Camera Controls Nikon D70s

February 22, 2007

Shallow Depth of Field

1.1 Shallow Depth of Field

Shutter Speed: 0.3 sec
Exposure Program: Manual
Aperture Value: f/4.5
ISO Speed Ratings: 200
Focal Length: 56.0 mm/84.0 mm
Lens: 18.0-70.0 mm /27.0-105.0 mm
Metering Mode: Spot

Long Depth of Field

1.2 Long Depth of Field

Shutter Speed: 10.0 sec
Exposure Program: Manual
Aperture Value: f/29
ISO Speed Ratings: 200
Focal Length: 56.0 mm /84.0 mm
Lens: 18.0-70.0 mm /27.0-105.0 mm
Metering Mode: Spot

Long Focal length

2.1 Long Focal length
(Telephoto – Compression of perspective)

Shutter Speed: 0.4 sec
Exposure Program: Manual
Aperture Value: f/6.3
ISO Speed Ratings: 200
Focal Length: 70.0 mm /105.0 mm
Lens: 18.0-70.0 mm /27.0-105.0 mm

Metering Mode: Spot

Short Focal Length

2.2 Short Focal Length
(Wide angle – Elongation of Perspective)

Shutter Speed: 1/5 sec
Exposure Program: Manual
Aperture Value: f/3.5
ISO Speed Ratings: 200
Focal Length: 18.0 mm /27.0 mm
Lens: 18.0-70.0 mm /27.0-105.0 mm
Metering Mode: Spot

Sad Creation

3. A Sad Creation of My Own

Shutter Speed: 1/200 sec
Exposure Program: Manual
Aperture Value: f/5.0
ISO Speed Ratings: 200
Focal Length: 18.0 mm /27.0 mm
Lens: 18.0-70.0 mm /27.0-105.0 mm

Metering Mode: Spot

After changing White Balance from Cloudy (as shot) to Shade in Photoshop:

Sad Creation

Well now… I just realized that I’ve done this totally wrong, this last task I mean. The aperture and shutter speed are not as they should be, but that is because the camera went out of control. Maybe it was because of the cold, but every time I changed the shutter speed or f-value, they changed to something else in seconds. In this picture, maybe if I would have gotten a bit closer to my subject an had a larger aperture, focused on the mouth of the drain, I could have gotten that more sharp and the background diffuse. A bit more interesting than this outcome. Then of course I would have had to adjust the shutter speed accordingly, now the picture is a bit over exposed.

There lies a bigger problem here though, as You can see… You might say I misinterpreted the last task, I didn’t realize until now that You were supposed to have two subjects at a constant distance in this last picture too.

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Masters of Photography

February 7, 2007

I’ve been eyeing through magazines and searching the web for portraits. The idea was to find a portrait and then try reproducing the photo in our studio later on. Of course I found tons of portraits on the internet, but it wasn’t that easy finding one that didn’t look too cheap or too commercial. I tried googelin with all kinds of words and combinations of them, but found mostly links to studios that only take ugly pictures of babies, weddings and naked women. Then I remebered this site www.masters-of-photography.com , we used this as a source for a project on Sebastiao Salgado last year. On this site I found all the photos that are attached below. I’ve tried to find portraits that it might be possible to reproduce in a studio, though I’m not sure, that they’re all taken in one. There were so many really impressive and beautiful photos that I just couldn’t choose one straight away. I think I have to sleep on it… 

Edward Weston, Nude, 1936

Edward Weston, Nude, 1936

This piece is probably my favorite one. I thought I could try and reproduce this in the studio. The light seems so soft, still bright and natural, maybe the picture is taken with the sun shining in from a window? I like the contrast as well, the shapes and the composition, but basically I just think It is a beautiful picture. The warm, stagnant, pure feeling about it leaves my eyes at ease. I can’t really analyze it any better than that. Besides my English is so terrible, that I can’t seem to find the right words – and even if I did, I wouldn’t know how to spell them.
Harry Callahan, Eleanor, 1947

Harry Callahan, Eleanor, 1947

I love this picture. She lookes like she was made of milk. I’d like to know how to produce this kind of light ang contrast in a photo. I’m having trouble deciding between this and the one above.

Robert Mapplethorpe, Ajitto, 1981

Robert Mapplethorpe, Ajitto, 1981

Yes, the lot of it is easy on the eyes, but somewhat dull If You compare to the previous two.

Alexander Rodchenko, Portrait of mother, 1924

Alexander Rodchenko, Portrait of Mother, 1924

What appeals to me especially is the combination of looking soft and still having something completely black in the picture, when also having something almost white burnt through… a whole scale of “gays”, and then the graininess of course. I guess most of all It’s still the motive and feeling again, that old muttering woman and the slightly sad atmosphere.

Sebastião Salgado, Refugee from Gondan, Mali 1985

Sebastião Salgado, Refugee from Gondan, Mali 1985

Emmet Gowin, Ediht, 1971