Chromasia Training: Blog
I've been asked to judge a photography competition run by PlasticPrinters.com, a company specialising in the production of innovative and eye-catching business cards.
The first prize is 500 Clear Plastic Business Cards (worth $750) for the winner (see below for some examples) and 250 cards for the runner up.
The theme is 'See Through', inspired by the popularity of their transparent and semi-transparent range of cards.
Read on for all the details ...
I've been asked to judge a competition run by ViewBug: Skin in B&W. Up for grabs are two identical prizes: a free subscription to The Art of Black and White Photography - my online course on black and white postproduction - a limited edition photo storage hub, and 300 reward points).
The competition closes on the 7th of November and there have already been over 4000 entries, a handful of which I've included below. As I'm sure you'll agree, a lot of the entries are of a very high standard.
Read on to take a look at some of my favourite submissions ...
There are two types of clipping you probably try to avoid introducing into your images during post-production: luminosity clipping (when the brightest areas of an image become white, or when the darkest areas become black), and channel clipping (when the data within an individual channel becomes compromised). Both forms – unless you've made a deliberate decision to clip your data – are something to avoid.
As you'll probably know, Photoshop doesn't make this easy. The only tool that provides direct feedback on any clipping within an image is the histogram, but it isn't completely accurate, nor is it dynamic: it updates after you implement a change rather that providing feedback during an adjustment. And while there are quite a few ways that allow you to accurately measure clipping – more of which below – none of the methods are either especially convenient or automatic.
Fortunately, there is a solution – a way to add a set of warnings that will provide real-time feedback on any shadow, highlight, and channel highlight clipping within an image – and I'll show you how to do so in the remainder of this article.
[watch the videos after the jump]
Over the years I've had quite a few protracted and often heated discussions about the role of post-production in photography, normally with people who seem to have a rooted objection to images that have been radically transformed.
"But that's not photography, that's just Photoshop!" has been a relatively common criticism of some of my work.
It's a complex debate – especially as it plays out differently within different areas of photography – and I certainly don't intend to provide a complete answer here, but an image I've been working on recently prompted the following.
Back in February I was asked to judge an architectural photography competition sponsored by Goodman Business Parks.
There were two prizes up for grabs – a Sony NEX-5R Compact System Camera for the overall winner, and a £50 Amazon UK Voucher for the runner up – and we received a great range of entries from around the world.
Read on to see the shortlisted and winning images ...
As you'll know if you read my initial review of the Sony SLT-A99 I'm currently making the switch to shooting full time with Sony gear. I'm selling my Canon kit, have invested in a range on Sony/Zeiss lenses, and have recently acquired another Sony camera that I'll be blogging about soon (watch this space!).
As such I was pleased to be asked to run and judge a UK based architectural photography competition that's being sponsored by Goodman Business Parks as the main prize is a Sony Nex-5R Compact Camera System.
Read on for all the details ...
One of my favourite workshops is 'Shoot the City', a workshop I run twice a year for Gulf Photo Plus in Dubai. We start the day photographing architecture (normally at the DIFC in the heart of the city), after which we shoot the Jumeirah Beach skyline from the Palm: from late afternoon until about 30-40 minutes after sunset. We then head up to the rooftop bar of the Four Points Sheraton hotel on Sheik Zayed road: a great vantage point, with affordably great fries and tolerably cheap beer.
During each workshop I teach pretty much the same techniques, most of which I've listed below, but during the latest workshop I decided to try something a bit different ...
At the start of September I received an email from GPP asking me if I'd be interested in being involved with the launch of a couple of Sony's new cameras, to coincide with my upcoming visit to Dubai for their Fotoweekend event: the SLT-A99, their new full frame pro-spec camera, and the NEX-5. I wasn't especially interested in the NEX-5 – it's a good little camera, but not one that I'd use – but the SLT-A99 looked more promising.
If you're not familiar with Sony's SLT cameras the basic difference between them and a DSLR is that the mirror doesn't move, hence Single Lens Translucent rather than Single Lens Reflex. With a DSLR the mirror flips out of the way before you take the shot, with an SLT the majority of the light is fed continuously to the sensor, with a portion being routed to the main AF module via the mirror. In theory this means that you're losing around 0.3EV to 0.5EV from the outset, but in practice this loss of light seems to have little or no effect on the quality of the image.
The deal was that I'd get to keep the camera and a couple of lenses in exchange for spending some time shooting in the UK followed by two days intensive shooting in Dubai. Those images would be used to create a range of A0 prints, a photo book, and so on. I was also asked to give a 10 minute presentation at the press conference and another public talk on my experiences of shooting in Dubai as part of GPP's Fotoweekend event.
So, an intensive schedule (I was shooting on the 2nd and 3rd of November and the press conference was on the 6th), a fair amount of pressure (the images needed to be good), but I'd get to keep the camera and two lenses: the Zeiss 24-70mm F2.8 ZA SSM Vario-Sonnar® T* and the Zeiss 85mm F1.4 ZA Planar T*, both of which are great pieces of glass.
Was I delighted? Initially, no. Let me explain why ...
Here's a competition for any of you who are based in the UK or plan on visiting at some point soon.
Millennium & Copthorne Hotels have launched a new blog and are holding a photography competition to kick start proceedings. Given the company's affinity with city life they are asking photographers to submit an image that captures the essence of their favourite city.
Entry's so far can be seen here and I am pleased to have been asked to judge the 'Most Dramatic' category. Other categories include 'Most Shared', 'Most Creative' and 'Honourable Mentions'.
Read on to find out how to enter and what you can win ...
Earlier this year I was invited to take part in Digiarte 2012 (9th edition), an exhibition of smart phone photography in Sesto Fiorentino and Florence, Italy. The exhibition featured a range of my images, alongside ones from Zack Arias, Dave Hill, Seymour Templar, Misho Baranovic, Martino Pietropoli, Simone "brahmino" Bramante, Agnese Morganti, and Corrado Nuccini.
Here's how the project was described:
"The starting idea is: of course anyone can take a photo with a mobile device, but how can an expert photographer optimize his workflow using a smartphone?
Eye, Culture, Sense of Composition, Knowledge of Photography History and Aesthetic principles, the use of filters: How can these element affect the quality of a "mobile" photo?
Our aim is to exhibit mobile photos by famous (and non-famous) great photographers that sometimes drop the heavy stuff (but nevertheless do not drop their creativity, their sense of art and style) and take some good shoots using a mobile phone camera.
We invited artists who are active in any mobile photo communities, with both individual projects and works displayed within the big communities (e.g. Instagram, Hipstamatic, picplz, to name a few)."
If you'd like to find out a bit more about the exhibition, including a recent video, read on ...