Upon his return from a 3-month excursion filming in China, photographer Richard Kendall decided it was time to get back into the studio and start working on some photography experiments. One of those projects was creating a collection of very forward thinking light paintings.

The effect Kendall used is a technique called bullet time. In still photography, bullet time is achieved by surrounding the subject with mulitple cameras that are mounted to a special ring shaped rig (often referred to as an array).

The goal of the high speed photography is capturing objects in motion. You can photograph events that follow a predictable sequence. For example, in order to capture a falling drop hitting the surface of water, first you need to detect the time when the drop starts falling. There are two methods for performing high speed photography with the timer. The second method uses an electronic flash.

SHUTTER METHOD

Maximum speed of a shutter could range from 1/4000sec to 1/8000sec, in some cases it may not be fast enough (fast moving objects will become blurred).

Moreover, in cameras that have a focal plane shutter, a small slit moves across the photographic plane at much slower speeds (1/250), thus exposing different parts of the photographic plane at slightly different times.

In addition there could be a small variation in timing, each time the camera takes a picture.

FLASH METHOD

The second method of high speed photography is the flash method. The picture is taken by opening the shutter of the camera, activating the flash and closing the shutter. The picture needs to be taken in a dark room. The flash light duration now becomes the actual exposure time.

The main advantage of the flash method is the exposure speed and better timing consistency. Electronic flashes are capable of light strobes with durations of 1/10,000 or faster (lower the power setting of the flash, the shorter the flash duration).

Today we are listing pencil drawings incredibly creative and amazing photography work vs. Ben Heine from Belgium, who is a painter, illustrator, portraitist, cartoonist and photographer. Ben Heine was born in Abidjan, Ivory Coast and now living and working in Brussels. The “Pencil Vs Camera” series is nothing but the result of several years of exploration and a graphical logical consequence of his artistic development.

Now there is of course always a time and place for posed shots, the family picture at a wedding for example, in fact most of the time you need to pose your subject in one way or another, even if it means you are recomposing the subject by moving during a candid moment to translate the picture properly. First, the camera is their friend and not a starting gun. Remember many people you are shooting rarely in their lives have had photographic attention. I use the facts of photography to my advantage; a camera needs to be adjusted before and during shooting. While talking you can take snap shots, this will put you in front of the camera, not behind it. Third, the client is important to the picture but not all important, if you took pictures of them up against a brick wall for the entirety of the shoot and only talked about them it would isolate them out as the only thing that matters.

The pictures are just a bonus!
If you have long breaks between captures it brings the camera back into the shoot as the centre of attention, that thing that makes them perform. It’s worth the extra cull time and the coast for extra memory in the end.
Ultimately, there is no set in stone rule to follow, but these ideas will certainly help you bridge the divide between the camera and client. In time you will develop your own signature interaction practices.

Professional photographer Jay P. Morgan delivers a pair of information packed video tutorials, this time showing viewers the in’s and out’s of using light reflectors, then combining the reflectors with strobe lights and natural lighting to deliver perfectly lit scenes.

• White –  Gives a soft white lighting on the subject, reduces harshness from sunlight.
• Gold – Excellent to use when there is minimal sunlight. It is capable of casting a warm glow on the subject even from far distances.
• Soft Gold – A softer version of a gold reflector. It is not as powerful, but when used within close proximity of the subject, gives a warm golden glow.
• Silver – Produces a hard light capable of producing high contrast in black and white photography.

The importance of using the sun as a rim light and reflectors as key lights are also stressed in this tutorial. Morgan suggests that reflectors can be great learning tools because their results are immediate. Learning where to place reflectors to achieve precise lighting helps those interested in learning strobes setup because reflector placement transfers over into artificial lighting as well.

Setup One:

• Hensel Porty Pack strobe w/beauty dish as key lighting to bring out facial highlights
• White reflector is used as a fill light
• Sun is used as the rim, or hair, light

The benefit of this setup is that the strobe allows the models face to be exposed properly without having to overexpose the background.

Setup Two:

• The Porty Pack strobe is used as the rim lighting.
• A gold reflector is used as the fill lighting
• And the sun becomes the key lighting.

Waterproof camera housings are available for most popular digital camera models. Cheap waterproof disposable cameras are available too.

If you’re using a disposable, one of the many underwater photography tips is to stick to shallow water that’s clear and well lit. Practice using the different camera functions and make sure the housing is correctly aligned. When shooting on land, light travels from the flash to the subject without interruption. Underwater, the light from a camera flash will hit tiny, scarcely visible particles suspended in the water and bounce back to hit the lens. If you’re serious about underwater photography this means picking up an external underwater strobe. Most good underwater camera housings allow for them. As with surface photography, the secret to getting great underwater images is experimentation. Take plenty of shots, varying distance, lighting, and camera settings.

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1.cut out distraction

Food photography should focus on – what else? – the actual food. If you do have any props in the photo, make sure they’re related to the food and the experience of enjoying it, as unrelated props will just detract from your photo.

2.use a lower angle

While we usually view food from a high angle as we sit above it at a table, your food photography will look better if you shoot from a lower angle than you think you should. Get right down on the level of the food.

3.choose the right lense

Whether you’re an amateur or a pro, having the perfect lens will make your food photography stand out and give you the capability to get better effects during your photo shoot. If you don’t already have a macro lens, you could check online for the best credit card deals and sign up for a card that will let you buy a new lens for your food photography.

4.use soft, natural looking lighting

As with any sort of product photography, the key to great food photography is to use natural-looking light that won’t leave harsh shadows. Flash photography will distort the colors and details in unpredictable ways. If you can, shoot the food in natural light. If this isn’t possible, you can make your own natural-looking lighting by bouncing bright utility lights off of a pure white sheet hung from dowel rods.

5.show the detail

Great food photography is all about making the viewer feel like they are sitting at the table getting ready to try that gorgeous food. It’s about texture and color, so you need to make sure you get those things in your photo. Zooming in close to the photo can help, as can using a shallow depth of field. If the background is a bit fuzzy, the details of the actual focus of the photo will seem all the clearer.

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Taken concept.

Concept is similar to shooting advertising, stock, and photojournalism for several reasons. First, the shot involves some notion of intense analysis of a “message” you want to strongly convey. Second, the concept shooting involves careful consideration of your audience and how the message will touch them most powerfully. Third, the concept shooting is centered on emotions, and the telling of a story in his message.

Concept shooting involves a lot of “mental” preparation, rather than the analysis stage. Before shooting, you decide several things.

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