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 most sensible specialist glamour photographers. via a chain of significant good points, each one dedicated to the paintings of a unmarried photographer, it uncovers the keys to person ways, kinds and techniques.
Its mixture of authoritative in-depth research and vibrant representation makes it an important buy for all photographers, no matter if aspiring amateurs or professional 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. each one of those photographers is featured separately, with a range in their favorite photographs. The textual content explains their easy philosophy and method of the topic and the technical methods of the exchange they use.
The moment part of the ebook offers the basic sensible back-up to this data. there's insurance of cameras, lenses, movie, components and electronic cameras. mild and lights, operating within the studio, taking pictures on position and composition are mentioned intimately. how to define and shoot types, utilizing the web, and submit 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
Set out with in your camera bag and on your shoulder will determine the kind of photography you can do. In this chapter, I want to look at the tripodfree approach, relying on hand-holding skills to get as close to normal, rapid-reaction, reportage photography as possible. Here, your own physical skills become important, especially how steadily and reliably you can hold and operate the camera. Professionals take some pride in doing this, but they are by no means immune to failure, precisely because they are pushing limits.
In any case, the cut-off point between twilight and night is a matter of personal judgment, and can depend on the weather. Locked Down you want a view without people or traffic. In other words, to the viewer of a photograph taken with a low sun, there is no way of telling whether it was shot at the beginning or end of the day, other than by being familiar with the actual location. To the photographer, however, the distinction is extremely important for very local reasons. Moving beyond the point when the sun is touching the horizon, dawn and dusk create special, shifting conditions that can often deliver lighting surprises.
In this case, one method is to make the necessary color adjustments to one image, add another layer with its own, different adjustments, flatten the image, and use the History Brush tool to restore selectively from the original. This is more complicated to set up, but some people find restoring more intuitive than erasing. If you are using brushes in any of these ways, make sure that the number of History States is set high enough in Preferences before you start. Selective Color Change A 54 direct approach to the problem of mixed light sources is to select the color effect of one and then shift it or filter it toward a more pleasing or neutral result.