Monday, September 30, 2013

How to Shoot Glamour Photography

How to Shoot Glamour Photography

Glamour photography is a bit of a throwback to the 1940s and 1950s when models would be seductively dressed and photographed in alluring poses. Today the market for glamour photography is pretty strong, ranging from aspiring models, looking for images for their portfolio, to brides, wanting to give a special gift for their soon-to-be husbands.

Instructions

    1

    Interview your subject to find out the type of picture she wants or what type of message she is wanting to convey. This first meeting is a good way for you and you client to meet each other and start to feel a little more comfortable about working with each other. The information you collect at this meeting will help you in determining the type of shoot you will set up.

    2

    Pick a location. If you subject has indicated she wants boudoir photos for her husband, then an indoor setting is probably appropriate. However, some may want to have their pictures done outdoors, and you will need to know of some good locations in your city or town.

    3
    Glamour photography is throw back to the 1940s photography
    Glamour photography is throw back to the 1940s photography

    Keep your session private and safe. If your shoot is outdoors, it might be a little difficult to keep it 100 percent private, but if you are working in a studio, the only people present should be you, your client and an escort or friend if she decides to bring one. Having your client bring a friend along can sometimes be a good idea, it may make you client feel more at ease and if you do a good job, her friend may also want pictures done. And finally, an extra pair of hands never hurts during a photo shoot.

    4

    Use different poses to accentuate your client and soft lighting to further enhance the sensuality of the pictures. There are a number of different poses you can use; a good rule is to always have her standing with shoulders rotated on an angle to the lens, with her head turned towards the camera. This creates a nice line for the eyes to follow. Adjust the power setting on your studio lights to lower settings to help create a soft light. You can also use diffusers--items that attach in front of your studio strobe, like a honeycomb diffuser, a colored gel or soft box--that will also soften the light created by the strobes.

    5

    Arrange for a private area for your model to make wardrobe changes if she chooses to do so, as well as having an area where she can touch up or apply her make-up, is a good thought as well.


How to Shoot Glamour Photography

Glamour photography is a bit of a throwback to the 1940s and 1950s when models would be seductively dressed and photographed in alluring poses. Today the market for glamour photography is pretty strong, ranging from aspiring models, looking for images for their portfolio, to brides, wanting to give a special gift for their soon-to-be husbands.

Instructions

    1

    Interview your subject to find out the type of picture she wants or what type of message she is wanting to convey. This first meeting is a good way for you and you client to meet each other and start to feel a little more comfortable about working with each other. The information you collect at this meeting will help you in determining the type of shoot you will set up.

    2

    Pick a location. If you subject has indicated she wants boudoir photos for her husband, then an indoor setting is probably appropriate. However, some may want to have their pictures done outdoors, and you will need to know of some good locations in your city or town.

    3
    Glamour photography is throw back to the 1940s photography
    Glamour photography is throw back to the 1940s photography

    Keep your session private and safe. If your shoot is outdoors, it might be a little difficult to keep it 100 percent private, but if you are working in a studio, the only people present should be you, your client and an escort or friend if she decides to bring one. Having your client bring a friend along can sometimes be a good idea, it may make you client feel more at ease and if you do a good job, her friend may also want pictures done. And finally, an extra pair of hands never hurts during a photo shoot.

    4

    Use different poses to accentuate your client and soft lighting to further enhance the sensuality of the pictures. There are a number of different poses you can use; a good rule is to always have her standing with shoulders rotated on an angle to the lens, with her head turned towards the camera. This creates a nice line for the eyes to follow. Adjust the power setting on your studio lights to lower settings to help create a soft light. You can also use diffusers--items that attach in front of your studio strobe, like a honeycomb diffuser, a colored gel or soft box--that will also soften the light created by the strobes.

    5

    Arrange for a private area for your model to make wardrobe changes if she chooses to do so, as well as having an area where she can touch up or apply her make-up, is a good thought as well.



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    From our blogs. Daily Prompt: A Mystery Wrapped in an Engima; Picking and Choosing: Bloggers as Curators; A Feast for the Eyes: Food Photography for Bloggers, Part One

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Thursday, September 26, 2013

How to Use the Sony Telephoto Handycam Lens

Looking for those tight close-ups, with a shallower depth of field? Then the Sony VCL-HG1737C Telephoto Converter lens is a great addition to all your amateur or professional video needs. This 37-mm High Grade 1.7x Telephoto Lens attaches easily and securely onto your handycam.
Bring your subjects 1.7 times closer and with greater detail and resolution with these simple instructions that will guide you on attaching, cleaning and using your telephoto lens for better production.

Instructions

Using your Telephoto Lens

    1

    Remove the lens cover from your camcorder, then screw the telephoto clockwise onto the camcorder's lens to attach it to your handycam.

    2

    Turn your camcorder on and set it to "Video Camera" mode. Frame your subject, and zoom in using the "W/T" button.

    3

    Press "Record." To get a shallow depth of field, and blur backgrounds around your subject, set your camcorder to manual focus, then turn your "Focus Ring" back and forth to focus on your subject.

    4

    Use your lens cloth to clean your lens at least once per week. Apply lens solution to cloth and not directly to the lens, then clean the lens gently in a circular motion. Use cotton swabs.


Looking for those tight close-ups, with a shallower depth of field? Then the Sony VCL-HG1737C Telephoto Converter lens is a great addition to all your amateur or professional video needs. This 37-mm High Grade 1.7x Telephoto Lens attaches easily and securely onto your handycam.
Bring your subjects 1.7 times closer and with greater detail and resolution with these simple instructions that will guide you on attaching, cleaning and using your telephoto lens for better production.

Instructions

Using your Telephoto Lens

    1

    Remove the lens cover from your camcorder, then screw the telephoto clockwise onto the camcorder's lens to attach it to your handycam.

    2

    Turn your camcorder on and set it to "Video Camera" mode.

    Enhance your photography skill,The Top Secret Photography Techniques

    . Frame your subject, and zoom in using the "W/T" button.

    3

    Press "Record." To get a shallow depth of field, and blur backgrounds around your subject, set your camcorder to manual focus, then turn your "Focus Ring" back and forth to focus on your subject.

    4

    Use your lens cloth to clean your lens at least once per week. Apply lens solution to cloth and not directly to the lens, then clean the lens gently in a circular motion. Use cotton swabs.



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Main Parts of Camera Film

Main Parts of Camera Film

The makeup of film may be more complicated than a camera while a film camera merely allows a controlled light leak to reach the film's surface. Although just a fraction of a millimeter thick, camera film consists of many layers of chemical coatings. Aside from being light-sensitive, film is designed to resist scratches and unwanted printing effects.

Topcoat Layer

    The topcoat of film is the glossy layer facing you as you view the images in their correct orientation. This protective coating prevents scratches that can occur during the handling of film in carriers or inadequate storage.

Emulsion Layer

    Below the topcoat lies the emulsion layer. This layer consists of about 60 percent silver-halide crystals that darken when exposed to light. The remaining 40 percent consists of gelatin. If the film is color, dye couplers will also be present. The dyes are layered with magenta on top, cyan in the middle and yellow below. These layers are sensitive to green, red and blue light respectively. When color film is processed, the light-sensitive silver compound is washed out and only dyes remain.

First Adhesive

    Below the emulsion is a thinner layer of adhesive. Its purpose is to connect the emulsion and the film base.

Base Layer

    The base layer is made of flexible and transparent plastic. The thicknesses of various film formats and brands can vary according to the contents of this level. The base provides support for the emulsion, which would be too thin and fragile on its own.

    Early film bases were made from cellulose nitrate, which is flammable and caused catastrophic results with motion picture films. More modern film bases are made from cellulose acetate or polyester.

Second Adhesive

    Another adhesive layer bonds the base to the final bottom layer, called the antihalation coating.

Antihalation Layer

    When a negative is exposed in a camera, care is taken to make sure the emulsion layer only receives one exposure to light. The antihalation layer is in place to keep light from reflecting off the bottom layer and reflecting back through the emulsion. This reaction would cause undesirable halos to appear in the brightest parts of the image or create secondary images. The dye is designed to have no effect on image quality.

Antistatic Layer

    Some films will have an antistatic layer on the backside of the base. It prevents static sparks from being generated while the film is advanced in a camera. Such static sparks would create areas of exposure on the film.


Main Parts of Camera Film

The makeup of film may be more complicated than a camera while a film camera merely allows a controlled light leak to reach the film's surface. Although just a fraction of a millimeter thick, camera film consists of many layers of chemical coatings. Aside from being light-sensitive, film is designed to resist scratches and unwanted printing effects.

Topcoat Layer

    The topcoat of film is the glossy layer facing you as you view the images in their correct orientation. This protective coating prevents scratches that can occur during the handling of film in carriers or inadequate storage.

Emulsion Layer

    Below the topcoat lies the emulsion layer. This layer consists of about 60 percent silver-halide crystals that darken when exposed to light. The remaining 40 percent consists of gelatin. If the film is color, dye couplers will also be present. The dyes are layered with magenta on top, cyan in the middle and yellow below. These layers are sensitive to green, red and blue light respectively. When color film is processed, the light-sensitive silver compound is washed out and only dyes remain.

First Adhesive

    Below the emulsion is a thinner layer of adhesive. Its purpose is to connect the emulsion and the film base.

Base Layer

    The base layer is made of flexible and transparent plastic. The thicknesses of various film formats and brands can vary according to the contents of this level. The base provides support for the emulsion, which would be too thin and fragile on its own.

    Early film bases were made from cellulose nitrate, which is flammable and caused catastrophic results with motion picture films. More modern film bases are made from cellulose acetate or polyester.

Second Adhesive

    Another adhesive layer bonds the base to the final bottom layer, called the antihalation coating.

Antihalation Layer

    When a negative is exposed in a camera, care is taken to make sure the emulsion layer only receives one exposure to light.

    Enhance your photography skill,The Top Secret Photography Techniques

    . The antihalation layer is in place to keep light from reflecting off the bottom layer and reflecting back through the emulsion. This reaction would cause undesirable halos to appear in the brightest parts of the image or create secondary images. The dye is designed to have no effect on image quality.

Antistatic Layer

    Some films will have an antistatic layer on the backside of the base. It prevents static sparks from being generated while the film is advanced in a camera. Such static sparks would create areas of exposure on the film.



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Tuesday, September 24, 2013

How to Test Photography Light Meters

How to Test Photography Light Meters

Testing photographic light meters is an essential step to ensure the light meter provides an accurate reading. Light meters allow a photographer to properly expose an image based on the existing light sources and are used as a backup to the light meters present in most cameras. Using a gray card, test shots and an image histogram, you can test the accuracy of your light meter prior to beginning an important photo shoot.

Instructions

    1

    Use a single lens reflex camera, a SLR, and photograph a "gray card" purchased from a local professional camera shop. A gray card is a true representation of shades of gray and is used to set a light meter using a reflective light source, which is any light that is reflected off the surface of the subject. If you are using a film camera, make note of the exposure settings with a pen and paper for future reference. A digital camera automatically records your camera settings and is best for a quick turnaround and for providing supporting data to test your light meters.

    2

    Choose a consistent lighting setting, outdoors in the shade or inside next to a window, and bracket the shot at several settings. Bracketing involves adjusting the camera settings, both under exposing and over exposing, to get a wide variety of images. Choose the image that is the most balanced, with a proper showing of light and dark elements. Make sure true whites and true blacks are present in the image. The best way to check the balance of the image is to use the histogram on a digital photograph to see that the peaks of the images are in the center of the scale.

    3

    Determine the proper settings on the image, and make that your master setting. Place your gray card in the same position, with exactly the same lighting situation, and place the light meter next to the gray card to receive a reflective reading on the light source. Set your light meter to the same ISO and shutter speed setting as your original test image. The light meter should reflect the same aperture setting as your test image.

    4

    Test the light meter settings if they differ from your predetermined settings. Take an image of the gray card, using the settings from your light meter reading, and study the image results as compared to your original test image. If the image is slightly darker or lighter than the original test image, the light meter is slightly off. Make sure that your light sources are consistent and controlled, as this will change the settings determined by the light meter. Using a digital camera for this test ensures that all the settings are consistent and allows for a rapid turnaround on the test. Using film requires days of testing, due to film processing times and recreating the lighting situation each time you conduct the test. Bear in mind that printing machines also vary, so unless you are an expert at reading exposed negatives, the histogram from a digital camera is your most reliable option for testing.


How to Test Photography Light Meters

Testing photographic light meters is an essential step to ensure the light meter provides an accurate reading. Light meters allow a photographer to properly expose an image based on the existing light sources and are used as a backup to the light meters present in most cameras. Using a gray card, test shots and an image histogram, you can test the accuracy of your light meter prior to beginning an important photo shoot.

Instructions

    1

    Use a single lens reflex camera, a SLR, and photograph a "gray card" purchased from a local professional camera shop. A gray card is a true representation of shades of gray and is used to set a light meter using a reflective light source, which is any light that is reflected off the surface of the subject. If you are using a film camera, make note of the exposure settings with a pen and paper for future reference. A digital camera automatically records your camera settings and is best for a quick turnaround and for providing supporting data to test your light meters.

    2

    Choose a consistent lighting setting, outdoors in the shade or inside next to a window, and bracket the shot at several settings. Bracketing involves adjusting the camera settings, both under exposing and over exposing, to get a wide variety of images. Choose the image that is the most balanced, with a proper showing of light and dark elements. Make sure true whites and true blacks are present in the image. The best way to check the balance of the image is to use the histogram on a digital photograph to see that the peaks of the images are in the center of the scale.

    3

    Determine the proper settings on the image, and make that your master setting. Place your gray card in the same position, with exactly the same lighting situation, and place the light meter next to the gray card to receive a reflective reading on the light source.

    Enhance your photography skill,The Top Secret Photography Techniques

    . Set your light meter to the same ISO and shutter speed setting as your original test image. The light meter should reflect the same aperture setting as your test image.

    4

    Test the light meter settings if they differ from your predetermined settings. Take an image of the gray card, using the settings from your light meter reading, and study the image results as compared to your original test image. If the image is slightly darker or lighter than the original test image, the light meter is slightly off. Make sure that your light sources are consistent and controlled, as this will change the settings determined by the light meter. Using a digital camera for this test ensures that all the settings are consistent and allows for a rapid turnaround on the test. Using film requires days of testing, due to film processing times and recreating the lighting situation each time you conduct the test. Bear in mind that printing machines also vary, so unless you are an expert at reading exposed negatives, the histogram from a digital camera is your most reliable option for testing.



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    Purestorm aims to help you become a successful model, for all types of modeling including glamour, fashion, photographic, teen and many others. Sign up for a free ...


  • Basics of Exposure: Aperture, ISO, Shutter & Exposure Triangle ...

    digitalphotographylive.com/exposure

    Popular Posts. Exposure triangle; Rule of Thirds; Fireworks Photography Tips and Camera Settings... Basics of Exposure: Aperture, ISO, Shutter &... How to Remove ...


  • Goodbye wires! - MIT News Office - MIT - Massachusetts Institute ...

    web.mit.edu/newsoffice/2007/wireless-0607.html

    Wireless power transfer over two-meter distance, from the coil on the left to the coil on the right, where it powers a 60W light bulb. Members of the team that ...

  • Complete Speed Training

    completespeedtraining.com

    The Complete Speed Training System shows coaches how to get their athletes to run faster. It's more than just a speed, agility and quickness program

  • autoevolution - automotive news & test drives

    www.autoevolution.com

    Features test drives, automotive and motorsport news, spyshots, auto guides, editorials and a vehicle database featuring cars, motorcycles and trucks.

  • How To Create a Website - Beginner Tutorials On How To Make

    www.2createawebsites.com

    How To Create a Website has lots of free web design tutorials for beginners on creating a WordPress website and lots more. Start to make a website today.

  • CultureMap Dallas

    dallas.culturemap.com

    CultureMap Dallas is Dallas's daily digital magazine, the source for Dallas news on music, film, food, drink, arts, design, life, innovation, outdoors, fitness and ...

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    www.theage.com.au/national/generic

    Personalise your news, save articles to read later and customise settings

  • How To Improve Eyesight Naturally (Learn how to improve your ...

    www.youtube.com/watch?v=4Pd805yJCJM

    Click Here: http://www.FactorDiscount.com/Natural... to find out more about eye exercises which will improve your vision. How To Improve Eyesight Naturally ...

  • How I became a password cracker Ars Technica

    arstechnica.com/security/2013/03/how-i-became-a-password-cracker

    At the beginning of a sunny Monday morning earlier this month, I had never cracked a password. By the end of the day, I had cracked 8,000. Even though I knew password ...

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    www.monkeysee.com

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  • How does the iPhone 4S camera stack-up against other cameras?

    campl.us/posts/iPhone-Camera-Comparison

    A photo comparison from all iPhone version cameras taken with Camera+ (First generation iPhone, iPhone 3G, iPhone 3GS, iPhone 4, the new iPhone 4S), a point &

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    www.howcast.com

    Howcast is the best source for fun, free, and useful how-to videos and guides.

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    www.youtube.com/watch?v=D3gKJ4E8keg

    Learn how to Flirt? - http://bit.ly/how-to-flirt-tips A way to meet up with likely mates, flirting may be the 1st phase in opening the doorway into a ...

  • Scott Kelby's Photoshop Insider Photoshop & Photography ...

    scottkelby.com

    First I want to thank Scott and Brad for allowing me to be a guest on his blog. I became aware of Scott some 20 months ago after too many soccer/running injuries.