Ich beginne diesen Artikel mit einem komischen Gefühl im Bauch. Ich habe schon oft darüber nachgedacht, dieses Thema anzuschneiden, hier in unserem Magazin. In meinem Kopf fliegen tausend Argumente hin und her und dieser Artikel ist der Versuch, diese zu ordnen. Wie Ihr schon lesen könnt, drehen sich meine Gedanken um einen Themenkomplex, der nicht ganz leicht zu fassen ist. Wenn ich versuche, das alles in einen Satz zu packen, dann würde sich das so lesen: Alles wird erklärt. Ich schreibe hier nichts Neues. Jede Person kennt diese Artikel und Programme, in denen alles, was mit der Fotografie zu tun hat, erklärt wird. Wie man tolle Landschaftsfotos macht, welches Licht für ein Portrait gut ist und weshalb ein Blitz bei einem Makro so wichtig ist. Mein ungutes Gefühl gilt jedoch nicht den Artikeln und Workshops, die insbesondere Technik erklären. Mit Technik meine ich, wie man Negative entwickelt, was Bokeh ist und wie in Lightroom die Datenbank aufgebaut ist. Dies hat meiner Meinung nach absolute Berechtigung und ist auch notwendig. Worum es mir geht, ist das Erklären von wie man ein geiles Bild macht………
Street photography might seem daunting to some, I know quite a few folks that are intensely interested but never make the jump. To rememediate, here’s 10 street photography tips for beginners to get started shooting.
1) Street Photography Doesn’t start in the streets
Before I hit the streets, there’s usually a mode of transportation to get there. That can be a bus, a car, whatever. The thing is, I never assume the shoot starts when I actually reach my destination. I have my personal driver, I mean wife that drives me on occasion but it’s mainly bus and train……
The Decisive Moment is a book by Henri Cartier-Bresson. More than that, though, the decisive moment is the fraction of a second in which photography matters. The decisive moment is about capturing the right expression, the right emotion in your subject. While many have already written about it, I will take a very pragmatic approach to the decisive moment and how to capture it. Incredibly enough, to capture the decisive moment, you need to listen to yourself more than you may think. In my experience, it is about being calm, letting go of everything else and focussing on your subject. Do you want to know how to capture the decisive moment in your photographs? If so, read the next paragraph trying to free your mind from pre-concepts you may have……
For more information on Camera Raw 8.6 and Lightroom 5.6 – including new camera support and bug fixes – please view the release notes on the Lightroom Journal blog. Or, click here for Camera Raw and click here for Lightroom…..
So why am I back pedaling now? I started shooting personal work with my little Fuji. Then I pulled it out on jobs from time to time because I loved that little camera. Then I used it more. Then I got the X-Pro1. Then I started seeing my Fuji images in print. Then I started putting the Q&A book together and I had the chance to run pages of test prints for the book. I printed every type of image I had from every camera I had owned. Studio shots. High ISO shots. Portraits. Street photos. I cropped into some images and enlarged them to full page. I received the test prints back and I taped them to the wall and took one step back. My Fuji images ran side by side with D3 and 5d2 images without a single noticeable drop in quality. If anything, my Fuji images were just a tad sharper. My PhaseOne medium format images were the only images that had a noticeable change in quality when I looked at everything side by side…….
Zack Arias is one of the biggest names in photography education of recent years. He built his name on the idea that a photographer can use one light to create stunning images. Today, I am sharing a recent video Zack did tackling the age old (haha, not really) question of Full Frame Sensors vs APS-C Sensors. “I have said, in the past, that you should move toward full frame sensors. I have always championed full frame sensors.” Zack states in the description of his video, “At the end of the day, full frame sensors beat APS sized and smaller sensors.” …….
Ever since Silo park opened to the public and was transformed into a recreation area, it has become an increasingly popular photographic subject. The tall standing towers, with stairs spiralling to the top, are perfect for symmetric, abstract, fine art images. The key when chasing symmetric patterns is discovering the element which breaks the symmetry, regaining balance and automatically providing the focal point for your eye to gravitate to. Consider the first image, the stairs are balanced with the black cut out on the bottom right. Without these two elements, and just the pipe guiding your eye to the top of the tower, there is very little interest. The tower as a whole is symmetric, including the placement of the pipe running up the middle. But the inclusion of the stairs and the tower cutout break the symmetry and encourage your eye to wander throughout……
Our photography cheat sheet answers the question ‘What is a macro lens?’, explaining the different magnifications and minimum focus distance….
….my position has been that all photographs are constructions. The “window on the world” point of view is based on where the photographer is standing, the time of day, the quality of light, what equipment and processes are utilized, what is included and excluded in the frame, and so on. What determines the photographic outcome we see in magazines, museums, galleries, and in all forms of media are largely determined by this realistic perception mindset. I’m interested in haptic imagemakers who are expressionistically interpreting their subject matter. In place of an outward linear narrative, these artists often rely on an inner psychological approach to their storytelling. This encourages their unconscious to come to the fore and reveal multiple pathways for viewers to explore both the subject matter and the maker. Regardless of their approach, these artists delight in the act of picturemaking……
The advantage of using an external light meter is that you deal with an absolute reading of what light there is, not what the reflection is from some default background. Important: If you look at the white bubble on the lightmeter you can see that it is held in an angle so the light and shadow on each side equals the light on the face (the window highlight to the left and the shadows from the room to the right). It is an artistic decision where to hold the light meter, because if you tilt it a bit to the left in this picture it will pick up more light from the window and give a slightly darker exposure. If there is strong light coming in from the window that would be an idea as you then make sure the bright side of the face is correctly exposed, whereas the shadow side of course till be darker (as the whole exposure gets darker)………