Getting good portraits with non-professional models

Get good portraits with non-professional models

On many occasions the opportunity to make portraits is presented, in some cases it is about portraying a friend, a loved one or even a stolen one. When we have to make a book it is about getting good portraits with non-professional models and this is a complication added to the control of light and many other issues that we have in mind when making our photos.

The main idea of ​​this article today is to face this fact taking into account a number of factors that will help us to achieve natural expressions, relaxation in the model and with it a better portrait of what we would achieve otherwise.

It is obvious that if your portraits session is performed with a professional model you can omit most of the text that I am going to publish here, although some of the mentioned points will also be useful.

 

What is the trick for a good portrait?

Actually there is no trick, make a good portrait is a good sum of factors that will make you get a good portrait with professional or non-professional models . However there are a number of factors that help.

 

Generating a small link

Before the model begins to pose and you as a photographer begin to take photos and make requests and modifications regarding the poses is ideal to sit quietly with the / the model and you know a little. It is not advisable to talk about time but about what your interests are and what yours are.

 

Talk about the portraits to get

It is very important to define in some way which portraits are intended to be obtained from both sides. You are the photographer but the model will have other ideas that will also help you with the session. On the other hand, you may be cut at the time of request according to photos and in the same way the model may be looking for precisely those photos that you are not able to ask for.

 

Let there be music in the session

Unless you are doing a session of outdoor portraits music will help create the atmosphere necessary to get good portraits, both you and the photographer as the model you will feel more comfortable when the music is in the background. On the other hand this will make the model relax from the tension generated by having a photographer pointing and a few flashes flashing near him.

 

Increasing the link in the session

One of the things that works best for me when I do a session of this type is to show the model a good picture as soon as I make it and check it. Usually once this happens the other part smiles and begins to understand better what is the type of portrait you are looking for. On the other hand this will help you to make variations of a pose in search of the best possible portrait.

When you have done this several times you will notice that the model collaborates actively with you even if at the beginning it was tense.

 

Take some rest

It is advisable to take small breaks to relieve the tension that the model might feel when seen in front of you and all your photographic equipment. It is the ideal time for you to see the portraits that you have been doing in the session and also to take advantage of to talk about them and how to improve some.

Experiment with the poses

After having made a few portraits and having already achieved some good ones it is advisable to experiment with some poses. Some ideas are the total freedom of the model to pose freely without your suggestions, suggesting that dance, suggesting that you sing, jump … And well, I’m sure you can think of many more ideas arrived at this point.

 

The example portrait

As you can see in the example portrait the model was singing. It was not my suggestion but at that moment the level of tension was minimal and Jordi already felt comfortable to experiment with other types of poses.

And so far my article today “Get good portraits with non-professional models” , I hope this article is useful.

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List of the best tricks for portraits

List of the best tricks for portraits

As my photography blog has grown, it becomes more difficult to find specific articles, so I have set out to create a list of the best tricks for portraits . So this article today is a compilation of the most popular portrait articles. I’ve been reviewing the statistics to select the best tricks.

I have added an extract of each blog article along with the title and the link, with the idea of ​​making browsing through these articles easier. The selection is based on the interactions, visits and other statistics that I have reviewed to publish this article.

Below is a list of the best tricks for portraits published in this photography blog :

Female portrait in black and white: I recognize that I am a photographer addicted to black and white, that is why in my portfolio you can see several series made entirely in black and white. With this female portrait in black and white I want to try to explain to you in broad strokes my attraction with black and white photography and an apex of the same in front of the portraits, although it will be difficult.

The portrait and types of plane: In the previous article we talked about the planes in photography according to the position of the camera. Today we will talk about the portrait in photography and the types of plans. To support my texts with examples of blueprints in portraits I will share with you a couple of beauty photos that you can see in my portfolio that you want. The detail plan frames a small part of the subject of our photo, in this case portrait.

Make portraits with natural and artificial light On many occasions we will find the need to make portraits with natural and artificial light. An example, a session of outdoor portraits where we will combine a flash with natural light. It is possible that our photographic equipment is limited and we do not have different flashes, nor of synchronizers to trigger the flash in remote mode, (outside the hot shoe of the camera).

Low Key or low key in portraits: What is a low key? This is the topic that I will try to address today, which is a lowkey, how to get it and what is the exact definition. As an example I will publish a portrait made with this technique later processed in black and white. It should be said that I am not an expert in lighting and in a certain way I am learning this and other techniques. Anyway, I am of the opinion that in photography one is always learning.

Portraits with non-professional models On many occasions the opportunity to make portraits is presented, in some cases it is about portraying a friend, a loved one or even a stolen one. When we have to make a book it is about getting good portraits with non-professional models and this is a complication added to the control of light and many other issues that we have in mind when making our photos.

High Key or high key in photography What is a High Key? What is the deficit of high key and how to get a photo with this photographic technique. Those are going to be the topics of this article that I publish today in my photography blog. First of all comment that the translation of the photographic technique from High Key to Spanish is key high. The technique of High Key or high key in photography is a technique in which the predominant tones are white, by extension also all those close to this color. Currently soft fluorescent lights are usually used …

 

High Key with window light In a previous article he explained in broad strokes that it is a high key in photography and how to get it. In this entry mentioned I took into account the use of portable type cobra flashes for the realization of that High Key. My purpose today is to make a high Key with natural lighting without any photo retouching. Before writing again that it is a High Key and how to get it, I want to point out that my pretense is that this portrait in High Key can be achieved through photography. The example photo that illustrates this article has been achieved in this way. Without applying any post-processing technique to the portrait in high key that I share in this article. The reason why I think this I think is understandable. I find it annoying that some photography blogs pretend to sell that a high key has to be obtained with exaggerated retouching in post-processing.

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Canon Nikon D800E Test by Reinfried Marass

Nikon D800E camera to test by Reinfried Marass

Today’s topic is pretty clear with the title, or at least I think so. This is Nikon’s new D800E camera and a test done by photographer Reinfried Marass , a photographer who I admire not only for his photos, but for all that they let you intuit about Reinfried until you certify him with his words and with your texts.

Before starting:

I do not want to adorn myself too much with my admiration for Reinfried’s work. I think this fact is quite clear having a perpetual link that directs in the footer to your website. Well, the fact is that I find it at least shocking, and very surprising that Mr. Reinfried Marass has been so generous to write an article as a test about the Nikon D800E and its interaction with some objectives. The original article is exhaustive and aims to address all the points that a professional photographer will take into account when buying a SLR camera body.

About the Austrian artist:

The Austrian artist is accustomed to using Leica, so I have been able to investigate and comment with him, this is due to several reasons.

Some of them are that Leica is a telemetrica camera, this avoids a lot of work in the approach, simplifies and speeds up this task and another is the discretion that Leica offers, there are more but if you want to know more I invite you to visit their Google Plus profile or your website and you update.

I am sure that you will learn something, regardless of your level. The fact is that Reinfried commented that the new arrival of the Leica M10 was not a good thing, among other reasons because Leica had made the decision to mount a sensor only for black and white photography, had incorporated the live view and a function of video.

Well, let’s get down to business. Reinfried tested the equipment mentioned in this article “in case” he decided to move to Nikon. He has done an exhaustive test as mentioned previously and well, I think he will continue using his Leica M9 for now. Although, read the end of the text of your original article and tell me what you think.

SLR Nikon D800E – Manufacturer details

According to the manufacturer, the Nikon D800E has been manufactured for photographers looking for an absolute definition for their photos. His sister, the D800, has been modified to provide the most demanding photographers with unprecedented clarity. The sensor is of FX format and 36.3 megapixels and incorporates an anti-aliasing filter.

Last night we solved a problem of focus with a camera Canon 1D Mark-II after reading what Reinfried Marass commented in his original article Nikon D800E shooting report tests shots samples images.

I make this note to point out what I was saying in the previous point where I said that you will learn something by reading Reinfried. Well, he does not count this, and he talks about the Nikon D800E but it helped me deduce together with a partner that has a Canon 1D Mark-II which could be the focus problem that his team was suffering.

Following with the data that throws the manufacturer about his model D800E will say that the new camera of Nikon incorporates a sensor of 36.3 megapixels in format full frame . ISO values ​​can normally be regulated between 100-6400 and force up to 25,600 (equivalent) and descend up to 50 (equivalent).

The camera allows continuous shooting from 4 fps to 5 fps depending on the clipping mode. The D-Movie function that records videos in full-HD (1080 pixels) in two available formats. The AF system has up to 51 points and uses the Expeed 3 processing system. Another feature of this Nikon brand SLR is the 3D III color matrix measurement. If you want to have more details you can visit the manufacturer’s website.

Price of the Nikon D800E ir?t=fotogrdecue01 21&l=as2&o=30&a=B00793ANHG

Nikon D800E camera, nikkor 35mm F1.4 and AF-S 70-200mm F2.8VR test by Reinfried Marass

Cámara D800E y objetivos nikkor a test por Reinfried Marass

Example of a photo taken with the Nikon D800E and Nikkor F1.4 35mm lens made with a shutter speed of 1/1000 seconds, diaphragm aperture of F5.6 and ISO 100 speed. Photograph taken by the international fashion photographer Reinfried Marass as a test of the new body of the Nikon brand. © 2012 Reinfried Marass, all rights reserved.

The analysis of Reinfried Marass

The photographer austíaco has gone into detail of many of the advances that incorporates the Nikon D800E. He has omitted some features of the camera which he will never use because he does not need it for his work. The test is completed with the test of two objectives that accompany the body of the D800E in its exhaustive analysis and as it shows it shares with us several photos taken with different settings and also with several Nikkor lenses.

The two objectives he has used for the test have been a Nikkor 35mm F1.4 (with which he took the photo that accompanies this writing) and a Nikkor AF-S 70-200 mm F2.8 VR. The main analysis focuses on the body but has also detailed point-to-point your test with these objectives of the Japanese manufacturer.

I found it interesting to share here this short article about the analysis of Reinfried Marass since it has been concise and has been extended with explanations of the test result of the Nikon D800E. On the other hand the honesty of the images of Reinfried Marass has made the study seem much more reliable, and I wanted to share it with you.

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Strobist, flashlight for SLR camera

Strobist, lighting with flashes for reflex camera

The technique of lighting with flashes for SLR camera is known as strobist and it will be good for you to master it for different photographic disciplines.

Photography of portraits , sports photos or even still life. Undoubtedly, portable SLR camera flashes are a great alternative to studio lighting.

These portable flashes will allow you to mount a lighting scheme to measure wherever you are. They will give you the opportunity to take pictures outdoors combining natural lighting together with artificial lighting.

If you find interesting, the proposed theme continues reading, since I am going to list some of the best articles published in this blog so that you can master the strobist at your own pace.

I thought it would be better to order the articles on strobist by theme or photographic discipline. So I’m going to show 3 lists for this reason. And what are the lists? Well, they are the following:

 

Strobist in sports photography:

The most complete list regarding the strobist is completed by articles with tricks to use the portable flash in sports photography. You will be able to read about how to use cobra-type flashes in photos of different sports such as BMX, Skateboard and Downhill.

In addition to a guide to illuminate by portable flashes you can find other photographic tricks usable in different situations. Let’s see this list of tricks to illuminate with strobist in sports photography:

 

Master the strobist with several economic accessories:

In case you have not yet been able to imagine it with the title and the entry paragraph, today’s objective is not to delve into all previously written topics but to improve lighting techniques using portable flashes in combination with various accessories for strobist economic

Maybe you’re wondering what the improvements are in terms of lighting. So I’m going to explain them in detail and then we see how we can get them and what accessories for portable flashes we need …

Go to Domina the strobist with cheap accessories

Tricks to illuminate with a single strobist flash:

In these days where you have to sharpen your wits for practically any task, task or desire; it is not too much to talk about some tricks to illuminate with a single strobist flash. So I’ve decided to write a little guide, (without being a tutorial), for that purpose.

We would all like to have the best photographic equipment on the market, with a myriad of accessories and several assistants to make better photos. However, the world is not perfect, and we will only have the equipment that we have, neither more nor less …

Go to Tricks to illuminate with a single strobist flash

Using the flash to balance a backlight:

In previous articles published in this photography blog we talked about different uses of the flash depending on the photo to be addressed. Since my equipment is completely portable also the 3 flashes that accompany it are of this type so that practically all articles referring to the use of flash published in this blog refer to the strobist.

One of the uses of the flash had not yet published and that is going to be the main theme of today’s article. Using the flash to balance a backlight, the example photo is going to be Skateboard made long ago where the protagonist rider is Xavi Pedro Vila.

Using the flash to freeze the image:

Following the line of content that I addressed in other articles of this blog today I intend to explain how to use the flash to freeze the image effectively and through a photo of descent. I have used this technique for other types of photos but … If you are 30% of the users who return to my blog and have already read other articles before, you will know that sports photography is one of my specialties.

In the photo that accompanies the article I made an extreme panning, since I like to note the speed of, (in this case), the kamikaze downhill rider that appears more times in my blog. From here I thank Andreu Gonzalez for his courage at the time of doing the crazy trialeras. of my photography blog I used a photo of Downhill made last week.

Flash in sports photography of BMX:

Before going into detail I would like to point out the lighting difficulties of the example photo. As you can see the light was complicated in the spot of this BMX session and, although the sky was spectacular, the area where the rider performed the trick was practically in the dark. The solution was to make use of the flash in this BMX photo.

And now, considering that we only have one flash and we can use it in remote mode, we will analyze in broad strokes the lighting and the use of this flash in this sporty BMX photo.

If we look especially at the light that illuminates the rider we will know to determine exactly where the flash that was used for this BMX photo was placed.

Strobist in downhill photography:

In previous posts we had talked about how to use the flash in various situations and scenes. Today’s article is intended to explain more options about the use of flash and as a visual example I will share a photo of donwhill made yesterday using the strobist technique with two flashes. I combined this lighting technique with a panning made with a relatively slow shutter.

First of all I would like to thank the downhill riders that accompany me in these photo sessions that I usually post on my photography blog. Without them it would be impossible to publish this photo and of course I could not publish other descent with MTB.

Use portable flashes in portraits:

High Key or high key in photography:

What is a High Key? What is the deficit of high key and how to get a photo with this photographic technique. Those are going to be the topics of this article that I publish today in my photography blog. First of all comment that the translation of the photographic technique from High Key to Spanish is key high.

The technique of the High Key or high key in photography is a technique in which the predominant tones are the whites, by extension also all those close to this color. Currently soft fluorescent lights are usually used.

It began to be used in the 50s and 60s by means of a certain lighting scheme. Central light, left side light and right side light.

Make portraits combining natural and artificial light:

On many occasions we will find the need to do portraits with natural and artificial light. An example, a session of outdoor portraits where we will combine a flash with natural light.

It is possible that our photographic equipment is limited and we do not have different flashes, nor of synchronizers to fire the flash in remote mode, (outside the hot shoe of the camera). We may not even have a light window or a simple softbox. In these cases, the use of the flash requires special attention since normally a flash mounted on the hot shoe of the camera flattens the image.

Using the flash to freeze long exposure photos:

It might be interesting at some point to use the flash to freeze parts of a long exposure photo, perhaps we could also combine this with an abstract light painting to get a final photo with a “creative” result or simply different to what we usually understand as correct in a nighttime photo.

In these cases the solution is not too complicated if we have a flash and we want to use it to freeze precisely the part of the image that interests us and play with creativity in the rest of the time during which our team continues to seal the photo final.

Modeling light and manual focus:

Last Saturday I was doing a photography session for musicians in a place in the province of Barcelona. In this case there was no possibility to focus with the automatic focus since there were no overhead spotlights focusing on the musicians. So, there was not what is known as modeling light and I had to use manual focus during the whole session in which 3 musical groups performed.

The main theme of today’s post will try to address and define what both are. The modeling light and the impossibility of having an automatic focus. My intention is not to define these two topics in a profound way, but to speak broadly of them without going into complex technical aspects or others that would make their understanding difficult.

Strobist and product photography:

Low key by strobist in study:

Today I have been trying to get a low key through strobist in study. I have embarked on a type of photography that I am completely unaware of, but emboldened with a series of theoretical knowledge that I have reviewed recently, I have thrown myself headlong into the pool.

The lighting in the studio is the most complex, especially if you do “product” photography, without photometer and by strobist.

High key in studio – White on white:

Previously I had written about how to get a high key in studio or interiors using strobist in a portrait. Later I also commented on how to get a high key with natural lighting.

In today’s article I do not intend to delve into how to perform any of these lighting techniques of which I have spoken before and I will not even describe what this technique known as High Key is about.

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Control exposure and dynamic range

Controls exposure and dynamic rangeControlar la exposición en fotografía cuando hay mucho contraste

One of the main problems when we take photos with natural light and there is a lot of contrast is the dynamic range. Thus, one of the main objectives of this type of photos is to control exposure and dynamic range .

Okay, but … What exactly is the dynamic range?

The dynamic range in photography:

The dynamic range of any device, object or medium represents the amount of signals it is able to distinguish, capture or represent.

The greater the number of interpretable or reproducible signals by the device, the greater the dynamic range of the device. At lower dynamic range there will be fewer opportunities to show or interpret these signals.

OK, but I’m a dummy , and I have not understood this concept. Can you simplify it? Could you tell me what it is used for in photography?

With the intention of simplifying it, adjust it to the medium and answer my questions (I put myself in the role of dummy) I will try to expose a few lines below what for me means the dynamic range in photography .

The diaphragm steps that our sensor captures:

The dynamic range in photography would be what the sensor of our reflex camera is able to interpret when making an exhibition if we consider only the shadows and highlights of the photo in question.

Simplifying even more (and taking into account the exposure meter of your camera). The dynamic range will be the difference in diaphragm steps between lights and shadows.

In other words, the dynamic range is the interpretation of the light of the scene by the sensor of our camera.

Maybe you’re wondering, do the cameras interpret our eyes differently? The answer is a resounding yes, and not only regarding the dynamic range.

To take into account about the dynamic range:

Now that you know the existence of dynamic range (if you did not already know) you will explain why the photos you did not know because they had been that way.

From now on you will know that your camera will not be able to interpret all the information that your eyes process in a broad and precise way .

Yes, our view far exceeds the dynamic range of any camera. In fact, cameras mimic the behavior of a human eye .

Taking advantage of the dynamic range to our interest:

Luckily, this sensor limitation of our cameras can be used at interest. I was wondering what would be the low-key photos … Well, something would invent safe.

The dynamic range is a limitation of our photographic equipment , but like almost everything in life, it can be used at will to personalize any photograph taking into account this limitation and take advantage of it.

I have given as an example a portrait illuminated by the low key technique, but there are many more options that you can see in this photography blog .

I have written a lot of articles that, without mentioning the dynamic range, make direct reference to this limitation of the sensors of the cameras.

The dynamic range of the example photo:

The example of architectural architecture that accompanies this article was made in the summer of 2012 in the Alcazaba de Málaga . It was midday and the main technical difficulty involved in making this picture was precisely to control the dynamic range.

If you notice, you can approach the time of realization by angulating the shadows projected by the tiles, just above the windows that appear in the photo.

There are details in all parts of the histogram, right and left and also in the center.

Reviewing the exif data of this photograph I can see that I used a diaphragm aperture of F16 , an ISO 100 speed, a shutter speed of 1/80 seconds, a custom scene mode and an automatic white balance, the focal length was 28 millimeters The equipment used was a Canon Eos wide-body camera body together with a 28-80 F2.8 AT-X Pro lens from the Tokina brand.

So, you can get an idea of ​​how I used the dynamic range to control the exposure of this architecture photo. Do not forget to ask if you have questions.

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Using the flash to freeze the image

Using the flash to freeze the imageUso del flash para congelar la imagen

Following the line of content that I addressed in other articles of this blog today I intend to explain how to use the flash to freeze the image effectively and through a photo of descent. I have used this technique for other types of photos but … If you are 30% of the users who return to my blog and have already read other articles before, you will know that sports photography is one of my specialties.

In the photo that accompanies the article I made an extreme panning , since I like to note the speed of, (in this case), the kamikaze downhill rider that appears more times in my blog. From here I thank Andreu Gonzalez for his courage at the time of doing the crazy trialeras.

In this photo there is a co-star who accompanies Andreu in the trialera, and far from being one of the two flashes used to freeze this image, is the time of exposure . This shutter speed has allowed me to draw the lines of the sweep and some have been marked with lighting permission (which could have blurred them).

Let’s go to dismantle the image and all the data that the exif of this descent photo show, together with the information that I memorized to expose it in my photography blog.

 

Why partially freeze and not everything?

Because that was precisely the effect he was pursuing at the time of taking the picture. I wanted to draw the lines that are seen diagonally to show the sweep and speed of the rider.

 

What part has been focused?

The whole part of the photo that allowed me depth of field has been focused, I recommend you follow the link if you want to know all the factors that influence.

The point of autofocus I aimed at the eyes of the rider, (area that seemed more relevant to me), and has remained focused that particular part and the line of the wheel of the downhill bike closest to the fork.

 

Why one area has been frozen and another with a wake of light?

Because I used a flash with second curtain synchronization as the main light source that produced the wake of light while the flash used as a filler has frozen the parts of the photo where the influence of this flash had more power. The dust raised by the rider in his descent will always be frozen completely due to the influence of the lighting and because light bounces off. This is especially appreciated if we had smoke instead of dust.

 

And the diagonal sweep?

The sweep of this photo of descent is diagonal because I find the sweeps achieved with this directionality much more aesthetic and dynamic, I also think the curved sweeps. Another reason why the sweep is diagonal is by the inertia of the movement of waist, hands and head when following the rider. Also by the slope, it is the natural path.

 

Equipment used for this photo of descent

To make this photo of descent I used a SLR camera body of the brand Canon range great public together with a target of the Tokina brand of 28-80 mm F2.8 SD. Together with the camera and the lens I used 2 tripods for the fastening and placement of the flashes, an economic synchronization device of the Phottix brand that consisted of an emitter mounted on the hot shoe of the camera and two receivers that served as a hot shoe Hot flashes used for lighting. The flashes used were a Canon Speedlite 430 EX-II and a flash of the brand Nissin Di622 Mark-II.

 

Arrangement and power of the flashes

The flash on the right and back of the rider was placed at a diagonal distance of 2 meters and a half, its regulation was set to +1 2/3 and I used a simple Sto-Fen type diffuser. The head was oriented at an angle of 45 degrees with respect to the vertical of the photo and was located in a rear position with respect to the rider of an approximate meter and a half. It was synchronized to the second curtain at a shutter speed of 1/50 second.

The second flash, Nissin Di622 was used as a filler and was on the right and at a diagonal distance of about one and a half meters. I regulated the power in 2/3, this flash only allows adjustments in intervals of 1/3 of power, and I bounced it towards the rider by means of a tilting of the head of 60 degrees with respect to the horizontal of the photo using only the rebound that incorporates the flash itself. Its position with respect to the line where the rider was was approximately one meter in front and the synchronization went to the first curtain with a shutter speed of 1/50 seconds.

What do the exif data say?

The exif data reveals that I adjusted a diaphragm aperture of F4.5, an exposure time of 1/50 seconds and an ISO speed of 100. The focal length was 51 millimeters and the scene mode was custom configured.

 

Conclusion about this partial freezing

The use of both flashes at a slow shutter speed and the first and second curtain sync have created different freezing effects. As is the total freezing in the parts pointed to by the flash synchronized to the first curtain (Nissin Di622 Mark-II) and the wake effect caused by the main flash (Canon 430 EX-II). The power of the flashes has also influenced the amount of frozen image and this issue was taken into account when taking the photo to achieve precisely these effects that are seen in the photo.

The determination when adjusting the point of sharpness or maximum focus of this photo of descent helped me to get the point (practically exact) where to make target, which for me is the most important point of the photo as it shows the expression of the rider at the time of rectifying the trajectory of descent at the most critical point of the trialera (moment which took the picture), knowing Andreu I know what that gesture means on his face and is what I most wanted to get.

 

Points of improvement in this photo

A few, of which some are not possible due to equipment limitations or due to terrain limitations. To give an example, in the left part it would have been great to have a third light source or to place the light that I used as a bounce (even if I had modified the settings and the frozen area had changed direction). However it is impossible since that area is a ravine and to mount a flash I need a crane or climb a tree.

There are some more but this time I will leave them in suspension points in case you want to make a criticism about it.

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Yongnuo YN-622C – Manual for dummies

Don’t TouchYongnuo YN-622C – Manual for dummies

After performing a Yongnuo YN-622C test, I have felt like Fred Flintstone lost in New York City today.

Yongnuo flash sync equipment offers you the possibility to control all the settings that your equipment has available, and, as I am used to working with other sets of economic range triggers I felt a little dummie at some point.

That is why I am going to try to write a small manual of the YN-622C, to get rid of the Fred Flintstones complex. If you notice, my last name could be from the same quarry Wilma’s husband … There is that wedge xD

 

The main idea of ​​the manual for dummies:

The main idea of ​​this manual for dummies about the use of the Yongnuo YN-622C is to prevent you from feeling the same situation.

I put myself in the position of the photographer who has just begun to take pictures in manual and buff mode … The world fell on me.

As secondary ideas there are a few. How to synchronize your flashes at high speed , channel and group configuration, flash exposure lock, flash exposure bracketing, flash exposure compensation, flash sync to the second curtain, etc.

If you see that I have forgotten something and want to know how, you can ask directly by writing a comment. At the moment I have not eaten anyone who has commented, not even the trolls.

 

The even more main idea of ​​this manual about the YN-622C:

That you use it, that you enjoy it, that you share it and that you download it to use it whenever you want.

With the intention that you master the synchronization device and take control over the strobist .

After this declaration of intentions about the manual of use for dummies of the Yongnuo Yn-622C we go to the mess.

 

The first thing you will do to use the YN-622C:

It will seem obvious but I will not jump. Mount a transceiver in the camera once you have put batteries, recueda serving the rechargeable you use for your flashes.

Then mount a flash on the other transceiver and place it on a stable surface, or swipe it on your tripod.

Turn on your camera first and then the transceivers, in the last step and assuming that we speak only of a remote flash, turn on the flash.

 

Access the reflex control menu of your SLR:

Now I have put myself in the role of a canonist, if you are your camera, you are from another brand, look for the similarities.

Access the flash control menu and in the next menu choose the external flash settings option.

If you get an error message like “This menu can not be displayed …” check that all devices are on (including the flash).

 

Selection of flash mode:

Now that you are inside the menu, it gives you as a first option flash mode, choose between ETTL-II, ETTL, Flash Manual or Flash Multi. Or through the options offered by your team.

Assuming that we still have a flash, two transceivers and a reflex body click on the first button on the left of the transmitter to select channel one and do the same with the receiver.

Repeat the step with the first button on the right to select the group.

 

Select the shutter sync:

In principle, you should be shown only the options 1st curtain and High speed for the synchronization of shutter speed and flash.

If what you want is to synchronize to the second curtain you will first have to look for the wireless setting option and disable the wireless function. Now go back to synchronization of the flash and you will see that the 2nd curtain option is already available to synchronize the flash.

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Making off cover 59 Uno Skateboarding Magazine

Making off cover 59 Uno Skateboarding Magazine

Image result for skateboardingAfter the Cover – UNO # 59

Today’s video is a making of how the cover page 59 of Uno Skateboarding Magazine was made. In the video you will see skater Julián Lorenzo and photographer Roberto Alegría working on the photo that illustrates the 1st page of the magazine. The video has been made by avalanchafilms.com and in the credits you can see all the copyrights.

What about the protagonists and the video? Were it was made? On the occasion of what? Well, a few things, I’m going to tell what I know.

 

Roberto Alegría – Photographer by Skateboard:

In the video you can see Roberto Alegría explaining in broad strokes his trajectory as a photographer. Roberto is one of the national skateboard photographers internationally recognized within the skater scene scene.

A few months ago I published a couple of entries talking about him and his photograph. If you want to access your facebook page follow the link.

 

Julian Lorenzo – The Skateboarder:

The co-star of the session is the skater Julián Lorenzo . I recommend you look for some videos of him to see how he tricks. As explained in the video Julián began to skate in Extremadura (hometown) and has been in Barcelona for a few years, like Roberto, although Roberto Alegría is native to the Basque Country.

One Skateboard Magazine:

These two geniuses met in Barcelona to make the cover number 59 of Uno Skateboard Magazine , if you want to access the website of Uno Skate Magazine follow the link.

One is a magazine of Snowplanet SL and this company is the pioneer in the creation of magazines and magazines in Spain. I remember a lot of years ago, when I started on snowboarding, seeing his publications while drooling.

From here I send a congratulation to my namesake Sebastian Saavedra , whom I do not know in person but in letters for the promotion of all these sports that “came from the Yankee” to stay here. If he makes a beer we do not take them;)

 

The video by Avalancha films:

Avalancha Films has been in charge of making the video of the making off of how the cover number 59 of the video was made. I did not know them until now but I’m going to devote myself to reviewing their videos to see what I see.

What do you think of the video? A good way to promote skateboard photos Do not you think?

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The portrait in photography and types of shot

The portrait in photography and the types of plane

In the previous article we talked about the planes in photography according to the position of the camera. Today we will talk about the portrait in photography and the types of plans . To support my texts with examples of blueprints in portraits I will share with you a couple of beauty photos that you can see in my portfolio if you want.

DEl retrato en fotografía y los tipos de plano - Primerisimo planoetail plan:

The detail plane frames a small part of the subject of our photo, in this case portrait. It is not necessary that the motive of our portrait for this type of plane be the face. It could be any part of the body where our detail plane would allow to show an isolated part of the body. This type of plane emphasizes the detail in the protagonist of our photo and is one of the least used plans.

 

Very first plane or first close-up:

The very first plane or first close-up is a type of plane in which we will show the face of our portrait cut close to the chin and very close to the forehead, there are variants, we could cut the portrait by the chin, we could cut the portrait by the front … The very first plane notes the expression of a person in a remarkable way.

 

Foreground:

The foreground , or also called portrait shot, is the one that collects the face and other parts of the body of our portrayed, could be a shoulder, both, a part of the chest … In photographic portrait is one of the types of plane more used. In this type of plane as in the previous two, the distance to the subject is minimal, so it is understood that it is an intimate plane and allows us to intimate with the portrayed in a certain way. It is the type of plan that I show in the first photo of this post that talks about “the portrait in photography and the types of shot” .

 

Bust plane or short medium plane:

The bust plane or medium plane is a plane that shows a portrait from the middle of the chest to the top of the head, allowing us to compose with a certain margin of oxygen in the upper part of our portrait. It is a plane that allows you to isolate a figure within a background, highlight the prominence of this and concentrate the maximum attention on the protagonist of our portrait. This plane is also known as a bust plane or greater foreground.

 

Medium plane:

The medium shot is usually used to highlight beauty, which is why it is widely used in fashion photography. The cuts in the frame usually vary between the navel and the upper part of the thighs. It may also vary in the case that the portrayed person is sitting or in a situation different from the normal one, which would be standing.

The American plane or three-fourth plane is a plane where we cut three fourths of the figure of our portrayed. It is said that the name comes from the western American films, where he rewarded this type of shot to point out the gunmen’s cartridge belts. As you can see there are small variants of each type of plane. The American plane theoretically cuts through the middle of the thigh, but in the example photo I cut directly from the top of the knees.

 

Portraits in photography and types of shot:

As I always say, these rules are not to follow them, but to know them. As a photographer I can tell you that following the rules in photography is fine. However, it is much better to create your own composition rules. I think I remember that I took this kind of theory very seriously in terms of the type of shots and other laws of photography. In the long run I have been making variants of each and every one of the types of planes I know. The search for my own style has pushed me to dispense with the strict rules of photographic composition.

Knowing the types of shots used in portraits will not make your photos charge magic, however they will help you improve them. Once you know them it is highly recommended that you dispense with them.

And so far my article today “The portrait in photography and the types of plane” . Regards and until next time.

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