Photography: The Art of Deception : How to Reveal the Truth by Deceiving the Eye

Photography is a lie. Just think about it: photographers create two-dimensional images that sometimes even lack color and then expect everyone who views the image to believe that this is how the subject and scene appeared in front of the lens, in real life. What is truly amazing is that people fall for the visual trickery readily, almost as if they want to be deceived. It gets better: people still believe that one can photograph only what is really there.

In this book, Irakly Shanidze reveals the smoke and mirrors that the best photographers use to surprise, entertain, and inspire viewers. He explains that the individual features of photographer’s perception and technical limitations of his equipment make him do things that may eventually make a picture look very different from how a viewer would see the same scene with a naked eye and can lead to a ruined picture. Conversely, photographers who understand these phenomena can use the aforementioned “constraints” to deliberately adjust the level of truthfulness in their pictures.

In each beautifully illustrated chapter, Shanidze discloses the photographic tools that enterprising photographers can use to create visual deception (e.g., to create a sense of dimension, create day-for-night effects, establish mood, simulate candid photographs, and generally suspend disbelief – without the time-consuming post-processing!). In doing so, he describes the image objectives (in other words, defines the image concepts) and introduces the tools needed to achieve them – whether a lens of a certain focal length, a light of a specific wattage, or a given shutter speed. He also deconstructs some of his favorite images to show readers how he was able to create a chiseled deception of his own.

Armed with this book, photographers will learn to truly take the reins in their photographic pursuits and deliver supercharged, iconic, storytelling images.

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Photography: The Art of Deception : How to Reveal the Truth by Deceiving the Eye
by Irakly Shanidze

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Floral Beauty in the Garden

Tammy Marlar’s guide to creating exquisite flower images this spring
Flowers are blooming in our gardens and across the countryside, making this the perfect time to put your botanical photography skills into practice; Tammy Marlar shows you how to capture standout images.

Make the flower, such as this pink dahlia, the dominant subject. Flowers are beautiful and intricate, and our images should accentuate their allure and infinite detail as much as possible.
Canon EOS 5D MkIII with Canon EF 100mm f/2.8 L Macro IS USM lens, ISO 640, 1/200sec at f/5.6, handheld.
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Look for harmonious colours and storytelling details. With markings resembling eyes, a nose and a mouth, this seed head appears to be in conversation with the one next to it.
Canon EOS 5D MkIII with Canon EF 100mm f/2.8 L Macro IS USM lens, ISO 200, 1/200sec at f/3.2, handheld.
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Rather than trying to get the whole subject, such as this eryngium seed head, in focus, choose a good plane of focus on the best angle of the flower, while paying equal attention to what is in your background.
Canon EOS 5D MkIII with Canon EF 100mm f/2.8 L Macro IS USM lens, ISO 400, 1/200sec at f/4, handheld.
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Tell stories and elicit emotions where you can. I changed the orientation of this picture, as the seed head with the mass of flowing white seeds made me think of an American Indian chief, with his feathered headdress, on horseback.
Canon EOS 5D MkIII with Canon EF 100mm f/2.8 L Macro IS USM lens, ISO 400, 1/300sec at f/7.1, handheld.
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Pick as perfect a flower specimen as possible. Noticing blemishes and removing cobwebs before you shoot an image can save you hours of retouching.
Canon EOS 5D MkIII with Canon EF 24-70mm f/2.8 L II USM lens, ISO 400, 1/125sec at f/2.8, handheld.
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Floral Beauty in the Garden
more in Outdoor Photography – June 2017

Speeding Up Your AutoFocus

How to set up advanced Canon EOS DSLR for every type of action photography.

When you need a camera that can keep pace with fast action, it’s time to consider stepping up to one of Canon’s high-end enthusiast and professional DSLRs. As you may know, these camera bodies have sophisticated autofocus (AF) systems and a greater density of AF points in the centre of the viewfinder, in addition to their faster continuous shooting speeds.

The more AF points a camera has, the more effectively it can track a moving subject across the frame using AI Servo AF. But the sensitivity and precision of the sensor at each AF point makes a big difference, too. Standard AF sensors detect focus in just one plane, either horizontally or vertically. As the name suggests, cross-type sensors can detect both horizontally and vertically, while dual cross-type sensors are even more precise as they detect diagonally as well.

The number of AF points that are available and their precision is determined by the lens attached to the camera – or more precisely, by its maximum effective aperture. For example, ‘fast’ lenses – those which have large maximum apertures of f/2.8 or greater, such as the EF 50mm f/1.4 USM or EF 85mm f/1.8 USM – open up the full potential of the 5D Mark III’s 61-point AF array. But a lens with a relatively narrow maximum aperture may allow autofocus with only 47 AF points or fewer.

via PhotoPlus – The Canon Magazine

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‘How To’ shoot red wine

‘How To’ shoot red wine
In this ‘how to’ video Karl Taylor & Urs Recher look at the techniques required for good bottle product photography. In this case a bottle of wine is photographed in a small set to add ambience and style to the product. Enjoy!

Free portrait lighting guide: 24 essential studio lighting set-ups

Become a master of professional portrait lighting with these 24 essential studio lighting set-ups. Our free portrait lighting guide offers everything you need to know to get set up, plus illustrations of the effects.

studiosetup09aInvesting in a home studio kit is one of the best ways to take your portraits to the next level. You can light subjects from any direction, fix attachments to change the quality and spread of the light, and use a low ISO to ensure the highest image quality.

studiosetup09bBut flash can be a difficult beast to master, not least because the burst of light is almost instantaneous.

studiosetup09cThere are three main areas of control when using studio flash heads. First, you have control over the quality and spread of the light through use of attachments like umbrellas and softboxes.

studiosetup09dSecond, you can put the head wherever you choose: up high, down low, in front of or behind your subject, with each position changing the look of your image.

studiosetup09eThird, you can use the power settings on the flash to control the output, which becomes important when you start balancing the light from multiple heads.

studiosetup09fIn our free portrait lighting guide we explain how to control these three factors so you can begin to sculpt the light so it behaves exactly how you want it to, every time.

studiosetup09gfrom: digitalcameraworld

The Cinematic Look

How To Make Your Photographs Look Like Films

AndrewMohrer1 AndrewMohrer2Andrew Mohrer Photography

DennisCacho1 DennisCacho2Dennis Cacho Photography

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“I recently noticed that a handful of photographers were producing images that had a look as if they were stills captured from films. A couple of the most well known photographers of this genre are based here in New York so I got them together and challenged them to not only come up with a dynamic personal project on the fly incorporating this cinematic look, but to share with us how it is achieved. Read on to find out how it all went down…”
by David Geffin

more of “The Cinematic Look” at:

fstoppers

There’s more to it than just blue skies

How To Use A Polarizing Filter
Discover why you need a polarizer for your digital camera and how to use it. Most people just think of them as something to use with blue skies, but that’s only a small part of the story. Find out how a polarizing filter can really make ALL of the colors in your image pop.

by Steve Perry