Seascapes are about sky, water, the physical dynamics of the points at which they meet, reflections and mirror imaging and most of all, the unique qualities of moisture-filtered light that one can only find where sky meets water.
When shopping for a new lens, sooner or later you’re going to run into the terms “ED” (extra-low dispersion), “LD” (low dispersion), “SLD” (special low dispersion), “ELD” (extraordinary low dispersion), and “ULD” (ultra-low dispersion), and each of these variants represents a standard above the norm when it comes to image quality.
Joey Quintero provides solutions to avoiding “raccoon eyes” and squinting guests in this two-minute video about shooting wedding groups outdoors. He identifies the problems and provides convenient and safe solutions for adding that extra bit of lighting when the on-camera flash won’t cut it.
In this B&H video, Joey Quintero delivers a two-minute primer on using a flash in the proper orientation for shadowless wedding photos, discussing both the theory and providing a simple, practical solution.
There are many variables that go into selecting the best lens for your needs. A good starting point is to establish what your current lens does not do. In other words, is my lens not wide enough, long enough or perhaps fast enough?
We should begin this treatise by clearly stating that the Sunny 16 rule is nothing new, and if anything it’s a formula that’s been kicking around since the early days of picture taking. It’s also worth noting that the Sunny 16 rule has held true through every technological breakthrough from tinplates straight through modern-day digital imaging.
Pro Tools is a brand that defines an industry. It's part of our vernacular. A product doesn't attain this privilege by accident. This is a powerful tool that professionals have relied upon since the 1990s. Many people who strive for the highest quality choose Pro Tools HD, and the new Pro Tools|HD Native systems make it more affordable than ever. But should you step up to HD?
The differences between OK photographs, good photographs and terrific photographs are numerous, but the reasons for the differences can be subtle and not so obvious. Subject matter is important, though sometimes a strong photograph of peeling paint can have as much or more impact upon the viewer as a strong, well-lit portrait.
It’s such a common occurrence that you’ve probably experienced it firsthand. The power adapter plug that goes into your notebook computer starts to become flaky. You have to wiggle the cord, twist it into a certain position or put some tension on the cord by folding it under the computer in order to get it to work. Power adapters can cost hundreds of dollars to replace, but they can often be repaired for free if you already have the necessary materials.
Whether you’re shooting under bright- or low-light conditions, the surest way to capture sharp photographs is to use a tripod, and depending on your subject, maybe even a flash. The trouble is that in the real world this is not always possible.
Aside from the lens barrel, a camera lens is composed of two main components, the clusters of individual glass elements and an iris, which is a circular set of blades that open and close to allow controlled amounts of light to enter the lens and travel through to the imaging sensor to create pictures.
With the exception of a few SpongeBob and Hello Kitty point-and-shoot digicams, every digital camera allows you the option of setting the White Balance (WB) to a selection of specific pre-sets (Daylight, Cloudy, Fluorescent, Tungsten, etc.) or Auto, and for the most part, you’ll get acceptable results regardless of whether you set your camera to Auto or man-up and choose one of the camera’s pre-set modes. But what about getting the best results?
The first thing to accept is that you won't have enough time, the location won't be easy, and your subject will either turn into a wallflower or a Prima Donna the moment you train a lens on them. But, if your interview is well scripted and your lighting is complimentary, you'll witness an almost magical transformation that can be quite revelatory.
Every image tells a story. The subjects, colors, and composition of an image contain a wealth of information. Even if we removed these attributes, a digital image still retains vital information necessary for any video editor.
There once were two ways to get a signal into a TV: an RF connector for antenna or cable and an A/V for composite video and stereo audio. Then, the VCR age succumbed to HDTV, inputs multiplied, and buying a set became more like shopping for a computer. So let's take a look at the inputs to see which ones are hot and which are not.
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Seascapes are about sky, water, the physical dynamics of the points at which they meet, reflections and mirror imaging and most of all, the unique qualities of moisture-filtered light that one can only find where sky meets water.
When shopping for a new lens, sooner or later you’re going to run into the terms “ED” (extra-low dispersion), “LD” (low dispersion), “SLD” (special low dispersion), “ELD” (extraordinary low dispersion), and “ULD” (ultra-low dispersion), and each of these variants represents a standard above the norm when it comes to image quality.
Joey Quintero provides solutions to avoiding “raccoon eyes” and squinting guests in this two-minute video about shooting wedding groups outdoors. He identifies the problems and provides convenient and safe solutions for adding that extra bit of lighting when the on-camera flash won’t cut it.
In this B&H video, Joey Quintero delivers a two-minute primer on using a flash in the proper orientation for shadowless wedding photos, discussing both the theory and providing a simple, practical solution.
There are many variables that go into selecting the best lens for your needs. A good starting point is to establish what your current lens does not do. In other words, is my lens not wide enough, long enough or perhaps fast enough?
We should begin this treatise by clearly stating that the Sunny 16 rule is nothing new, and if anything it’s a formula that’s been kicking around since the early days of picture taking. It’s also worth noting that the Sunny 16 rule has held true through every technological breakthrough from tinplates straight through modern-day digital imaging.
Pro Tools is a brand that defines an industry. It's part of our vernacular. A product doesn't attain this privilege by accident. This is a powerful tool that professionals have relied upon since the 1990s. Many people who strive for the highest quality choose Pro Tools HD, and the new Pro Tools|HD Native systems make it more affordable than ever. But should you step up to HD?
The differences between OK photographs, good photographs and terrific photographs are numerous, but the reasons for the differences can be subtle and not so obvious. Subject matter is important, though sometimes a strong photograph of peeling paint can have as much or more impact upon the viewer as a strong, well-lit portrait.
It’s such a common occurrence that you’ve probably experienced it firsthand. The power adapter plug that goes into your notebook computer starts to become flaky. You have to wiggle the cord, twist it into a certain position or put some tension on the cord by folding it under the computer in order to get it to work. Power adapters can cost hundreds of dollars to replace, but they can often be repaired for free if you already have the necessary materials.
Whether you’re shooting under bright- or low-light conditions, the surest way to capture sharp photographs is to use a tripod, and depending on your subject, maybe even a flash. The trouble is that in the real world this is not always possible.
Aside from the lens barrel, a camera lens is composed of two main components, the clusters of individual glass elements and an iris, which is a circular set of blades that open and close to allow controlled amounts of light to enter the lens and travel through to the imaging sensor to create pictures.
With the exception of a few SpongeBob and Hello Kitty point-and-shoot digicams, every digital camera allows you the option of setting the White Balance (WB) to a selection of specific pre-sets (Daylight, Cloudy, Fluorescent, Tungsten, etc.) or Auto, and for the most part, you’ll get acceptable results regardless of whether you set your camera to Auto or man-up and choose one of the camera’s pre-set modes. But what about getting the best results?
The first thing to accept is that you won't have enough time, the location won't be easy, and your subject will either turn into a wallflower or a Prima Donna the moment you train a lens on them. But, if your interview is well scripted and your lighting is complimentary, you'll witness an almost magical transformation that can be quite revelatory.
Every image tells a story. The subjects, colors, and composition of an image contain a wealth of information. Even if we removed these attributes, a digital image still retains vital information necessary for any video editor.
There once were two ways to get a signal into a TV: an RF connector for antenna or cable and an A/V for composite video and stereo audio. Then, the VCR age succumbed to HDTV, inputs multiplied, and buying a set became more like shopping for a computer. So let's take a look at the inputs to see which ones are hot and which are not.
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