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This post covers 35 extremely beautiful and perfectly executed HDR-pictures. Some of them may look real, too colorful, even magic or fake, but they do not – keep in mind that they all had developed from regular photos, and not a single image of the illustration.

Applied carefully, High Dynamic Range-technique (HDR) can create beautiful images that obscure our understanding of the difference between reality and illusion. In graphics HDR imaging is a set of techniques that allow a far greater dynamic range than a normal exhibition of digital imaging techniques. The goal is to accurately represent the various levels of intensity in real scenes ranging from direct sunlight to the deepest shadows. This is usually achieved by modifying photos with image processing software for tone mapping. And the results can be truly amazing, in fact, many artists and designers to achieve results quite luxurious.

“Simplicity and repose are the qualities that measure the actual value of any work of art.”

I’m sure all of you, as photographers, at one time or another, we were told that the higher your focal point is emphasized in your photo, the more it is clear to the viewer and the more successful you are to out the purpose and meaning of your work for them.

A perfect composition is simple. One that does not give rise to mixed emotions and confusion once considered. One of the most basic guidelines to compose a picture perfect, and I am sure that everyone is well aware of this, the viewer is guided smoothly through our peaceful image based eye to the main subject. For this, we often incorporate lines of our pictures. We make the best use of light and contrast. We use the rule of thirds, etc …

Often this is what you choose to exclude your composition, rather than what you choose to include, making the shot! Using the empty spaces in your photos and give your subject room to breathe and shine can accentuate and add to its value rather than harm. In this way, the viewer can not help but be attracted to your focal point. There is no confusion or the intrusion of other elements competing for space with your subject, but himself!

Sometimes, the subject would be small compared to the regime of photo together. So to be able to dominate the frame, it must be carefully chosen, well represented, and often approached from a new perspective and fresh.

Try to represent your subject in a color contrasting with the overall image. Try to strip everything but the point of interest, of all colors. Experiment with different aperture settings (once going with a shallow depth of field and once with a large). Zoom in or out on your subject for a variety of angles, views and results.

Let this time I will show off some photography with the concept of female pictures with short hair styles, long hair styles, this is a super class conducted by a professional photographer and make-up is amazing. do not be surprised if their work is extraordinary at all. they are quite difficult to choose models with beautiful hair, hair styling because this takes a long time. but the result was incredible is not it??
This photo may be material for reference only for the fotograper that exist around the world, to try it? warm regards for you all ….

Here are five photos showing the fresh flavors of boudoir photography. The essence of boudoir is the best use of light, contrast, color, composition and accessories to highlight the best side of female sensuality. If you have not read my article on boudoir photography is now a good time to read and return to the inspiration. See also the rapid fire tips on boudoir photography.

Photography is all about paying attention to detail … care of the little things that improve your bottom line. Here are five tips to get you started and help you take some pictures great.

1.Good composition, great photographs

When you see through the viewfinder or the LCD screen of your camera, giving some extra attention to the scene which is covered under goes a long way doing “great”. Pay attention to how much cover you from the stage, how much you zoom in or out, layout and placement on the subject of the course gives you a great composition. And if you can, try to remember a few rules of basic composition and you can create wonderful works of art in no time.

2.Concentrate on the subject

Digital cameras can be tricky. Sometimes they try to be intelligent and automatic focus on objects in the background or elsewhere in the scene. Make sure the focus is on the subject.

3.Using the flash

If you use one of the modes of self, the camera takes care of the light and the flash pops-up automatically. However, the flash still has side effects and artifacts of the scene. This is especially true for night photos where the subject becomes a shadow of congestion or red eye. Avoid using the flash as much as possible (especially the flash unit). If the flash-automatically, try increasing the ambient light.

4.Pull on interesting topics

While anything can be used as a subject, taking a moment to think what could be an interesting result final / photograph may be all you need to take the perfect shot. Smoke, water, lines and patterns, all the illusions of a photo interesting and catch the eye of the beholder. So take a moment to reflect and then frame and shoot. Now, there may be times when you are shooting action. This rule does not apply here.

5.Experience matters (Shooting at Grand)

Experience is what makes a professional photographer and an artist. Do not be discouraged with your first few shots. Try again, learn from your mistakes and improve. In no time you will be shooting amazing pictures. And when you do this, remember to take a paper and frame it on your desk or in your room. Be proud of your shot and do not forget to share with us.

Hello everyone, … I will show my work here is that, with the concept of photography and exotic women. wearing a white dress with a transparent color to look at the curves that makes the model look sexy and beautiful to watch, this model comes from the town of Magelang Central Java yulika named Dian age of 21. I took this shot in one of the apartments are very famous in Indonesia including the Novotel Hotel. I hope you are all happy with my work. thank you

When you are new portrait studio photography, studio lighting may seem difficult, mysterious and even disturbing at a time. You can read ten different books on lighting by “experts”, and quite likely you will get ten totally different opinions on what constitutes good lighting. Maybe it’s because “correct” lighting for studio portraits is just that, a matter of opinion. Yes, there are classic styles of lighting such as: open loop, closed loop, butterfly or Paramount, broad lighting, short lighting, and so on.

But ninety nine percent of the time, customers who come into your studio does not care about the technical aspects of lighting, or classic styles of lighting. They just want to look great in their portraits, and it’s your job as a professional portrait photographer to help them do just that. The lighting system used in my portrait studio is easy to understand, easy to work, and it helps our clients look their best.

Our typical lighting system consists of three strobe lights with a “light hair” etc. strobe used as required. First, the light key is the main light source in the lighting system and is used to outline the face and add depth and interest in the subject. The key LED is what allows the subject in three dimensions to be given in a two-dimensional plane, still perceived as an image in three dimensions. The light the key light in the configuration of our studio is mounted on a stand studio Titan Side Kick. The beauty of this stand is that it is very stable, has locking casters so it is easily repositioned, and the height of lighting of the keys is easily adjustable with the “simple touch” adjustable
arm. The key light is usually the only strobe in our setup that is repositioned during a photo shoot.

The key illumination is changed by means of a parabolic reflector, umbrella or shoot through umbrella reflection, a light box (several sizes can be used), or by other means, thus achieving in each portrait, the desired effect. A guideline to remember is: at a given distance between the light source and the subject, the more the light source, the most severe of the incident light and sharper (more contrast) the shadows. Choose the modifier accordingly to achieve the desired effect for your portrait (modifiers of light that is in descending order of contrast: 6 “parabolic reflector, 16″ parabolic reflector, 40 “reflecting umbrella, 40″ pull through the umbrella, softbox 3′x4 ‘, 4 “x6″ softbox). The key light is then measured (independently) to F11. This can be accomplished by adjusting the flash output, and / or the distance between the light and the key of the object.

During the shoot, the illumination of the object remains constant when you reposition the key light, as the distance between the key light and the subject remains constant. This fact is useful to keep in mind for a reason. It allows you to quickly move your key light for different desired effects without any re-count. View your subject is at the hub of a wheel, the radius of the wheel being equal to the distance (between the light and the key to your subject) who gave you the F11 key. The button light can be moved in any position around the perimeter of the wheel of the imagination, with the lighting of your subject while remaining a constant F11.

Second, task lighting is used as contrast control by filling the “sockets and pockets” of your subject. The light-up in our play of light is placed permanently to about 15 feet of the subject, directly in front of the whole. It is raised to a height of about ten to eleven feet above the ground, so we are able to shoot from directly under the fill light if necessary. The light is diffused by filling a large box fresh and oriented (angled) direct the subject’s face. It is usually measured (independently) to f5.6, adjusting the power of the strobe. This gives a ratio of light on your subject of about 1:4.

The strobe on commonly used in our studio lighting system, is the light hair. It is used to separate the subject from the background and to accentuate the subject’s hair and shoulders. Light hair can be positioned low or high behind the subject according to the desired effect, and modifiers such as a snoot or a grid spot can be used to guide and focus the light as desired. Whether or not the light hair is used depends on the subject of hair color for the background and the desired effect for the portrait (eg dark hair disappears on a dark background and requires light hair as a separator)

Beyond posing your subject in a manner flattering lighting of your subject is the easiest skill you must master to create unique portraits. Your lighting should not be too complex, and your device may not be the latest and greatest. However, you must develop a basic understanding of the contrast ratio of light and how to control light to create portraits masterfully elegant and beautiful. The lighting system described above can be a good starting point. It is very simple to understand and easy to use, generally, only the key light is repositioned during a photo shoot. From there, the experience and practice to achieve the results you expect. As always, good day and happy clicking.

You know that outdoor photography can present some very special challenges. This is true even for the most experienced photographers. Direct sunlight can be harsh. Unwanted objects can interfere with your composition. Render the right color can be a problem. And many times, good old Mother Nature is not feeling cooperative. Probably, not much can be done about nature, but with some practice and patience you can overcome many other challenges that you face as a photographer outdoor portraits.

Throughout my travels as a photographer I have learned some techniques that may be useful outside for those who choose to follow:

1. Keep it simple. Subtle pattern and color of brick walls, a simple repeating patterns and muted tones on board fishing pier, or uniform color of a patch of blue hat, snapdragons, or yellow primrose can serve as a beautiful backdrop for your outdoor portraits. When you create your portrait, you want your subject to be the focal point that all interested eyes. Busy patterns, large areas that are too bright colors (especially a mixture of different colors), or more imposing forms in the foreground or background that is not treated properly, can actually divert attention from him if you do not watch the liver.

2. Controlling depth of field (range of distances from your camera to focus). Edge of the forest, or mountains in the distance can make a beautiful backdrop for your subject with precise control over depth of field. If you have an SLR camera, you can adjust your depth of field to bring the background more or less out of focus relative to your subject. It serves as a control for the observer of your portrait subject. The eye is naturally drawn to what is the brightest and most sharply focused. If the subject is focused sharply relative to the background, he will highlight the focal point of your portrait. Controlling depth of field is done by adjusting your aperture setting (the size of your lens opening, expressed in f-stops). The smaller the f-stop larger opening of your lens, and the smaller the depth of field will be. For example, when you see a photograph in the magazine nature of the beautiful butterfly in a patch of flowers, and butterflies in razor sharp focus but the flowers are gently blurred; is done by a photographer using a narrow depth of field (small f-stop setting). For bright light situations it may be difficult to achieve. For any given intensity of light, once you open the aperture (low f-stop) you must increase the shutter speed (thereby reducing the exposure time) to avoid over exposure. Increasing the shutter speed generally reduces resolution in the image. Experiment to find the combination of aperture and shutter speed settings that deliver the results you want.

3. Be aware of disturbing objects behind your subject. What is clear bushes, mailboxes, or bird cage to your eye, can appear like an additional appendage that grows on the head of your subject in your two dimensional portrait. You might get some interesting effects this way, but generally they will not make a good impression on your subject. Take the time to find interesting angles that eliminate disturbing objects from the background.

4. Control of light. “Bottom light” (eg harsh light of day) is generally not desirable. Because the pattern of shadows it creates, can bring out the worst in your subject … can anyone say, “raccoon eyes”? “Light of lateral” (eg morning and afternoon light) is much more desirable. Lateral light can be controlled and directed to create shadow patterns are beautiful in your subject’s face. There is a saying with a lot of photographers who shoot outdoors, “is the first tree in the forest of the best” for the background. Because the first tree canopy to control light down hard, but being on the edge of the forest, you still have a light lateral work with. The same idea applies to the edge of the patio or any other type of overhang. Professional photographers sometimes use shade cloth and reflectors to block down light while directing available lateral light to enhance their subject and achieve the desired effect.

5. True colors. Before the digital age, corrective filters or special films that are mostly used for color correction in outdoor portraits. With digital cameras, color can be corrected using your white balance settings (expressed as color temperature in degrees Kelvin). Most digital cameras do a pretty good job automatically adjusts white balance for outdoor exposure. If you want to experiment with manual white balance settings you use the table below as a guide. For a more detailed understanding of the meaning of the color temperature correction

Temperature … … … .. Typical sources

1000K … … … … … … … Candles; lamp oil

2400K … … … … … … … Early morning sunrise

3200K … … … … … … … Tungsten light bulbs

4000K … … … … … … … Fluorescent

5200K … … … … … … … Typical daytime; electronic flash

6000K … … … … … … … Day of Publication

7000K … … … … … … … Shade

Keeping your composition simple, controlling depth of field, and remove objects that can distract from your subject, helping all to accentuate your subject as the focal point of your portrait. Controlling the available natural light and white balance improve your photographs can reveal and enhance the true beauty of your subject. Beyond this, make it your goal each day to unleash your creativity that you may see the world around you with fresh and unique way. Never satisfied with seeing regular as usual. Just stop and think for a moment, everything is there, which is unusual for someone. Art created by them with the ability to look beyond the ordinary, to interpret their world in an extraordinary way, and to reflect their interpretation for others to see. So, experiment and do not be afraid to try something new. The world is abundant in the shape, texture, color, and pattern of light … all the handy-work of God. Great landscape and man-made structures that are not required to incredible great photos outdoors. Mother Nature always work with you. Good day and happy clicking!

The purpose of this paper is to provide information about how I work, based on various questions I receive regularly. I mainly focus on the portrait is planned with the model. Sometimes I define my job as a fashion portrait Although my main concern is trying to tell a story.

Inspiration

To make the meeting run smoothly, it is safer to plan it as possible. Before taking the model, the better you know at all clear what you are aiming. I started looking around for inspiration, read books, watch the filming on the street, magazines, or online. I collect pictures that can help me explain what I’m looking for models.
Do not overlook this stage. Almost all my models are not professionals, they want to know which way we go along.

Preparation

Once I got the idea, it’s time to find a place that can provide the necessary lighting atmosphere. I almost always use the light available during the session (no additional resources). Occasionally, someone to help me and bounced light with a reflector, but really, what you see is what you get.
As a result, the light often determine the pose of the model: If the face is dark, while the whole body gets a light weight, it is likely that the picture will not work.
Therefore, I always try to do some test shots before the meeting: it helps a lot!

The next step is discussion with the model, before the meeting. Show him / her a picture, describes the atmosphere of planet … This does not mean you have to plan every position or every expression: But once you set the mood and the idea that you want to transfer is an easy way to play with the “rules” and change them quickly. In addition, the model is more secure if they know what seat will look before you start it. Selection of clothing is also made in time: I also took items from the model shares, lease or buy.

Tips:

* Finding the model may be a difficult task. Try asking your friends first. View pictures or photos that inspire you, it will give a better idea. Be respectful and only publish images to their liking.

The session

Summary

The seat itself lasts about 2 to 3 hours, resulting in approximately 150 images, which usually 5-10 are selected. As I said before, I sometimes ask for external assistance (lighting with reflector or makeup). We continued to talk while working, the goal is also to have fun!

Light

The light turns the mood images: Without good light, you will not get anything good.
So why not light it? Hmm, tough question.
Well first of all to match the Earth’s atmosphere. I’ll take an example. If you are looking for pictures of dark moody underground, you should pick the right place, for example, metropolitan station. Okay, there’s room? You will first see that it is very dark in there, so he asked the model to be closer to their large neon tubes in green. This is, light face and everything will be fine …
A mistake.

The light is nothing without a trace. After the moderate face of the model is good but the ceiling fluorescent lights will do the shadows under the eyes of the model. In this case, I would advice to use a reflector on the chest, and pointed to the ceiling. This will avoid shadows.

Always remember this: light and shadow go together and create the atmosphere of your shot.

Tips:

* Shot in at the window often offers flattering light. However, if the sun came out clear, desirable to soften the light through the white cloth.

hello how are you doing it all, warm greetings a few days ago I was met by a photographer named hartono he is one talented photographer. he has some beautiful collection of photographs one of which I uploaded in my web, ie images in the water. not really beautiful. please provide comments on the photo thanks

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AF Nikkor work with Nikon SLRs for optimal performance, even very recent. The Nikon AF Nikkor 85mm is an ideal way f1.8D compact and portable telephoto lens for portraits indoors or outdoors. An excellent choice for your first telephoto lens, it features subtle blurring of background for beautifully natural and evocative portraits, the back of the system developed for fast optical performance and smooth, and weighs 13.2 ounces

Nikon Super Integrated Coating ensures exceptional performance
To improve the performance of its optical lenses, Nikon uses an exclusive lens coating that reduces multi-layer and flare to a negligible level. Nikon Super Integrated Coating achieves a number of objectives, including minimized reflection in the wider wavelength range and color balance and reproduction. Nikon Super Integrated Coating is especially effective for lenses with a large number of items, like our Zoom-Nikkor. In addition, Nikon, a multilayer coating process is tailored to the AO design of each particular lens. The number of coatings applied to each lens is carefully calculated to match the lens type and glass used, and also to ensure uniform color balance that characterizes Nikkor lenses. This results in lenses that meet much higher standards than the rest of the industry.

Back focus
With Nikon, rear focusing AOS (RF) system, all lenses are divided into specific lens groups, with only the rear lens group moving for focusing. This makes autofocusing operation smoother and faster.

Remote information
Nikkor D-type and G-type relay information about remote-camera Nikon AF bodies. This then allows possible advances like 3D Matrix Metering and 3D Multi-Sensor Balanced Fill-Flash. Note: Type D and G-type Nikkor provide information to remote cameras: Auto exposure; F6, F5, F100, F90X, F80, F75, F70, F65, F60, F55, F50, S Pronea, Pronea 600i, D2 series, D1 series, D100, and D70s/D70. Flash control, F6, F5, F100, F90X, F80, F75, F70, D2 series, D1 series, D100 and 85mm f/1.8D AF D70s/D70 cameras.Nikon is a medium telephoto lens. The lens is equipped with the 85mm lens with maximum aperture of F1.8. The lens construction has 6 elements in 6 groups and the diagonal angle of view at 28 degrees 30 minutes (35mm format), 18 degrees 50 minutes (Nikon DX format). Development close to 3 feet. Nikon 85mm f/1.8D AF The lens weighs 13.2 ounces and measures 2.8 inches in diameter and 2.3 cm long.

regards to all this time I will show beautiful work by jhon simanjuntak beauty photography, very beautiful was not the result. make up the charming by Cristy make models look elegant and beautiful photo. these photos I took from several collections jhon many more works of others. I’ll upload it later through this website. thank you….

The Sigma APO 300mm F2.8 EX DG is a high performance telephoto lens and for the professional photographer, is an absolute requirement. With a fast telephoto lens to capture the appropriate action more quickly, be it a local football match, basketball high school in a dimly lit gym or sports car racing. This goal also serves to isolate single face at a news conference or catch the bride in a candid moment at the wedding reception.

Two ELD (Extraordinary Low Dispersion) glass elements provide superior color correction and sharpness throughout the zoom range and a new technology multi-layer lens coating and form lens design reduce flare-ups and ghosting. When used with full frame cameras and Sigma 1.4x or 2x Tele Converters option, it becomes a 420mm F4 lens manual focus F5.6 or 600mm lens manual focus, respectively. For the professional or advanced amateur looking for such a lens at a price of value there is no other choice than the Sigma 300mm F2 .8. Equipped with the latest technology to compete with the manufacturer’s products and camera produces tack sharp images result.

Specifications

Lens Construction: 11 elements in 9 groups
APO Converter 1.4X AF, AF 2X
Angle of view: 8.2 °
Number of diaphragm blades: 9
Opening Mininum: F32
Minimum of development: 250 cm / 98.4 in
Filter Size (mm): 46 (rear)
Maximum magnification: 1:7.5
Dimensions (diameter x length): 119 x 214 mm/4.7 x 8.4 in
Weight: 2400g / 84.7 oz

Sample pictures:

Tenba 632-501 Shootout Mini Backpack to carry and protect two SLRs, 4-6 lenses (up to 70-200mm 2.8) and Flash, and almost every size tripod. Bag features water-resistant, ripstop nylon shell dobbydiamond – an optimum combination of lightweight and durability to the panel moves in the two pontoons make QuickAccesstrade; hatches directly into main compartment includes load compression straps reverse and convert to retention strap for luggage or utility cart and, fully adjustable divider panel is padded walls to create a custom fit, interior protector. The Tenba 632-501 Shootout Mini Bags have an external dimension 11 x 15 x 8.5 “(38.1 x 27.94 x 21.59 cm) (WxHxD), inside dimensions 10 x 14 x 5.0″ (25.4 x 35.56 x 12.7 cm) (WxHxD) and weighs 4.0 pounds (1.81 kilograms).