By Iain M. Banks, Duncan Evans
Vintage Glamour images is a new version of the vintage consultant released within the 80s. vintage Glamour images takes readers backstage to bare the secrets and techniques of the world’s best specialist glamour photographers. via a sequence of significant good points, every one dedicated to the paintings of a unmarried photographer, it uncovers the keys to person ways, types and techniques.
Its mix of authoritative in-depth research and bright representation makes it an important buy for all photographers, even if aspiring amateurs or pro professionals.
he booklet is split into major sections - “Classic Photographers” and “Working Professionally”. the 1st part examines the paintings of such best execs as Bob Carlos Clarke, Trevor Yerbury, Eric Kroll, Emma Delves-Broughton, Ben Westwood, Trevor Watson, Lucien Clergue, Jan Cobb, Patrick Lichfield, Craig Morey, Robert Farber, Char Ray Krider, Nigel Holmes and extra. every one of those photographers is featured separately, with a variety in their favorite pictures. The textual content explains their easy philosophy and method of the topic and the technical methods of the alternate they use.
The moment part of the ebook offers the basic sensible back-up to this data. there's insurance of cameras, lenses, movie, add-ons and electronic cameras. gentle and lighting fixtures, operating within the studio, capturing on position and composition are mentioned intimately. how to define and shoot types, utilizing the net, and put up creation paintings utilizing Photoshop completes this consultant to the realm glamour images.
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Extra resources for Classic Glamour Photography: Techniques of the Top Glamour Photographers
If you remember the inverse square law, however, you can keep moving your light further from the group. As the distance between the light source and the subjects increases, the light will fall off more slowly and create more even exposure values on the faces. Of course, if you want to maintain the same shooting aperture you will also need to keep increasing the power of the light source as you move it away from your subjects. Using Reflected Sunlight. Here’s a really neat trick I learned from my days as a director of photography in film and video.
Turned down to lower manual settings [1/2, 1/4, and so on]); and that it can be attached to a triggering mechanism such as a radio slave, an optical slave, or a good old-fashioned sync cord. With a well-chosen collection of three battery-operated flash units and a means of triggering them, you will find that you have a tremendous amount of creative lighting capability at your disposal. Batteries. These units are uniformly power hungry, but just because the flashes you’ve chosen were designed to run using four AA batteries doesn’t mean your energy choices are limited.
50 “A” clamps and I headed back to the studio to experiment. I thought it would be cool to use less than twenty-five dollars worth of gear to do a series of still-life shots in the studio to show just how little gear is required to make photographs. 95 shop light. Our subject is a nice bright navel orange on a contrasting piece of blue paper. We’ve set up a work table, rolled out some seamless background paper in a nice shade of blue, and we’re ready to get lighting. Before we get started, here’s the orange illuminated by one simple light bounced off the ceiling.
Classic Glamour Photography: Techniques of the Top Glamour Photographers by Iain M. Banks, Duncan Evans