retracted and pointed towards the light. The meter gave me a reading of f/5.6 at ISO 100. I decided the reading would be a good base to build my lighting ratios, so I set my camera to f/5.6 at ISO 100. As far as the shutter speed, I set my camera to 1/160th of a second because I did not want to capture a lot of ambient light. When using strobes, the shutter speed only controls the brightness of the ambient light.

This first light would act as the kicker light, in the scene.

Kicker light placement

Position of the kicker light

Kicker test shot

Test shot of the model with just the kicker light

When lighting with hard lights, you will often find the need to bring up the shadows, since they can easily go black. A large soft light source, placed close to the camera, is great for filling in shadow areas, because it resembles directionless ambient light.

The fill light in our scene was fitted with a medium soft box and placed behind and slightly to the right of the camera.

Fill light placement

Position of the fill light

Since most of the elements in the scene were dark brown, including the suit the model was going to wear, I could not set my fill light much lower than my base exposure of f/5.6. If I had set it lower the elements in the shadow areas would quickly go black. I set the fill light to 1 1/3 stop lower than my base exposure, which read f/3.5 on my light meter.

Kicker and fill test shot

Test shot of the model with both the fill and kicker lights.

The last light I set up was the key (main) light. I placed this light in an open doorway, towards camera left and slightly above the model. I wanted to keep the light on the model and off the walls, so I fitted the light with a 20 degree grid to control the spill.

Key light placement

Position of the key light.

Since most of the scene was dark brown, I decided to have the key light one stop over my camera’s base exposure of f/5.6. I adjusted the light until it read f/8 on my light meter.

Kicker and key test shot

Test shot of model with the key light and kicker, no fill. Notice how the shadows go completely black without the fill light.

You may have noticed that the key light on the left side of the model’s face does not appear as bright as the window kicker light on the right side of his face, despite it being one stop brighter (left: f/8 vs right: f/5.6) This is because the kicker is placed more behind the subject, while the key light is placed more towards the side. You might have heard the photography term “the angle of reflection equals the angle of incidence”? This is basically that principle in action. Since the kicker light is slightly behind the model, the angle at which the light is being reflected off the skin is causing the highlight to appear brighter.

Key fill kicker diagram

Positions and settings for key, fill and kicker lights. Notice the camera positioning at the bottom left of the desk.

Before after lightroom adjustments 01

Shot with all three lights set and in place. Before and after adjustments in Lightroom.

Once the lighting was in place, the model was dressed and the shoot began.

A nice benefit of the positioning of the key and kicker lights was that they pulled double-duty, switching roles whenever the model turned his head. A nice short lighting pattern was created, whichever direction he faced. You can see this in the variations above and below.

Before after lightroom adjustments 02

Shot with all three lights set and in place. Before and after adjustments in Lightroom.

In closing, I would encourage you to think of creative ways to use and experiment with hard lighting in your photographs. Hard lighting is not just limited to men. The photo below was lit in the same fashion as the photo of the male model. A word of caution, though. Hard light is unforgiving when it comes to wrinkles and blemishes, so you will have to be very careful with your light positioning when your are lighting women.

Hollywood glam 7056 Edit

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The post How to Use Hard Lighting to Create a Dramatic Portrait by Joel Dryer appeared first on Digital Photography School.


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Western Digital launches My Passport Wireless hard drive with built-in SD card reader

06 Sep

Western Digital has launched a new wireless-enabled hard drive that uniquely features a built-in SD card reader. The My Passport Wireless might be coming to the market after other wireless options like the LaCie Fuel drive, but it’s the inclusion of the SD card reader that makes this product of particular interest to photographers. Read more

Articles: Digital Photography Review (dpreview.com)

 
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