By Roger Hicks, Frances Schultz
So much skilled photographers who paintings with 35mm ask an analogous nagging query: in the event that they replaced to a bigger structure, may they recover images?
In Medium and massive layout Photography, well known specialist photographers Roger Hicks and Frances Schultz supply the entire functional and inventive tips each aspiring photographer must grasp the realm past 35mm.
In transparent, no-nonsense language, this important advisor info the entire chances and obstacles of varied movie codecs, in addition to the simplest cameras and kit to exploit with every one. quintessential, easy-to-read tables make it easy to check movie sizes, lens lengths, and different info at a look. Plus, the consultant is filled with over two hundred wonderful images displaying the benefits of medium and big layout images in motion.
• A entire creation to the various cameras and picture codecs on hand past 35mm
• comprises professional pointers on deciding to buy apparatus, darkroom provides, and processing movie
Read Online or Download Medium and Large Format Photography: Moving Beyond 35mm for Better Pictures PDF
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Additional info for Medium and Large Format Photography: Moving Beyond 35mm for Better Pictures
Example text
CAMERA: Nikon D300, Lexar media. SETTINGS: AWB, manual mode, 1/125 second, f/8, ISO 200. model to add further separation and depth. These were set to record at one stop more than the main light. As you can see in the set scene, the camera-right kicker was further diffused with a white scarf. The barn doors on the other kicker were closed to create a more directional light source. Photograph 3-9 was created by turning off the main light (the beauty dish) and the focusable spot. I also changed the model’s position and moved the monolight with the barndoors (to camera left) higher and closer to the model.
I find it beneficial to place the dome of the meter facing the light source. Another method of incidentlight metering is placing the meter under your subject’s chin, with the dome facing the camera. Both techniques work well and are essential to obtain correct exposure. In most instances the exposure remained the same and in others it was necessary to re-meter to obtain a proper exposure. All of the images in this sequence were lit using a single Hensel Integra 500 monolight, fired using Pocket Wizard remotes (photograph 2-7).
The concept of the shoot was to create three different personalities in a one-hour session. I chose to start with a strong headshot using a traditional four light setup (photograph 3-4). To obtain a pure white background, the model was positioned close to the white background so the lights illuminating the set would also illuminate the background. ) Two side kicker/accent lights, both fitted with directional grids, were placed just behind Sarah to create very hard, directional accents on the sides of her face.