mrstubbs

<p>Arnold Newman.</p>

<p>I have always asked my Butcher to do it for me.<br>

<img src="http://d6d2h4gfvy8t8.cloudfront.net/8705193-lg.jpg" alt="" width="649" height="451" /></p>

<p>I have always asked my Butcher to do it for me.</p>

<p>Just a suggestion Brian. Expose for the flash and set time for the movement required. Use a reflective surface as part of the background, making the the light partly reflect into the lens(to taste)...this will create the aperture shapes.<br>

The longer time will allow some exposure of the models movement. If you allow the model some movement you may need to use a tripod, to lessen the effect. If that movement is too much..then have the model hold as still as possible...whilst you hold the camera and let the movement come from your moving hands. You will have to work out how much lighting you want, eg; from the ambient available.<br>

A slow fan could give the hair enough extra movement.<br>

I think the hair effect in the images is lovely.<br>

There is post work in the images ..how much, I couldn't say. But I think they are different enough to attract attention. I like them.<br>

Good luck. :~)</p>

<p> </p><div></div>

<p>It's true..all of it....."if you know the outcome you want"..prior to exposing a portrait.<br /> A good way to understand the effect of your lens, is to look through the viewfinder.<br /> Camera on tripod. Then simply look. After a while you will notice that the proportion of a face changes, as you move the focal point, left and right and up and down. It's a visual choice. Once you "see" the effect in perspective..you will have tamed the beast a little more...and have a lot more fun.</p>

<p><img src="http://d6d2h4gfvy8t8.cloudfront.net/7470534-lg.jpg" alt="" width="372" height="505" /></p>

<p>A mirror...or better still..silver foil mounted on a artist canvas..that way you could have silver or white.<br>

The term catch light is the clue. You need to catch light, and put it where you want it.</p>

<p>I use some cheap alternatives at times ..I loved this one so much I covered a wall.<br /> Go to the white goods retailers..fridges, washing machines etc.<br>

Ask if you could take some waste product off their hands. The foam sheeting used to protect the goods in transit.<br>

It's white..and neutral..and very reflective.<br>

Try the pic of my friend Harry..change the hue of the image. You will find the foam sheeting stays neutral..whilst letting Harry become any colour you want.<br>

<br /> <img src="http://d6d2h4gfvy8t8.cloudfront.net/7703677-lg.jpg" alt="" width="511" height="511" /><br>

I didn't use any background lighting in this frame. You can see how adding a little will create the white background you want.<br>

My last shoot was a white neutral family image, for an ad. The client was thrilled with the finished image..three of the family wore white, with no loss in detail in the white fabric.</p>

<p><img src="http://d6d2h4gfvy8t8.cloudfront.net/9223252-sm.jpg" alt="" width="142" height="199" /><br>

Paint it flat black..neutral. You may then cool or warm with appropriate light.</p>

<p>You could compare a BDE with the measure of the meter and get a good idea on how accurate it reads.<br>

http://www.mccd.edu/faculty/gwartneyj/images/Basic%20Daylight%20Exposure%20Guide.pdf</p>

<p> </p>

<p>You could try adding some nd filters to the lens, so a wider aperture can be set. It would give you the option of selecting a focal point not affected by specular highlights within your composition...and help soften the speculars not useful to the outcome.</p>

<p>It just doesn't pay to start wondering about these things...takes up so much time. :~)<br>

<img src="http://d6d2h4gfvy8t8.cloudfront.net/10851511-lg.jpg" alt="" /></p>

<p><img src="http://d6d2h4gfvy8t8.cloudfront.net/10837271-sm.jpg" alt="" /></p>

<p>I can't find the a term to describe the style (if it is a "style") but Turners seems as close as I can venture.</p>

<h1 id="firstHeading">J. M. W. Turner</h1>

<h1>"In his later years he used oils ever more transparently, and turned to an evocation of almost pure light by use of shimmering colour. A prime example of his mature style can be seen in <a title="Rain, Steam and Speed - The Great Western Railway" href="http://en.wikipedia.org/wiki/Rain,_Steam_and_Speed_-_The_Great_Western_Railway" title="Rain, Steam and Speed - The Great Western Railway">Rain, Steam and Speed - The Great Western Railway</a> , where the objects are barely recognizable. The intensity of hue and interest in evanescent light not only placed Turner's work in the vanguard of English painting, but later exerted an influence upon art in France, as well; the <a title="Impressionists" href="http://en.wikipedia.org/wiki/Impressionists" title="Impressionists">Impressionists</a> , particularly <a title="Claude Monet" href="http://en.wikipedia.org/wiki/Claude_Monet" title="Claude Monet">Claude Monet</a> , carefully studied his techniques."</h1>

<p>re wiki</p>

<p>One light Jose. The learning curve is so much more gentle to the soul. Pick up a good quality head, then start learning what you can do with it. Reflection..softening, hard shadow edges, drop off.<br>

I think we can miss the obvious sometimes, by complication. You can put a single light just above your lens, and use it as a fill, using ambient as the main light source. A bit like a popup flash on top of a camera..one with an adjustable output.</p>

<p>You could contact one of the manufacturers and ask if they could give you a resellers details.<br>

eg: http://www.mcgillcorp.com/alcore/sales.html</p>

<p><img src="http://www.mcgillcorp.com/alcore/images/alcore_2.jpg" alt="" width="189" height="190" /><br>

Sometimes ..the use of another term is all we need.<br>

Aha! Foiled again!</p>

 

<p>This one has the upper cover of a street light, found at the tip. Add a generic ring, and center peice(old clock face) to bounce the light back into the dish, using some threaded rod. It works a treat. I have a second one nearly ready on the bench. I'm makind a couple of coloured center peices so I can add warmth or cool to center of the illumination.</p>

<p><img src="http://d6d2h4gfvy8t8.cloudfront.net/10706230-lg.jpg" alt="" width="191" height="287" /></p>

<h1 id="firstHeading" ><strong>Tenebrism</strong> , from the <a title="Italian language" href="http://en.wikipedia.org/wiki/Italian_language" title="Italian language"></a> italian <em>tenebroso.</em></h1>

<p><em><img src="../photo/8452294&size=lg" alt="" /> <br /> </em></p>

<p>I have to give Corel a wrap for ease of use Trish. (..but many..if not most users of PS ..will argue!;-)<br>

I placed a mask over a portion of each face..then read the histogram for that marked area. It told me the skin was underexposed (accepting the faces were roughly caucasian). I removed the mask ..adjusted and remeasured the faces, in new masks. Following that ...an adjustment for contrast..making it ready for the web. From that point it's all subjective. We all have our own view on life..and what we consider is "best" for the purpose of the image. Some blur..and the job is done.<br>

The strength in these two images...the exposures you made...allows them to "come alive!" with a little adjustment.<br>

A correct (subjective) exposure...will make any colour issues a far smaller problem.</p>

<p>colour = exposure<br>

exposure = colour<br>

You can't have one without the other.</p>

<p>Hello Trish,<br /> I'm assuming you are letting the camera decide on exposure. It does a great job ..but ...if you spot meter on the face..the camera will capture the skin in these images (average caucasian) and reproduce them for you..as mid gray. Exactly as the camera meter is designed to do. It's not all about equipment..this photography thingy. :-)<br /> I adjusted these two ..eg; to make f8 look like f5.6<br /> I think both images have a lot going for them. You are doing very well indeed.<br /> Do a search for photographing skin. There's lots to read out there.</p><div></div>

<p>Hello Ali.<br>

See that grey concrete under the canon. Put a mask over a section of that concrete..not the part in shadow...then look at a histogram of your selection..it should read about mid on the histogram. It doesn't though..it's about a stop over mid and a bit more. It's showing the frame as overexposed.<br>

The skin on a caucasian is generally about one stop above mid. If you mask a small area on the subjects cheek and look at the histogram..you can see the same result..the histogram will show you the exposure is over two stops higher than mid, which is a full stop above what we expect to see in an average caucasian<br>

There is a simple method of calculating your exposure. For an average sky, with about 20% cloud cover, the rule is sunny sixteen. F16@1/100@100iso. This can change..nothing is set in stone..but it's a good starting point.<br>

Converted to your setting of F5@1/250@100iso it translates to approx. F6.3@1/125@100iso...which is approximately one and two thirds over exposed..which is pretty much what your histogram shows.<br>

If you get the exposure closer to correct..the colours will reproduce as you expect them to.<br>

http://en.wikipedia.org/wiki/Sunny_16</p>

 

<p>We all have veiws based on our experience.<br>

I looked for a pure sine generator and was confronted by many higher priced units. In Australia they are sold to caravan owners who know "noisy" generators will not be allowed in caravan parks. They are great for computers and televisions..and for powering bowens strobes.<br>

But there are cheaper units, also pure sine, though a bit louder.<br>

I purchased one from my supplier (link attached) for about $500aus delivered to my door...over two thousand miles away.<br>

I run computers and 250watt and 500watt bowens strobes on it and have not had a problem. These pure sine units have "earth magnets" enabling a good consistent 3000rpm.<br>

http://www.getprice.com.au/SCORPION-PURE-SINE-WAVE-GENERATOR-Gpnc_500--39601674.htm<br>

I imagine there are similar units outputting 110 rather than the 240volts Australian standard ....available from other suppliers.</p>

 

<p>In the frame attached (a single exposure) time was used to capture the candle "flame" eg:...1 second at 6.3, 50iso. The overall scene was lit via strobe..the strobe was set according to the aperture, to give an exposure covering a full tone range over the rest of the scene.<br /> You could make the same frame, with a darker scene, by exposing for the candle with the speed, and controlling ambient light for the scene to illuminate the scene to your taste/requirement.<br /> The correct exposure for a candle "flame" will always be the same. (a bit like exposing for the moon..the moon follows the sunny sixteen rule)</p>

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<p>I was siting at my desk when the power source on one of my systems melted down and filled the shop with acrid black smoke.<br /> Every day now..off with the power and unplug before leaving the shop.</p><div></div>