Macro Photography Techniques Close-up photography is great for bringing out subject detail. Use our macro photography tips for great results when shooting macro outside.
So You Got a New Digital SLR? Here Are a Bunch of Tips on How to Get the Most Out of It!
Here are a bunch of tips and ideas for you to learn more about your new Digital SLR camera and make better images!
1. Shutter Priority. Use this mode to control the camera's shutter speed. It's best used in these situations: a) Dark rooms, such as auditoriums, when you need to stop motion but can't use flash; b) Settings where you want to blur movement, such as a mountain stream, and c) Settings where you want to stop fast motion, such as an insect wings or water droplet.
To learn about this, set your camera to Shutter priority and experiment with various things that move. You'll be able to see the difference in the motion of the subject by varying the speed and letting the camera do the rest of the exposure settings.
2. Aperture Priority. Use this mode to control the camera/lens aperture. Often this is used to force a "wide open" shutter, which will focus your subjects but blur the background, or a "stopped down" shutter, used to put every item in the viewfinder in sharp focus.
To learn about this, experiment with a couple of staged "still life" images and vary the aperture or "f-stop" from wide apertures such as f/3.5 (wide opening), to small apertures such as f/8 or f/11. Let the camera figure out the rest of the settings, and then compare the images to see how the sharpness of the background changes as the f-stop gets smaller.
3. ISO settings. The ISO is a measure of the sensitivity of the image sensor. Similar to the different film speeds of the film cameras, you can vary the ISO to get specific results. Remember that the smaller ISO number means better quality but less light. So if you want the sharpest, best image in bright daylight, ISO 50-100 may be your best setting. Shooting in low light? Maybe ISO 800, 1600, 3200 or higher would work for you. You'll get exposures with more noise in them, but the subject movement will be minimized.
To learn about this, Change your ISO out of Automatic, to 100, choose Aperture Priority of around f/5.6, and then take a series of shots in a somewhat dark setting, such as an indoor room out of sunlight. Then change ISO from 100 to 200, 400, 800 and as high as your camera will go. You'll find the camera choosing faster and faster shutter speeds, but the images will start to become noisy.
4. Macro mode. Your camera has at least one removable lens. It has a minimum focusing distance, meaning that it can't focus sharply on images closer than that.
To learn about this, check in your lens manual or look up online the minimum focus distance and experiment with some close-up imagery. Some suggestions: pull out some kitchen items like grains or beans and do a close-up. Vary the f-stop and camera angle to get some of the material sharply in focus and some blurred. Try it with office supplies, pets, you name it. The key is to play with the "world of the small".
5. People perspective. It's not intuitive, but the best images of people may be taken at the farthest end of your zoom lens. When you use the wide angle setting, you have to approach your subject and in doing so, your lens will distort the closest features, such as the nose. By stepping back and zooming in, you place the subject's features in more of the same distance, so distortion is minimized.
To learn about this, get a cooperative subject and make a series of head and half-body shots in the full zoom range of your lens, starting with wide angle, and stepping back as you zoom in to keep roughly the same body proportions. Then look at the series of images and see if you can detect the difference between wide/close faces and zoom/far faces.
6. Monopod. This handy and inexpensive device will let you create many good images in lower light. It has a thread that connects to the bottom of your SLR. Use lt like a walking stick when out and about, but put the camera on if your shutter speed is below around 1/250 second, and it will keep your camer from moving too much.
To learn about this, get a monopod and experiment with some hand held shots, then put the camera on the stick and take the same images. It works!
7. Anti-shake. It's called many things - Anti-shake, VR (Vibration Reduction), and IS (Image Stabilization) to name a few. Some cameras have it on the body (Sony), and others in the lenses (Canon, Nikon). Some don't have this at all. The trick is that the camera/lens compensates for some amount of camera motion from your holding it, allowing you to get sharp images at much lower speeds.
To learn about this, find out how to turn it on (if you have it), and experiment with hand held images with it on and off. Note that this feature is not useful if your camera is on a tripod.
8. Night Images. If you can keep the camera very still, you can get some amazing images after dark. Usually you use a tripod and sometimes a cable release or a timer release to keep the shutter open and minimize the vibration from the camera's mirror.
To learn about this, put your camera on a tripod after dark and shoot your neighborhood or indoors at various exposure times. Take that next birthday photo only using candle-light, or try "light painting", where you illuminate part of your set with white or colored lights for a creepy effect.
9. Reflectors. You can take some wonderful natural light shots, but sometimes the contrast from bright side to dark side is too high, leading to blown out highlights or black shadows. An external reflector can help to smooth out the contrast and provide highlights.
To learn about this, make a cheap reflector from a flat white object such as foamboard, white cardboard or a ceiling tile. place it to the opposite side of your subject from the bright light source, and let it reflect some of that bright light back on the subject to lighten the shadows. Try another one to divert light from the back or side to provide highlights for hair or the back/side of a subject. Experiment with "negative light", where you place black objects near the subject to reduce the level of light on that side of the subject.
10. Put it all together. Go through these exercises and then build an assignment for yourself. Try to set up and photograph some of these things to show your knowledge and skills with your SLR:
A. Compose a still life with nice side light and narrow depth of field and clean background. Try a fruit basket.
B. Compose a portrait with a subject lit nicely from window light, with and without fill light.
C. Photograph a piece of fruit falling into a container of water. Provide enough light and a short enough shutter to capture water droplets.
D. Take an image of a moving person or animal where the subject is frozen.
E. Take an image of a person or animal where the subject or background is blurred.
F. Compose a portrait in or of your residence and shoot it after dark.
Note that I didn't mention that little flash on the top of your camera. I think of it like a fire extinguisher - use only in emergency! The camera flash will do more to harm your images than it will do to help. Learn to work without it. If you really want to use flash, consider a separate flash unit, especially one that you can remove from your camera and fire from other locations.
With a little constructive play, you can learn a lot about photography, improve your composition and shooting skills, and create some great art!
So You Got a New Digital SLR? Here Are a Bunch of Tips on How to Get the Most Out of It!
Macro Photography Techniques
So You Got a New Digital SLR? Here Are a Bunch of Tips on How to Get the Most Out of It!
So You Got a New Digital SLR? Here Are a Bunch of Tips on How to Get the Most Out of It! So You Got a New Digital SLR? Here Are a Bunch of Tips on How to Get the Most Out of It!
Newborn Photography - How to Photograph Newborn Babies
Newborn photography can be exceptionally challenging, not only because the models can tend to be a little uncooperative, but also due to the fact they spend a lot of time sleeping and very little time smiling. This article has a couple of hints and tips that should hopefully show you how to photograph newborn babies and ensure that you end up with a shot that the family will want to treasure forever.
The lighting of your shot will be especially important. You don't want to go exposing newborn eyes to bright flash bulbs, so try and take photos in conditions that are naturally bright when photographing newborns. Increase the ISO and exposure compensation on your camera in low light levels, but check to make sure that the image doesn't become too grainy as a result.
Be sure to consider the angles at which you take your shots. It can be very easy to fall into the habit of always shooting from above, so before long you have an album full of shots looking down at the child. Try getting down on the same level as the newborn, and allow them to fill the full frame of your photo.
Focus on some of the smaller aspects of their face, or on a single hand or foot to get some really interesting macro shots. It is usually an idea to keep your camera on a continuous shooting mode, as a baby's expression can change incredibly quickly. Take a number of shots for each setup, and hopefully you'll be left with one perfect one. Digital photography allows you delete any unwanted shots.
Remember that these photos are being taken to capture the moment and to look back on in years to come. Think of what photos and memories you are looking to preserve. If there is any item or toy that plays an important part in their early days, capture it. The family shot is always a favorite; so make sure you get one of both mum and dad with the baby. Some other classic shots to consider are ones with the baby's hand or foot in its mother's hand to emphasize the difference in size, or shots of the mother nursing capture the intimacy of the relationship.
By following these newborn photographytips you will be able to improve your photography skills and end up with photos worth looking back on many years from now.
Newborn Photography - How to Photograph Newborn Babies
Macro Photography Techniques
Newborn Photography - How to Photograph Newborn Babies
Newborn Photography - How to Photograph Newborn Babies Newborn Photography - How to Photograph Newborn Babies
Digital Photography Tip - How To Photograph Christmas Lights
Christmas is coming and so is the urge for us who love digital photography to get out there in the burbs and photograph the beautiful Christmas lights. It's a beautiful time of year and when you are as passionate about digital photography as I am, then this is the time you whip that digital camera out.
Taking photos of Christmas lights with your digital camera can be a very disappointing experience for digital photography enthusiasts. Pictures of Christmas lights in digital photography are aimed at being crystal clear with beautifully bold colours and hopefully we can capture the delicate glow that radiates from the lights themselves.
But...Christmas lights don't always provide the ideal digital photography experience does it? J In fact, in digital photography, Christmas lights can turnout to be smudged dots of colour, like water over ink and way too dark. The first time I took a digital photography image of Christmas lights the flash went off accidentally causing a flattening out of my images not to mention the lovely colours disappearing and it ended up just being a digital photo of the neighbour's front lawn. Not to mention how it set the dog off barking!
So just what is the digital photography secret to getting crystal clear shots of our suburban Christmas lights?
Okay now I'm going to share a secret with you. The best way to get suburb results of sharp, colourful Christmas lights is to choose the house you are going to photograph. Depending on where you live and how fast you can run, you may need to tee it up with your neighboughs first and offer them the photo. The same rules apply with your Christmas tree.
Take your tripod with you. Take your digital camera off "auto" and take it off "auto flash".
Now try a method called bracketing. Set the aperture at a wide f stop, such as 2.8 or 3.5 for example. Then proceed to try some different settings. Set the shutter to 1/30 or higher. I'd recommend, if it's really dark in the street something around the one second, two seconds or three seconds shutter speed.
There is a groovy little trick you can also do for helping you learning faster, about what works in digital photography and what doesn't. That's recording and documenting your digital photography experience. I usually take a note pad with me and write down the number photo and the f stop and shutter speed so when I look at the photos I know which digital photo has worked and what has not.
But in the dark it's very hard to write down anything so you can do what I sued to do, and that is record on Mp3 what your settings you had on what photo. For example you can record yourself saying "picture one, f stop 2.8, shutter speed 2 seconds." Then again as you have tried another setting "picture seven, f stop 22, shutter speed 1 minute."
These are just examples but they really work. Don't forget the basics with your night time photography such as wide aperture and slow shutter speed and the necessity of a tripod.
If you are in a moving vehicle for example and you are taking shots of Christmas lights from a bus or car, then you can always use the maximum aperture and a smaller shutter speed. For example f stop 1.4 and a shutter of 1/350 or higher.
And don't forget if you do have the time to set up a tripod and try the bracketing technique (ideal) also remember if you have the shutter open for a while the light can bounce off other objects such as windows and roofs. If you get too much reflective light, simply reduce the time the shutter is open.
Good luck and may you have a beautiful Christmas!
Happy Shooting,
Amy Renfrey
P.s Take a look at the photo used to describe the article; http://www.nomorebadphotos.blogspot.com
Digital Photography Tip - How To Photograph Christmas Lights
Macro Photography Techniques - Digital Photography 1 on 1 (#31) Video
Video Clips. Duration : 11.15 Mins.
Macro Photography Techniques - Digital Photography 1 on 1 (#31) Video
www.adorama.com - Macro Photography Techniques and Tips - In this episode number 31, Mark will show you how to take those up close photos! Macro photography techniques allow unique opportunities to produce creative and dramatic photos and Mark shows us a couple examples. Macro Photography On Wiki: en.wikipedia.org - "Quote" Macrophotography is close-up photography, usually of very small subjects. Classically a macrophotograph is one in which the size of the subject on the negative is greater than life size. However in modern use it refers to a finished photograph of a subject at greater than life size.[1] The ratio of the subject size on the film plane (or image sensor plane) to the actual subject size is known as the reproduction ratio. Likewise, a macro lens is classically one lens capable of reproduction ratios greater than 1:1, although it now refers to any lens with a large reproduction ratio, despite rarely exceeding 1:1. Outside of technical photography and film-based processes, where the size of the image on the negative or image sensor is the subject of discussion, the finished print or on-screen image more commonly lends a photograph its macro status. For example, when producing a 6×4 inch (15×10 cm) print using 135 format film or sensor, a life-size result is possible with a lens having only a 1:4 reproduction ratio. Reproduction ratios much greater than 1:1 are considered to be the realm of photomicroscopy, often achieved with digital microscope. "End quote ...
Macro Photography Techniques - Digital Photography 1 on 1 (#31) Video
Macro Photography Techniques - Digital Photography 1 on 1 (#31) Video
Macro Photography Techniques - Digital Photography 1 on 1 (#31) Video
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Macro Photography Techniques - Digital Photography 1 on 1 (#31) Video
www.adorama.com - Macro Photography Techniques and Tips - In this episode number 31, Mark will show you how to take those up close photos! Macro photography techniques allow unique opportunities to produce creative and dramatic photos and Mark shows us a couple examples. Macro Photography On Wiki: en.wikipedia.org - "Quote" Macrophotography is close-up photography, usually of very small subjects. Classically a macrophotograph is one in which the size of the subject on the negative is greater than life size. However in modern use it refers to a finished photograph of a subject at greater than life size.[1] The ratio of the subject size on the film plane (or image sensor plane) to the actual subject size is known as the reproduction ratio. Likewise, a macro lens is classically one lens capable of reproduction ratios greater than 1:1, although it now refers to any lens with a large reproduction ratio, despite rarely exceeding 1:1. Outside of technical photography and film-based processes, where the size of the image on the negative or image sensor is the subject of discussion, the finished print or on-screen image more commonly lends a photograph its macro status. For example, when producing a 6×4 inch (15×10 cm) print using 135 format film or sensor, a life-size result is possible with a lens having only a 1:4 reproduction ratio. Reproduction ratios much greater than 1:1 are considered to be the realm of photomicroscopy, often achieved with digital microscope. "End quote ...
Keywords:
Macro Photography Techniques
Digital Photography Tip - How To Photograph Christmas Lights
Digital Photography Tip - How To Photograph Christmas Lights Digital Photography Tip - How To Photograph Christmas Lights
Semiotics is the study of how meaning is socially created with signs, created by whom, and for whom. The topic has scope that encompasses between a scientific discipline and a world-view. The term is derived from the Greek word seemeiootikee, meaning the study of signs, what they represent or signify, and how we act and think in their universe. Semiotics is categorized among the humanities because it deals with a phenomenon of which we are a part, and which we affect and develops by being a part of it. Urban semiotics is concerned with signs of and related to the city, and thus with the meaning of urban areas. Urban semiotics is preoccupied with the visions and the cultural dynamics of signs, objects and its signification in urban areas. It also studies the historical changes of urban signs.
Look at a door, a building, a facade or a road sign; listen to steps, an advertising message, a piece of music, a shout or a car engine; gulp down a lungful of air loaded with exhaust fumes or the smell of chip fat. These random sensory impressions are the things of the city. We cannot avoid reading these signs in much the same way, as we cannot choose not to feel hungry or choose not to understand a language we know. And when we are in the city, neither can we avoid generating signs, which others take note of and relates to. In the city it is not things that crowd in on us, but rather the significations (meaning) that we bestow upon it.
Semiotics, or semiology, is usually traced back to both Swiss linguist Ferdinand de Saussure and American philosopher Charles Sanders Peirce. Ferdinand de Saussure, who had foreseen that linguistics would eventually be only one department of a much more general science of signs, which he called, specifically semiology. "Now, this semiological project has receives in recent years, a currency, a new power, because other sciences, others subsidiary disciplines have undergone a considerable development, in particular information theory, structural linguistics, formal logic, and certain investigations in anthropology; all these inquiries help to focus the preoccupation of a semiological discipline which would study how humanity gives meaning to things."
Till now, one science has studied how humanity gives meaning to articulated sounds: this is linguistics, but how does humanity gives meaning to the things that are not sounds? It is this exploration that now remains before the investigators. If it has not yet made decisive steps, this is for several reasons, first of all, because we have studied on this level, only extremely rudimentary codes; which have no sociological interest, for instance, the highway code; then because everything which signifies in the world is always more or less mixed up with language: we never have signifying systems of objects in the pure state; language always intervenes, as a relay, notably in image systems, as titles, captions, articles which is why it is not fair to say that we live exclusively in a civilization of the image.
The basic unit of meaning, at least in Saussure's version of semiotics, is the Sign. "A sign is anything which can be taken as significantly substituting for something else. This something else does not necessarily have to exist or to actually be somewhere at the moment in which a sign stand in for it. Thus semiotics is in principle the discipline studying everything which can be used in order to lie. If something cannot be used to tell a lie, conversely it cannot be used to tell the truth; it cannot in fact be used to tell at all."
All signs have two aspects: the signifier and the signified. The signifier is any material thing that signifies, e.g., words on a page, a facial expression, a picture, a rose, a bit of graffiti, a building in urban area. The signified is the concept that a signifier refers to. For example, the letters "rose" would be the signifier, and the signified would be the concept of the particular flower -the concept in your head (passion). The basic, most fundamental form of sign, that is, the relation of signifier to signified, is denotation, roughly, the literal meaning of a sign. The word "rose" literally denotes a kind of flower. But semiotics starts to get interesting when it explores connotation. Connotations involve signifying signs, signs that become the signifier for a second signified, or the subtext of sign or object.
For example, a quick glance at a Marlboro ad instantly brings to mind a whole host of associations or connotations that belong in the paradigm of "The Cowboy": the American West with its vast, rugged, and beautiful landscapes, hard physical work out-of-doors, horses, cattle, the strong, silent kind of machismo that we've all learned to associate with cowboys in countless Hollywood movies. The makers of Marlboro cigarettes hope we will include their cigarette in this paradigm, that is, we will come to understand that the Marlboro cigarettes connote all those things that belong in the cowboy paradigm: they want their cigarette to be a sign for "cowboyish-ness" in the same way that we understand that wearing a tie is associated with masculinity. If an office worker smokes Marlboros, s/he is no more a cowboy than is a woman who wears a tie is not a man. She is not a man, but she is dressing in a "mannish" way; the cigarette does not make you a cowboy, but it signifies "cowboy-ishness."
All advertising is a message; we can try to apply to the advertising message a method of analysis that has come quite recently from linguistics. Every message is the encounter of a level of expression or signification, and a level of content, or signifier. Now, if we examine an advertising sentence, we readily see that such a sentence contains in fact two messages. By the articulation of the two messages, advertising language when it is ('successful') open us to a spoken representation of the world which is 'narrative': all advertising says the product but tells something else; by [transferring] the product in advertising language, mankind gives it meaning and thereby transforms its simple use into an experience of the mind.
At the start of the semiological project, it was thought that the main task was, in Saussure's phrase, to study the life of signs at the heart of social life, and consequently to [recreate] the semantic system of objects (garments, food, images, rituals, protocols, music, etc.) This is yet to be done. But as semiology advances into this already vast projects, it encounters new tasks, for example, to study the mysterious operation by which any message may be infuse with a secondary meaning, which is known as the 'connoted meaning'. If the tasks of semiology are constantly enlarging, this is indeed because we are constantly discovering more of signification's importance and extent in the world.
Ordinarily, we define the object or sign as 'something used for something'. There is virtually never an object for nothing, there are objects presented under the form of useless trinkets, but these trinkets always have an esthetic finality. The paradox is that these objects always have, in principle, a function, a utility, a purpose. We experience it as pure instruments, whereas in reality they carry something else: the object effectively serves some purpose, but it also serves to communicate information; we might sum it up by saying there is always a meaning which overflows the object's use.
For example, the appearance of a telephone always has a meaning independent of its function: a white telephone always transmit a certain notion of luxury or femininity; there are bureaucratic telephones, there are old-fashioned telephones which transmit the notion of a certain period (1925); similarly, a pen necessarily parades a certain sense of wealth, of simplicity, of seriousness, of whimsicality, etc. The plates we ate on always have a meaning, when they feign to have none, then precisely they end up by having the meaning of having no meaning. Consequently, there is no object that escapes meaning.
Throughout the history of Western thought, the idea of a semiotic theory-however differently defines, was always labeled as a doctrine of signs. The disparity of meanings ascribed each time to the notion of sign calls for a rigorous critique. In an article I found on the web, Semiotics for Beginners, Daniel Chandler provide a critical analysis of the weakness and strength of semiotic. It is as follow:
[Criticisms of Semiotic Analysis: Other than 'the study of signs' there is relatively little agreement amongst semioticians themselves as to the scope and methodology of semiotics. Although Saussure had looked forward to the day when semiotics would become part of the social sciences, semiotics is still a relatively loosely defined critical practice rather than a unified, fully-fledged analytical method or theory. At worst, what passes for 'semiotic analysis' is little more than a pretentious form of literary criticism applied beyond the bounds of literature and based merely on subjective interpretation and grand assertions. This kind of abuse has earned semiotics an unenviable reputation in some quarters as the last refuge for academic charlatans. Criticisms of structuralist semiotics have led some theorists to abandon semiotics altogether, whilst others have sought to merge it with new perspectives. It is difficult to offer a critique of a shifting target, which changes its form so fluidly as it moves.
Semiotics is often criticized as 'imperialistic', since some semioticians appear to regard it as concerned with, and applicable to, anything and everything, trespassing on almost every academic discipline. John Sturrock comments that the 'dramatic extension of the semiotic field, to include the whole of culture, is looked on by those suspicious of it as a kind of intellectual terrorism, overfilling our lives with meanings' (Sturrock 1986, 89). Semioticians do not always make explicit the limitations of their techniques, and semiotics is sometimes uncritically presented as a general-purpose tool. Few semioticians seem to feel much need to provide empirical evidence for particular interpretations, and much semiotic analysis is loosely impressionistic and highly unsystematic. Some semioticians seem to choose examples which illustrate the points they wish to make rather than applying semiotic analysis to an extensive random sample (Leiss et al. 1990, 214). William Leiss and his colleagues argue that a major disadvantage of semiotics is that 'it is heavily dependent upon the skill of the individual analyst'. Less skilful practitioners 'can do little more than state the obvious in a complex and often pretentious manner' (Leiss et al. 1990, 214). Certainly, in some cases, semiotic analysis seems little more than an excuse for interpreters to display the appearance of mastery through the use of jargon which excludes most people from participation. In practice, semiotic analysis invariably consists of individual readings. Semiotics is not, never has been, and seems unlikely ever to be, an academic discipline in its own right.]
[Strengths of Semiotic Analysis: Semiotics can help to denaturalize theoretical assumptions in academia just as in everyday life; it can thus raise new theoretical issues (Culler 1985, 102; Douglas 1982, 199). While many scholars who encounter semiotics find it unsettling, others find it exciting. Semiotic techniques 'in which the analogy of language as a system is extended to culture as a whole' can be seen as representing 'a substantial break from the positivist and empirical traditions which had limited much previous cultural theory' (Franklin et al. 1996, 263). Robert Hodge and Gunther Kress argue that unlike many academic disciplines, 'semiotics offers the promise of a systematic, comprehensive and coherent study of communications phenomena as a whole, not just instances of it' (Hodge & Kress 1988, 1). Semiotics provides us with a potentially unifying conceptual framework and a set of methods and terms for use across the full range of signifying practices, which include gesture, posture, dress, writing, speech, photography, film, television and radio.
Semiotics may not itself be a discipline but it is at least a focus of inquiry, with a central concern for meaning-making practices which conventional academic disciplines treat as peripheral. As David Sless notes, 'we consult linguists to find out about language, art historians or critics to find out about paintings, and anthropologists to find out how people in different societies signal to each other through gesture, dress or decoration. But if we want to know what all these different things have in common then we need to find someone with a semiotic point of view, a vantage point from which to survey our world' (Sless 1986, 1). Semiotics can also help us to realize that whatever assertions seem to us to be 'obvious', 'natural', universal, given, permanent and incontrovertible are generated by the ways in which sign systems operate in our discourse communities. Art historian Keith Mosley comments that: Semiotics makes us aware that the cultural values with which we make sense of the world are a tissue of conventions that have been handed down from generation to generation, by the members of the culture of which we are a part. It reminds us that there is nothing 'natural' about our values; they are social constructs that not only vary enormously in the course of time but also differ radically from culture to culture. (cited in Schroeder 1998, 225).]
Many key figures work with semiotic in term of linguistic, not so much with visual (picture, image, or object). The first notable attempts to do so took place in the 1960s in Europe, especially France, with writers like Roland Barthes, who attempted to analyze the production of meaning in all sorts of visual images, from advertisements for Italian food products to photography and motion pictures. To Barthes, "the signifier has two aspects: one full, which is the meaning, one empty, which is the form". In his book Empire of Sign, he apply his abstract analysis of today city: [Quadrangular, reticulated cities, Los Angeles, for instance, are said to produce a profound uneasiness, which requires that any urban space have a center to go to, to return from, a complete site to dream of and in relation to which to advance or retreat; in a word, to invent oneself. For many reasons (historical, economic, religious, military) the western metaphysics; for which every center is the site of truth, the center of our cities is always full; a marked site, it is here that the values of civilization are gathered and condensed: spirituality (churches) power (offices), money (banks), or merchandise (department store). To go downtown or center-city is to encounter the social "truth" to participate in the proud plentitude of reality.]
Traveling through urban areas, one would almost never miss such objects as "a garment, an automobile, a dish of cooked foods, a gesture, a film, a piece of music, an advertising image, a piece of furniture, a newspaper headline. These indeed appear to be heterogeneous objects. What might they have in common? This at least: all are signs. When we walk through the streets or through life-and encounter these objects, we apply to all of them a certain reading. Modern man, urban man, spends his time reading. He reads, first of all and above all, images, gestures, behaviors: this car tell me the social status of its owner, this garment tells me quite precisely the degree of its wearer's conformism or eccentricity, this aperitif (whiskey or white wine) reveals my host's lifestyle. Even with regard to a written text, we are constantly given a second message to read between the lines of the first: if I read in the headlines: PAUL VI AFRAID, this also means: if you read what follows, you will know why.
There is semiotic for virtually everything except, urban semiotic. Not many texts have been written about it, but in The Semiotic Challenge, Barthes provides a clue as to why: Anyone who wants to sketch a semiotics of the city must be at once a semiologist (specialist in signs), a geographer, a historian, an urbanist, an architect and probably a psychoanalyst. Aside from those authors explicitly entertain the notion of a semantic of the city; we note a growing consciousness of the functions of symbols in urban space. The city is a discourse, and this discourse is actually a language: the city speak to its inhabitants, we speak to our city, the city where we are, simply by inhabiting it, by traversing it, by looking at it. Meaning is always a phenomenon of culture, a product of culture. Now, in our society, this phenomenon of culture is constantly naturalized, reconverted into nature by speech. Yet, the problem is to exact an expression like 'language of the city' from the purely metaphorical stage. It is metaphorically very easy to speak of the language of the city as we speak of the language of the cinema or of the language of flowers. The real scientific leap will be achieved when we can speak of the language of the city without metaphor...emptying this expression of its metaphorical meaning in order to give it a real meaning. We have difficulty inserting into a model the urban data supplied us by psychology, sociology, geography, demography, this is precisely because we lack a final technique, that of symbols. We need a new scientific energy in order to transform such data, to shift from metaphor to the description of signification, and it is here that semiology may by a still unpredictable development afford us some assistance.
Every city is constructed, conventionally created by us. In this attempt at a semantic approach to the city, we must try to understand the interplay of signs. If we seek to undertake a semiology of the city, the best approach, as indeed for any semantic enterprise, will be a certain ingenuity on the reader's part. It will require many of us to attempt to decipher the city where we are, beginning, if necessary, with a personal report. Mustering all these readings of various categories of readers (for we have a complete range of readers, from the sedentary to the foreigner), we would thereby elaborate the language of the city. This is why the most important thing is not so much to multiply investigations of functional studies of the city as to multiply the readings of the city.
In conclusion, I can summarize the idea of semiotic as: semiotic is the study of how society conventionally gives meaning to an object, how an objects can be created to have meaning in so many levels; who in society have the power to create the meaning of the objects, and for whom; and how overtime, the socially constructed meaning of a given object could be reify to a natural meaning. The key is to analyze the object and determine what is socially constructed meaning and what is natural. But this way of studying signs does not need a new discipline such as semiotic. A signs or objects with multiple meaning can be understood by applying critical analysis with psychology or sociology; if that is not enough, then apply macro sociological analysis. From my reading of semiotic so far, I tend to believe Chandler's critical analysis of the weakness of semiotic. It has not many uses because it is too confusing beyond its simple definition. Even the experts could not agree beyond the simple definition. Maybe someone can put it all together and make some uses of it, but I certainly find it so confusing, useless and uninteresting beyond its few definitions.
Bibliography:
1. Battistella, Edwin. Encyclopedia of Semiotics. 1998. Oxford University Press.
2. Barthes. Roland. Empire of Signs. 1982 Hill and Wang. Translated by Richard Howard.
3. Barthes. Roland. The Semiotic Challenge.1994. University of California Press.
5. Eco, Umberto. A Theory of Semiotics. 1976. Indiana University Press. P.7
6. Larsen, Svend Erik.
7. Streeter, Tom.
Note: 1-24-2008
Semiotics: Signs and the City Revisited.
When I was researching this paper in college, it never occurred to me that some years later I will be working for a company that makes sign-making software. Now it is interesting to note how it all comes together in time. Therefore, I am compelled to update my conclusion about semiotics and sign-making. It is important to realize how important signs could be as a form of communication; and as a form use to generate the economy. I think Semiotics is central to its study and will emerge as an important discipline in its own rights.
A long time ago, much of the human populations were living in agrarian society. Literacy rate were low in this type of societal arrangement. It was not a major requirement for farming and living in the country sides. Even so, there were still distinction between a person who can read and write; and those who cannot read a written language. Such latter people were considered illiterate as it is today. There were not that much signs for them to read on a daily basis anyway.
Nowadays, there are signs everywhere. So much of our language now involves using signs and symbols; it is fast becoming a new standard of literacy. Because of the high percentage of literacy in industrialized countries, there is nothing unique about being able to read traditional written languages. But not everyone can understand signs and art works as a form of language communication. Signs and images are often use in a deceptive way. Their connotations are not always readily apparent. Therefore, if one cannot read or understand a sign or a piece of art work, such person could now be consider illiterate. I think in this respect, understanding signs and their significance is an important part of improving a person intellectual level of our time.
Another interesting aspect of signs is their economic value. Signs, images, and advertising are a multi-billion dollars industry. There is no doubt it is ubiquitous. You cannot avoid seeing signs advertising products and services walking down a city street. There are hundreds of sign making shops busy generating revenue and contributing to the economy. Printed signs and images can communicate to people at various levels more powerful than written words. In certain scenarios, it is preferable for advertiser to use images over written language because its effect on viewer can be immediate and longer lasting.
In urban areas, there is no escape. Signs are very much relevant to our daily life because it is everywhere. It is a common entity that bound all people together because we are all affects by it one way or another. Much of these signs we see daily demand attention and obedience. We don't normally think about how much signs we see in a day. In fact, we may go through our day not thinking about it at all. But unconsciously, we obey it one way or another when we see it. They have the power to direct us to a certain level of stimuli and directions. Therefore, semiotics is more than just the study of meaning and definitions. It studies an important phenomenon that affects us all every day. It is useful to continue to examine its impact on our everyday life.
Semiotics - Signs and the City
Macro Photography Techniques - Digital Photography 1 on 1 (#31) Video
Video Clips. Duration : 11.15 Mins.
Macro Photography Techniques - Digital Photography 1 on 1 (#31) Video
www.adorama.com - Macro Photography Techniques and Tips - In this episode number 31, Mark will show you how to take those up close photos! Macro photography techniques allow unique opportunities to produce creative and dramatic photos and Mark shows us a couple examples. Macro Photography On Wiki: en.wikipedia.org - "Quote" Macrophotography is close-up photography, usually of very small subjects. Classically a macrophotograph is one in which the size of the subject on the negative is greater than life size. However in modern use it refers to a finished photograph of a subject at greater than life size.[1] The ratio of the subject size on the film plane (or image sensor plane) to the actual subject size is known as the reproduction ratio. Likewise, a macro lens is classically one lens capable of reproduction ratios greater than 1:1, although it now refers to any lens with a large reproduction ratio, despite rarely exceeding 1:1. Outside of technical photography and film-based processes, where the size of the image on the negative or image sensor is the subject of discussion, the finished print or on-screen image more commonly lends a photograph its macro status. For example, when producing a 6×4 inch (15×10 cm) print using 135 format film or sensor, a life-size result is possible with a lens having only a 1:4 reproduction ratio. Reproduction ratios much greater than 1:1 are considered to be the realm of photomicroscopy, often achieved with digital microscope. "End quote ...
Macro Photography Techniques - Digital Photography 1 on 1 (#31) Video
Macro Photography Techniques - Digital Photography 1 on 1 (#31) Video
Macro Photography Techniques - Digital Photography 1 on 1 (#31) Video
No URL
Macro Photography Techniques - Digital Photography 1 on 1 (#31) Video
www.adorama.com - Macro Photography Techniques and Tips - In this episode number 31, Mark will show you how to take those up close photos! Macro photography techniques allow unique opportunities to produce creative and dramatic photos and Mark shows us a couple examples. Macro Photography On Wiki: en.wikipedia.org - "Quote" Macrophotography is close-up photography, usually of very small subjects. Classically a macrophotograph is one in which the size of the subject on the negative is greater than life size. However in modern use it refers to a finished photograph of a subject at greater than life size.[1] The ratio of the subject size on the film plane (or image sensor plane) to the actual subject size is known as the reproduction ratio. Likewise, a macro lens is classically one lens capable of reproduction ratios greater than 1:1, although it now refers to any lens with a large reproduction ratio, despite rarely exceeding 1:1. Outside of technical photography and film-based processes, where the size of the image on the negative or image sensor is the subject of discussion, the finished print or on-screen image more commonly lends a photograph its macro status. For example, when producing a 6×4 inch (15×10 cm) print using 135 format film or sensor, a life-size result is possible with a lens having only a 1:4 reproduction ratio. Reproduction ratios much greater than 1:1 are considered to be the realm of photomicroscopy, often achieved with digital microscope. "End quote ...
Tags:
Macro Photography Techniques
Semiotics - Signs and the City
Semiotics - Signs and the City Semiotics - Signs and the City
Here are some suggested activities for School Photography Clubs to consider.
1. Focus on History. Review the development of the photographic process, camera obscura, and the evolution from film to digita. Construct a pinhole camera. Dust off some old 35mm manual bodies and shoot a few rolls of film.
2. Focus on Focus. Talk about how an image is focused. Try to take some images in focus and out. Review depth of focus and the lens opening's role in controlling depth of focus. Take a series of increasing DOF images to illustrate.
3. Focus on Speed. Talk about shutter speed and its impact on exposure. Discuss when slow shutter is best and when fast shutter is best. Conduct some photo experiments with students being photograhed while moving, at a variety of shutter speeds. Try high speed photography with water drops or flying insects or other fast moving items. Try photographing waterfalls at a range of speeds.
4. Focus on Sensitivity. Talk about film sensitivity and digital camera "ISO" settings. Discuss when low and high sensitivity are best applied and the tradeoffs for each. Take a series of images with low and high sensitivity and examine the impact on the images. Try shooting the same image with 100 and 800 speed film if you have film cameras. Discuss grain on film vs. noise in digital imaging. Discuss the artistic merits of film grain and review ways to reproduce digitally.
5. Focus on Exposure. Discuss the parameters that affect exposure - shutter, aperature, sensitivity, lighting. Talk about exposure compensation. Take a series of the same subject varying the parameters and resulting exposure. Discuss manual vs. automatic exposure, and the various exposure modes.
6. Focus on Color. Review the color wheel, saturation. How choice of exposure affects saturation. Edit photos and tweak saturation from overboard to black and white. Talk about which cameras and films have different color characteristics. Review white balance. Experiment with the right and wrong custom white balance settings. Learn about custom white balance setting techniques and tools. Review how to change color settings in post-production.
7. Focus on Black and White. Review historic black and white photography. Review ways to convert - greyscale, channel mixer. Impact of filters on Black and White (grayscale) tones. Review color vs BW images side by side and discuss visual impact. Have each student convert the same image using different methods or blends and review and discuss.
8. Focus on Filters. Review polarizing filter and impact on glare, exposure, color saturation, etc. Samples of with and without. Discuss applicability of neutral density filters. Discuss split neutral density filters. Review and experiment with warming and cooling and temperature adjustment filters. Review and experiment with close-up filters.
9. Focus on Editing. Review darkroom film development technique. Review various photo editing tools. Focus on basic functions in photo editing. Set up a multi-step learning experience around gaining proficiency in image editing. For more in this area, see my article on Top 12 Photo Editing Tips.
10. Focus on Printing. Discuss paper/inkjet vs photographic process and press printing. Consider asking a professional photographer or lab to print samples of the same image on lustre, gloss, metallic photo paper, press print and canvas output. Discuss print profiling and color management.
11. Focus on Appreciation. Discuss what makes a picture "great". Some elements of composition will come through, as will the choice of subject matter, lighting and technical and finishing elements. Have the students bring in magazine or other print examples of photos they think are great, and discuss. Schedule a field trip to a photographic exhibit. REview professional photographers' and students' portfolios and offer positive and negative criticism.
12. Focus on Composition. Review rule of thirds, posing, lighting, camera angle, camera position (macro vs tele), lens choice and other elements of composition. Spend time experimenting with some classic subjects - still life, egg, human subject, and have students work on different aspects of composition and lighting. Consider borrowing some professional lighting equipment for some additional experiments.
13. Focus on Careers. Discuss the many kinds of careers that depend on photography (journalism, child/family, wedding, architectural, sport/event/school, etc.), as well as those that benefit from it: (insurance, real estate, forensics, etc.) Consider bringing guests in these areas to talk with the club, or have each club member conduct an interview and gather samples for a group discussion.
14. Focus on Giving. Have the club brainstorm ideas to share their talents with the community. Volunteering to help at nonprofits or in the school, and creating unique gifts are good ideas here.
15. Focus on Fund-Raising. To keep the club financially healthy, brainstorm ideas to raise money for the club. Some starting suggestions: Photo calendars and fine art sale (from the club's talents), photo buttons or keychains, and regular fund raising (food, coupon books, etc.)
16. Focus on Technology. Discuss technical things that change in camera and editing technology (sensor size, image size, stabilization, speed, live-view, in-camera editing, camera features.) Discuss things that a student would look for in comparing and contrasting cameras. Give them some scenarios and have them do some online shopping to choose the best camera and price. Discuss negotiation, grey market and warranty. Discuss obsolescence and ability to upgrade. Review storefront, mail-order and used or closeout sources (eBay, Craigslist, etc.)
17. Focus on Competing. Review the judging rules and sheets and develop your club's own judging and award processes and criteria. Research and enter outside competitions. Have a club-only contest each month on a specific subject (nature, sports, relatives, pets, architecture, etc.) Top 3-5 of each category go to club finals where outside evaluators choose the winner. Work with labs, stores and local photographers to offer good prizes and professional printing of the final items. Use winning items in your fine art fund raisers. Offer to run outside submitted competitions such as college student only, professional-only and school-wide.
Enjoy your school photography club, and use it to grow, develop and have fun!
School Photography Clubs - Suggested Activities
Macro Photography Techniques - Digital Photography 1 on 1 (#31) Video
Tube. Duration : 11.15 Mins.
Macro Photography Techniques - Digital Photography 1 on 1 (#31) Video
www.adorama.com - Macro Photography Techniques and Tips - In this episode number 31, Mark will show you how to take those up close photos! Macro photography techniques allow unique opportunities to produce creative and dramatic photos and Mark shows us a couple examples. Macro Photography On Wiki: en.wikipedia.org - "Quote" Macrophotography is close-up photography, usually of very small subjects. Classically a macrophotograph is one in which the size of the subject on the negative is greater than life size. However in modern use it refers to a finished photograph of a subject at greater than life size.[1] The ratio of the subject size on the film plane (or image sensor plane) to the actual subject size is known as the reproduction ratio. Likewise, a macro lens is classically one lens capable of reproduction ratios greater than 1:1, although it now refers to any lens with a large reproduction ratio, despite rarely exceeding 1:1. Outside of technical photography and film-based processes, where the size of the image on the negative or image sensor is the subject of discussion, the finished print or on-screen image more commonly lends a photograph its macro status. For example, when producing a 6×4 inch (15×10 cm) print using 135 format film or sensor, a life-size result is possible with a lens having only a 1:4 reproduction ratio. Reproduction ratios much greater than 1:1 are considered to be the realm of photomicroscopy, often achieved with digital microscope. "End quote ...
Macro Photography Techniques - Digital Photography 1 on 1 (#31) Video
Macro Photography Techniques - Digital Photography 1 on 1 (#31) Video
Macro Photography Techniques - Digital Photography 1 on 1 (#31) Video
No URL
Macro Photography Techniques - Digital Photography 1 on 1 (#31) Video
12 Creative Photography Ideas
Here are 12 ideas to get your creative juices flowing and increase your skills and value as a photographer.
TIP 1 - Time Lapse photos. I showed my niece how to do this with clay figures and stitch the resulting frames together into a video file, and she was busy for days. If you control the exposure consistently to keep the images consistent with one another, you can do some really fun stop-motion animation. Or, you can set up your camera to capture other slow motion effects such as flowers opening and seedlings growing.
TIP 2 - Night Lights. Things look very different at night. Shooting city scenes with available light creates some interesting images. And shooting outdoor images under moonlight or with "light painting", where you open up the camera shutter for an extended exposure, and "paint" your targets with colored or plain light, can create some truly bizarre images.
TIP 3 - Astrophotography. Hook that SLR up to a telescope, and you are ready to peer into the depths of space and time. You'll need some adapters, and ability to compensate for the earth's rotation for really long shots. Start with the moon and move on from there.
TIP 4 - Macrophotography. From flowers to coins to stamps, you can polish your skills at close-up photography and capture some really detailed images. Often a macro lens or close-up attachment will help. See my tips on Flower Photography to get more information.
TIP 5 - Micro photography. If you can interface that camera with a microscope, you can get some really crazy images. Or, stack up a bunch of close-up magnification and try your hand at turning salt crystals into surreal imagery.
TIP 6 - Insurance Photos. OK, maybe a bit boring, but you and your friends and relatives will thank you. Take a couple hours and touch and photograph everything of value, with a full shot or two if each item of value, accompanied by a shot of the identifying marks - manufacturer model or serial number. Then burn a CD or DVD and store it off site. If you have a fire or other loss, this could save the owner thousands of dollars.
TIP 7 - Family Recipe book. Anytime those family favorites are prepared, copy down the recipe and take some photos of the food. You can produce a printed or electronic cookbook of family favorites that everyone will love.
TIP 8 - Stock Photography. This is a very busy market niche, but the cost of entry is low. Specialize in things you love, and you may be able to generate some income from your stock images. Search for stock photography sites, and make sure you understand your rights before you post images.
TIP 9 - Special Effects. Maybe you want to specialize in high-speed images of athletes, or surrealistic collages. Try your hand at using your editing skills to put someone in a soda bottle or floating on a candy lifesaver. Often more artistic than photographic, it will test your composition, lighting and editing skills to come up with believable artificial realities.
TIP 10 - Still Life. Ahh, the bowl of fruit. Sometimes a simple object or collection, properly lit, shot and edited, is a thing of beauty. It's a great way to study light. Start with an egg on a light background, a lamp and a window and see how you can learn about lighting and composition.
TIP 11 - Computer Control. Many cameras have a USB interface and remote control software. You can actually control the camera from the computer. See if you can get it to work to your liking, and maybe even program some time lapse or exposure bracketing experiments.
TIP 12 - Be Like Andy. Take some images of everyday items and try to create those neat colored backgrounds like Andy Warhol used to make. Create a 4-up print of the same image and change the colors of each quadrant to make an interesting square print.
Have fun with these ideas, and let me know when you become famous!
12 Creative Photography Ideas
Macro Photography Techniques - Digital Photography 1 on 1 (#31) Video
Video Clips. Duration : 11.15 Mins.
Macro Photography Techniques - Digital Photography 1 on 1 (#31) Video
www.adorama.com - Macro Photography Techniques and Tips - In this episode number 31, Mark will show you how to take those up close photos! Macro photography techniques allow unique opportunities to produce creative and dramatic photos and Mark shows us a couple examples. Macro Photography On Wiki: en.wikipedia.org - "Quote" Macrophotography is close-up photography, usually of very small subjects. Classically a macrophotograph is one in which the size of the subject on the negative is greater than life size. However in modern use it refers to a finished photograph of a subject at greater than life size.[1] The ratio of the subject size on the film plane (or image sensor plane) to the actual subject size is known as the reproduction ratio. Likewise, a macro lens is classically one lens capable of reproduction ratios greater than 1:1, although it now refers to any lens with a large reproduction ratio, despite rarely exceeding 1:1. Outside of technical photography and film-based processes, where the size of the image on the negative or image sensor is the subject of discussion, the finished print or on-screen image more commonly lends a photograph its macro status. For example, when producing a 6×4 inch (15×10 cm) print using 135 format film or sensor, a life-size result is possible with a lens having only a 1:4 reproduction ratio. Reproduction ratios much greater than 1:1 are considered to be the realm of photomicroscopy, often achieved with digital microscope. "End quote ...
Macro Photography Techniques - Digital Photography 1 on 1 (#31) Video
Macro Photography Techniques - Digital Photography 1 on 1 (#31) Video
Macro Photography Techniques - Digital Photography 1 on 1 (#31) Video
No URL
Macro Photography Techniques - Digital Photography 1 on 1 (#31) Video
12 Creative Photography Ideas
Here are 12 ideas to get your creative juices flowing and increase your skills and value as a photographer.
TIP 1 - Time Lapse photos. I showed my niece how to do this with clay figures and stitch the resulting frames together into a video file, and she was busy for days. If you control the exposure consistently to keep the images consistent with one another, you can do some really fun stop-motion animation. Or, you can set up your camera to capture other slow motion effects such as flowers opening and seedlings growing.
TIP 2 - Night Lights. Things look very different at night. Shooting city scenes with available light creates some interesting images. And shooting outdoor images under moonlight or with "light painting", where you open up the camera shutter for an extended exposure, and "paint" your targets with colored or plain light, can create some truly bizarre images.
TIP 3 - Astrophotography. Hook that SLR up to a telescope, and you are ready to peer into the depths of space and time. You'll need some adapters, and ability to compensate for the earth's rotation for really long shots. Start with the moon and move on from there.
TIP 4 - Macrophotography. From flowers to coins to stamps, you can polish your skills at close-up photography and capture some really detailed images. Often a macro lens or close-up attachment will help. See my tips on Flower Photography to get more information.
TIP 5 - Micro photography. If you can interface that camera with a microscope, you can get some really crazy images. Or, stack up a bunch of close-up magnification and try your hand at turning salt crystals into surreal imagery.
TIP 6 - Insurance Photos. OK, maybe a bit boring, but you and your friends and relatives will thank you. Take a couple hours and touch and photograph everything of value, with a full shot or two if each item of value, accompanied by a shot of the identifying marks - manufacturer model or serial number. Then burn a CD or DVD and store it off site. If you have a fire or other loss, this could save the owner thousands of dollars.
TIP 7 - Family Recipe book. Anytime those family favorites are prepared, copy down the recipe and take some photos of the food. You can produce a printed or electronic cookbook of family favorites that everyone will love.
TIP 8 - Stock Photography. This is a very busy market niche, but the cost of entry is low. Specialize in things you love, and you may be able to generate some income from your stock images. Search for stock photography sites, and make sure you understand your rights before you post images.
TIP 9 - Special Effects. Maybe you want to specialize in high-speed images of athletes, or surrealistic collages. Try your hand at using your editing skills to put someone in a soda bottle or floating on a candy lifesaver. Often more artistic than photographic, it will test your composition, lighting and editing skills to come up with believable artificial realities.
TIP 10 - Still Life. Ahh, the bowl of fruit. Sometimes a simple object or collection, properly lit, shot and edited, is a thing of beauty. It's a great way to study light. Start with an egg on a light background, a lamp and a window and see how you can learn about lighting and composition.
TIP 11 - Computer Control. Many cameras have a USB interface and remote control software. You can actually control the camera from the computer. See if you can get it to work to your liking, and maybe even program some time lapse or exposure bracketing experiments.
TIP 12 - Be Like Andy. Take some images of everyday items and try to create those neat colored backgrounds like Andy Warhol used to make. Create a 4-up print of the same image and change the colors of each quadrant to make an interesting square print.
Have fun with these ideas, and let me know when you become famous!
12 Creative Photography Ideas
Macro Photography Techniques - Digital Photography 1 on 1 (#31) Video
Video Clips. Duration : 11.15 Mins.
Macro Photography Techniques - Digital Photography 1 on 1 (#31) Video
www.adorama.com - Macro Photography Techniques and Tips - In this episode number 31, Mark will show you how to take those up close photos! Macro photography techniques allow unique opportunities to produce creative and dramatic photos and Mark shows us a couple examples. Macro Photography On Wiki: en.wikipedia.org - "Quote" Macrophotography is close-up photography, usually of very small subjects. Classically a macrophotograph is one in which the size of the subject on the negative is greater than life size. However in modern use it refers to a finished photograph of a subject at greater than life size.[1] The ratio of the subject size on the film plane (or image sensor plane) to the actual subject size is known as the reproduction ratio. Likewise, a macro lens is classically one lens capable of reproduction ratios greater than 1:1, although it now refers to any lens with a large reproduction ratio, despite rarely exceeding 1:1. Outside of technical photography and film-based processes, where the size of the image on the negative or image sensor is the subject of discussion, the finished print or on-screen image more commonly lends a photograph its macro status. For example, when producing a 6×4 inch (15×10 cm) print using 135 format film or sensor, a life-size result is possible with a lens having only a 1:4 reproduction ratio. Reproduction ratios much greater than 1:1 are considered to be the realm of photomicroscopy, often achieved with digital microscope. "End quote ...
Macro Photography Techniques - Digital Photography 1 on 1 (#31) Video
Macro Photography Techniques - Digital Photography 1 on 1 (#31) Video
Macro Photography Techniques - Digital Photography 1 on 1 (#31) Video
No URL
Macro Photography Techniques - Digital Photography 1 on 1 (#31) Video
www.adorama.com - Macro Photography Techniques and Tips - In this episode number 31, Mark will show you how to take those up close photos! Macro photography techniques allow unique opportunities to produce creative and dramatic photos and Mark shows us a couple examples. Macro Photography On Wiki: en.wikipedia.org - "Quote" Macrophotography is close-up photography, usually of very small subjects. Classically a macrophotograph is one in which the size of the subject on the negative is greater than life size. However in modern use it refers to a finished photograph of a subject at greater than life size.[1] The ratio of the subject size on the film plane (or image sensor plane) to the actual subject size is known as the reproduction ratio. Likewise, a macro lens is classically one lens capable of reproduction ratios greater than 1:1, although it now refers to any lens with a large reproduction ratio, despite rarely exceeding 1:1. Outside of technical photography and film-based processes, where the size of the image on the negative or image sensor is the subject of discussion, the finished print or on-screen image more commonly lends a photograph its macro status. For example, when producing a 6×4 inch (15×10 cm) print using 135 format film or sensor, a life-size result is possible with a lens having only a 1:4 reproduction ratio. Reproduction ratios much greater than 1:1 are considered to be the realm of photomicroscopy, often achieved with digital microscope. "End quote ...
www.adorama.com - Macro Photography Techniques and Tips - In this episode number 31, Mark will show you how to take those up close photos! Macro photography techniques allow unique opportunities to produce creative and dramatic photos and Mark shows us a couple examples. Macro Photography On Wiki: en.wikipedia.org - "Quote" Macrophotography is close-up photography, usually of very small subjects. Classically a macrophotograph is one in which the size of the subject on the negative is greater than life size. However in modern use it refers to a finished photograph of a subject at greater than life size.[1] The ratio of the subject size on the film plane (or image sensor plane) to the actual subject size is known as the reproduction ratio. Likewise, a macro lens is classically one lens capable of reproduction ratios greater than 1:1, although it now refers to any lens with a large reproduction ratio, despite rarely exceeding 1:1. Outside of technical photography and film-based processes, where the size of the image on the negative or image sensor is the subject of discussion, the finished print or on-screen image more commonly lends a photograph its macro status. For example, when producing a 6×4 inch (15×10 cm) print using 135 format film or sensor, a life-size result is possible with a lens having only a 1:4 reproduction ratio. Reproduction ratios much greater than 1:1 are considered to be the realm of photomicroscopy, often achieved with digital microscope. "End quote ...
www.adorama.com - Macro Photography Techniques and Tips - In this episode number 31, Mark will show you how to take those up close photos! Macro photography techniques allow unique opportunities to produce creative and dramatic photos and Mark shows us a couple examples. Macro Photography On Wiki: en.wikipedia.org - "Quote" Macrophotography is close-up photography, usually of very small subjects. Classically a macrophotograph is one in which the size of the subject on the negative is greater than life size. However in modern use it refers to a finished photograph of a subject at greater than life size.[1] The ratio of the subject size on the film plane (or image sensor plane) to the actual subject size is known as the reproduction ratio. Likewise, a macro lens is classically one lens capable of reproduction ratios greater than 1:1, although it now refers to any lens with a large reproduction ratio, despite rarely exceeding 1:1. Outside of technical photography and film-based processes, where the size of the image on the negative or image sensor is the subject of discussion, the finished print or on-screen image more commonly lends a photograph its macro status. For example, when producing a 6×4 inch (15×10 cm) print using 135 format film or sensor, a life-size result is possible with a lens having only a 1:4 reproduction ratio. Reproduction ratios much greater than 1:1 are considered to be the realm of photomicroscopy, often achieved with digital microscope. "End quote ...
Tags:
Macro Photography Techniques
School Photography Clubs - Suggested Activities
School Photography Clubs - Suggested Activities School Photography Clubs - Suggested Activities
