Ein Beitrag von: Marina Refur

kwerfeldein – Fotografie Magazin
Very quick video showing the front and rear lights I installed for my Gelande project truck.
Video Rating: 4 / 5

A fisheye lens is easily one of the best ways to get creative and have a blast with photography. As far as lenses go, a fisheye is relatively cheap (around $ 650) making them accessible to a wide group of photogs. It’s important to know what a fisheye lens is, where it came from, and where the uses of a fisheye lens begin and end.
Originally used for meteorology to study the sky and cloud formations, fisheye’s were originally called “whole-sky lenses.” These lenses quickly became popular in the general photography field because of their fun and unique uses, and of course their incredibly distorted lines. They can be used for many different purposes, both professional and for fun (but mostly for fun). Here are 5 creative ways to use a fisheye lens that you can implement immediately…

Shooting a wedding reception with a fisheye lens can be an absolute blast. These receptions are usually in low light and are a challenge to get great images out of. When I’m shooting a reception, I get right in the middle of the dance floor and just shoot away. To get this radial-blur effect, simply slow down your shutter speed to around 1/25th of a second. Next, you need to spin the camera 90 degrees counter clockwise. To do this, simply cradle the lens with your left hand while using your right hand to pivot the camera body around. Not every image is going to come out, but you can almost always walk away with a few keepers.

One thing to note when using a fisheye lens is this: The further you move an object or line to the edge of the frame, the more distorted it becomes. If you place the horizon in the middle of the frame, it will be perfectly straight across the entire image. The exaggerate this distortion, place the horizon dangerously close to the top of the frame. Just be careful, you might get home and find your legs in the bottom of the frame
.

Sometimes, a fisheye can be used simply to capture everything you want in a scene. Sometimes, you don’t want distorted lines but still need that super wide angle. If you have a landscape without straight lines (buildings, trees, telephone poles, etc) you can sometimes position the lens in a way that it simply looks like a wide angle lens. Just make sure your horizon is towards the middle of the frame. Doing this will allow you to capture a nearly 180 degree view of a scene while avoiding the distorted, crazy look of a fisheye lens.

There’s no way you could capture this much of a ceiling with a normal lens. This was taken at the Gaylor Texan in Grapevine, Texas and this ceiling is absolutely massive. With symmetrical architecture like this, a lot of times there will be a clear marker on the ground to signify the exact middle of the room. When I looked up and saw this site, my fisheye was the only lens that crossed my mind!

The most important thing is to have fun Whether you’re shooting for fun, or for clients (as pictured above). A fisheye is a prime lens, meaning that you can’t zoom in or out with it. Therefore, it’s up to you to act as the zoom for the lens. Be sure to change perspectives and experiment with different angles and lines. Get down low to the ground, even if it means laying on your stomach in the gravel on a railroad track. Lean up against a wall and use the distortion of the lens to wrap the wall around the frame. Just have fun!
If you have examples of fisheye photography that you’d like to share, be sure and leave a link in the comments below!
Also – Check out these 15 Fun and Fabulous Fisheye Photos for a little more inspiration!
Post originally from: Digital Photography Tips.
Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.
5 Ways to Get Creative with a Fisheye Lens
If you ask 10 different photographers what makes a great photograph, you’lll surely wind up with 10 different answers. However, there are three constants: a subject, a photographer, and a camera. For our new series, Shots Fired, we wanted to put the hottest cameras in the hands of the best photographers and let them loose to shoot whatever subjects their hearts desired. First up we have Zack Arias, an editorial and commercial photographer based in Atlanta who describes his style as “simple, straightforward, bold, classic, true, and straight from camera.” His work has been featured in TIME, USA Today, and AFP. He’s also done some work for Sony Music, BMI, and Elektra. His resume is serious. You can head to his personal site to learn more. For the first episode Arias brings along one our favorite cameras of the moment, the retro-styled, ICL Fuji X-Pro1, and takes us on a tour of his native ATL.
A few nice visual art images I found:
art-2010

Image by dietmut
original: farm2.static.flickr.com/1082/4598562081_586c363690_m.jpg
Desdemona

Image by Original Bliss
Soul Journal Entry
December 5, 2009
Soul Journal #13
There is a story behind every page.
Visit:
art – 2010

Image by dietmut
original: farm5.static.flickr.com/4015/4619117220_4f45b47045_m.jpg
IOPU “GET DRUNK” MUSIC VIDEO FEAT.PROPHECY & MIKE,ROCKSOLID STUDIOS DIRECTED BY:RATED 2011
The first video from David Byrne & St. Vincent’s collaborative album “Love This Giant”, out September 10(UK)/11(US) and available for pre-order: bit.ly Directed by Martin de Thurah – www.dethurah.dk (full video credits below) lovethisgiant.com www.davidbyrne.com ilovestvincent.com www.4ad.com Pre-order “Love This Giant” at lovethisgiant.com Pre-order “Love This Giant” from Amazon: bit.ly Pre-order “Love This Giant from 4AD: bit.ly Video credits: Director : Martin de Thurah Producer : Epoch Films Executive Producer : Mindy Goldberg Line Producer : Brielle Murray Director of Photography : Natasha Braier Post Production : BaconX Editor: Jacob Schulsinger Colorist : Sofie Friis Borup
Video Rating: 4 / 5
We had such an awesome time making the Bruno Mars Medley, so we had to follow it up with a new medley! This is a live lyric video — EVERY LYRIC is in the video. It was a big challenge to make this, but with the help of a lot of talented people, we pulled it off! THANK YOU to everyone who worked on it! Director: Kurt Schneider Producer: Daniel Rosen Director of Photography: Rick Craft Steadicam Operator: Bryant Swanstrom Editor: Daniel Karp HUGE THANKS TO THE ART TEAM: Jessica Huerta, John Erickson, Laura Quinn, Lulu Antariksa, David Shottland, Ryan Rottman, Jared Cohen, Daniel Rosen, Daniel Karp, Lauren Herstik, David Schwartz and Eliza Mills _______________ GET IN TOUCH! KURT SCHNEIDER: Facebook: www.facebook.com Twitter: www.twitter.com MAX SCHNEIDER Facebook: on.fb.me Twitter: www.twitter.com YouTube: www.youtube.com VICTORIA JUSTICE Facebook: www.facebook.com Twitter: twitter.com YouTube: www.youtube.com
Video Rating: 4 / 5
This guy is interesting – he is kind of like half fish half eel…at least in the way he moves around.
Video Rating: 3 / 5
Sample shots: www.digitalrev.com Pricing Reference: www.digitalrev.com Join DigitalRev Free at: www.digitalrev.com Special Thanks: Chris Collins – www.chriscollinsaction.com The Canon Nikon Rap itunes.apple.com (Don’t buy this, seriously)
Video Rating: 4 / 5
[ By Steph in Architecture & Public & Institutional. ]

An unused building at the Monterrey Institute of Technology’s León Campus in Mexico was stripped to its frame and re-imagined as a dynamic ‘creative laboratory’ with transparent walls and an undulating wooden facade. Shine Architecture and TA Arquitectura removed exterior walls, interior partitions, windows and staircases to reconstruct all but the building’s most basic footprint.


The intent of the architects was to create a ‘blank page’ for the students, a 24/7 studio for art, design, model-making and photography. All of the natural daylight that floods the building during the day is ideal for these activities; of course, darkened interior spaces are available for photo processing and similar activities.


The ‘shield’ of jagged timber and steel offers shade and privacy on one side of the building, as well as space for a ramp leading to the second floor. The glass walls let both light and air into the structure.


“Morphologically its inner industrial look like tectonic embracing 3 main parts; a large glazed box in conjunction with a smaller solid volume and external circulation appendix,” say the architects. “In terms of general aesthetic, the purpose was to look as part of a context, respecting existing materials, but be different and recognizable as an experimental-design building.”



[ By Steph in Architecture & Public & Institutional. ]
[ WebUrbanist | Archives | Galleries | Privacy | TOS ]
You must be logged in to post a comment.