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insights into photography
Tag Archives: Art
July 17, 2014Posted by on
OK the headline makes it sound….well crazy, but the simple fact is that 3D is now part of our lives in some form or other and will increasingly be part of future viewing experiences, these images and tutorial make it a possibility for all of us to create 3D pictures, do you want to? That is a hard one to answer, if it adds to the image then I guess we would say yes but the reduction of a 3D world to 2D representation has been part of what we as photographers have done for over 150 years, but then we used film for most of that time. Change will come whether it is a good thing the future will tell us when it is too late. Stereoscopic images (3D) are not new, the first invention that allowed 3D imagery was in 1838
The photographer behind these images and tutorial is Neil Creek and this is what he starts with..
“A revolution in photography and videography is coming. The 50’s cliche of the 3D movie and nostalgic childhood 3D viewers like the Viewmaster were ideas ahead of their time. Pretty soon 3D will be everywhere. Thousands of US cinemasare being upgraded to show new 3D movies, new computer display technology is bringing 3D without glasses to the desktop, and a growing enthusiastic community is breathing new life into time-honored 3D photography techniques.
If you haven’t experimented with 3D photography yet, now’s the time.
Anyone with a camera can take 3D photos, and with a bit of practice, most people can learn to see the 3D effect on their monitors without special glasses. I’ve collected here a few examples of some of the cool stuff that photographers are doing with 3D photography today. I hope these images will entertain and inspire you to explore the third dimension in your photography, and put you ahead of the new wave of 3D imagery which will soon flood our culture.”
Read more: here is the rest of the article
July 4, 2014Posted by on
Michael Kenna is sort of local to Oxford, having taught in Banbury so not quite a home town boy but one of the most experienced black and white photographers still active. This really illuminating interview is worth your time.
“Michael Kenna’s beautiful black-and-white images have been described as haunting, minimalist and ethereal. And by his admission, he chooses to examine one or two elements in a scene, “instead of describing everything that’s going on.” His unique approach to the environment results in simple but powerful photos of architecture, landscapes and the sea.”
July 3, 2014Posted by on
From those nice people at LightStalking The blue hour is that beautiful period of time that isn’t quite day time and isn’t quite night time. The quality of light thrown off is an absolute gift for photographers who can really use that quality of light to produce special colors in photography. It’s had enough of an impact on the general public for at least on restaurant in every city to be called L’Heure Bleue too. This collection should show you why it’s such an inspiration to people.
June 29, 2014Posted by on
Another in our occasional posts about master photographers. Cindy Sherman is unusual as a photographer, she only photographers herself, most photographers I know avoid having their photographs taken. Her work is challenging, some may say disturbing but her intelligent approach to making art demands you think about what she is saying through her images. This short introduction from her biography site explains some..
By turning the camera on herself, Cindy Sherman has built a name as one of the most respected photographers of the late twentieth century. Although, the majority of her photographs are pictures of her, however, these photographs are most definitely not self-portraits. Rather, Sherman uses herself as a vehicle for commentary on a variety of issues of the modern world: the role of the woman, the role of the artist and many more. It is through these ambiguous and eclectic photographs that Sherman has developed a distinct signature style. Through a number of different series of works, Sherman has raised challenging and important questions about the role and representation of women in society, the media and the nature of the creation of art.”…..more here
She is featured on the Masters of Photography site with more images
There is also a very interesting interview with Cindy Sherman in The Guardian here are the opening paragraphs
“I give Cindy Sherman the once-over. Then the twice- and thrice-over. I know I’m staring more than is right but I can’t help myself. I’m looking for clues. Sherman is one of the world’s leading artists – for 30 years, she has starred in all her photographs – and yet the more we see of her, the less recognisable she is.
She’s a Hitchcock heroine, a busty Monroe, an abuse victim, a terrified centrefold, a corpse, a Caravaggio, a Botticelli, a mutilated hermaphrodite sex doll, a man in a balaclava, a surgically-enhanced Hamptons type, a cowgirl, a desperate clown, and we’ve barely started.
In front of me is an elegant woman with long, blond hair and soft features. She’s stylish – black jodhpurs, thick, white sweater, Chanel boots horizontally zipped at the top to make pockets, and a furry handbag that doubles as a great golden bear. She looks much kinder than in many of her photographs. She also looks petite – until you notice the big, strong arms: she used to box. She will be 57 next week.”
December 16, 2013Posted by on
Aloha Lavina is an Asia based photographer and has contributed this article to Lightstalking
Capturing travel portraits is one of the hardest assignments you can undertake as a photographer. Traveling to a new place where you may not be that familiar with the customs, there is no way you can predict who you’ll meet, and even less chance of developing some definite expectations of what images you can make and take home. You need to be open to anything and flexible enough to change focus at a moment’s notice.
To help you maximize your chances of capturing memorable portraits that have impact, there are some things you can remember.
Here we have just a few of the 10 tips, go here for the full article
1. Wait for the decisive moment.
Cartier Bresson once said, “There is nothing in this world that does not have a decisive moment.” Finding this decisive moment is one of the most exciting things you can search for in your quest for portraits. Being patient and waiting for moments can result in expressive portraits.
2. Provide context for your subject.
Using the environment can help you tell the story of your subject. Whether it is about work, play, or other themes, giving bits of the surroundings can add impact to the story because the elements around the subject add to the narrative of who they are, what they do, linking their story to the viewer’s story.
4. Interact with your subject.
It helps a traveler to interact with their subject. Some would argue that interacting with your subject changes the image; that by imposing yourself into their lives, the photographer changes the natural way a local person would act. But you could also argue that travel is one way to get to know other people whose lives are different from yours and make new friends, and that certainly doesn’t hurt anyone.
November 7, 2013Posted by on
L1GHTB1TES is the blog place of our friend György László. He has the simple but wonderfully perceptive idea of talking to photographers whose work he likes. Every so often he finds someone that intrigues him and he interviews them. I recommend you make L1GHTB1TES one of your regular book marks
GL: How did you meet this girl in this disco that more than anything looks like a set from a David Lynch movie?
AM: The problem with photography is that you never know what’s going to work in a picture and what’s not. I find it impossible to plan a good photograph. It’s more about getting into interesting situations and environments and then just seeing what happens. I asked this girl if I could photograph her. The location was kinda good because it was in the lobby of the disco and not too chaotic. Then I tried a few different things from photographing her standing near a wall and then near this column. When I was photographing, I can’t remember seeing all the guys in the background in leather jackets, but when I saw them on the contact sheet I thought the contrast between the girl and the them looked great.
GL: How long work you working on this series? And how did you know that you were done with DISKO?
Andrew_Miksys_DISKO_03AM: I spent about 10 years on and off working on DISKO. It was really difficult to finish the series. I wasn’t exactly chasing after individual photographs. There was something more in the mood and atmosphere of rural Lithuania on empty back roads that I wanted to come through in the book and in a series of photographs. At one point a few years ago, I decided to stop photographing and look through every roll of film and start choosing images that worked together. There were about 75 images that seemed to fit the them which I later edited down to 45 for the book.
GL: What attracted you to the disco?
AM: I like projects that have many layers. In DISKO there were the teenagers growing up in a new post-Soviet reality with more influences from western Europe and the US. But the discos took place in Soviet-era cultural centers that were basically unchanged since the days of the USSR. Past, present, and future were all mixed together in one room. Lots of material. Photographing was always a bit cumbersome. I use a studio style flash on a stand. It’s pretty easy to move around, but I was rarely out on the dance floor trying to photograph. Instead I worked around the edges.
September 13, 2013Posted by on
In 1971, Sheila Turner-Seed interviewed Henri Cartier-Bresson in his Paris studio for a film-strip series on photographers that she produced, with Cornell Capa
Q. Have you ever really been able to define for yourself when it is that you press the shutter?
A. It’s a question of concentration. Concentrate, think, watch, look and, ah, like this, you are ready. But you never know the culminative point of something. So you’re shooting. You say, “Yes. Yes. Maybe. Yes.” But you shouldn’t overshoot. It’s like overeating, overdrinking. You have to eat, you have to drink. But over is too much. Because by the time you press, you arm the shutter once more, and maybe the picture was in between.
Very often, you don’t have to see a photographer’s work. Just by watching him in the street, you can see what kind of photographer he is. Discreet, tiptoes, fast or machine gun. Well, you don’t shoot partridges with a machine gun. You choose one partridge, then the other partridge. Maybe the others are gone by then. But I see people wrrrr, like this with a motor. It’s incredible, because they always shoot in the wrong moment.
Q. Can you bear to talk a bit about your equipment?
A. I am completely and have always been uninterested in the photographic process. I like the smallest camera possible, not those huge reflex cameras with all sorts of gadgets. When I am working, I have an M3 because it’s quicker when I’m concentrating.
- The Decisive Moment and the Brain (petapixel.com)
July 12, 2013Posted by on
Support for photographers is something to be applauded. we sit in that strange place between art and commerce, well some do. It is thought that if you are a photographer you must earn your living that way and so a grant would be free money. But for many photographers earning a living is almost impossible because they do not work as a photographer, they just are photographers. This article on Lightstalking By Jacob Maentz a freelance travel, culture and documentary photographer based in the Philippines. . You can see his work at www.jacobimages.com
For many of us photographers, whether hobbyists or professionals, there are times when additional resources are needed to continue or progress our work. Photography projects can be very time intensive and often require a lot of financial resources to see them to the end. I am a big believer in hard work, but without financial support our hard work can often go nowhere. One avenue of finding those financial resources is through photography grants or scholarships. I have complied a short list of ongoing photography grants and scholarships for those amateurs, students or working professionals. Again, this is a short list and there are many others out there if you search for them. Those listed below cover most all genera of photography, but most emphasis editorial, photojournalism and documentary.
July 10, 2013Posted by on
An exhibition showcasing the winning work from The Photo Democracy Award for Fine Art Photography 2013 – a selection of the best up and coming photographers showing a diverse range of exciting new photography.
Chris Beetles Fine Photographs
3-5 Swallow St
Nearest tube: Picadilly Circus/Green Park
Click Here for directions
12 – 17 August 2013
June 2, 2013Posted by on
From those cheeky chaps down under we get this from Rob at Lightstalking
The theme of landscape photography repeatedly shows up in the most popular posts on Light Stalking and if the proliferation of websites and magazines specifically about landscape is anything to go by, then it is very popular among the wider photography community too. Getting started in landscape need not be a huge exercise – there are literally hundreds of fantastic tutorials available for free online. We have taken the liberty of collecting some of our favorites.
©Keith Barnes, Tasmania
Landscape Photography for the Serious Amateur – This remains one of the all time most popular posts on Light Stalking and is a fantastic introduction to the art from landscape photographer, Chris Gin.
11 Surefire Landscape Photography Tips – A general article from a great website.
Three Elements of a Great Landscape – the Photo Naturalist (who took the image above) is a great resource for any outdoor photographers, and this is a typically solid guide from that site. Check out their other landscape articles too.
©Keith Barnes, Tasmania
Not all landscape is the same. You are going to have a hugely differing set of conditions between shooting a coastal landscape and shooting in the desert. These tutorials are a good start if you already know where you’re planning to shoot.
Digital in the Desert – shooting in the desert has a lot of unique challenges. This is a thorough review of some of the issues you will come up against.
13 Steps for Creative Coastline Photography – a tutorial by Simon Bray for the fantastic Tutsplus network – this one is worth checking out for the examples alone.
5 Quick Tips for Coastal Photography – another cool list of tips from Digital Photography School with some fine examples too.
A Guide to Capturing Autumn Mist – a seasonal guide for landscape photographers who are looking to get good captures of mist in their work.
©Keith Barnes, Tasmania
Click Here: 14 Essential Landscape Photography Tutorials