tag:blogger.com,1999:blog-3508648519728831972024-03-14T07:59:26.924+00:00Stephen Power's Photography BlogAward-Winning Photographer, teacher, Cameracraft magazine contributor and author. Stephen Powerhttp://www.blogger.com/profile/07897506071146176547noreply@blogger.comBlogger124125tag:blogger.com,1999:blog-350864851972883197.post-34791507709619730952021-02-08T15:46:00.001+00:002021-02-08T15:46:13.302+00:00Pr Sequence Question<p></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.blogger.com/video.g?token=AD6v5dwlexzKJ4OWsHqYHq8Y695EtflifRpzetWCZoHkYk-YushRAyL2uZXQ1IRIXjm5W3w1GrmlIz_rrwhhgn9WKw' class='b-hbp-video b-uploaded' frameborder='0'></iframe> </div><div class="separator" style="clear: both; text-align: center;"> </div><div class="separator" style="clear: both; text-align: center;"> </div><br /> <p></p>Stephen Powerhttp://www.blogger.com/profile/07897506071146176547noreply@blogger.com0tag:blogger.com,1999:blog-350864851972883197.post-5782954089691882942019-08-01T21:33:00.000+01:002019-08-04T17:02:34.063+01:00Affinity Photo Review for Cameracraft Magazine<!--[if gte mso 9]><xml>
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<br />
<b>This is an extended version of my review of Affinity Photo digital editing software, as was published in Cameracraft Magazine, September / October 2019. </b><i> </i><br />
<br />
<i>The text is identical to the originally published review but may have been edited for word count in the magazine. This version contains additional screen shots and video clips of specific aspects of the software.Click each image to view full screen. Videos will play as thumbnails unless you click the </i>[ ] <i>symbol at the bottom the video windows, which opens it in full screen. </i><br /><i></i><br />
<b><i><br /></i></b>
<br />
OVERVIEW<br />
<br />
Affinity Photo is single-purchase photo editing software, originally
developed for the Apple Mac and now available for Windows 10 on desktop and there
is IOS version for iPads. It is published by Serif, a UK-based software company
that has been around since 1987, originally making their name in the desktop
publishing arena. <br />
<br />
Along with Designer and Publisher, Photo completes Serif’s suite of three
Affinity programs. It will appeal to anyone intent on becoming serious about
their photo-editing on a budget, or those more experienced photographers
concerned about being locked-in to Adobe’s subscription-based pricing model, at
a time when rumours about price rises abound.<span style="mso-spacerun: yes;"> </span><br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-uQTmKbC0wCI/XUbRwldxskI/AAAAAAAACAI/CJHjpEL4Jr48BLmz2SEXwZ08F7klXz-gQCLcBGAs/s1600/Splash%2Bscreen.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="900" data-original-width="1600" height="180" src="https://1.bp.blogspot.com/-uQTmKbC0wCI/XUbRwldxskI/AAAAAAAACAI/CJHjpEL4Jr48BLmz2SEXwZ08F7klXz-gQCLcBGAs/s320/Splash%2Bscreen.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Affinity Photo Splash Screen </td></tr>
</tbody></table>
<br />
<br />
In June 2019, Affinity Photo received its biggest update so far, which
included end-to-end Metal compute acceleration for Apple computers, to take
full advantage of the Mac’s discrete GPU, making all raster layer and brush
operations up to 10 times faster than ever before. Additionally, the app now supports
multiple GPUs—whether internal or with external units connected—multiplying the
performance gains further. <br />
<br />
Serif is also working on hardware acceleration for its Windows version, to
be delivered in a future update. However, the recent update does introduce a
rewritten memory management system, which results in 3x or 4x speed
improvements across many tasks on Windows machines. In addition, dial and pen
support for Microsoft Surface devices has also been significantly upgraded,
giving users new ways to interact with the apps, say Serif. <br />
<br />
Affinity Photo supports RAW, JPG, TIFF, PNG, GIF, PSD and PDF files and a
number of other, less commonly used file types. <br />
<br />
USER INTERFACE <br />
<br />
At first sight, the Affinity Photo UI (User Interface) will appear familiar
to anyone who has used Adobe Photoshop or Photoshop Elements. There is a
vertical tools panel down the left-hand side, which hosts all the tools relevant
to the currently active persona (more on this below) and this panel will update
when the persona is switched. There is a horizontal toolbar below the main menu,
which can be used to switch between personas and access commonly used controls
and options. <br />
To the right of the persona buttons, there is a Context toolbar, which
provides information and allows adjustment to the selected tool or object. This
will update dynamically, when the tool is changed, so that only the relevant
tool options are presented. <br />
<br />
The default UI background is a darker grey than the default option in
Photoshop, but this can be changed via the Edit > Preferences menu, where
there is an option to switch between a dark or light UI style, both of which
can then be further adjusted with sliders. It has to be said that I did find
some of the brightly coloured button and icons, somewhat distracting and these
could not be adjusted.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-uJKAAhh6PL8/XUbOfzMj__I/AAAAAAAAB_g/vaYbssXojWoEII05C8uDS1j7PFOODtoIACEwYBhgL/s1600/Develop%2BPersona.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="900" data-original-width="1600" height="180" src="https://1.bp.blogspot.com/-uJKAAhh6PL8/XUbOfzMj__I/AAAAAAAAB_g/vaYbssXojWoEII05C8uDS1j7PFOODtoIACEwYBhgL/s320/Develop%2BPersona.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Default Dark Grey UI © Stephen Power</td></tr>
</tbody></table>
<div class="separator" style="clear: both; text-align: center;">
</div>
<br />
<br />
EDIT PREFERENCES<br />
<br />
I would recommend that the new Affinity Photo user make a visit to the Edit
> Preferences menu a priority before using the software for serious editing.
A wide range of settings can be applied to fine-tune the software to your
specific requirements. There are eight sub-settings for tweaks and adjustments
in the Preferences window; General, Colour, Performance, User Interface, Tools,
Keyboard Shortcuts, Photoshop Plugins and Miscellaneous.<br />
<br />
PERSONAS<br />
<br />
Personas are the beating heart of Affinity Photo and it is the name Serif
give to the various workspaces – sometimes referred to as modes or modules in
other editing software - used to work with images. When a persona is selected
from the horizontal toolbar, the UI changes to provide the appropriate toolset and
studio panels (more on these below) with which to accomplish the task for which
the persona was intended. <br />
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt;">The five main personas are Photo – for general image editing, Develop –
for editing Raw image, it is akin to Adobe Camera Raw or the Develop Module in
Lightroom; Liquefy – for adding distortion and warp style effects to images; Tone
Mapping – for use with HDR images and also to tone-map non-HDR images; Export –
for outputting the finished image, layer, or slice to a range of image formats.
Panorama, the sixth persona, provides a dedicated environment for fine tuning
stitched images to create panoramic compositions. However, it's only visible
when stitching multiple images into a panorama. You can switch between Personas
with a single click, with the workspace tools and panels changing to that
Persona's way of working.</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt;">Unedited Raw files will open in the Develop persona, and JPG or
previously edited Raw files, saved as tiff, JPG or PSD will open in the Photo
Persona. </span><br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-6smSMxWwv8c/XUbRLvJWuGI/AAAAAAAACAA/JOAa2E2wRaYNxX3Xf6SUgfacMi8FO81gwCLcBGAs/s1600/Export%2BPersona%2Bdropdown.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="900" data-original-width="1600" height="180" src="https://1.bp.blogspot.com/-6smSMxWwv8c/XUbRLvJWuGI/AAAAAAAACAA/JOAa2E2wRaYNxX3Xf6SUgfacMi8FO81gwCLcBGAs/s320/Export%2BPersona%2Bdropdown.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Export Persona with drop-down menu © Stephen Power</td></tr>
</tbody></table>
<span style="font-family: "times new roman" , serif; font-size: 12.0pt;"> </span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt;"> </span><b><span style="font-family: "times new roman" , serif; font-size: 12.0pt;"> Video: <i>Develop and Photo Personas</i></span></b><br />
<b><span style="font-family: "times new roman" , serif; font-size: 12.0pt;"><i><br /></i></span></b>
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.blogger.com/video.g?token=AD6v5dxg0SsWgARou3C2z0Xp-tQchEtS3YBbk3lEKZBttleUmLeYZ6Jszc9Fb7BkncOBKlrlcrEHVRLQa8JdHw15ig' class='b-hbp-video b-uploaded' frameborder='0'></iframe></div>
<b><span style="font-family: "times new roman" , serif; font-size: 12.0pt;"><i><br /></i></span></b>
<b><span style="font-family: "times new roman" , serif; font-size: 12.0pt;"><i></i></span></b><br />
<b><span style="font-family: "times new roman" , serif; font-size: 12.0pt;"><i><br /></i></span></b>
<b><span style="font-family: "times new roman" , serif; font-size: 12.0pt;"> </span></b><span style="font-family: "times new roman" , serif; font-size: 12.0pt;">STUDIO PANELS<br />
<br />
There are a set of stacked, tabbed panels on the right-hand side of the UI,
which change when working in the various personas. These are known as Studio
Panels, which provide a range of options and functions. For example, the Photo
Persona includes Studio Panels for image adjustment such as Exposure, White
Balance, Vibrance and Curves which may be familiar to Adobe users, plus some others
specific to Affinity Photo, such as Posterise, Invert, Soft Proof and Recolour. </span><br />
<br />
<span style="font-family: "times new roman" , serif; font-size: 12.0pt;"></span><br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-ezMpoEgxAHc/XUbOFSd9UEI/AAAAAAAAB_c/UrqJ3vtDnTUYeg5cRogvd4veraJx0aV6gCEwYBhgL/s1600/Develop%2Bpersona%2Bwith%2BBasic%2Bpanel%2Bopen.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="900" data-original-width="1600" height="180" src="https://1.bp.blogspot.com/-ezMpoEgxAHc/XUbOFSd9UEI/AAAAAAAAB_c/UrqJ3vtDnTUYeg5cRogvd4veraJx0aV6gCEwYBhgL/s320/Develop%2Bpersona%2Bwith%2BBasic%2Bpanel%2Bopen.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Develop Persona with Basic Editing Studio panel open © Stephen Power</td></tr>
</tbody></table>
<span style="font-family: "times new roman" , serif; font-size: 12.0pt;"><br /></span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt;">ADVANCED FEATURES</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt;">There are plenty of advanced features in this software; enough to satisfy
the most experienced digital manipulator and many more than might be expected
in a budget-range application.</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt;">Affinity Photo works with layers, particularly in the Photo Persona. Layers
adopt a hierarchical stack structure in that layers at the top of the stack
affect those below. Serif point out that adjustment layers can affect one
another and recommend that users experiment with the order in which they are
placed for best effect on the image. There is also the capacity to isolate
layers to improve your workflow, especially with compositing.</span><br />
<br />
<span style="font-family: "times new roman" , serif; font-size: 12.0pt;"> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/--QDO1i6T4_Y/XUbPtuxO1gI/AAAAAAAAB_s/hGrVLijZT0ok9hias5NkWGdjIEvGpIw1wCEwYBhgL/s1600/Affinity%2Blayers%2Bscreen%2Bshot%2B-%2BSerif%2BImage.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="900" data-original-width="1600" height="180" src="https://1.bp.blogspot.com/--QDO1i6T4_Y/XUbPtuxO1gI/AAAAAAAAB_s/hGrVLijZT0ok9hias5NkWGdjIEvGpIw1wCEwYBhgL/s320/Affinity%2Blayers%2Bscreen%2Bshot%2B-%2BSerif%2BImage.png" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Layers being used for complex image work - © Serif</td></tr>
</tbody></table>
</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt;">Merging of image files to create a 32 bit High Dynamic Range (HDR)
document is possible for a set of images. Once the files are merged, Affinity
Photo has a tool that will eliminate ghosting in the resulting HDR image. It is
also possible to achieve a tone-mapped HDR effect using one image in the
software, via the Tone Mapping and Photo personas.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt;">Other features include a range of selection tools and automatic lens
distortion correction, including the facility to install a lens profile
manually, if such a profile for a new lens is not included in the current
software update. </span><br />
<br />
<span style="font-family: "times new roman" , serif; font-size: 12.0pt;">Among other state-of-the art features, there is the capacity
to live edit 360 degree images; the ability to convert to LAB colour format; the
potential to use the OpencolorIO adjustment layer to bake colour space
transforms into your final image when exporting to non-linear image formats; image
stacking, including the potential to use it for object removal and macro
functionality, allowing various operations as steps which can be played back,
allowing complex editing processes to be automated, saving time for the user.</span><br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-9Aqgn8Q8inU/XUbSXEpa3GI/AAAAAAAACAQ/7Cb-NyO63_QA2r-JnHGS5_y5AJO2nANwACLcBGAs/s1600/Affinity%2BPhoto%2BFocus%2Bstack%2Bscreen%2Bshot%2B-%2BSerif%2BImage.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="900" data-original-width="1600" height="180" src="https://1.bp.blogspot.com/-9Aqgn8Q8inU/XUbSXEpa3GI/AAAAAAAACAQ/7Cb-NyO63_QA2r-JnHGS5_y5AJO2nANwACLcBGAs/s320/Affinity%2BPhoto%2BFocus%2Bstack%2Bscreen%2Bshot%2B-%2BSerif%2BImage.png" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Focus Stacking Screen Shot © Serif</td></tr>
</tbody></table>
</div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
</div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br />
<br />
<span style="font-family: "times new roman" , serif; font-size: 12.0pt;">WORKBOOK and SUPPORT</span></div>
<br />
The Affinity Photo Workbook is a <span class="u-wf-600">488- page</span>,
lavishly printed full colour hardback book created by the Affinity team and
world-renowned artists and photographers. It teaches the core skills needed to
get started, and then how to control advanced tools and techniques, through a
series of step-by-step projects. I was impressed by this book and feel that,
although it is an additional expense, the investment in money and time spent
working through the exercises could be well rewarded. <br />
<br />
At the time of writing, there is no phone support available for Affinity Photo, although
there is email support, a lively forum and a range of online tutorials including
an excellent video library.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-Ggjk3UD-UZI/XUbQJJR_t-I/AAAAAAAAB_0/-y9E14vP6co9kBBgX-2f5s9c7YgyHimegCLcBGAs/s1600/Affinity%2BPhoto%2BWorkbook%2B-%2BSerif%2BImage.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1164" data-original-width="1600" height="232" src="https://1.bp.blogspot.com/-Ggjk3UD-UZI/XUbQJJR_t-I/AAAAAAAAB_0/-y9E14vP6co9kBBgX-2f5s9c7YgyHimegCLcBGAs/s320/Affinity%2BPhoto%2BWorkbook%2B-%2BSerif%2BImage.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Affinity Photo Workbook © Serif</td></tr>
</tbody></table>
<br />
<br />
VERDICT<br />
<br />
I struggled to find my way around Affinity Photo, initially, and although it
looks a bit like Photoshop, it is certainly not its clone. I found myself at
odds with the concept of Personas, as I have always thought of this term in relation
to human beings, and I am more used to moving through modules and modes, in
other software. <br />
<br />
I also could not understand why my attempts to move out of the Develop
persona were being thwarted by an annoyingly regular error message, telling me to
please select an <i>RGB Pixel Layer Before Entering Develop</i>. It took me
some time to discover the layers tab, and that a pixel layer (usually the
background layer) had to be selected. <br />
<br />
Tools that I am very familiar with in Photoshop are still to be found in
Affinity Photo although not always where you might expect them. I wasted a lot
of time looking for panels such as History, Swatches and Layers, which I expected
to find in the Windows menu. They were hidden under View, in the Studio
sub-menu. It was here that I also found most of the other standard Photoshop
panels, along with the option to reset and hide all of the Studio panels,
buried right at the bottom of this sub-menu. It struck me as a long way to go
for a function that I would use on a regular basis. I would recommend having
this option made much more accessible, perhaps at the top of the UI. <br />
<br />
Old habits die hard, and it is entirely possible that my teething troubles
were a result of having spent decades working with and teaching Adobe products.
The new user may not have the same problems adapting, as they will not be
restricted by my muscle memory handicap. <br />
<br />
I did find, happily, that there are a number of similarities between
Affinity Photo and Photoshop, which helped to smooth the transition. Some
keyboard shortcuts worked in exactly the same way and some tools, such as
levels and the healing brushes, were as effective and as easy to use. <br />
Affinity Photo is not the complete workflow solution that Lightroom has
become for many, including myself. There is no image organization persona, and
no way to create web galleries or print directly from the software.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
</div>
However, I can certainly see a place for it as a replacement Photoshop
application, or a first choice for those starting from scratch, or needing to
move up from some of the more limited applications available for free. More
experienced Photoshop users, perhaps those using it for occasional or light
work, might also see it as a potential replacement, should the Adobe
subscription become prohibitive. Stephen Powerhttp://www.blogger.com/profile/07897506071146176547noreply@blogger.com0tag:blogger.com,1999:blog-350864851972883197.post-3530262182178483712019-07-06T11:06:00.003+01:002019-07-06T17:20:18.631+01:00Garden Photography Article (2)<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-6SCShBSCtmE/XSBxf4BHCAI/AAAAAAAAB0Y/L3ZzXCjX5YoLLx-SWwu72YpLPxt9G5nRQCLcBGAs/s1600/gardens%2B2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1139" data-original-width="1600" height="227" src="https://1.bp.blogspot.com/-6SCShBSCtmE/XSBxf4BHCAI/AAAAAAAAB0Y/L3ZzXCjX5YoLLx-SWwu72YpLPxt9G5nRQCLcBGAs/s320/gardens%2B2.jpg" width="320" /></a></div>
<br />
Click the link below to download a PDF of my 3 page article "<i>Tending The Garden</i>", a follow-up to my piece on photographing gardens for The Irish Garden magazine. I hope
it will be of some interest
and inspiration to you.<br />
<br />
<a href="https://thesnappysnapper.blogspot.com/" target="_blank">How to photograph gardens and gardening photography article 2</a><br />
<br />
<br />
This article was first published in the March / April 2019 edition of <b>Cameracraft </b>magazine.<br />
<br />
<a href="https://l.facebook.com/l.php?u=https%3A%2F%2Fwww.iconpublications.com%2F%3Ffbclid%3DIwAR3BMom3yP1poSuGk9lUKxje-5IGCQ4lxOpjrnQs_Jvi-rqG4Lxf7tuTDlM&h=AT0n-8SYvK1V4Rr_GQDxzrg2rLRE_Y3BVKrgDzTLm7wj9rUG5Jc6oSWmeSRYzypH7xY-2TU02BnwttNU_ETMmSb-oowJni-oojMw5X6_grU5S-AKlHf0A6lP1TCSn4VTJbA" target="_blank"><b>See here</b></a> to subscribe to <b>Cameracraft</b>, the best photography magazine on the market.Stephen Powerhttp://www.blogger.com/profile/07897506071146176547noreply@blogger.com0tag:blogger.com,1999:blog-350864851972883197.post-61040023188029798392019-07-04T20:57:00.004+01:002019-07-06T17:21:20.696+01:00Garden Photography Article (1)<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-eVvoaCdrUzE/XR5bRFpxw5I/AAAAAAAABys/fHIULpsNbdMRVnVvliRKQOgq92JbIzyOQCLcBGAs/s1600/gardens%2Bscreenshot.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="759" data-original-width="1185" height="204" src="https://1.bp.blogspot.com/-eVvoaCdrUzE/XR5bRFpxw5I/AAAAAAAABys/fHIULpsNbdMRVnVvliRKQOgq92JbIzyOQCLcBGAs/s320/gardens%2Bscreenshot.jpg" width="320" /></a></div>
<br />
<br />
Click the link below to download a PDF of my 2 page article "No Long Shadows", on photographing gardens for The Irish Garden magazine. I hope it will be of some interest
and inspiration to you.<br />
<a href="https://thesnappysnapper.blogspot.com/" target="_blank"><br /></a>
<a href="https://thesnappysnapper.blogspot.com/" target="_blank">How to photograph gardens / gardening photography article 1</a><br />
<br />
This article was first published in the May/June 2016 of F2/Cameracraft magazine.<br />
<br />
<a href="https://l.facebook.com/l.php?u=https%3A%2F%2Fwww.iconpublications.com%2F%3Ffbclid%3DIwAR3BMom3yP1poSuGk9lUKxje-5IGCQ4lxOpjrnQs_Jvi-rqG4Lxf7tuTDlM&h=AT0n-8SYvK1V4Rr_GQDxzrg2rLRE_Y3BVKrgDzTLm7wj9rUG5Jc6oSWmeSRYzypH7xY-2TU02BnwttNU_ETMmSb-oowJni-oojMw5X6_grU5S-AKlHf0A6lP1TCSn4VTJbA" target="_blank"><b>See here</b></a> to subscribe to Cameracraft, the best photography magazine on the market.Stephen Powerhttp://www.blogger.com/profile/07897506071146176547noreply@blogger.com0tag:blogger.com,1999:blog-350864851972883197.post-86704642072610954182019-07-02T16:15:00.001+01:002019-07-06T17:21:58.102+01:00Working in Freelance Photography - Article<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-4mF9vpAFCbU/XRtzYu18NcI/AAAAAAAABw4/rVvylt6VEWo6pp7iHvRTbKbFwks4fPnFgCLcBGAs/s1600/Freelancing%2Bscrenshot.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1079" data-original-width="1600" height="215" src="https://1.bp.blogspot.com/-4mF9vpAFCbU/XRtzYu18NcI/AAAAAAAABw4/rVvylt6VEWo6pp7iHvRTbKbFwks4fPnFgCLcBGAs/s320/Freelancing%2Bscrenshot.jpg" width="320" /></a></div>
<br />
<br />
<br />
<br />
<br />
<br />
Click the link below to download a PDF of my 2 page article on returning to freelance photography. I hope it will be of some interest and inspiration to you.<br />
<br />
<a href="https://thesnappysnapper.blogspot.com/" target="_blank">How to be a freelance photographer article </a><br /><br />
This article was first published in F2/Cameracraft magazine, Volume 10, No. 2, (issue #81), March/April 2016.<br />
<br />
<a href="https://l.facebook.com/l.php?u=https%3A%2F%2Fwww.iconpublications.com%2F%3Ffbclid%3DIwAR3BMom3yP1poSuGk9lUKxje-5IGCQ4lxOpjrnQs_Jvi-rqG4Lxf7tuTDlM&h=AT0n-8SYvK1V4Rr_GQDxzrg2rLRE_Y3BVKrgDzTLm7wj9rUG5Jc6oSWmeSRYzypH7xY-2TU02BnwttNU_ETMmSb-oowJni-oojMw5X6_grU5S-AKlHf0A6lP1TCSn4VTJbA" target="_blank"><b>See here</b></a> to subscribe to Cameracraft, the best photography magazine on the market.Stephen Powerhttp://www.blogger.com/profile/07897506071146176547noreply@blogger.com0tag:blogger.com,1999:blog-350864851972883197.post-55779885949114450032019-06-25T11:49:00.002+01:002019-06-25T14:17:36.229+01:00My Online Portfolios<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-0UjiyLaqK5E/XRH8DjlPB-I/AAAAAAAABvU/hj8F1HkMDBsuZGvyZV0wIEV0_dZmQiO6ACLcBGAs/s1600/Sam%2BJackson.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="800" height="200" src="https://1.bp.blogspot.com/-0UjiyLaqK5E/XRH8DjlPB-I/AAAAAAAABvU/hj8F1HkMDBsuZGvyZV0wIEV0_dZmQiO6ACLcBGAs/s200/Sam%2BJackson.jpg" width="133" /></a></div>
<br />
<br />
Some of my recent photography work, can be seen online, in 4 main project groups: People, Places, Music and Other Things. I hope you enjoy it.<br />
<br />
<a href="https://stephenpower1.myportfolio.com/projects" target="_blank">Click here to see links to all of the projects </a><br />
<br />Stephen Powerhttp://www.blogger.com/profile/07897506071146176547noreply@blogger.com0tag:blogger.com,1999:blog-350864851972883197.post-3310549575612604872019-06-24T14:23:00.002+01:002019-07-06T17:22:50.833+01:00FREE Introduction to Digital Photography Guide<div style="text-align: center;">
<br />
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-jRXGz0nTb18/XRDO1ibWmqI/AAAAAAAABvI/d63xPffJTYgpGrOgbd23yKGN2TjdQHLOgCLcBGAs/s1600/Into%2BeBook%2Bcover%2BJPG.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="752" data-original-width="772" height="311" src="https://1.bp.blogspot.com/-jRXGz0nTb18/XRDO1ibWmqI/AAAAAAAABvI/d63xPffJTYgpGrOgbd23yKGN2TjdQHLOgCLcBGAs/s320/Into%2BeBook%2Bcover%2BJPG.jpg" width="320" /></a></div>
<br />
<br />
<br />
Click the link below to download my 30 page eBook</div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<i>A Short Introduction to Digital Photography</i> </div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
It's <b>completely free</b> and I don't even need your email address</div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
I just hope you'll return to my photography blog occasionally, or even subscribe to it.<br />
<br />
Perhaps you might click a few adverts, to help cover my costs? </div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
Enjoy it, and feel free to let me know what you think about the eBook.<br />
<br />
<a href="https://thesnappysnapper.blogspot.com/" target="_blank">Introduction to Digital photography eBook</a></div>
Stephen Powerhttp://www.blogger.com/profile/07897506071146176547noreply@blogger.com0tag:blogger.com,1999:blog-350864851972883197.post-40414902946882881022019-06-22T15:02:00.003+01:002019-07-06T17:23:21.407+01:00FREE Landscape Photograpy eBook<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-4SNAnldUtiQ/XQ4znxs3ZCI/AAAAAAAABu8/F9dpIziz4Y4HOacoXPXxnnocQb-gn7YZwCLcBGAs/s1600/Landscape%2BEbook%2BCover.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="697" data-original-width="749" height="297" src="https://1.bp.blogspot.com/-4SNAnldUtiQ/XQ4znxs3ZCI/AAAAAAAABu8/F9dpIziz4Y4HOacoXPXxnnocQb-gn7YZwCLcBGAs/s320/Landscape%2BEbook%2BCover.jpg" width="320" /></a></div>
<br />
<br />
<br />
<br />
<br />
<br />
<div style="text-align: center;">
Click the link below to download my 30 page </div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<i>Get the Most from Your Landscape Photography</i> eBook </div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
It's <b>completely free</b> and I don't even need your email address</div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
I just hope you'll return to my photography blog occasionally, or even subscribe to it. </div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
But, that's not required. Enjoy it and feel free to let me know what you think about the eBook.</div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<a href="https://thesnappysnapper.blogspot.com/" target="_blank">Landscape photography eBook</a></div>
Stephen Powerhttp://www.blogger.com/profile/07897506071146176547noreply@blogger.com0tag:blogger.com,1999:blog-350864851972883197.post-58052472466733799822016-10-09T13:21:00.000+01:002016-10-17T13:00:32.633+01:00Sleeklens Portrait Perfection Photoshop Actions - Review<!--[if gte mso 9]><xml>
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<w:LsdException Locked="false" Priority="9" SemiHidden="true"
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<w:LsdException Locked="false" Priority="9" SemiHidden="true"
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<w:LsdException Locked="false" Priority="9" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="35" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="1" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
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<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
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<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
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<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
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<w:LsdException Locked="false" Priority="30" QFormat="true"
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
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<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
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<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
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<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
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<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
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<w:LsdException Locked="false" Priority="21" QFormat="true"
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<w:LsdException Locked="false" Priority="31" QFormat="true"
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<w:LsdException Locked="false" Priority="32" QFormat="true"
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<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
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<br />
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><a href="https://sleeklens.com/">Sleeklens</a>, based in Copenhagen, Denmark, is a relative newcomer to the
digital imaging market.
They provide a range of<span style="mso-spacerun: yes;"> </span>photographer’s
‘templates’ and<a href="https://sleeklens.com/product-category/lightroom-presets/"> presets for Lightroom</a> and <a href="https://sleeklens.com/product-category/photoshop-actions/">actions for Photoshop</a> for various
genres of photography, including travel, landscapes and portraiture. </span></span></span></span><br />
<br />
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "georgia" , "times new roman" , serif;">The company was Co-Founded in 2015 by its current CEO, Daniel Chabert after
he had become dissatisfied with the quality of similar products on the market.
His view – which is one that I can concur with – is that many such products
were a ‘quick fix’ or ‘all-in-one-solution’.<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-size: 12.0pt;"> </span></span></span></span></span></span></span><br />
<br />
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-size: 12.0pt;">I was recently invited to try and review Sleeklens presets for Lightroom
and actions for Photoshop, that are aimed at the portrait photographer. </span></span></span></span></span></span></span></span><br />
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><br /></span></span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: 12.0pt;">In this review, I will take a closer look at the <a href="https://sleeklens.com/product/portrait-perfection-photoshop-actions/"><i style="mso-bidi-font-style: normal;">Portrait Perfection Collection</i></a>, </span><span style="font-size: 12.0pt;">which
comprises a set of 56 Photoshop actions that are compatible with Photoshop
versions CS 4 to CS6 and Photoshop CC. </span></span></span></span></span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><br /></span></span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-size: 12.0pt;">The actions work with both JPEG and RAW images and are compatible with computers
running Mac and Windows operating systems. The package also includes a ‘recipe
list’, installation guide and sample images.</span></span></span></span></span></div>
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><br /></span></span>
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "georgia" , "times new roman" , serif;">For those not familiar with Photoshop actions, they are basically a series
of separate adjustments that are combined and recorded together with an identifiable
name and then “played back" to produce a specific result on the image.</span></span></span><br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-lLjzbjsa0S0/V_or2EM7QbI/AAAAAAAAAjs/ksDTtYOr1gwiM8cNMCJkquBAybEHLkaVQCLcB/s1600/screen%2Bshot%2B1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="337" src="https://1.bp.blogspot.com/-lLjzbjsa0S0/V_or2EM7QbI/AAAAAAAAAjs/ksDTtYOr1gwiM8cNMCJkquBAybEHLkaVQCLcB/s400/screen%2Bshot%2B1.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Sleeklens Portraiture Perfection Actions Pallet Open in Photoshop CC </b></td></tr>
</tbody></table>
<br />
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "georgia" , "times new roman" , serif;">For example; if you wanted to add a certain amount of exposure, ‘Unsharp
Mask’ sharpening, plus a set amount Vibrance to each image you were editing in
Photoshop, you could create a simple 3 step action to run on each image, which
would add the adjustments for you automatically. </span></span></span><br />
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><br /></span></span>
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "georgia" , "times new roman" , serif;">Actions can be much more complex, though, and often involve multiple steps including
opening tone curves, blending layers and adding layer masks and other
high-level Photoshop adjustments. This is the case with many of the actions in
the Sleeklens <i style="mso-bidi-font-style: normal;">Portrait Perfection
Collection</i>, which have upwards of 30 or 40 separate adjustments which
combine to provide the overall final effect on the image. </span></span></span><br />
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><br /></span></span>
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "georgia" , "times new roman" , serif;">Not only would this be a very time-consuming process should you try to do it
yourself, from scratch, for each image, but it also takes skill and patience to
mix the various adjustments into a pleasing and useful effect. </span></span></span><br />
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><br /></span></span>
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "georgia" , "times new roman" , serif;">Sleeklens have done the hard work for you here. If you consider that there
are 56 actions in the package, it adds up to a huge amount of saved time and
effort (not to mention technical ability). They are sub-divided into discreet
groups with the heading that include “All-in-One”, “<span style="font-family: "georgia" , "times new roman" , serif;">B</span>ase”, “Exposure”, “Temperature”,
“Color Correction”, “Portrait Retouch” and “Enhance Tones” which give a general
idea of what the actions in group actually do. There is a group called “From a
Candy Store”, which is less obvious and needs some experimentation and another
with the title “File Preparation” which needs no explanation at all. </span></span></span><br />
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><br /></span></span>
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"></span>
<br />
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "georgia" , "times new roman" , serif;">Some of the actions in this package will give a single effect that is
universally applied to the image. Others require you to work with the brush
tool to apply the effect in specific areas of the image (for example on eyes or
teeth or eyebrows).</span></span></span><br />
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><br /></span></span>
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "georgia" , "times new roman" , serif;">However, most of the universal effects can be adjusted in strength
via use of the opacity sliders and all of them can be mixed and matched with
other actions in the set for a virtually unlimited combination of effects, to
suit the image being adjusted. </span></span></span><br />
<br />
<br />
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "georgia" , "times new roman" , serif;">Although the extensive video tutorials use female models, I started my tests by
using actions in the “Base”, “Color Correction” and “Portrait Retouch” groups
on a male subject. Admittedly, he is wearing a lot of makeup, but it worth
suggesting that while portraits of women may be the staple use for this
package, it’s by no means the only way to use it. </span></span></span><br />
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><br /></span></span>
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "georgia" , "times new roman" , serif;">I began by applying the universal “From Scratch” action in the “Base” group,
which lifted the contrast and slightly increased the exposure of the original
image. I then used the “Less Orange Juice” action, from the Color Correction
group and applied it to his face with the brush tool, which reduced the
intensity of his makeup.</span></span></span><br />
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><br /></span></span>
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "georgia" , "times new roman" , serif;">I then ran the “Fast Retouch (eyes, skin & teeth)” action, in the Portrait
Retouch group, to add local adjustments with the brush tool, to whiten his
teeth and the whites of his eyes and other adjustments to enhance his eye lashes
and bring out the colour of his pupils.</span></span></span><br />
<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-xJ7gA1JlbB4/V_ofyIVxMKI/AAAAAAAAAi0/7ce0y7gwRW8IKNpNXwCIeWHGM9YxDp5kQCK4B/s1600/_C0A0015-Edit.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://2.bp.blogspot.com/-xJ7gA1JlbB4/V_ofyIVxMKI/AAAAAAAAAi0/7ce0y7gwRW8IKNpNXwCIeWHGM9YxDp5kQCK4B/s320/_C0A0015-Edit.jpg" width="212" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Original Image</b></td></tr>
</tbody></table>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-vQC0WdethlQ/V_ogPpROCsI/AAAAAAAAAjI/t6zGdHEFTSU8kHLvDwoDs6esprlBiFWIACK4B/s1600/_C0A0015-Edit%2Bbase%2Band%2Bvignette.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://1.bp.blogspot.com/-vQC0WdethlQ/V_ogPpROCsI/AAAAAAAAAjI/t6zGdHEFTSU8kHLvDwoDs6esprlBiFWIACK4B/s320/_C0A0015-Edit%2Bbase%2Band%2Bvignette.jpg" width="212" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>With Sleeklens Portraiture Actions Applied</b></td></tr>
</tbody></table>
<span style="color: red;"></span>
<span style="color: red;"><br /></span>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "georgia" , "times new roman" , serif;">Because of the infinitesimal variety of changes you can make, the final image is down to your creativity and "eye" for the image that works best. There is also, of course, plenty of scope to make more than one edit of the same image to show clients in order to the get their view on the best one for their use.</span></span></span><br />
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><br /></span></span>
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "georgia" , "times new roman" , serif;">I generally prefer my images to be enhanced without the changes being too obvious. I'm not one for over-use of HDR or too-vibrant colours and so I was delighted to find that the actions can be adjusted in such a way that the changes I made to the female image remained close to the original shot, but with positive enhancements.</span></span></span><br />
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><br /></span></span>
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "georgia" , "times new roman" , serif;">In the image below, on the right, I used some of the actions from the "From A Candy Store" and "Portrait Retouch" groups to soften the skin, reduce the highlights on her cheeks, add contours to the nose and chin areas, add a glossy sheen to her lips and to brighten and enhance her eyes. I also used the Spot Healing Brush Tool to remove the highlights on the sunglasses, which detracted the viewer's eye from her face.</span></span></span><br />
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://3.bp.blogspot.com/-2FENGfih_uw/V_oplYASHpI/AAAAAAAAAjc/suiq7fZ3xuoLlP8bZy4DSwLVVLXdkseggCEw/s1600/_MG_3022.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://3.bp.blogspot.com/-2FENGfih_uw/V_oplYASHpI/AAAAAAAAAjc/suiq7fZ3xuoLlP8bZy4DSwLVVLXdkseggCEw/s320/_MG_3022.jpg" width="212" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Original Image</b></td></tr>
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<tr><td style="text-align: center;"><a href="https://3.bp.blogspot.com/-SG7hGPFzaJQ/V_opzVFWzWI/AAAAAAAAAjk/cj5LnE4VQDQCV5oTdD_pv2v0__0VaUfaACEw/s1600/_MG_3022%2Bretouched.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://3.bp.blogspot.com/-SG7hGPFzaJQ/V_opzVFWzWI/AAAAAAAAAjk/cj5LnE4VQDQCV5oTdD_pv2v0__0VaUfaACEw/s320/_MG_3022%2Bretouched.jpg" width="212" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>With Sleeklens Portraiture Actions Applied</b></td></tr>
</tbody></table>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "georgia" , "times new roman" , serif;">In my view; The <a href="https://sleeklens.com/product/portrait-perfection-photoshop-actions/">Sleeklens Portraiture Perfection Collection</a> is a very comprehensive set of actions for
Photoshop that will be useful to all portrait photographers wishing to enhance
their images, whether in a subtle or more visually striking way. </span></span></span><br />
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "georgia" , "times new roman" , serif;">The package is very comprehensive and certainly is likely to take some time and
practice to get the most out of it. The more you use it and perhaps even
combine it with existing Photoshop tools (such as the Heal<span style="font-family: "georgia" , "times new roman" , serif;">ing</span> brushes and Clone
tools) the more versatile it is likely to become. </span></span></span><br />
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><br /></span></span>
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "georgia" , "times new roman" , serif;">That said, it does not necessarily require advanced Photoshop skills, beyond
being able to adjust brush size, opacity levels and being aware of how to click
into layer masks and flatten image layers. Much of this is also covered in the
very detailed video tutorials supplied with the package.</span></span></span><br />
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><br /></span></span>
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><b>Highly Recommended </b></span></span></span><br />
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Stephen Powerhttp://www.blogger.com/profile/07897506071146176547noreply@blogger.com0tag:blogger.com,1999:blog-350864851972883197.post-8071041157502646312016-05-12T14:10:00.000+01:002019-07-06T17:23:43.372+01:00Basic Camera Controls 1: The Exposure Dial<br />
<div style="text-align: left;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">This </span></span><span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">video looks at the various options for choosing exposure settings on a DSLR camera, with example images and diagrams. </span></span></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">Click the [ ] icon, at the bottom right of the video window, to view it full screen. </span></span></div>
<br />
<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/S4JMBBRilX8" width="420"></iframe>Stephen Powerhttp://www.blogger.com/profile/07897506071146176547noreply@blogger.com0tag:blogger.com,1999:blog-350864851972883197.post-8620095325541690812015-11-06T19:55:00.001+00:002016-05-14T19:07:11.113+01:00Easy Black & White Conversion - Using Lightroom <span style="font-family: Verdana,sans-serif;">This is a quick and simple guide to making a black and white image conversion, from a correctly exposed colour image using any version of Adobe Lightroom.</span><br />
<span style="font-family: Verdana,sans-serif;"><br /></span>
<span style="font-family: Verdana,sans-serif;">It could be useful for anyone starting to use Lightroom and also for those students undertaking part A of assignment 5 of The Photography Institute Diploma course.</span><br />
<span style="font-family: Verdana,sans-serif;"><br /></span>
<ul>
<li><span style="font-family: Verdana,sans-serif;">To get started, find your image to be converted to black and white in the library module of Lightroom, and then select it from the thumbnails at the bottom of the user interface or from the thumbnail view. </span></li>
</ul>
<ul>
<li><span style="font-family: Verdana,sans-serif;">Select the "Develop" module tab from the top of the Lightroom window. </span></li>
</ul>
<span style="font-family: Verdana,sans-serif;"><br /></span>
<ul>
<li><span style="font-family: Verdana,sans-serif;">Click the B&W tab in Lightroom (along to the
right from the Hue & Saturation tabs) to make a basic conversion.</span></li>
</ul>
<ul>
<li><span style="font-family: Verdana,sans-serif;"> Then, use colour saturation sliders to change the various tones in the
image. You will see them change as you move the various sliders.</span></li>
</ul>
<span style="font-family: Verdana,sans-serif;">If
you click the before and after view (the YY symbol) this puts up the
colour version next to the B&W version.</span><br />
<span style="font-family: Verdana,sans-serif;"><br /></span>
<span style="font-family: Verdana,sans-serif;">You can see this view in the screen shot below, with the colour image on the left, the converted image on the right, and the B&W tab and the colour sliders on the far right. The TAT is just to the left of the colour sliders. </span><br />
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://2.bp.blogspot.com/-CcFbPr1fTFg/Vj0EJfg2q1I/AAAAAAAAAhc/ZMsJNbtBFg0/s1600/screen%2Bblack%2Band%2Bwhite%2Bconversion.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="260" src="https://2.bp.blogspot.com/-CcFbPr1fTFg/Vj0EJfg2q1I/AAAAAAAAAhc/ZMsJNbtBFg0/s400/screen%2Bblack%2Band%2Bwhite%2Bconversion.jpg" width="400" /></a></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
</div>
<br />
<span style="font-family: Verdana,sans-serif;">Left click and move up and down
to change the saturation in various parts of the image. The black and
white version will change (not the colour one) as you do this. It works
very well when you get used to it and allows for very selective toning of the converted black and white image.</span><br />
<span style="font-family: Verdana,sans-serif;"><br /></span>
<span style="font-family: Verdana,sans-serif;">You can see my finished image below. I hope you enjoy using this quick and simple black and white conversion tool inside Lightroom.</span><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://3.bp.blogspot.com/-V-AGdrjUrxE/Vj0EMUg8m7I/AAAAAAAAAho/YUYrkuFONTM/s1600/39BQ4569.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://3.bp.blogspot.com/-V-AGdrjUrxE/Vj0EMUg8m7I/AAAAAAAAAho/YUYrkuFONTM/s400/39BQ4569.jpg" width="265" /></a></div>
<br />
<span style="font-family: Verdana,sans-serif;"><i><span style="color: #444444;"><span style="font-size: x-small;">Click either image to expand them for a clearer view. </span></span></i></span>Stephen Powerhttp://www.blogger.com/profile/07897506071146176547noreply@blogger.com0tag:blogger.com,1999:blog-350864851972883197.post-33998730432891906912015-10-22T12:37:00.002+01:002019-06-25T14:21:54.147+01:00Easy First Studio Lighting Set Up - with no flash meter<!--[if gte mso 9]><xml>
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<span style="font-family: "verdana" , sans-serif;"><i>OK, so you've got your first studio lighting kit, and you're not sure how to get it set up.</i></span><br />
<span style="font-family: "verdana" , sans-serif;"><br /></span>
<span style="font-family: "verdana" , sans-serif;"> This blog is intended to get you started quickly, with a simple 2 or 3 light studio, with either soft boxes or brollies (white or silver) on the main subject lights. I'll also assume that you have yet invested in a flash meter. This information will also be handy if you're setting up lights away from the studio without a meter. </span><br />
<span style="font-family: "verdana" , sans-serif;"><br /></span>
<span style="font-family: "verdana" , sans-serif;">We will start with getting the exposures right on the subject.Start by positioning the lights to the front of the subject on either side, at
about 45 degrees (on a diagonal to the eye). They should be raised slightly above the subject's eyes, pointing down. Position them at least 1 meter away from the subject, and further away
depending on how powerful they are. A lower power flash unit will be about 200 W/s, a
higher power from 500 to 1000 W/s (500 or 600 W/s is typical for a medium sized studio).</span><br />
<span style="font-family: "verdana" , sans-serif;"><br /></span>
<span style="font-family: "verdana" , sans-serif;">You need to get the correct exposure with one of the lights (turn the other
one off). A flash meter is by far the most efficient way of doing this and I'll cover it in another blog post.</span><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://4.bp.blogspot.com/--MgyFbSM4Vw/Vii-tiFyFTI/AAAAAAAAAgo/O53q168tyoA/s1600/_C0A1976-Edit.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://4.bp.blogspot.com/--MgyFbSM4Vw/Vii-tiFyFTI/AAAAAAAAAgo/O53q168tyoA/s400/_C0A1976-Edit.jpg" width="266" /></a></div>
<br />
<br />
<span style="font-family: "verdana" , sans-serif;">For now we'll work without a flash meter and try to achieve the lighting shown in the image above.</span><br />
<span style="font-family: "verdana" , sans-serif;"><br /></span>
<span style="font-family: "verdana" , sans-serif;">1. <b>Start, by putting the camera into manual exposure mode (M),</b>
and setting the shutter to one stop SLOWER than the camera's flash synch speed
- you need to check what this is in the camera manual. Typically it will be 1/200th of a second. If so set the camera shutter speed to 1/100tb of a second, one stop slower.</span><br />
<span style="font-family: "verdana" , sans-serif;"><br /></span>
<span style="font-family: "verdana" , sans-serif;">The reason for doing this is that more powerful flash units may not fully discharge all of their light at the faster sync speed, which is designed for smaller speedlites. </span><br />
<span style="font-family: "verdana" , sans-serif;"><br /></span>
<span style="font-family: "verdana" , sans-serif;">2.<b> Set the aperture to f8
to start with and take photos, changing the aperture (in 1/3rd stops, up and
down) until the exposure looks right</b>. Slightly under exposed is safer than over
exposed. <b> </b></span><br />
<span style="font-family: "verdana" , sans-serif;"><br /></span>
<span style="font-family: "verdana" , sans-serif;"><b>3. Note the aperture that gives the best exposure. You have now set the exposure for the main ("key") light. </b></span><br />
<span style="font-family: "verdana" , sans-serif;"><br /></span>
<span style="font-family: "verdana" , sans-serif;">4. T<b>urn that light off and the other one on. </b>This time, you need to set the light ONE STOP
LOWER than the first one. So, now set the apeture ONE stop WIDER than the
correct one for the other light. So, if the correct exposure for the first
light is f8, set the aperture to f5.6. <b>This will be the exposure for the "fill" light. </b></span><br />
<span style="font-family: "verdana" , sans-serif;"><br /></span>
<span style="font-family: "verdana" , sans-serif;">To do this, CHANGE THE POWER SETTING ON THE LIGHT (not the camera aperture)
until you get a good exposure in the camera. Keep adjusting the power up or
down, and taking shots, until it looks the same as the first light. You may
need to move the flash backwards or forward too, depending on how powerful it
is.</span><br />
<span style="font-family: "verdana" , sans-serif;"><br /></span>
<span style="font-family: "verdana" , sans-serif;">5. <b>Turn both lights on and set the aperture on the camera to the one that gave
the correct exposure for the first light. </b></span><br />
<span style="font-family: "verdana" , sans-serif;"><br /></span>
<span style="font-family: "verdana" , sans-serif;">What you have effectively done is set the 2nd light one stop lower than the
first one. So, when both lights are turned on, you will get slightly more
shadow on the side of the face with wider aperture. </span><br />
<span style="font-family: "verdana" , sans-serif;"><br /></span>
<span style="font-family: "verdana" , sans-serif;">This doesn't seem logical, but the fact is that you are shooting at a stop
smaller than the 2nd light is set up for - and so it will only take in half the
light.</span><br />
<span style="font-family: "verdana" , sans-serif;"><br /></span>
<span style="font-family: "verdana" , sans-serif;">This gives more "modelling" to the face, than there would be if
both lights are at the same aperture. </span><br />
<span style="font-family: "verdana" , sans-serif;">You can adjust the lights - change the position to the left and right or
back and forth, to get the modelling just right, once you have got the basic
exposures set up.</span><br />
<span style="font-family: "verdana" , sans-serif;"><br /></span>
<span style="font-family: "verdana" , sans-serif;"><br /></span>
<span style="font-family: "verdana" , sans-serif;">In the image above, you can see the lightly brighter skin tones on the right hand side, due to the unbalanced exposure of the two front lights. I haven't used a light on the mid grey background.</span><br />
<span style="font-family: "verdana" , sans-serif;"><br /></span>
<span style="font-family: "verdana" , sans-serif;"><br /></span>
<span style="font-family: "verdana" , sans-serif;">In the second image, below, I have used a third light behind the subject and low down, pointed upwards. This has given a graduated look to the background. The light is set to the same level (on the flash unit) as the key light). </span><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://4.bp.blogspot.com/-B7yISNdP6vw/Vii-y1fUGEI/AAAAAAAAAgw/JksslkDLp-A/s1600/_C0A1977-Edit.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://4.bp.blogspot.com/-B7yISNdP6vw/Vii-y1fUGEI/AAAAAAAAAgw/JksslkDLp-A/s400/_C0A1977-Edit.jpg" width="266" /></a></div>
<br />
<br />
<br />
<span style="font-family: "verdana" , sans-serif;">I hope this helps and have fun practicing.</span><br />
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<![endif]-->Stephen Powerhttp://www.blogger.com/profile/07897506071146176547noreply@blogger.com1tag:blogger.com,1999:blog-350864851972883197.post-42290170619510911492014-10-23T11:53:00.000+01:002016-05-14T19:08:10.877+01:00Photography and the Art of Saxophone Playing<div class="separator" style="clear: both; text-align: center;">
<a href="http://d1049698.blacknight.com/blogsax.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://d1049698.blacknight.com/blogsax.jpg" height="320" width="247" /></a></div>
<br />
<span style="font-family: Verdana,sans-serif;"><i> Dear Stephen</i></span><br />
<span style="font-family: Verdana,sans-serif;"><i><br /></i></span>
<span style="font-family: Verdana,sans-serif;"><i>I think I'll stop studying photography. It's far too technical, and all I really want to do is make nice photographs that I can show to my family and friends. </i></span><br />
<span style="font-family: Verdana,sans-serif;"><br /></span>
<span style="font-family: Verdana,sans-serif;"><i>I don't see the point of all that stuff about white balance, ISO settings, aperture and shutter speeds etc, etc. </i></span><br />
<span style="font-family: Verdana,sans-serif;"><br /></span>
<span style="font-family: Verdana,sans-serif;"><i>They are not what I wanted to hear about and it all seems pointless and something I'll never get my head around. </i></span><br />
<span style="font-family: Verdana,sans-serif;"><br /></span>
<br />
<br />
<br />
<br />
<br />
<span style="font-family: Verdana,sans-serif;"><b>Dear (whoever feels the same)</b></span><br />
<span style="font-family: Verdana,sans-serif;"><br /></span>
<span style="font-family: Verdana,sans-serif;">I'm learning to play the saxophone at the moment, and I started last
year when I was 58 - and I am concentrating on a jazz style. I had
played other musical instruments previously, so I thought how hard could
it be? it certainly looks easy enough when you hear a good player do
it.</span><br />
<span style="font-family: Verdana,sans-serif;"><br /></span>
<span style="font-family: Verdana,sans-serif;">Well, it's very hard. I first of all had learn how use the
mouthpiece - getting the "embouchure" right (and there are whole books
just on that topic). Then, I had find the right mouthpiece (another
endless task that some people apparently never get right), choose the
right reeds to suit me (I have spent a LOT just on bits of
thin cane so far), and eventually get a sound out of it. It took several months before I could practice without worrying who was hearing me.</span><br />
<span style="font-family: Verdana,sans-serif;"><br /></span>
<span style="font-family: Verdana,sans-serif;">Oh, practice, that's another
point. I have (without a word of a lie) practiced every single day since
1st August 2013 for not less than one hour. Actually it probably
averages 3 hours a day. I've often done it very late at night -
sometimes in the early hours of the morning - after my day's work
(luckily, we have no near neighbours).</span><br />
<span style="font-family: Verdana,sans-serif;"><br /></span>
<span style="font-family: Verdana,sans-serif;">As for playing great jazz
tunes all the time, my main practice has been based around learning
scales, arpeggios, chords (major, minor, harmonic minors, chromatic
scales, blues scales) and really boring technical exercises to get them
into my head.</span><br />
<span style="font-family: Verdana,sans-serif;"><br /></span>
<span style="font-family: Verdana,sans-serif;">I have the exercises in books, on printed sheet
music, in Kindle books and even in apps on my iPad. It's been like
learning another language. It's the most mind-numbing, technically
challenging thing I've ever done. My partner says that some of jargon I
quote now sounds like I'm speaking another language.</span><br />
<span style="font-family: Verdana,sans-serif;"><br /></span>
<span style="font-family: Verdana,sans-serif;">She also says
(now) that I really seem to understand it. Also, when I first played
her a tune, she couldn't work out the name of it. When I played her the
same tune recently, she said - "wow, will you play that at the Christmas
party, it sounds great!".</span><br />
<span style="font-family: Verdana,sans-serif;"><br /></span>
<span style="font-family: Verdana,sans-serif;">She told me I sounded like one of my
hero sax players - Courtney Pine - who plays at lightening speed. She was probably being
nice to me, but actually I know that I now play quite fast and with a
good tone.</span><br />
<span style="font-family: Verdana,sans-serif;"><br /></span>
<span style="font-family: Verdana,sans-serif;"><i>And my point is...</i></span><br />
<span style="font-family: Verdana,sans-serif;"><br /></span>
<span style="font-family: Verdana,sans-serif;">Photography, like anything else worth doing - but which looks easy when you see it done well - is extremely technical.</span><br />
<span style="font-family: Verdana,sans-serif;"><br /></span>
<span style="font-family: Verdana,sans-serif;">But
unless you do the homework, understand the jargon and practice (a lot)
you'll never get to the point where it all just makes sense, and the
technical side allows you to do what you wanted to do in the first place
- take good photographs.</span><br />
<span style="font-family: Verdana,sans-serif;"><br /></span>
<span style="font-family: Verdana,sans-serif;">The technical side is the "engine room"
that sits there in the background, but is really driving the thing along
and without it, you'll get nowhere.</span><br />
<span style="font-family: Verdana,sans-serif;"><br /></span>
<span style="font-family: Verdana,sans-serif;">It's boring and not glamorous, but when you put it all together, with a good idea for a
photograph - and a creative eye for composition (that's also a very
technical aspect that needs to be learned) you get great
photographs.</span><br />
<span style="font-family: Verdana,sans-serif;"><br /></span>
<span style="font-family: Verdana,sans-serif;">But you can't just have a good eye. If you don't
understand exposure and white balance, and ISO and focus, the photos just
don't work.</span><br />
<span style="font-family: Verdana,sans-serif;"><br /></span>
<span style="font-family: Verdana,sans-serif;">But when you do, and then "play" the camera your way, it will
suddenly produce great photographs. </span><br />
<span style="font-family: Verdana,sans-serif;"><br /></span>
<span style="font-family: Verdana,sans-serif;"><br /></span>
<br />Stephen Powerhttp://www.blogger.com/profile/07897506071146176547noreply@blogger.com1tag:blogger.com,1999:blog-350864851972883197.post-66934848519552442972014-03-02T19:12:00.001+00:002019-06-24T17:58:30.973+01:00PI Module 3 - Greyscale Test Setup<span style="font-family: "arial" , "helvetica" , sans-serif;">Assignment 3 of the Diploma in Professional Photography course, from The Photography Institute, seems to get a lot of students feeling frustrated and it's got a reputation for being difficult. </span><br />
<br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">I used to teach on that course, and I agree that it's a technically-based assignment. However, photography is a lot more technical than some new photographers care to admit. </span><br />
<br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">But, I don't agree that it's an impossible assignment, and not even one that is as difficult as it may first appear. All of the answers in are in the module, they may just take a bit of reading. </span><br />
<br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">I have offered many students some additional guidelines in terms of photographing the grey cards - and I thought I would share them below. </span><br />
<br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">I guarantee that if you follow them to the letter you will be through that part of the assignment in no time. </span><br />
<br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">It's not really anything you won't find in the module and it's not a "cheat sheet". But it may help some students clarify this aspect of the assignment. </span><br />
<br />
<b><span style="font-family: "arial" , "helvetica" , sans-serif;">First of all...the zone V position and whether it favours highlights or shadows question....</span></b><br />
<br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">This is much easier than it seems. You just need to know if your zone V numbers are lower or higher than the exact middle of the zone ruler range (the module tells you what that number is). </span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">If your zone is lower than the middle the sensor favours the shadows, meaning that it may under exposure average tones. If they are higher than the middle values, than it favours highlights, and the sensor may over exposure average tones - very practical information to have at your disposal. </span><br />
<br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">****************************************** </span><br />
<br />
<span style="font-family: "times" , "times new roman" , serif;">1. Before taking a shot, pin or tape the grey card to a wall and try
to make sure that the light is soft, but not too dull (maybe a thin
cloud cover if outside but inside in a room with daylight is probably
best). It's best not to use a wall with bright colours that may reflect
onto the card. A white or grey wall is best (also the same for the
ceiling if you are inside).</span><br />
<br />
<span style="font-family: "times" , "times new roman" , serif;">2. Make sure that you set the camera
to "spot" (or "partial") metering and ensure that you fill the frame of
the camera with the grey card - look through the viewfinder and not the
screen to do this as it gives more accuracy, and meter from the centre
of the card. Keep the camera on a tripod if possible.</span><br />
<br />
<span style="font-family: "times" , "times new roman" , serif;">Turn off
"auto ISO" and set it quite low to 100 or 200 ISO. If your numbers are
too high at the darker end of the zone, this could actually be causing a
lot of the over exposure problems.</span><br />
<br />
<span style="font-family: "times" , "times new roman" , serif;">Set a custom white balance - your camera manual will explain how to do it if you're not sure.</span><br />
<br />
<span style="font-family: "times" , "times new roman" , serif;">3.
To set up the first exposure, set the camera to manual and then set the
aperture to f8. Then, while looking through the viewfinder, move the
shutter speed dial - probably DOWN - until the exposure meter (a scale
in the viewfinder) is at zero (usually in the middle of the scale.)</span><br />
<br />
<span style="font-family: "times" , "times new roman" , serif;">4.
This is your first "correct" exposure reading. Take a note of these
settings (f8 for the aperture - and whatever shutter speed is showing
when you half depress the shutter button). Take the first shot of the
grey card at these settings.</span><br />
<br />
<span style="font-family: "times" , "times new roman" , serif;">5. Then turn the shutter speed dial
(not the aperture dial) UP - slower speeds - by 3 clicks (one full stop)
and take another shot of the grey card. Do this for 6 shots and then go
to step 15.</span><br />
<br />
<span style="font-family: "times" , "times new roman" , serif;">6. Then reset the aperture and shutter speed to the numbers you wrote down.</span><br />
<br />
<span style="font-family: "times" , "times new roman" , serif;">7.
Then click the shutter speed DOWN - faster speeds - for 3 clicks (one
full stop) and take another shot of the grey card. Do this for 6 shots
in total. </span><br />
<br />
<span style="font-family: "times" , "times new roman" , serif;">You should now be at step 18.</span><br />
<br />
<span style="font-family: "times" , "times new roman" , serif;">If zone 0 is still too high (above 0) go back to step 3 and set the aperture to f11 - or f16 and try again.</span><br />
<br />Stephen Powerhttp://www.blogger.com/profile/07897506071146176547noreply@blogger.com2tag:blogger.com,1999:blog-350864851972883197.post-23019163852521667852013-01-07T15:43:00.000+00:002016-05-14T19:10:27.868+01:00Random Acts of Kindness Re-Visited <span style="font-family: Verdana,sans-serif;">On this blog, in 2008, I wrote about my first year of blogging and tied it in with something that happened in my first professional year of photography 30 years ago. So, to start off 2013 and celebrate a full 30 years of carrying around a serious camera, I'm recalling that post and adding some additional paragraphs to update it - it at the end. </span><br />
<span style="font-family: Verdana,sans-serif;"><br /></span>
<span style="font-family: Verdana,sans-serif;">.....Way back in 1982, I was sent, by a picture agency, to cover the launch of a British TV 'soap' called "<span style="color: black;"><a href="http://en.wikipedia.org/wiki/Brookside">Brookside</a>",
at the modern, Liverpool housing estate in which it was set and filmed.
I was, in every sense of the phrase, a "fledgling" freelance
photographer and felt totally out of my depth, surrounded, as I was, by
photographers from almost all of the British national daily papers and
large circulation magazines.</span></span><br />
<span style="font-family: Verdana,sans-serif;"><br /></span>
<span style="font-family: Verdana,sans-serif;">At one point, during the day, I turned up a bit late, to photograph actors <a href="http://en.wikipedia.org/wiki/Ricky_Tomlinson">Ricky Tomlinson </a>and <a href="http://en.wikipedia.org/wiki/Sue_Johnston">Sue Johnston </a>(who, incidentally was brought up in the small town - <a href="http://en.wikipedia.org/wiki/Prescot">Prescot</a>
- in which I was born and raised) who were posing as "man and wife"
outside the house their characters "owned" on Brookside Close. I was
fumbling with my camera so much that all of the other photographers in
the press pack had finished shooting Ricky and Sue, before I had even
taken my first photograph. I stood there, forlornly watching the stars
walk away from the set, when (I'm not sure how) Ricky Tomlinson noticed
me, and called across to his co-star <span style="font-style: italic;">"hey Sue, this lad hasn't got his pictures, come back and pose again for him, please" </span>which she did, most graciously.</span><br />
<span style="font-family: Verdana,sans-serif;"><br /></span>
<span style="font-family: Verdana,sans-serif;">I've
never forgotten that small, random act of kindness from Ricky
Tomlinson. I didn't really thank him properly at the time, but I do make
sure I mention it to friends, whenever I see him on TV - usually in the
hit show <a href="http://en.wikipedia.org/wiki/Royle_Family">The Royle Family </a>(which also features Sue Johnston)......</span><br />
<span style="font-family: Verdana,sans-serif;"><br /></span>
<span style="font-family: Verdana,sans-serif;"><span style="color: #351c75;"><span style="background-color: white;">(additional notes).....<span style="color: black;">I was recently visiting my father at Christmas time, when we decided to go to a local pub for lunch - with my son and my partner. </span></span></span>We arrived in the middle of a jam-packed pub, to discover that a Christmas party was being held for a local old-age pensioners group, and the place was in full-swing.</span><br />
<span style="font-family: Verdana,sans-serif;"><br /></span>
<span style="font-family: Verdana,sans-serif;">At first, we thought that there would be no tables available for us, and left the pub, heading for the car. We were called back by a waitress, who was outside on her break, and who suggested that we should go back inside as a table would be found for us (another small random act of kindness). We went back into the pub and a table was quickly found for us. My partner and I went to the bar to order food, and I was studying the menu when she almost shouted...<i>LOOK WHO'S HERE!</i></span><br />
<span style="font-family: Verdana,sans-serif;"><br /></span>
<span style="font-family: Verdana,sans-serif;"><i>I turned around, to see non other than Ricky Tomlinson standing right next to our table. He was the invited guest of honour at the party.</i></span><br />
<span style="font-family: Verdana,sans-serif;"><br /></span>
<span style="font-family: Verdana,sans-serif;">I went over and introduced myself and told the subject of my long-told story, the long-told story of his own random act of kindness to me. We had a chat, he thanked me for remembering his own kind actions, and he aksed me if I was still a photographer. unfortunately, I had moved too far away from Liverpool to be of any real assistance to this now very famous actor. He said hello to my family and called me "kid" as we talked (which is a real term of endearment in Liverpool) and wished me well with my future work, before he left.</span><br />
<span style="font-family: Verdana,sans-serif;"><br /></span>
<span style="font-family: Verdana,sans-serif;">That chance meeting has brought my own encounter with him full circle and I'm delighted and amazed that it happened.</span><br />
<span style="font-family: Verdana,sans-serif;"><br /></span>
<span style="font-family: Verdana,sans-serif;">I hope 2013 will bring you lots of good things, both in your professional and personal lives and if you do encounter a random act of kindness - remember it. You never know when you'll get a chance to repay it - or just thank someone for it - and it could take 30 years! </span><br />
<br />
<span style="font-family: Verdana,sans-serif;"><b><i><span style="font-size: x-small;">p.s. My father died on 13th March 2016. This is one of the more pleasant recent memories I had of being in his company. </span></i></b></span><br />
<span style="font-family: Verdana,sans-serif;"><br /></span>
<br />Stephen Powerhttp://www.blogger.com/profile/07897506071146176547noreply@blogger.com2tag:blogger.com,1999:blog-350864851972883197.post-88405557580465881142012-09-16T14:53:00.004+01:002012-09-17T00:28:37.518+01:00Cameracraft - Revival of the 'Real' Photo Magazine<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-bIpww8Jk4n4/UFXS-SIq9JI/AAAAAAAAAYI/WYMN7HILIjo/s1600/cameracraft-cover1.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="http://1.bp.blogspot.com/-bIpww8Jk4n4/UFXS-SIq9JI/AAAAAAAAAYI/WYMN7HILIjo/s320/cameracraft-cover1.jpg" width="225" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://www.iconpublications.com/cameracraft/">Click here to go the the Cameracraft page</a></td></tr>
</tbody></table>
I was taking a short weekend break with my partner Marj, at her hideaway in County Kerry, Ireland, recently, when I realised that I had forgotten to pack my Kindle.<br />
<br />
Now, if you're me, and you've just finished a long photography commission and the light isn't good enough to snap a few potential stock library images; then you'll need something to read. And, not just <i>anything</i> to read, either. I'm not the sort of person who can while away an hour or two catching up on what trials and tribulations Katie and Peter are suffering right now or finding out how I can lose 10 kilograms in 3 weeks by only eating tofu and baked beans (with some great recipe ideas thrown in).<br />
<br />
It had been a while since I'd read a good photography magazine, so I headed for a well-stocked newsagents to get one. But I was out of luck. Oh, there were several titles on the shelf - and some I remembered from the days when I was buying three or four photo mags a month, plus a well known weekly one too (which I admired greatly back in the day). But there wasn't one that I wanted to really <i>read.</i> They were full of "how to" hints and tips (many of which seemed to have been recycled from from last year, and probably the year before that.) "<i>How to take great landscape photographs</i>"; "<i>How to take great portraits</i>"; "<i>How to take great shots of your cat</i>" (I swear that I actually saw that article - or was it just a bad dream?) I came away without a camera magazine and still nothing to read. I don't like the idea of spending good money on recycled, dumbed-down step-by-step guides on things that I knew 20 years ago, and which were not offering me (or most readers, I reckon) anything new. And, more importantly, I think a camera magazine should challenge my view of what photography is all about - and encourage me to get a new persepctive on what is happening in the world of photography, today.<br />
<br />
Then I heard about <a href="http://www.iconpublications.com/cameracraft/"><b>Cameracraft.</b></a> It's a new subscription only, glossy, high quality quarterly photography magazine published by Icon Publications and Edited by David Kilpatrick in Scotland and associate editor Gary Friedman in Los Angeles. The publishers make the claim that <i>Cameracraft returns to the foundations of good photography. </i>They also claim that their "...<i>invited retrospectives and working project portfolios will set a new
standard."</i> And that the "<i>...visual content will open your photographic eyes, our view
of photographic technology and history will absorb you, our practical
advice and experience will help you." </i><br />
<br />
Then they make another big statement - which reminded me of the array of dumbed-down "how to" mags currently on the newsagaents shelves". <b><i>We promise this will not be just
another photo magazine and the work we print will not be a repetition of
popular themes.</i></b><br />
<br />
Well, I got a copy the other day and you know what - they have kept all of their promises, and then some.<br />
<br />
OK, a small proportion of my own work is in the first issue but, even if it wasn't, I'd still be feeling and saying the same things about this important and very welcome new edition to the photography publishing world. It is a serious, well written, intelligent magazine with a top class selection of imagery, beautifully printed and presented on high quality paper. It's a joy to hold and read - and yes you <i>have</i> to hold a photography magazine in your hands, in my view, electronic versions just don't "cut it".<br />
<br />
The publishers have gone to great lengths to make sure that the images are presented to the highest possible standard. David Kilpatrick (who has worked on my many top photography titles, including some of my favourites from way-back-when) told me: <i>"...we...use a very faint blue, almost impossible to see, which makes b/w images
appear to separate from the page better. Using these very pale tints let the
white of the photo appear brighter, without apparently colouring the page." </i>And the difference is there for all to see.<br />
<i><br /></i>
One thing I tell all of my online photography students is that in order to <i>make</i> good photography, you have to <i>look at </i>great photography. Sadly, the opportunities to do that are becoming less frequent, certainly via the medium of the photo magazine. But in my view, Cameracraft provides a welcome revivial of serious photography publishing and a magazine to read with satisfaction and to keep with pride.<br />
<br />
I just wish it had been published before I got to Kerry that wet weekend! Stephen Powerhttp://www.blogger.com/profile/07897506071146176547noreply@blogger.com0tag:blogger.com,1999:blog-350864851972883197.post-55712165837745302172012-07-26T18:47:00.001+01:002012-07-26T22:00:18.559+01:00How to Get New Photography Clients<div style="color: #e06666;">
<i><b>You may lose the Sale - but you should Never Lose the Client!</b></i></div>
<div style="color: #e06666;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://3.bp.blogspot.com/-1gZidnLQk_c/UBGCSBl00ZI/AAAAAAAAAX8/WkVIG3JP3LQ/s1600/highkeyboy-1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="http://3.bp.blogspot.com/-1gZidnLQk_c/UBGCSBl00ZI/AAAAAAAAAX8/WkVIG3JP3LQ/s200/highkeyboy-1.jpg" width="161" /></a></div>
<div style="color: #e06666;">
<span style="color: black;"> All you need to be successful as a photographer is a good camera and a good understanding of how to use it, right? Wrong.</span><i><b> </b></i><span style="color: black;">You need</span><i><b> </b></i><span style="color: black;">to find potential clients -and when you have found them, you need to turn them into new clients - or at least good contacts for future sales. I've become a bit concerned by seeing how some photographers operate with new clients and even with each other, sometimes. </span></div>
<div style="color: #e06666;">
<br /></div>
<div style="color: #e06666;">
<span style="color: black;">Giving a sense of professionalism and going the extra mile for a client can make all the difference to winning or losing new business. Even just using a person's name in a message - I frequently get "hey there" or "_______" (nothing) as the greeting line in messages to me - can give a new client a good or bad first impression of how professional or "experienced" the photographer is likely to be, and if they should continue the business process. </span></div>
<br />
<span style="color: black;">Very late last night, just as I was stopping work and heading for the TV, I got an email from the CEO of a well known specialist record / CD label that I recognised, but with whom I hadn't ever worked or been in contact with, previously. In fact, I had always thought, due to its name, that the company was based in Ireland (as I am) and it struck me that they were working over-time in the office. On Googling them, I discovered that they are actually based in the USA, and so the time difference suddenly made sense.</span><br />
<br />
<span style="color: black;">The email outlined the fact that the label was urgently looking for an image to feature on the cover of new compilation CD that they were launching, and they had seen one of my images that "had the right vibe" but which didn't quite meet the criteria they were working with. Did I have any other images from the same shoot? Was I able to let them have some samples to view, as soon as possible?</span><br />
<br />
<span style="color: black;">The fact is that the image they saw had been taken over 6 years ago, and it, and all the other shots taken at the same time, had long since been archived. I wasn't even sure which hard drive they were on - I have several stored away. </span><br />
<br />
<span style="color: black;"><b>The first thing I did</b> was immediately email the CEO back, thank him for contacting me and tell him that I was aware of the company, and that I had even bought some of their albums in the past (which was true). This set up a rapport with the (now) <i>potential client</i> who came straight back, thanked me for my prompt response and gave me more information about precisiely what they were hoping to see in my images. </span><br />
<br />
<span style="color: black;"><b>The next thing I did </b>was start looking for the image they had seen. I found it in about an hour, and a few others with it. I then re-processed the images (it's amazing how Lightroom 4 can really make an older processed image look completly transformed) and then went on another search. Within 2 hours I had found 16 images that fitted the brief from the potential client. It was now after midnight in my part of the world.</span><br />
<br />
<span style="color: black;"><b>Then I contacted the CEO again </b>and told him that I had found the images and I would build a web gallery and send him the link by the next morning (his time) so he could preview them.</span><br />
<br />
<i><b><span style="color: black;">I then built the web gallery and sent him the link - sooner than he was expecting it: making a promise, then going a bit further for the client always gives a good impression of your ability to provide a top class service. </span></b></i><span style="color: black;">And then I went to bed (close to 2.30am my time).</span><br />
<br />
<b><span style="color: black;">T</span></b><span style="color: black;"><b>he next morning (today)</b>, there was an email waiting for me, part of which read..."</span><i>Thanks for your quick action. I am going to show the photos to others involved
in the project…<span style="color: black;">great photos in any case..." </span></i><br />
<br />
<b><span style="color: black;">Between </span></b><span style="color: black;"><b>then and an hour ago</b>, there were other </span><span style="color: black;">emails in which I established more connections between myself and the CEO - telling him that I had a new book out on music photography and that I had actually photographed some of the label's artists. He asked about the book and I sent him a link to information about it and samples from it. </span><br />
<br />
<span style="color: black;"><b>An hour or so ago</b>, the word came that my images did not meet the criteria that they were looking for (and photography is so subjective that unless you shoot to a specific brief, it's unlikely that everyone involved in a selection process will find what they need from 16 images, so I was never that hopeful, really. But, I am extremely pleased with the outcome. The final email from the CEO said: </span><br />
<div>
</div>
<div>
<i>...but we really appreciate your response to our query and we'll keep you in
mind for future needs! Best regards...PS: will check out the book!</i></div>
<div>
</div>
<div>
<br />
<i>R<b>emember, this is the CEO of a major record label, whom I did not know of until late last night, saying he will keep me in mind for future work and that he will look at my book. </b></i></div>
<div>
</div>
<div>
<br />
Would you say I lost a sale? Or that I made an important new contact? And, which is more important? </div>
<div>
</div>
<div>
<br />
Both are obviously important, but in the long term esptablishing good professional contacts and giving new clients a good impression of yourself is vital to professional photography. I'm actually very happy with the way it turned out and I will be sure to make another contact (without being too pushy) in weeks to come. </div>
<div>
</div>
<div>
<br />
OK, my image may not be adorning the new CD cover...but I am now in with a chance of getting the next one! <span style="color: black;"> </span></div>Stephen Powerhttp://www.blogger.com/profile/07897506071146176547noreply@blogger.com1tag:blogger.com,1999:blog-350864851972883197.post-57960973548460937892012-07-02T10:51:00.002+01:002016-05-14T19:11:19.533+01:00Depth of Field Defined<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-rr-1reNZ4cA/T7aNgY8WSOI/AAAAAAAAAXc/jvrXQJBjGCg/s1600/razor+clams+sharp.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="211" src="https://1.bp.blogspot.com/-rr-1reNZ4cA/T7aNgY8WSOI/AAAAAAAAAXc/jvrXQJBjGCg/s320/razor+clams+sharp.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Wide depth of field</i></td></tr>
</tbody></table>
<br />
<br />
<span style="font-family: Verdana,sans-serif;">I get (mildly) irritated by lots of things...grey skies when I need blue ones for a travel shoot; stale milk when I'm craving a bowl of cornflakes...the way the England soccer team take (or don't take) penalties; a power cut at dinner cooking time in my all-electric house etc, etc.</span><br />
<span style="font-family: Verdana,sans-serif;"><br /></span>
<br />
<br />
<br />
<span style="font-family: Verdana,sans-serif;">There is one thing that seems to be irking me more than usual though, lately. It's when photographers say "<i>great depth of field</i>" when looking at an image that has limited focus in it. Because, that's not "depth of field" at all. It's "shallow depth of field".</span><br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-nHJbUCZEziY/T7aNjKFI0DI/AAAAAAAAAXk/SvKfQ4x41ao/s1600/razor+clams+blurred.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="212" src="https://3.bp.blogspot.com/-nHJbUCZEziY/T7aNjKFI0DI/AAAAAAAAAXk/SvKfQ4x41ao/s320/razor+clams+blurred.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>shallow depth of field</i></td></tr>
</tbody></table>
<span style="font-family: Verdana,sans-serif;">There is depth of field in every photograph that you take. Sometimes there's a lot of it and sometimes there's a little. Probably the simplest way of thinking about it, is as "the depth of the field (field as in "area") of sharpness". A landscape that is sharply focused from the farmers gate in the foreground of the scene, taking in the cottage in the centre-ground and all the way back to the hills in the background has a wide depth of field. A portait that has only the person's face correctly focused but the trees or wall in the background toally blurred out has shallow depth of field. But they both have depth of field. </span><br />
<br />
<br />
<div class="MsoNormal">
<span style="font-family: Verdana,sans-serif;">My definition is...</span></div>
<div class="MsoNormal">
<span style="font-family: Verdana,sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: Verdana,sans-serif;"><b><i>Depth of field is the
area in front of and behind the subject that is also sharp when the subject is
in focus". </i> </b></span></div>
<div class="MsoNormal">
<span style="font-family: Verdana,sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: Verdana,sans-serif;">Depth of field roughly extends 1/3rd in font of and
2/3rd behind the focused point. How far it extends depends on the aperture
chosen - wide apertures (low f-stop numbers) give a shallow DoF and
small apertures (high f-stop numbers) give a broad DoF - and also on the
distance of the camera from the subject (DoF falls off quickly the closer you
take a lens to the subject) and the focal length of the lenses (wide angle
lenses have broader DoF than telephoto lenses at the same aperture).</span></div>
<div class="MsoNormal">
<span style="font-family: Verdana,sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: Verdana,sans-serif;">When photographers talk about the background being blurred
in an image, or objects being more in focus than others, as "depth of
field" (as in; "I wanted depth of field in this image so I blurred
the background"), this is not technically correct - and it is more
accurately described as "differential focus" or "shallow depth
of field".</span></div>
<div class="MsoNormal">
<span style="font-family: Verdana,sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: Verdana,sans-serif;">OK, I'm much calmer now that's off my chest. Please; let no one pronounce I.S.O. as "eye-so" (it's an abbreviation - International Standards Organisation- not a word) and I'll have a perfectly relaxed day! </span></div>
<div class="MsoNormal">
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Stephen Powerhttp://www.blogger.com/profile/07897506071146176547noreply@blogger.com0tag:blogger.com,1999:blog-350864851972883197.post-23015819442124562992012-06-28T12:18:00.000+01:002012-06-28T12:37:40.074+01:00Alamy White Paper on Image Licensing<div class="separator" style="clear: both; text-align: center;">
<a href="http://1.bp.blogspot.com/-g2eJxb03klg/T-w9QtWpSAI/AAAAAAAAAXw/g2x9lQRvmog/s1600/hands+off.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-g2eJxb03klg/T-w9QtWpSAI/AAAAAAAAAXw/g2x9lQRvmog/s1600/hands+off.jpg" /></a></div>
<br />
<br />
Alamy, the major international online stock photography agency, have published their "white paper" on possible changes to image licensing issues, following a "round table" discussion (actually, the table was rectangular from what I saw in the photo they published) with "key industry figures" (you work it out - I know I wasn't there).<br />
<br />
<br />
You can download the white paper <a href="http://www.alamy.com/images/press-releases/2012/round-table-report/Alamy-white-paper.pdf">by clicking here.</a><br />
<br />
They asked for feedback on their Facebook page and I have offere<span class="text_exposed_show">d mine, copied below, for what it's worth to them (probably as much as a "novel use" image fee).<br /> <br />
<b><i>The comments you quoted from Roy Clarke come close to echoing my own
long held views. But in addition to "dishonesty" (and I have had over 40
infringements of image use in the last 2 months) I would add the
concept of "umbridge", to suggest that some buyers are reluctant to pay
above microstock rates for images, as they may believe alternatives can
be obtained for free or for less than Alamy rates. </i></b></span><br />
<br />
<b><i><span class="text_exposed_show">It may be a problem
of ignorance ("why do we have to pay for photographs anyway") and/or a
trend towards a devaluing of imagery generally, both by the general
public and - sadly - the publishing media. The fact that my own images
have appeared unpaid, uncredited and without my permission in printed
and digital media published by professional journalists (often members
of professional associations) have led me to conclude that photography
is sometimes considered to be "cheap" and photographers not even worthy
of professional courtesy at times.</span></i></b><br />
<br />
<span class="text_exposed_show">What I didn't add, because it may have seemed churlish, is that the stock photography "industry" seems moribund, to my mind, if not dead-in-the-water already. The market is over-crowded, micro-stock agencies sell images by the dozen for a pittance and photography, generally, is losing the status of being a valued commodity - <i>"hey, he published it on the internet, it must be free for everyone to use whenever we like" </i></span><b><span class="text_exposed_show">(everyone in agreement with the previous point please note: "use" is an anagram of "sue"). </span></b><br />
<br />
<span class="text_exposed_show">Is this the end of profitable stock photography as we know it? Maybe it depends on what Alamy do next? </span><b><span class="text_exposed_show"><br /></span></b><br />
<b><i><span class="text_exposed_show"><br /></span></i></b><br />
<b><i><span class="text_exposed_show"><br /></span></i></b>Stephen Powerhttp://www.blogger.com/profile/07897506071146176547noreply@blogger.com0tag:blogger.com,1999:blog-350864851972883197.post-71241950527248689122012-05-18T19:05:00.002+01:002013-07-15T16:24:56.886+01:00Stops in Photography<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://1.bp.blogspot.com/-rr-1reNZ4cA/T7aNgY8WSOI/AAAAAAAAAXc/jvrXQJBjGCg/s1600/razor+clams+sharp.jpg" imageanchor="1"><img border="0" height="132" src="http://1.bp.blogspot.com/-rr-1reNZ4cA/T7aNgY8WSOI/AAAAAAAAAXc/jvrXQJBjGCg/s200/razor+clams+sharp.jpg" width="200" /></a><a href="http://3.bp.blogspot.com/-nHJbUCZEziY/T7aNjKFI0DI/AAAAAAAAAXk/SvKfQ4x41ao/s1600/razor+clams+blurred.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="132" src="http://3.bp.blogspot.com/-nHJbUCZEziY/T7aNjKFI0DI/AAAAAAAAAXk/SvKfQ4x41ao/s200/razor+clams+blurred.jpg" width="200" /></a></div>
<br />
<br />
Lots of beginners to photography hear the word "stop" or f-stop" and become quite confused. So, I thought I would try and explain the theory behind the mysterious "stop". <br />
<br />
In photography, "stop" is the word used to mean double the previous amount of a value applied to a camera setting - if
the value is increasing - or half the amount if the value is decreasing. It applies to ISO,
shutter speed and aperture settings.<br />
<br />
The term<b> f-stop</b> refers specifically to an aperture setting -
because on old film cameras the ring around the lens that was used to
change the aperture values had a notch it in when the next "stop" for
the aperture setting was reached.<br />
<br />
But, for shutter speed and ISO changes, the term "stop" is also used (without the "f") to signify a change in the value. <br />
<br />
<b>With ISO</b> (which start from 50) a one
stop increase is 50 to 100 or 100 to 200 or 400 to 800. Two stops is 100
to 400 or 400 to 1600. So, from 100 to 200 ISO you are making the sensor twice as sensitive to light, and if you go from 200 to 100 ISO, you are making the sensor half as sensitive to light. <br />
<br />
<b>With shutter speeds</b>, a one stop change is
1/30th second to 1/15th second, or 1 second to 2 seconds, for example. Two stops is 2
seconds to 8 seconds (all examples - there are others). A one stop shutter speed change lets in half as much light if the shutter speed is doubled (slower speed) or twice as much light if the shutter speed is halved (faster shutter speed). With most cameras,
shutter speeds start at 30 seconds and go to 1/4000th or 1/8000th
second.<br />
<br />
For ISO and shutter speed settings, the values are arithmetical - so
you can easily work out the change needed for any number of stops - just double or half the previous amount. If you want to increase an ISO by 3 stops and you are starting at ISO 100, you go to ISO 800 (100 x 2 x 2 x2). If you want to increase the shutter speed by 4 stops and you're starting at 2 seconds, you go to 1/8th of a second (2 seconds halved, and halved again, and halved again and halved again). <br />
<br />
Just be aware that there are a couple of changes in the shutter speeds that are not
exactly arithmetical.Shutter speeds change from 1/8th second to 1/5th second (not 1/16th) and 1/60th second to 1/125th (not 1/120th), for example. <br />
<br />
<b>With Apertures</b>: <br />
<br />
Depending on where you start, 3 clicks of the dial (on most cameras) is one full stop up or down. If you start at f4 it goes: <b>F4,</b> f/4.5 f/5,<b> f/5.6 </b>(f5.6
is one stop smaller than f4). At f5.6 the aperture is now half as big
as it was at f4 and only half the amount of light that was coming through the lens when set at f4 will reach the sensor.<br />
<br />
One stop from 5.6 is f8 (<b>f5.6</b>, f6.3, f7.1, <b>f8</b>). Now half the light that was coming in at f5.6 is coming in at f8 (the aperture is only half as big again).<br />
<br />
You
can also see that there are now 2 stops between f4 and f8 (6 clicks). 4
times less light is coming in at f8 than there was at f4. If the
exposure was correct at f4, it's now 2 stop UNDER-exposed (4 times less
light).<br />
<br />
The list of f-stops below starts at f4 (and ends at f32) with the full stops in bold.<br />
<b>f4,</b> f/4.5 , f/5, <b>f/5.6,</b> f/6.3, f/7.1, <b>f/8</b>, f/9, f/10,<b> f/11</b>, f/13, f/14, <b>f/16</b>, f/18, f/20,<b> f/22</b>, f/25, f/29, <b>f32</b><br />
<br />
Each
stop is letting in half as much light as the previous one (or twice as
much more - if you work backwards and open the aperture up).<br />
<br />
I am grateful to <a href="http://photoblog.coulterfamily.net/">Scott D Coulter</a> for clarifying the mathematical relationship between f-stops. Basically, to find the next f-stop you multiply the one before it by the square root of 2 (1.4 plus some decimal points) and round it up or down. So, to find the next f-stop from f8, you multiply it by 1.4 = 11.2, rounded down it becomes f11. <br />
<br />
The smallest aperture numbers signify a wide aperture. The larger aperture numbers signify smaller apertures. The wider apertures give the effect of what is called "shallow depth of field" (lots of blurring in the foreground and background of the photograph) and smaller apertures give the effect of "wide depth of field" (lots of sharpness throughout the entire photograph).<br />
<br />
See the two photos above for examples of a wide and small aperture used on the same scene. <b></b><br />
<b><br /> </b><br />
<b>You can read more about "Depth of Field" in <a href="http://thesnappysnapper.blogspot.ie/2012/07/depth-of-field-defined.html">another of my blog posts here.</a><br /> </b>Stephen Powerhttp://www.blogger.com/profile/07897506071146176547noreply@blogger.com4tag:blogger.com,1999:blog-350864851972883197.post-25926857221671947402012-03-11T12:23:00.011+00:002012-03-15T11:28:21.356+00:00Unauthorized Use of Photography and Copyright Abuse<div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/-75eIubgr69M/T1y8R2Ok9JI/AAAAAAAAAXU/nD_BW7L7Erk/s1600/hands+off.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="198" src="http://4.bp.blogspot.com/-75eIubgr69M/T1y8R2Ok9JI/AAAAAAAAAXU/nD_BW7L7Erk/s200/hands+off.jpg" width="200" /></a></div>In the last 3 days alone, I have found - either through looking or by sheer accident - around 20 examples of my photographs being used without my knowledge or permission. These uses include commercial websites, forum posts, email newsletters and the cover of a specialist, internationally published magazine.<br />
<br />
In every case, I was not asked if my photographs could be used, I was not told about their use, my name was not used with the photographs and I was certainly not paid for the useage.<br />
<br />
I managed to contact some of those who had taken my images, via: email, Facebook messaging and telephone. The responses that I got back have, so far, varied from: <b>no reply</b>; <b>abuse</b> ("<i>we don't want your **** pix anyway</i>"); <b>outrage</b> ("<i>how dare you suggest that I have stolen your images - I will be calling my solicitor</i>"), <b>surprise</b> ("<i>I had no idea that they were not free - I found them on Google images</i>"), <b>apology</b> ("<i>I am genuinely sorry to have caused you upset</i>") and <b>practical reparation </b>("<i>how's this for a solution?</i>").<br />
<br />
One person has taken the webpage with my image on it down, another person has issued a correction giving a link to my website and the magazine has offered free advertising space in the next edition. Some webmasters have not replied as yet, and many of the photographs are still (illegally) on show. Interestingly, although I told everyone that there was a fee involved for using my images, no one has offered to pay hard cash for them.<br />
<br />
Before I give some practical tips on how to find and persue the misuse of photographic imagery, I just want to let those people who trawl the web looking for free top-class photography into a secret:<br />
<br />
<i>Someone took that photograph you found.</i> And because they own the copyright to it, taking it without permission is likely to be an offence in law. But more importantly, if you go onto a professional photographer's website and take thier images - you are also taking their opportunity to make a living. Professional photographers (like me) only make our money (you know, the stuff we use to get food and keep a roof over our heads) from taking photographs and selling them. Not by letting you use them for free, without asking and without even having the decency to say who took the photograph that you now use to adorn your own website or magazine cover or office wall.<br />
<br />
I have spent nearly 30 years honing my craft so that my photography is good enough to be used in books, magazines, websites and brochures. And, (this is really important) <i>it is now good enough to be paid for. </i>Unless I have expressly given my work to you for your own use (only) - often with my thanks for help you have given me -<i> I will expect you to pay for it.</i><br />
<br />
<b>How to Find Your Photography on the Internet</b><br />
<br />
1. <b>Use a reverse search engine </b>such as <a href="http://www.tineye.com/">"Tineye"</a> or <a href="http://jarred.github.com/src-img/">"src-img"</a>. (click the names to go to the websites for these utilities). They are very easy to use, and basically all you have to do is highlight the photograph that you want to find. The reverse search engine will then show you any uses of the image on the internet. It may only find where you have put the image yourself (say on your own website - or where you have sold the image to others for legitimate use). But it may also find the photograph where you least expected it.<br />
<br />
2. <b>Use Google Analytics</b> to narrow down your searches. If you have a large number of photographs on your own website, you may not know which ones to search for first. I use <a href="http://www.google.com/analytics/">Google Analytics </a>to show me what searches have lead to my own website. If I see a recent visit which has come from a search for "red door" or "coffee cup with hearts" or whatever, and I know that I have an image like that on my website, I go to it and do a src-img or Tineye search on the photograph. I did just that recently and came up with 8 illegal uses in less than 15 minutes.<br />
<br />
<b>How to Protect Your Images on the Internet</b><br />
<br />
1. <b>Put a watermark on every image that you have online. </b>This is easy to do in software such as Photoshop and Lightroom and you can Google tutorials on how to go about it.<br />
<br />
2. <b>Make the watermark BIG and OBVIOUS. </b>It doesn't matter what you put - it can be your own name or the traditional copyright symbol or "<i>keep off it's mine" </i>(or whatever - see my example above) just make sure it's right in the middle of the photograph. If you tuck it away neatly in the corner, it will be easily removed as if it never existed. You can make the opacity lower so that it doesn't completely obscure the image (again easily done in Photoshop) but make sure it covers most of the main parts of the photograph to deter others from trying to take it off.<br />
<br />
3. If you sell (or give away) your photographs for website use: <b>Ask the webmaster to copyright the image or use a copyright statement </b>which may (hopefully) deter third-parties from lifting the images. This gives less protection than the previous method, but at least you are giving out the message that your work is not there for the taking by all and sundry.<br />
<br />
4. <b>Put a clear notice on your website</b> stating that you images are not free and that all usage will involve payment. Put it on every page that you have images. Again, it may ignored, but at least no one can then say "oh, I thought this was free photography!"<br />
<br />
<b>What to Do When You Find Unathorised Image Use</b><br />
<br />
This is a very complex area and there doesn't seem to be one clear solution, yet. But there are some very basic things to do in the first instance.<br />
<br />
1. <b>Take a screenshot of the unathorized use. </b>With the website open so that you can clearly see the website URL and your image on it, press "prtscn" (print screen) on your keyboard, then open "Paint" in "all programs" on a Windows machine (or similar program on a Mac) and then open a new document and click "paste". This saves the screenshot of the webpage - and you have your evidence that the image was used against your wishes - even if they take it down later.<br />
<br />
2. <b>Bookmark the URL of the offending web page. </b>So that you can find it again easily. I have now built up a sizable folder of "illegal usage" bookmarks in my documents directory.<br />
<br />
3.<b> Let whoever used your photograph KNOW that you KNOW. </b>There will usually be some form of contact on the offending website. If not, you can go to <a href="http://www.whois.net/">whois.net </a>and search for the owner of the website. Doing that, I have found not only contact emails but even phone numbers and full addresses of the website owners. How you let them know may vary - email is often the obvious way, but I have also used social network site messaging and even phone calls. Basically you need to tell them that you have seen your photographs used without payment or permission a<i>nd tell them to take it down immediately. </i>You could also contact forum / website webmasters or social networking sites head offices and report the unathorized usage. This usually (but not always) results in the image being removed or the page being taken down.<br />
<br />
Then of course, there is the thorny issue of getting paid for the illegal usage. I know of some photographers who have done this very successfully - and recouped thousands in a short space of time - and others who have come up against a brick wall and got nothing. I will return to how this can be dealt with in another post.Stephen Powerhttp://www.blogger.com/profile/07897506071146176547noreply@blogger.com2tag:blogger.com,1999:blog-350864851972883197.post-86000109171550263482012-01-14T18:53:00.002+00:002012-02-10T09:46:07.213+00:00I must be a good photographer - I have a Good Camera!<div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/-Irn0AjH1DVo/TxHOVUcx8oI/AAAAAAAAAXE/lh7WrfGL784/s1600/amy.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-Irn0AjH1DVo/TxHOVUcx8oI/AAAAAAAAAXE/lh7WrfGL784/s1600/amy.jpg" /></a></div>I had a brief stint as a wedding photographer, in the mid 1980's, and I was recently reminded of something that happened at that time...<br />
<br />
I was photographing the bride and groom in a church garden, in Liverpool, with low afternoon sunlight behind the couple, using a fairly inexpensive TLR (twin lens reflex) with a reasonably good lens. There was basically nothing else to the camera, and so I was using a hand held meter to take a reading close from the bride. <br />
<br />
When I got back to the tripod, a guest (a cousin of the bride) was snapping away at the happy couple with a 35mm camera, and so I thought I'd be helpful and said "by the way, have you compensated for that backlight?"<br />
<br />
<br />
He turned to me with a conptemptuous look on his face and, in a thick "Scouse" (Liverpool) accent said "compensated for the backlight mate? You're joking aren't ya - it's a f***ing Nikon!"<br />
<br />
The moral of the story is that when I took the album to the bride and asked about the photographs that the cousin had taken, the reply I got was - "<i>they all came out black!</i>"<br />
<br />
<br />
Lots of so-called photographers out there today have managed to rake enough cash together to buy a high-end camera, set up a website and hand out a few hundred business cards. But what business do they really have selling themselves as professional photographers, with training or experience.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/-Irn0AjH1DVo/TxHOVUcx8oI/AAAAAAAAAXE/lh7WrfGL784/s1600/amy.jpg" style="margin-left: 1em; margin-right: 1em;"> </a></div><br />
<br />
Have a look at <a href="http://www.rocknrollbride.com/2012/01/should-i-book-a-professional-wedding-photographer-or-get-a-friend-to-do-it-for-free-a-cautionary-tale/">this blog</a> that spells out the dire consequences of hiring a "photographer" with no experience or training, to do a professional job (a wedding). Scroll down to the photos - they speak for themselves - and be warned. You get what you pay for!<a href="http://4.bp.blogspot.com/-Irn0AjH1DVo/TxHOVUcx8oI/AAAAAAAAAXE/lh7WrfGL784/s1600/amy.jpg" style="margin-left: 1em; margin-right: 1em;"></a>Stephen Powerhttp://www.blogger.com/profile/07897506071146176547noreply@blogger.com0tag:blogger.com,1999:blog-350864851972883197.post-55475423384683569082011-12-23T11:34:00.007+00:002011-12-23T12:33:41.623+00:00Rejection? What Rejection?<div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/-Mc4I0VkOSNg/TvRj7ku3ukI/AAAAAAAAAWw/DFVEx6rUFL4/s1600/Traditional+Notes+Cover+72ppi.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="http://1.bp.blogspot.com/-Mc4I0VkOSNg/TvRj7ku3ukI/AAAAAAAAAWw/DFVEx6rUFL4/s320/Traditional+Notes+Cover+72ppi.jpg" width="230" /></a></div><span style="font-family: Verdana,Helvetica,Arial;"><span style="font-size: 12px;">Rejection is something that we photographers come cross on a regular basis - some would say far too regulary. And in all sorts of different guises. </span></span><br />
<br />
<span style="font-family: Verdana,Helvetica,Arial;"><span style="font-size: 12px;">You may come across rejection when contributing to a stock agency that fails your submission due to technical errors or another that declines your submission simply because they have too many images of the Eiffel Tower, or just because they don't think it's a good enough photograph. </span></span><br />
<br />
<span style="font-family: Verdana,Helvetica,Arial;"><span style="font-size: 12px;">Or, perhaps you're a student on a photography course getting grades that are lower than you would like or expect?</span></span><br />
<span style="font-family: Verdana,Helvetica,Arial;"><span style="font-size: 12px;"> </span></span><br />
<span style="font-family: Verdana,Helvetica,Arial;"><span style="font-size: 12px;">Or maybe, like me on this occasion, you were submitting proposals to book publishers in the hope of getting a contract for a new book. </span></span><br />
<br />
<span style="font-family: Verdana,Helvetica,Arial;"><span style="font-size: 12px;">Well, whatever the reason that you may be feeling rejected the correct response is to <i>keep at it</i>. Take on board the feedback you may get (if any) and use it to further your dream. Looking for sympathy doesn't usually help, nor does attacking a doll fashioned in the image of the rejecter with a long pin. The only thing that really helps is that you get back in the proverbial saddle and try again - IF you think that the project is still worth trying for, and adjust your approach to suit the buyer, if you think it needs it. </span></span><br />
<br />
<span style="font-family: Verdana,Helvetica,Arial;"><span style="font-size: 12px;">I recently spent 3 months changing the proposal for a book project, which was constantly being reviewed and changed by the potential publisher. The proposal began life as 1600 words and ended up as 8000 words (none of which will actually be in the book itself) and it was reviewed by 5 different people on a panel that the publisher set up. I got the contract last week, and the publisher expects that the book will be one of their better sellers, when it is published next year.</span></span><br />
<br />
<span style="font-family: Verdana,Helvetica,Arial;"><span style="font-size: 12px;">As a final bit of positivism; here is an email that I received, today, from a publisher in London. It refers to a book proposal I sent them in April 2011. The positive bit is in my reply, below it.</span></span><br />
<br />
<span style="font-family: Verdana,Helvetica,Arial;"><span style="font-size: 12px;"><i>Dear Stephen Power,<br />
<br />
Thank you for sending your proposal for </i><i><a href="http://www.theliffeypress.com/proddetail.php?prod=01-6">Traditional Notes</a>, which was read with interest.<br />
<br />
Unfortunately, after some consideration, our editors have decided that it is not suitable for our current list.<br />
<br />
You will appreciate that we cannot publish every interesting proposal we receive. We would like to thank you for considering ******** when sending your proposal, and we hope that this disappointing response will not deter you from seeking publication elsewhere.<br />
<br />
I apologise for the length delay in responding to your proposal.</i><b> </b></span></span><br />
<br />
<span style="font-family: Verdana,Helvetica,Arial;"><span style="font-size: 12px;"><b>My Reply</b></span></span><br />
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<div style="color: black;"><span style="font-family: Arial; font-size: x-small;"><span style="font-family: Arial; font-size: 10pt;">Hi *******</span></span></div></div><div class="MsoNormal" style="color: black;"><span style="font-family: Arial; font-size: x-small;"><span style="font-family: Arial; font-size: 10pt;"> </span></span></div><div class="MsoNormal" style="color: black;"><span style="font-family: Arial; font-size: x-small;"><span style="font-family: Arial; font-size: 10pt;">Thank you very much for your interesting email. My book "<a href="http://www.theliffeypress.com/proddetail.php?prod=01-6">Traditional Notes: A Celebration of Irish Music and Musicians</a>" was published by the Liffey Press (</span></span><span style="font-family: Arial; font-size: x-small;"><span style="font-family: Arial; font-size: 10pt;">Dublin</span></span><span style="font-family: Arial; font-size: x-small;"><span style="font-family: Arial; font-size: 10pt;">) in November 2011. It was launched at the Irish World Academy of Music and Dance in the </span></span><span style="font-family: Arial; font-size: x-small;"><span style="font-family: Arial; font-size: 10pt;">University</span></span><span style="font-family: Arial; font-size: x-small;"><span style="font-family: Arial; font-size: 10pt;"> of </span></span><span style="font-family: Arial; font-size: x-small;"><span style="font-family: Arial; font-size: 10pt;">Limerick</span></span><span style="font-family: Arial; font-size: x-small;"><span style="font-family: Arial; font-size: 10pt;"> on 16th November. </span></span></div><div class="MsoNormal" style="color: black;"><br />
</div><div class="MsoNormal" style="color: black;"><span style="font-family: Arial; font-size: x-small;"><span style="font-family: Arial; font-size: 10pt;">Sales are quite buoyant, at the moment, and it has received several very good reviews in the national and international Press - as recently as yesterday, with an excellent review in the Irish Post newspaper (published in </span></span><span style="font-family: Arial; font-size: x-small;"><span style="font-family: Arial; font-size: 10pt;">London</span></span><span style="font-family: Arial; font-size: x-small;"><span style="font-family: Arial; font-size: 10pt;">).</span></span></div><div class="MsoNormal" style="color: black;"><br />
</div><div class="MsoNormal" style="color: black;"><span style="font-family: Arial; font-size: x-small;"><span style="font-family: Arial; font-size: 10pt;"> </span></span></div><div class="MsoNormal" style="color: black;"><span style="font-family: Arial; font-size: x-small;"><span style="font-family: Arial; font-size: 10pt;"> </span></span></div><div class="MsoNormal" style="color: black;"><span style="font-family: Arial; font-size: x-small;"><span style="font-family: Arial; font-size: 10pt;">I am sorry that ********** was not able to publish it, but I have to say that some things work out for the best, as I am very happy with the publisher that I did find, quite soon after submitting my proposal to you. Please see the link below my signature for full details of the book.</span></span></div><div class="MsoNormal" style="color: black;"><span style="font-family: Arial; font-size: x-small;"><span style="font-family: Arial; font-size: 10pt;"> </span></span></div><div class="MsoNormal" style="color: black;"><br />
</div><div class="MsoNormal" style="color: black;"><span style="font-family: Arial; font-size: x-small;"><span style="font-family: Arial; font-size: 10pt;">I am currently working on new proposals, and I would be interested to know if you might like to see them.</span></span></div><div class="MsoNormal" style="color: black;"><span style="font-family: Arial; font-size: x-small;"><span style="font-family: Arial; font-size: 10pt;"> </span></span></div><div class="MsoNormal" style="color: black;"><br />
</div><div class="MsoNormal" style="color: black;"><span style="font-family: Arial; font-size: x-small;"><span style="font-family: Arial; font-size: 10pt;">Best wishes,</span></span></div><div class="MsoNormal" style="color: black;"><span style="font-family: Arial; font-size: x-small;"><span style="font-family: Arial; font-size: 10pt;"> </span></span></div><div class="MsoNormal" style="color: black;"><br />
</div><div class="MsoNormal" style="color: black;"><b><span style="font-family: Arial; font-size: x-small;"><span style="font-family: Arial; font-size: 10pt;">Stephen Power</span></span></b></div><span style="font-family: Verdana,Helvetica,Arial;"><span style="font-size: 12px;"><i><br />
</i></span></span>Stephen Powerhttp://www.blogger.com/profile/07897506071146176547noreply@blogger.com0tag:blogger.com,1999:blog-350864851972883197.post-14380810528070253332011-05-03T09:31:00.003+01:002011-05-03T09:35:14.520+01:00Self Published BooksI finally got around to self-publishing a book via <a href="http://www.blurb.com/books/2143069">Blurb.com</a> It took me several months to finally make up my mind about the photographs that I wanted to include; and even now I feel that I would like a second attempt to stream-line the theme a bit more.<br />
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I have so many photographs on my hard drive (many thousands) that it was difficult to chose a topic for the book initially. I eventually decided to use images taken over 2 years in County Kerry, Ireland. I'm now planning a series of books on a very specific theme, which could be taken all over Ireland (and elsewhere).<br />
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Ironically, since finishing the Blurb book, I now have a publisher interested in an idea I have for another one.<br />
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You can see the preview of "A Small Window on Kerry" below, and the book is available for purchase via Blurb (just click the "buy" icon or the hypertext link below the preview window to g to the purchase page on Blurb).<br />
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<div style="text-align: left; width: 450px;"><object data="http://www.blurb.com/assets/embed.swf?book_id=2143069&locale=en_US" height="300" id="myWidget" type="application/x-shockwave-flash" width="450"><param name="allowFullScreen" value="true"></param><param name="allowScriptAccess" value="always"></param><param name="movie" value="http://www.blurb.com/assets/embed.swf?book_id=2143069&locale=en_US"></param><a target="_new" href="http://www.blurb.com/books/preview/2143069?ce=blurb_ew&utm_source=widget"><img src="http://bookshow.blurb.com/bookshow/cache/P2929527/md/wcover_2.png"></img></a></object><br />
<div style="display: block;"><a href="http://www.blurb.com/bookstore/detail/2143069?ce=blurb_ew&utm_source=widget" style="margin: 12px 3px;" target="_blank">A Small Window on Kerry by Stephen Power</a> | <a href="http://www.blurb.com/landing_pages/bookshow?ce=blurb_ew&utm_source=widget" style="margin: 12px 3px;" target="_blank">Make Your Own Book</a></div></div>Stephen Powerhttp://www.blogger.com/profile/07897506071146176547noreply@blogger.com0tag:blogger.com,1999:blog-350864851972883197.post-82493886219827664552010-08-11T16:54:00.004+01:002010-08-11T18:07:43.940+01:00Lightroom 3 Video Tutorial 1<span style="font-weight: bold;">Lightroom 3 - Lens Profile Corrections Panel</span><br /><br />I've been on several learning curves since my last post at Christmas 2009 - is it August already? - and making regular blog posts has become increasing difficult as my time has become more scarce. But, I'm back with a bang, and my first video tutorial - as part of series looking at my favourite tools in Lightroom 3 is below.<br /><br />I'll probably be blogging more by video from now on - and I'd like to know what you think of my screen debut - so don't be shy. The quality of the first video is a bit "clunky" to say the least, basically the sound is the only thing that's half-decent - I'm still on that particular learning curve - and I hope to improve things as I go along.<br /><br />This video tutorial covers a new tool in Lightroom 3 - The Lens Corrections Panel - and in particular, Lens Profile Corrections.<br /><br />I'll be going back to basics - and the Basic Panel - in other videos, but do let me know if you'd like to see a tutorial on a particular aspect of Lightroom, and I'll do my best Alfred Hitchcock impression - for anyone under 50 reading this, he was an old British film director!<br /><br />For slightly higher picture quality you can also watch this video on YouTube <a href="http://www.youtube.com/watch?v=RY2BVkdCLdY">by clicking here.</a><br /><br /><br /><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.blogger.com/video.g?token=AD6v5dwkbRPYanhY-ehj4HDvR-Y8u7ivCzLohlUE0AVSZSSs3YnmL8ukHCT3gc419Suw_H2osYVRIHA0ykHnq7CLfg' class='b-hbp-video b-uploaded' frameborder='0'></iframe>Stephen Powerhttp://www.blogger.com/profile/07897506071146176547noreply@blogger.com0