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June 27, 2006
Our Newest Images-June 27, 2006-Children, Snacks, Illustrations, Young adults, Shopping, Home Improvement, Architecture, Italy, Ecuador and Florida
We are always adding new, fresh images to our already spectacular collection. Take a look and see the newest images we have added.
Our newest Rights Managed Images
Our newest Royalty Free Images
Check back to see a whole new set of images next week.
Posted by Valerie at 08:24 PM | Comments (0)
CREATIVE SHUTTER SPEED TECHNIQUES
CREATIVE SHUTTER SPEED TECHNIQUES
By Russell Burden
The camera I own has four different metering modes to yield proper exposures. Of those four, one is Program. I’ve yet to make one exposure using it with good reason. Not because it won’t produce the correct density, it doesn’t allow me to control the way I want the picture to look based on previsualization. I don’t want the camera to decide the shutter speed or aperture at which the image is taken. Doing so doesn’t enable me to create a photo. I encourage you to learn how to use shutter speed settings creatively so you can exponentially enhance your picture making process.
Panning with slow shutterspeed.
Panning with fast shutterspeed.
The shutter speed setting controls two critical factors of image capture: A) the amount of light that reaches the film in direct correlation to a given f stop to produce a proper exposure; B) the amount of movement that’s recorded to either freeze the action or deliberately create a blur. It’s the latter with which I’m concerned.
Photographically, subject movement is determined most obviously by its speed. With equal importance, it’s contingent on the direction in which the subject is moving. A subject moving parallel to or across the film plane will be recorded differently than a subject moving perpendicular to or directly toward the camera. In addition, a subject that is closer to the camera will be recorded with more motion than a subject farther away. Other factors that determine depicted movement are at what point in the action the shutter is released, if the camera is panned, if zooming the lens occurs during the exposure, if flash is used to freeze high speed action, if filters are used, and the film speed or digital ISO setting.
Within every action there’s a stall point when the subject reaches its apex. A breaching whale, once it jumps as high as it can, for a split second stops in mid air before returning back to water. Learning to anticipate this moment has two benefits. In that the action stops, a slower shutter speed can be used to freeze the motion and it’s usually this point in the action that’s going to be the most dramatic. Whether you’re photographing your kids in the backyard, a basketball player going in for a lay up, or an animal in stride, knowing how to anticipate this moment will improve your photography.
Flash to freeze movement.
LET’S GET CREATIVE
Implied motion can be engineered via a number of methods; panning the camera, zooming the lens, moving the camera during an exposure, using the wind, making long exposures, and using a double exposure technique whereby one image is focused sharply and the other is completely out of focus creating a halo effect around the subject. All give the viewer a feeling that the subject is in motion.
Panning allows the photographer to use a slower shutter speed to freeze the movement of the subject because the photographer is moving the camera in conjunction with the action. The net result is a sharp subject against a blurred background. This effect evokes a feeling of speed even though the subject’s movement is stopped. To obtain this effect, prefocus on the path the subject will be moving. Practice moving your camera smoothly with the subject as it passes in front of you. As your subject nears the predetermined spot at which you will make the image, begin to follow it. When your subject reaches that location, press the shutter and continue following it. The speed of your subject will determine what shutter settings will yield the best effect. If you’re shooting digitally, check the LCD and determine if a faster or slower speed will net a better effect.
Zooming the lens while making an exposure of a stationary subject is another way to give the viewer a feeling of implied motion. If the subject is centered, a series of radial lines will converge from the perimeter of the frame inward creating a 3D effect. By offsetting the subject from the middle of the frame, the radial lines become more pronounced from one side or the other changing the effect. Whether the lens is zoomed from the wide to tele setting or visa versa determines whether the movement seems to be coming toward you or moving away. For best results, mount the camera on a tripod. This will produce radial lines that are smooth and straight. Should you want lines that are not uniform, handhold the camera during the zoom. To really exaggerate the effect, move the camera up and down or side to side while making the exposure.
Neutral density filters are essential tools to control shutter speeds. If the light is bright and a special effect calls for a shutter speed of one second or slower, neutral density filters are invaluable to reduce the amount of light reaching the film. When I photograph water, I like to leave myself lots of options. One is to freeze the action showing back lit droplets suspended in mid air. Of equal impact is to slow the water down past the point at which even the human eye can’t experience it thereby creating in intriguing image. This requires shutter speeds in the range of 1/2 sec. or slower. Even in the shade on a bright day this can’t be accomplished using an ISO 100 or faster speed film. Neutral density filters cut down on the amount of light reaching the film, thus changing the exposure or density. In that they’re a neutral gray, no altering of color appears on the film, hence the name; neutral + density. Using them allows the photographer to use slow shutter speeds to give water the slowed down, cotton candy effect.
Motion depicted for impact.
Try mastering each of the above techniques one at a time. Write down your results and try to recreate them to test if you’ve mastered each. As your consistency increases, try a new method or incorporate one into the one you have down pat. Use these ideas as starters and then shoot more. The more you try them, the faster they’ll become second nature.
Neutral Density Filter
Wind blown effect.
Zooming the lens
Russ Burden
303.791-9997
russburdenphotography.com
rburden@ecentral.com
http://www.indexstock.com/store/search.asp?SearchStr=///direct 1840
Posted by Pat at 01:10 AM | Comments (0)
June 21, 2006
Our Newest Images: June 21, 2006- Women with nature, Masculine and handsome men, Family, Children, Animated Illustrations, Animals, Agriculture, Hurricane Aftermath
We are always adding new, fresh images to our already spectacular collection. Take a look and see the newest images we have added.
Our newest Rights Managed Images
Our newest Royalty Free Images
Check back to see a whole new set of images next week.
Posted by Valerie at 01:42 PM | Comments (0)
June 20, 2006
Jim Oltersdorf's Discovery Channel Special
The Discovery Channel is creating a 10 part series of extreme and high-risk stories that involve police, firemen, rescue workers and other related occupations. These one hour-long specials will examine the people who on a daily basis, risk their lives in their work and will include a story on one of our own photographers Jim Oltersdorf.
The Discovery Channel will be filming Jim in Alaska for six days and in the end, it will be a one hour long special on what Jim does and how he does it. Jim will be shot hanging off of cliffs, hanging out of airplanes and shooting into volcanoes which are all in an average days work for him.
Check out Discovery.com for more information!
Posted by Tear-n at 08:40 PM | Comments (0)
June 13, 2006
Our Newest Images Part 1 - June 13, 2006-Summer, Teens, Mature Adults, Business, Shopping, Travel and Locations
We are always adding new, fresh images to our already spectacular collection. Take a look and see the newest images we have added.
Our newest Rights Managed Images
Our newest Royalty Free Images
Check back to see a whole new set of images next week.
Posted by Valerie at 09:00 PM | Comments (0)
Our Newest Images Part 2 - June 13, 2006-Illustrations, Animations, International flags, Medical Science, Flowers and Food
We are always adding new, fresh images to our already spectacular collection. Take a look and see the newest images we have added.
Our newest Royalty Free Images
Check back to see a whole new set of images next week.
Posted by Valerie at 08:51 PM | Comments (0)
June 08, 2006
ASMP, AIA RELEASE BEST PRACTICES FOR COMMISSIONING ARCHITECTURAL
At the 2006 Convention of the American Institute of Architects
(AIA), opening today in Los Angeles, the American Society of
Media Photographers (ASMP) will distribute bound copies of
"Commissioning Architectural Photography," a compendium of Best
Practice documents that has been jointly published by AIA and
ASMP. The documents are part of the AIA Best Practice library,
which covers professional standards and advice across the whole
spectrum of architectural practice. The library's contents are
offered to AIA's 50,000 members, to contractors and allied
trades, and to the public.
"Commissioning Architectural Photography" is freely available on
the ASMP Web site at
http://www.asmp.org/pdfs/AIA_ASMP_BestPractices.pdf
Subjects include:
* Selecting a Professional Photographer
* Understanding the Estimate for a Photographic Assignment
* Controlling the cost of a Photography Assignment
* Preparing for Professional Photography: A Checklist
* Licensing Photographs for Publication
* Sharing the Photographic Assignment: A Case Study
Architectural photographer and former ASMP president Susan Carr
calls it, "An outstanding resource for architects and
photographers alike. We all win when we are working from the
same page...our new road map!" These documents are useful to all
photographers in their effort to help clients better understand
the process of working with an assignment photographer.
The Best Practice documents are another product of the continuing
collaboration between AIA and ASMP, which also includes a gallery
of photographs and the presentation of continuing education
mini-seminars at the current AIA National Convention in Los
Angeles, June 8 through 10. Full information on the AIA National
Convention is at www.aiaconvention.com
The individual Best Practice documents can be found on the AIA
Web site: (also available on the Publication's Page if links don't work. http://www.asmp.org/publications/asmp.php
Selecting a Professional Photographer
http://www.aia.org/SiteObjects/files/bp_06_03_05_new.pdf
Understanding the Estimate for a Photographic Assignment
http://www.aia.org/SiteObjects/files/bp_06_03_06.pdf
Preparing for Professional Photography: A Checklist
http://www.aia.org/SiteObjects/files/bp_06_03_07_new.pdf
Controlling the Cost of a Photographic Assignment
http://www.aia.org/SiteObjects/files/bp_06_03_08_new.pdf
Licensing Photographs for a Publication
http://www.aia.org/SiteObjects/files/bp_06_03_09.pdf
Sharing the Photographic Assignment: A Case Study
http://www.aia.org/SiteObjects/files/bp_06_03_04.pdf
About AIA
Since 1857, the AIA has represented the professional interests of
America's architects. As AIA members, over 74,000 licensed
architects, emerging professionals, and allied partners express
their commitment to excellence in design and livability in our
nation's buildings and communities. Members adhere to a code of
ethics and professional conduct that assures the client, the
public, and colleagues of an AIA-member architect's dedication to
the highest standards in professional practice.
The AIA web site, www.aia.org, offers more information.
About ASMP
Founded in 1944, the American Society of Media Photographers
(originally the Society of Magazine Photographers and later the
American Society of Magazine Photographers) is the leading trade
association for photographers who photograph primarily for
publication. ASMP promotes photographers' rights, educates
photographers in better business practices, produces business
publications for photographers and helps buyers find professional
photographers.
More information about ASMP is online at http://www.asmp.org
Or contact Eugene Mopsik, executive director
(215) 451-2767 x1201
email mopsik@asmp.org
Posted by Pat at 10:09 PM | Comments (0)
June 05, 2006
Reflections of an Extreme & High-Risk Photographer
By Jim Oltersdorf, Kenai Peninsula, Alaska
People tell me how lucky I am to do what I do. They are completely right, but here is a peek behind-the-scenes. If you were to look at a shot of an airplane as it flies in the sky, perhaps you never really understood what it takes to create it, so please allow me to explain in detail.
Copyright 2006 Oltersdorf
Copyright 2006 Oltersdorf
When I create high-quality air-to-air photographic imagery it starts with numerous telephone calls to set the "stage". Various pilots have to be called for availability and coordination of schedules. We are all at the mercy of the weather and more times than not, it simply does not cooperate. High winds aloft, low visibility, haze or bright light will stop all production attempts.
Then we meet at the designated airport to be briefed on every conceivable aspect of the flight during shooting. I speak to them about maneuvers, safety issues, emergency procedures, altitudes to fly, radio frequencies, forward speeds to maintain, areas to shoot, compass headings and a host of other items. Once all the information is completely understood, we head out to the aircraft for departure.
My aircraft is then stripped of the co-pilot door (always the right side) to allow a full and unencumbered shooting vantage. The co-pilot seat is also taken out. I then attach two bombproof anchors from the floor of the plane to my harness (chest and waist, independent of each other). This becomes a redundant system if one fails. I then ensure that every piece of my equipment is attached to additional tethers, whether it is the camera, or other associated items. A speeding airplane without a door and no seat is not a place to be searching for things, especially when you are flying at breakneck speeds and at least 1,000 feet above the ground! Something flying out the door can also cause a crash so I go over this many times before we leave.
I am careful to tape all loose fitting clothing with duct tape, as the forward speed of the craft is usually around 100 miles per hour. In order for an airplane to fly, the propeller has to produce winds at twice the forward speed, which means a 200-mile per hour prop blast is hitting me as I "dangle" out of the airplane. It is extremely violent and I have been burned by the horrific flapping of the loose material caused by winds hitting me full force.
Because aircraft windows are not optical grade glass, I cannot shoot through them as it can severely degrade the image. The other factor that weighs heavily is maintaining the largest parameter of shooting space available. Because of the inherent instability of aircraft and flying in the sky, there is a great amount of bouncing - pitch (up/down motion), roll and yaw (right to left or left to right). It can be exceedingly violent and cold. Every minute detail has to be in order; every command through the headsets has to be adhered to. Nothing can go unchecked and you must have the ability to go to plan B at any given second. In just an hour, you will have traveled over 100 air miles which by automobile might mean a 2-3 or even 4 hour long drive!
Wingtip to wingtip, the best images are shot with the camera shooting at speeds no faster than 1/250th of a second to eliminate the propeller from "stopping" in the picture. Any shutter speeds lower than that are safe. The slower you shoot the more prone your pictures are to camera shake and more likely they will be throwaways. It is very expensive to produce photographic imagery from aircraft and as the minutes tick by, so does the cash out of your wallet. It is not uncommon to pay from $400.00 to $1,500.00 per HOUR just for the rental of the aircraft here in Alaska! But, in the end, if you do it all right and things go your way, the results can be spectacular! My daughter asked me one time about my work after seeing me hanging out of the aircraft over Seward, Alaska. I replied that I had the best seat onboard! Imagine what I saw!
Copyright 2006 Oltersdorf
All Rights Reserved
For more of Jim's images:
http://www.indexstock.com/store/search.asp?SearchStr=///direct 2498
Posted by Pat at 04:56 PM | Comments (0)
June 02, 2006
Okay, Now What?
The Transition from Film to Digital
By Rick Hornick
Time moves fast in the digital age, and soon film will be an alternative process only. However, it is still commonly in use for Assignment Photography, and handling the transition issues to digital can be a challenge. So, your assignment business is going well and you’ve just convinced your final client to accept digital photography rather than film. I would like to make a few suggestions:
First, don’t sell or give away your film cameras and equipment. Some clients may not feel comfortable with digital photography, and may want to switch back to film on occasion. You don’t want to limit yourself. Besides, the cameras may be collector’s items in the future.
Secondly, clients may prefer a hybrid situation; you may shoot film (color negative), and provide contact sheets for making selections. Then you make high-resolution scans and prepare the files for printing. I suggest color negative as it has the most latitude for scanning, and can easily make good contact sheets. I have found some clients, particularly magazines, who prefer this type of traditional/digital workflow. They still use printed images for editing and enjoy having examples of final reproduction to show their printer, editor, or pre-press department. Using only uncalibrated monitors for this purpose can lead to incorrect color decisions.
A third suggestion in the digital environment is to plan image storage for your clients. You need to archive collections of assignments for future usage, as well as replace the inevitably lost files.
You must absolutely keep your computer running cleanly and have a good contact with your tech support when necessary. Depending on your shooting software, you may have to consider saving raw files, jpegs, previews, and high-resolution files from each assignment. You will be seeing more and more terabyte drives in the near future. Archiving images is now paramount to preserving your client base, and it takes up a lot of computer storage space. Don’t forget your screen must be calibrated, and your drives should be organized and working well.
I would also recommend that you be on top of your Photoshop skills. Learn as much as possible about your clients’ production department, printers and methods of receiving images and digital files. When there is the inevitable problem with printing, and you cannot understand the terminology of printing, you will be held responsible for any challenges brought to your client. In other words, know your stuff and you won’t be left holding the bag.
Clients new to receiving and producing from digital files will have to learn to deal properly with new workflows and challenges. They may rely on you, the photographer, to help adjust to the new routines. It’s a good opportunity to assist your client in adapting to new technologies.
Printing companies have for years been in charge of receiving film and scanning it within their own closed loop calibration to make sure files and plates are ready for press. Once files arrive from all kinds of cameras and systems, printers may have to struggle to achieve the same quality as their own system offers. This can be expensive for you and your client if you find yourself paying for more color proofs, since any problems probably lie with the original files from the photographer. You must realize that a digital camera or digital back for a film camera is an image capture-scanning device with optics. You have replaced the printer and his quality control with an image capture file, raw or processed. Most likely there is no closed loop calibration system involved.
Printers may be left in the dark when they receive files that are outside their system. That is why you’ll start hearing clients ask the photographer to “profile” or provide an image capture device factor for the camera being used. The printer can incorporate that information within their system. Profiling can be expensive, complex and time consuming. It is also something that can be subcontracted to an image management service company. The printer needs to know how the photographer’s camera sees certain numerically defined colors in order to make sure printing files from that device will be accurate. Now the photographer needs to become more of a technician.
Many times photographers can shoot a Gretag Mcbeth or similar color chart that is very evenly lit and provide that file to the printer for reference. Other times the printer may provide a profile to the photographer to apply to each image in order to prepare it for pre-press. It’s crucial to discuss these issues with your client, his or her production department, and the printer before poor results occur. At very least you should run a test to preview examples of files to be printed. These issues are better dealt with in advance and can actually serve as a bonding process with all parties involved. Once you’re zeroed in to your client’s printer, your client may like the idea of a continuing relationship with a photographer who has had the wrinkles ironed out.
Now, you need to consider capture fees in order to retrieve some of the investment made in transitioning to digitally photography. When designers first started buying high-end computers, and began providing their own typesetting with jobs, a few things happened. Designers spent a lot of money. Desktop publishing was born and the successful designers either got very busy or raised their rates to cover the costs of investment in their industry.
Photographers are spending upwards of $10,000-$35,000 of additional capital to upgrade their businesses from film to digital image capture. Can they recover that investment? Capture fees are also necessary to insure financial recovery for computer workstation time. The digital client no longer has the expense of Polaroids, film, contacts, prints, or separations. Is it reasonable to expect the client to reimburse the photographer for time spent taking in captures and processing high-resolution files from raw captures. Should this be in addition to a shooting fee? It’s up to each business to decide.
This is a new age where photographers are now image capture specialists, and technicians, who are retrieving and archiving files, and retouching blemishes. They should be compensated for their work. An industry standard could be set for image capture, to recover investment capital and to educate clients with regard to the work done on the photographer’s end. Photographers who spend hours working on files and retouching client’s pictures at no cost do a great disservice to an industry striving to keep in economic balance with technology. Be sure to rework your financial plan accordingly.
_____________________________________
Rick Hornick has been one of New England’s top Assignment Photographers for twenty-five years, and has worked on national campaigns for clients such as Alaska Airlines, Benjamin Moore, Boston Acoustics, Crabtree and Evelyn, Philips, Seagrams, Thermo Electron, and TJX. He has taught the Business of Photography at The Art Institute and writes regular articles for publication.
Posted by Pat at 06:02 PM | Comments (0)
June 01, 2006
Our Newest Images Part 1, June 1, 2006-Illustrations, Wellness, Beverages, Fruit, Scientific Research, Foreign Currency, Globe, Compass, Technology
We are always adding new, fresh images to our already spectacular collection. Take a look and see the newest images we have added.
Our newest Royalty Free Images
Check back to see a whole new set of images next week.
Posted by Valerie at 06:27 PM | Comments (0)
Newly Posted Images Part 2, June 1, 2006-Business People, Families, Summer, Picnics, Locations, Children, Illustrations
We are always adding new, fresh images to our already spectacular collection. Take a look and see the newest images we have added.
Our newest Rights Managed Images
Our newest Royalty Free Images
Check back to see a whole new set of images next week.
Posted by Valerie at 06:15 PM | Comments (0)
