ThinkTankPhoto “IN A BAG” Photography Giveaway

Our friends at thinkTankPhoto are holding a unique photography giveaway between now and December 20th. They’ve taken on of their flagship rollers, the Airport Security V2.0 and are adding “photography related items” each day until December 20th. They’re also looking out, each day, for the person that shares their give-away the most creatively (should be easy with you creative bunch!) and are giving away one of their amazing Retrospective camera bags! Check each day on their blog to see what was placed “IN A BAG

We were proud to be placed “IN A BAG” today, our entire eBook suite was loaded onto a limited edition thinkTankPhoto USB key and placed, you guessed it! – IN A BAG!

It’s free and easy to enter, simply head over to this page and sign up to be randomly chosen! it’s really that simple. Don’t forget to share the idea (there’s a good example here!) and you could win one of the daily prizes of a Retrospective camera bag.

It’s open to everyone, globally (where permitted by law) and runs until December 20th (PST)

Let’s show a little DPS creativity and win a couple of those Retros!

Read more from our Cameras and Equipment Category

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The Art of Food Photography [a Painters Approach]

A Guest post by Will Kemp.

Ever wanted to create more drama in your food photography?

dpspaint.jpeg

Want to break away from the whimsical cupcake shot?

Sometimes the inspiration isn’t from instagram but in your local museum.

To be exact Classical paintings.

I teach aspiring artists how to understand the importance of colour, contrast and composition when learning how to paint. I’m also a keen photographer and there are many similarities between the two.

Painting, as with photography, is more about keen observation than having the latest shiny sable brush. As a painter, you know you will be studying the same image for maybe 10-20 hours so you want to make sure it is exactly right.

Below are my 5 top tips to recreating that Old Master look.

1. Use a Single Light Source

dpsstilllife.jpeg

This is very effective when you’re painting because it really helps to give the illusion of depth and that is one of the trickiest things to achieve when your trying to convince the viewer of your subject.

When you use one light source you produce lovely shapes of what are called cast shadows, as in the shadow cast by an object. I often study the shadows more than the subject. You don’t need an expensive light, the photo above was lit using a $5 torch.

You can use this technique when composing your photograph to try and keep it really simple, that way it looks more dramatic .

2. Contrast is King

No, not content, contrast. Beginner painters often don’t paint shadows dark enough in their painting, thus not giving a illusion of depth.

You can’t adjust the HDR for the painting so you have to create it in front of you rather than after the event. Try to limit Photoshop to under 5 minutes.

3. Use your Eye as the Zoom

In can be very tempting to constantly zoom in and out of a subject, to move the angle high and low.

With paintings you have physical limitations with your eyes. Roughly a 50mm equivalent crop factor, so experiment sticking with one prime lens and move your legs, not your zoom.

4.Create Harmony with Complementary Colours

To mute down a orange in painting you add its complementary colour, blue.

This helps to create harmony and balance in your piece.

If you look at the local colour of the onions, a warm orange juxtaposed with a more muted cool blue of the bowl it helps to make the onions ‘pop.

One strong colour, orange balanced with muted versions of its complementary colour, blue helps to balance and this formula was used again and again in Old masters paintings.

5. Find interest in the Ordinary

As a painter you learn to find interest in anything you see, the way light just hits an object, and the power of negative space, in this case the handle of the bowl and the cast shadow of the onion on the table top. Both are really helpful for you to be able to draw objects more accurately.

So don’t wait to have the perfect object, the perfect lighting or the perfect equipment.

You don’t need it. Just start simply, and enjoy it!

Will Kemp is a professional artist currently teachingClassical painting techniques on his blog and has just released the Art of Acrylics online course.

Read more from our Other Photography Tips Category

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Creating Easy Time-Lapse Movies In Lightroom 3.0

Are you looking for a quick and easy way to create time-lapse videos and already own Lightroom 3.0?

Thanks to the hard work of Sean McCormack, your search is over. Being budget minded and already owning Lightroom, I came across Sean’s plugin and was pleasantly surprised at the price tag (free). While the plugin currently does not export to 1080p, only 720p, it makes creating these fun, and often stunning, videos a lot easier than previous methods.

What is the genius of this technique? No resizing or need to export RAW files. This, to me, is heaven. Resizing is not that big of a deal, but exporting hundreds of images to recompile takes more time. Don’t forget most techniques usually require the purchase of Quicktime Pro.

What is the downside of this technique? No music and no Ken Burns Effect as with other programs. This is a simple version for those not creating super-gloss time-lapse. It can, however, be used to create multiple smaller video that can be assembled, with music and Ken Burns Effect, using another program, such as iMovie (free with Mac computers).

First, for those not acquainted with the technique for shooting time-lapse, let me point you to two posts already covering the subject on DPS.

With your shots in hand, it’s time to use the power of Lightroom to make your task a whole lot easier. First, take a look at Sean’s post here on Pixiq for the download and install instructions.

Creating a time-lapse is now extremely simple and handled via the Slideshow module in Lightroom.

1. Organize your photos into a Collection

After editing images to your desired taste, highlight them all in the Library module. Then, click on the + next to Collections in the left information panel.

DPS1

Next click ‘New Collection’ and then give your new Collection a name. Be sure to check the box for ‘Include selected photos’.

2. Switch to the Slideshow module and pick your Preset

In the Slideshow module, you will see the new Presets on the left. Select the Preset you desire and then make sure your recently created Collection is also selected.

DPS2

3. Export and Enjoy

Lastly, click on Export Video, give it a name and pick a location and let Lightroom do the rest!

DPS3

Some tips on shooting time lapse with examples.

I played with Sean’s plugin for only a few attempts before heading to Peru on a ‘vacation’ (in quotes because who among us with cameras ever really vacates that aspect of our lives?). I had the chance at Machu Picchu to sit in one spot high above the city and let my camera snap images while I relaxed for about four hours. I played around a little with different speeds. To give you some idea of the speeds at which to shoot, check out the attached videos below.

Shot at one frame every 30 seconds and assembled at 24 frames per second.

Shot at one frame every 10 seconds and assembled at 24 frames per second.

Shot at one frame every 3 seconds and assembled at 24 frames per second.

As you can see, one frame every 3 seconds doesn’t work so well with a fast moving train and I would have shot more if not for the warning to not put arms outside of the train. It’s rather hurried. The video with one shot every 10 seconds works for faster moving clouds. In the video of one every 30 seconds, because of the time gap and speed of the clouds, the action looks a bit fast.

Article source: http://feedproxy.google.com/~r/DigitalPhotographySchool/~3/WAgyUnr0EJw/creating-easy-time-lapse-movies-in-lightroom-3-0

What Do You Want To Learn About Photography In The Next 13 Months

By PNASH

I’m getting a big jump on the end of year posts by diving right into what I believe is an important part of achieving what you want in life; making goals.

Goals give us a sense of direction especially when we are faced with days where our rudder has gone missing and distractions are high. For photography, I try to outline what I want to learn at the beginning of the year as well as other general photo goals. And the goal list does not need to be a static document. It should, in fact, be alive and constantly added to as new techniques and art forms are discovered by you.

I love the collaborative utility of the DPS community and as much as I enjoy writing for it, I also love learning from it. Reading DPS has turned me on to techniques and concepts which had never crossed my mind. The information contained on this site has also help me understand concepts in a different way and for that I am thankful.

Looking ahead to the coming year, what are your goals, photographically speaking, for 2012? We’ll even throw in the month of December, 2011, as a bonus.

To start things off, I would list:

  • Learn HDR techniques I’ll actually use. I’ve avoided it for the most part, but come across enough situations when it would be helpful to employ.
  • Design and execute concepts with neutral density filters. I have a number of ideas in my head of what I want, now’s the time to get them shot.
  • Employ a flash when traveling more often. I know I can pull more character out of certain scenes if I’m using an off-camera flash, but I’ve been hesitant to lug one around.
  • Help others improve their photography. This is always on my list and something I earnestly love. Knowledge is more valuable when shared.
  • Get my hands on a medium format camera and play. I had one in the days of film, now I’d like to see what the digital world holds for this format.

In the comments section below, please list any photo goals you have for 2012.

Who knows, some might even be turned into DPS blog posts to help you learn!

Read more from our Reader Questions Category

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Medical Photographers Document the Doctors

Browse the images on the website of photographer Patrick Pfister and you might be in for a bit of a shock. Past the commercial photos of executives and tower blocks, and beyond the aerial shots of Louisville and Kentucky, you reach a black and white picture of a surgeon holding a heart. Next to it is a color shot of a hand attached to an arm by little more than a strip of bone. For more than twenty years, Pfister’s list of professional services has included medical photography, the shooting of images of doctors, hospitals and medical scenes.

Some of those scenes have been pretty momentous. Pfister was in the operating room to photograph Kentucky’s first heart transplant. He was standing next to the anesthesiologist during the world’s third installment of an artificial heart, and he was present throughout America’s first hand transplant, performed at Louisville’s Jewish Hospital. It’s a difficult job that combines photographic skill with medical knowledge and, to some extent, a high threshold for squeamishness.

The limited field of view can be helpful in tackling the sight of blood. The only part of the operating table that’s undraped and visible is the field on which the surgeon is operating. Pfister can’t tell the patient’s age, gender or identity as he shoots, and he knows that he’s not photographing an operation that’s being performed on anyone he knows. That helps to deliver the necessary distance for most jobs, although not all.

“That is not me or a family member on the table, so I really don’t get very emotional about it at all,” says Pfister. “The only time I was taken aback was when I was covering a neurosurgeon and came into the OR. Seeing the human skull open and a brain was somewhat arresting.”

Stay Out the Way

An operating room isn’t a studio and doing a photographic job in a place where medical professionals are trying to do their job does pose challenges — beyond the difficulties of staying upright while looking at the contents of someone’s skull. Pfister tries to limit the amount of equipment he carries with him and cleans everything down with alcohol wipes to reduce the risk of infecting the patient. He also tries to stay out of everyone’s way unless invited to get closer for a shot. The anesthesiologist usually has the best view for open heart surgery, and Pfister tries to stay next to him.

The images are generally used for external communication, to illustrate the work of the hospital or to include in brochures. But some medical photography can have even more important uses. Mike Samuels was the Head of Photography at St. Bartholomew’s Hospital Medical College in London whose library of medical conditions and pioneering use of art and photography have led some to call it the home of medical photography. He was later Head of Medical Illustration at the UK’s merged UCL and Royal Free Medical Schools, and now runs a business that trains doctors, dentists and healthcare professionals to take medical photographs.

Working in a country whose hospitals are publicly funded, Samuels’ photographs may be used to support the hospital’s publicity goals but they’re more frequently used for medical purposes. Samuels specializes in mole mapping, recording the presence and growth of moles to identify malignant melanomas in people whose family history may suggest a predisposition to skin cancer.

“Some of the first changes that occur to a  mole are visual. Photographic record is therefore ideally suited to assisting this monitoring process and patients find it useful to have a record of their skin condition so they can self examine for change,” says Samuels. “By using a structured protocol of views, medical photographers assist dermatologists in ensuring patients are seen at the earliest possible time when any change occurs.”

Other uses of the images are no less practical. The photos can provide a document of a patient’s progress, especially for plastic and reconstructive surgery. They may also help to train and educate staff, while other images can be used in medical litigation and even forensics, particularly in the case of abuse.

Know When the Patient Will be Sewn Up

In addition to technical skills, medical photographers need to be aware of the special issues surrounding patient consent and the confidentiality concerning the storage and use of the photos. An understanding of physiology helps too. Samuels did have aspirations of becoming a doctor but was able to learn about the body as a trainee medical photographer at the Radcliffe Infirmary in Oxford, first in the pathology department and later in the clinical department.

Experience can help as well. Patrick Pfister’s presence in the operating room has given him a good idea of what to expect when someone is about to have their heart removed.

“Having shot heart transplants a number of times, I know how the body will be transferred from the defective heart to a heart lung machine that takes over the pulmonary function of the heart and lungs,” he explains. “I know when the donor organ will be sewn into the patient and the process of rewarming the blood causes the new heart to beat on its own, hopefully. You sort of learn as you go in the OR environment.”

Picking up that experience though isn’t easy. Pfister’s reputation as a medical photographer began when he was freelancing in the late 1980s. His clients included both the local newspaper, the Courier-Journal and Louisville’s Jewish Hospital. When the hospital announced that it would perform the state’s first heart transplant, Pfister asked the hospital’s director of communications if he could shoot the stills. The images — the result of fourteen hours of shooting in the operating room — ran above the fold in two newspapers for a week and put him in demand from other hospitals in the area for five years. Today, he says, hospitals tend to have photographers on staff who shoot everything from hospital activities to portraits and medical work. Meeting one of those photographers to supply non-medical images might provide a connection that could lead to an opportunity to shoot in an operating room.

It’s also possible to pick up some professional training. The Rochester Institute Technology has a program in Biomedical Photographic Communications, and in the UK, the Institute of Medical Illustrators runs a part-time, distance course conducted while working in a hospital. The University of Wales also has a postgraduate degree in Medical Photography.

However you decide to break into medical photography though, just make sure you’re prepared for the contents of the operating room.

No related posts.

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21 Inspirational Natural Light Portraits

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Image by Daniel Zedda

One of the most effective pieces of lighting gear ever invented is available to almost every photographer in the world… unless you’re living in a cave (and even then you might have one).

Image by Anna Gay

It’s the window.

Image by Eric Meuller

I hear many photographers asking about what lighting gear to purchase to light their portraits – but I’m a firm believer that the natural light provided by a window can often do the job as well – if not better – than any expensive gear that you might buy.

Image by Meredith Farmer

Here’s a collection of images that were all taken predominantly with natural light – in most cases at or near a window. Enjoy.

Image by Shandi-Lee

Image by Paul Goyette

Image by John Meuller

Image by Mr Story

Image by Beni Ishaque Luthor

Image by Gabriela Camerotti

Image by The Q

Image by Sebastiano Pitruzzello

Image by Gabriela Camerotti

Image by Jay Ryness

Image by Raymond Larose

Image by gabriele fanelli

Image by Sebastiano Pitruzzello

Image by Jay Ryness

Image by Drew Herron

Image by brice hardelin

Image by Lauren Nelson

Article source: http://feedproxy.google.com/~r/DigitalPhotographySchool/~3/hmWFPaxFp9Y/natural-light-portraits-windows

21 Inspirational Natural Light ‘Window’ Portraits

Pin It

Image by Daniel Zedda

One of the most effective pieces of lighting gear ever invented is available to almost every photographer in the world… unless you’re living in a cave (and even then you might have one).

Image by Anna Gay

It’s the window.

Image by Eric Meuller

I hear many photographers asking about what lighting gear to purchase to light their portraits – but I’m a firm believer that the natural light provided by a window can often do the job as well – if not better – than any expensive gear that you might buy.

Image by Meredith Farmer

Here’s a collection of images that were all taken predominantly with natural light – in most cases at or near a window. Enjoy.

Image by Shandi-Lee

Image by Paul Goyette

Image by John Meuller

Image by Mr Story

Image by Beni Ishaque Luthor

Image by Gabriela Camerotti

Image by The Q

Image by Sebastiano Pitruzzello

Image by Gabriela Camerotti

Image by Jay Ryness

Image by Raymond Larose

Image by gabriele fanelli

Image by Sebastiano Pitruzzello

Image by Jay Ryness

Image by Drew Herron

Image by brice hardelin

Image by Lauren Nelson

Read more from our Digital Photography Case Studies Category

Article source: http://feedproxy.google.com/~r/DigitalPhotographySchool/~3/hmWFPaxFp9Y/natural-light-portraits-windows

Medical Photographers Document the Doctors

Browse the images on the website of photographer Patrick Pfister and you might be in for a bit of a shock. Past the commercial photos of executives and tower blocks, and beyond the aerial shots of Louisville and Kentucky, you reach a black and white picture of a surgeon holding a heart. Next to it is a color shot of a hand attached to an arm by little more than a strip of bone. For more than twenty years, Pfister’s list of professional services has included medical photography, the shooting of images of doctors, hospitals and medical scenes.

Some of those scenes have been pretty momentous. Pfister was in the operating room to photograph Kentucky’s first heart transplant. He was standing next to the anesthesiologist during the world’s third installment of an artificial heart, and he was present throughout America’s first hand transplant, performed at Louisville’s Jewish Hospital. It’s a difficult job that combines photographic skill with medical knowledge and, to some extent, a high threshold for squeamishness.

The limited field of view can be helpful in tackling the sight of blood. The only part of the operating table that’s undraped and visible is the field on which the surgeon is operating. Pfister can’t tell the patient’s age, gender or identity as he shoots, and he knows that he’s not photographing an operation that’s being performed on anyone he knows. That helps to deliver the necessary distance for most jobs, although not all.

“That is not me or a family member on the table, so I really don’t get very emotional about it at all,” says Pfister. “The only time I was taken aback was when I was covering a neurosurgeon and came into the OR. Seeing the human skull open and a brain was somewhat arresting.”

Stay Out the Way

An operating room isn’t a studio and doing a photographic job in a place where medical professionals are trying to do their job does pose challenges — beyond the difficulties of staying upright while looking at the contents of someone’s skull. Pfister tries to limit the amount of equipment he carries with him and cleans everything down with alcohol wipes to reduce the risk of infecting the patient. He also tries to stay out of everyone’s way unless invited to get closer for a shot. The anesthesiologist usually has the best view for open heart surgery, and Pfister tries to stay next to him.

The images are generally used for external communication, to illustrate the work of the hospital or to include in brochures. But some medical photography can have even more important uses. Mike Samuels was the Head of Photography at St. Bartholomew’s Hospital Medical College in London whose library of medical conditions and pioneering use of art and photography have led some to call it the home of medical photography. He was later Head of Medical Illustration at the UK’s merged UCL and Royal Free Medical Schools, and now runs a business that trains doctors, dentists and healthcare professionals to take medical photographs.

Working in a country whose hospitals are publicly funded, Samuels’ photographs may be used to support the hospital’s publicity goals but they’re more frequently used for medical purposes. Samuels specializes in mole mapping, recording the presence and growth of moles to identify malignant melanomas in people whose family history may suggest a predisposition to skin cancer.

“Some of the first changes that occur to a  mole are visual. Photographic record is therefore ideally suited to assisting this monitoring process and patients find it useful to have a record of their skin condition so they can self examine for change,” says Samuels. “By using a structured protocol of views, medical photographers assist dermatologists in ensuring patients are seen at the earliest possible time when any change occurs.”

Other uses of the images are no less practical. The photos can provide a document of a patient’s progress, especially for plastic and reconstructive surgery. They may also help to train and educate staff, while other images can be used in medical litigation and even forensics, particularly in the case of abuse.

Know When the Patient Will be Sewn Up

In addition to technical skills, medical photographers need to be aware of the special issues surrounding patient consent and the confidentiality concerning the storage and use of the photos. An understanding of physiology helps too. Samuels did have aspirations of becoming a doctor but was able to learn about the body as a trainee medical photographer at the Radcliffe Infirmary in Oxford, first in the pathology department and later in the clinical department.

Experience can help as well. Patrick Pfister’s presence in the operating room has given him a good idea of what to expect when someone is about to have their heart removed.

“Having shot heart transplants a number of times, I know how the body will be transferred from the defective heart to a heart lung machine that takes over the pulmonary function of the heart and lungs,” he explains. “I know when the donor organ will be sewn into the patient and the process of rewarming the blood causes the new heart to beat on its own, hopefully. You sort of learn as you go in the OR environment.”

Picking up that experience though isn’t easy. Pfister’s reputation as a medical photographer began when he was freelancing in the late 1980s. His clients included both the local newspaper, the Courier-Journal and Louisville’s Jewish Hospital. When the hospital announced that it would perform the state’s first heart transplant, Pfister asked the hospital’s director of communications if he could shoot the stills. The images — the result of fourteen hours of shooting in the operating room — ran above the fold in two newspapers for a week and put him in demand from other hospitals in the area for five years. Today, he says, hospitals tend to have photographers on staff who shoot everything from hospital activities to portraits and medical work. Meeting one of those photographers to supply non-medical images might provide a connection that could lead to an opportunity to shoot in an operating room.

It’s also possible to pick up some professional training. The Rochester Institute Technology has a program in Biomedical Photographic Communications, and in the UK, the Institute of Medical Illustrators runs a part-time, distance course conducted while working in a hospital. The University of Wales also has a postgraduate degree in Medical Photography.

However you decide to break into medical photography though, just make sure you’re prepared for the contents of the operating room.

No related posts.

Article source: http://feedproxy.google.com/~r/PhotopreneurBlog/~3/xFtcZZ4EGA0/medical-photographers-document-the-doctors

Pablo Picasso: Light Painting

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One of the more popular types of special effect photography that we’ve seen readers of dPS engaging in over the last few years is that of ‘Light Painting’.

pablo-picasso.png

However while it might seem like a new trend – artists and photographers have been doing it for years. Even the great Pablo Picasso was a Light Painter. Check out this amazing series of photos from Life which includes shots of Pablo engaging in a little Light Painting!

Read more from our Photography Tips and Tutorials Category

Article source: http://feedproxy.google.com/~r/DigitalPhotographySchool/~3/r7FTf-zOzZk/pablo-picasso-light-painting

5 Steps to Better Composition

A Guest Post by Andrew S Gibson – author of the brand new eBook – Beyond Thirds.

Here are five tips for improving your composition. You may be surprised to learn that none of them involve the rule of thirds. There’s a good reason; it’s one of the first things photographers learn, so most of you are aware of this ‘rule’ (I prefer to think of it as a guideline) already.

Learning the rule of thirds is a bit like taking driving lessons and being told that you press the gas pedal to accelerate and the brake pedal to stop the car (and nothing more). It covers the basics, but you know that there’s a lot more to driving than that. It’s the same with composition.

1. Stop Composing According to the Rule of Thirds

better-composition-01.jpg

The thing is with the rule of thirds is that sometimes it works, sometimes it doesn’t. The thirds are not always the best place to position the subject. The above photo is a good example – the symmetrical shape of the hood ornament demanded a central composition. How do you know when to ‘break’ the rule of thirds? Read on to find out.

2. Be aware of Balance

better-composition-02.jpg

One of the questions I ask myself when I take a photo is what is the relationship between the subject and the rest of the image? How do the two balance out? This is something that I judge by feel more than anything else. A balanced image has a peaceful, harmonious feel. The photo above is balanced – the three monkeys and the chinese chess pieces have an equal ‘weight’ within the composition. The warm colours are also quite harmonious and in balance with each other.

You may wish to create a more dynamic image – in which case see tip 4.

3. Simplify

better-composition-03.jpg

Make you compositions as simple as possible. You can do this by excluding anything that isn’t necessary. Often this just means moving closer to your subject so that there is less stuff in the background. You could also use a longer focal length, as the narrower field of view excludes more of the background.

Another technique is to use a wide aperture to throw the background out of focus. The idea is to try and eliminate anything that distracts from the main subject of your photo. That’s what I did with the above photo, to concentrate attention on the flower.

4. Use Lines to Create Dynamic Tension

better-composition-04.jpg

Lines are a powerful element of composition, and the viewer’s eye naturally follows any lines in your images.

One use of line is to create a sense of depth. You can do this with lines that travel from the front of the image to the back. Diagonal lines are more dynamic than straight ones. Horizontal lines are least dynamic of all. The line of the altar in the above photo, taken in a temple in Shanghai, creates a strong sense of movement and depth.

5. Work the Subject

If you find a good subject, sometimes it’s a good idea to take lots of photos. The key is to think about what you are doing, rather than ‘machine gunning’ away. Ask yourself how you can improve the composition. Try taking photos from different angles, or with a different focal length. This is called working the subject, and you’ll often find that it helps you take stronger images.

Beyond Thirds

You can learn more about composition by buying my latest eBook, Beyond Thirds, from Craft Vision today – it’s only $5!

Andrew S Gibson is a freelance writer based in Auckland, New Zealand. He is the Technical Editor of EOS magazine and writes photography eBooks for Craft And Vision. including The Evocative Image and Beyond Thirds. Follow Andrew on Facebook here.

Read more from our Composition Tips Category

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