Digital Photography

ij_forde@yahoo.co.uk asked:


Pinup, glamour, and ‘cheesecake’ began to gain popularity in the 1930s. It was a time when the image of a pretty girl flourished. Glamour photography has changed over time as the female form, portrayed in art and photography, became more provocative.



During World War II pin-up pictures of scantily clad movie stars were extremely popular among US servicemen. Whether it was a painted calendar, advertisement, or the photo pinups that the G.I.s pinned on their locker doors,and which later adorned the noses of their bomber planes in WW2.



Famous illustrators like Petty, Rolf Armstrong, and Gil Evgren began creating some of the most memorable, technically exquisite Americana` ever produced! Calendars, magazine covers and matchbooks became a personal view into the life of the girl next door.



However, until the 1950s, the use of glamour photography in advertising or mens magazines was highly controversial or sometimes even illegal. Magazines featuring glamour photography were sometimes marketed as “art magazines” or “health magazines”.



Pinup art continued to grow in popularity, and sophistication through the 1950s. Movies were made about Pinup Artists and models, and most actresses of the time were considered pinups first then actresses. Marilyn Monroe was Earl Morans’ favorite model before and after she became a movie star! Numerous celebrities posed for pinup and glamour artists.



Playboy was instrumental in changing the world of glamour photography as the first magazine that focused on **** models and was targeted at the mainstream consumer. In December 1953, Hugh Hefner published the first edition of Playboy with Marilyn Monroe on the cover and **** photos of Monroe inside.



Monroe’s star status and charming personality helped to diminish the public outcry. When asked what she had on during the photoshoot, she replied “the radio”. After Playboy broke through, many magazines followed and this was instrumental in opening the market for the introduction of glamour photography into modern society.



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Tags: Gil Evgren, Star Status

Stephen Carter asked:


Success in sports photography depends for the most part on knowing ahead of time how the action will play out. It is very rarely an accident that the professional sports photographer has his or her camera pointing in the right direction when the money shot arrives. There are happy exceptions, but no serious photographer relies upon happenstance to pay their bills.

Now, this approach to capturing great sporting images seems to run counter to our notion that sporting events are entirely unpredictable. After all, great sums of money are lost at betting exchanges precisely because no one can consistently predict the outcome of a particular sporting event.

In reality, sports photographers take advantage of the complete predictability of a given athlete’s approach to their sporting event. Nobody reaches competition-level performance without repeating the same series of movements over and over again. Repetition and choreographed movement are the norm, not the exception. Even racing horses and hounds run in a straight line!

The best sports photography is arrived at through preparation, not through the careful selection of photographic equipment, nor by ensuring an unblemished attendance record at sporting events - these are mere prerequisites which even the most unremarkable sports photographer can match.

Louis Pasteur was not known for his photographic exploits, but when he said “Chance favors the prepared mind” he captured perfectly the sentiment required for sports photography success. Before you set foot on the sports field with camera in hand, or walk into an indoor arena and cast around for the perfect vantage point, you need to have done your research.

If you will be photographing a gymnastics event you should have purchased a beginners guide to the subject and learned everything you can about mandatory movements and the sequence in which they will be executed. You should have studied hours of taped events and got to the point where you can anticipate the next move, as though it was you on that floor, beam, or set of bars, readying yourself for the signature move that will leave the crowd cheering.

Not until you understand the mindset of the athletes you are photographing, and got yourself to the point where it feels as though there is nothing they can do to surprise you, will you be ready to capture them, when the time comes, doing something completely unexpected.

In the instant when the unusual presents itself, you will recognize the moment, and capture it, as if purely by instinct, though in fact it will be your hours of preparation that has triggered your response. When other photographers catch themselves thinking “Whoa. If she does that again I’ll be ready for it” you’ll simply be nodding silently to yourself knowing that the moment has passed and will not be repeating itself, but that’s OK because you *were* ready and you did capture the moment.

Being prepared for the unexpected, and reaping the reward with a sports photograph that no-one else can claim is more than just a little exciting. When you look into your LCD screen and you see that you have captured an astonishing image, it is every bit as invigorating as if you had accidentally kicked up a gold coin from the sand while out walking on the beach one day. No matter how much you prepare for success beforehand, every great image comes as a complete surprise.

But while it may be satisfying and remarkable to get the money shot in the form of an unanticipated event captured for all eternity, it is not something you want to rely upon as a sports photographer. In fact, the money shot, more often than not, is found in the ordinary rhythms of the sporting event itself. You simply need to recognize what they are and find the best vantage point from which to capture them.

Racing, in all its forms, has a very well-defined starting point. All athletes (or racing animals) are on an exactly equal footing when they burst free of the starting blocks (or stalls) and jockey for position. This release of energy can make for explosive and timeless images of struggle. It is a moment when anything is possible and every competitor is still in the running for first place. Just five seconds later it might be a very different story.

But you will have to decide where you want to catch the action: at the starter’s blocks, or at the finish line. You will not be able to cover both angles of the event. On the other hand, it is always a good idea to take a look around and see what your competition is doing. If every other photographer is battling for a position to cover the action on the field, then that’s probably not where you want to be. Maybe it is time to look at what the sports competitors are doing *between* events.

I once captured a top-lit female gymnast sitting on the mens horse apparatus in the low light of the gymnasium while she watched the competition at the far end of the hall. It made for a serenely beautiful black and white sports photo. Had I been focused on the action I never would have noticed her. Opportunities like this present themselves all the time, so if you find you are having difficulty getting near the action, take a breather and see what else is going on around you. Sometimes the money shot is right there on the sidelines.

To help you begin your journey into sports photography, I have summarized for you my findings on the Best Digital SLR Cameras for any budget. You will also find great deals on digital cameras every day at http://www.bestdigitalcameradiscounts.com/



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Tags: Chance Favors The Prepared Mind, Gymnastics Event

Dan Feildman asked:


ve fish in your aquarium? If you do, believe it or not, you can take beautiful pictures of the fish using a telephoto lens.

So just how does one do it?

First things first, set your photography equipment up. Before you start taking any pictures, just make sure that the tripod and the camera, as well as the light are located at the aquarium tanks top. Do not immediately take any pictures. Let the fish get familiar with the equipment first. This will help them relax and so shots taken of them will look natural and candid.

Usually, the best film to use when taking shots of moving subjects in this case, the fish is an ISO 400 film. This type of film is able to take shots of quick moving subjects without the blur. This is also the best type of equipment to be used for an environment that is low on lighting yet fast in movement.

So how long should the lens be?

When taking pictures of aquarium fish, a lens with a measurement anywhere between twenty eight millimeters and eighty millimeters is best to use. For close up shots, use a tube that can be extended.

Be aware though that you need to try out different types of lenses and measurements to make sure that the desired effect you want to achieve is ultimately accomplished. Experimenting is the key. The type and length of the lens that works well outdoors may not work as well when used inside a fish tank.

Be sensitive of the shadows

Try, as much as possible, to observe any shadows that crop up in the background while you are taking your shots. It is best that you first wait a moment until there is a fish that appears to contrast against the background and away from any shadows. This ensures that your subject will appear clear in the final and developed picture.

And then there was light

The tank you are going to take pictures of should be well lighted. It is best that light be placed at the top of the tank. You need to be careful though when lighting is used in the water as electricity is involved. Make sure that the placement of the lighting is safe and secure to prevent any type of electric shock as this could prove to be fatal, both to the fishes as well as to the photographer.

It is also highly unadvisable to use your camera flash when taking pictures of aquarium fish. This is because the glare of the flash could give off a reflection or produce a shiny, glaring spot in the picture that could distract, if not ruin, the shot.

Focus, focus, focus

As much as possible, focus on the moving fish as it darts and swims across the water. It is during this time when you could determine the specific type of measurement, lens, aperture opening as well as shutter speed. Here is a good tip, if a fish is swimming towards you, try to increase the depth of field in your camera to create a much more focused and clear shot.

The secret to good photography

There is a way to take great pictures. However, it won’t take just a few seconds, hours, days, weeks or months, but probably years to achieve. A lot of patience as well as a lot of practice is needed to perfect a shot, a photography technique and a photography skill.

Also, avoid having any electrical equipment near any form or types of water. Common sense dictates that doing so avoids any and all forms of electrical shock that could prove to be fatal.

All in all, photography is an art form and medium that is used to express any emotion, idea or message. For the photography hobbyist, taking pictures is a way to experiment and explore, while a serious photographer could just as well use photography to convey a concept that no other medium could best express. Photos not just capture a moment, but an idea whose time has come.

Live the dream!

Tags: Fish Tank, Telephoto Lens

simonkit asked:


The section of coastline between Benllech and Amlwch is probably the most contrasting section of the Anglesey Coastal Path and provides numerous possibilities for the landscape photographer. The coastal path climbs dramatically as it leaves Benllech and the view becomes expansive, with lots of interest. Again the Great Orme is in view, although a powerful telephoto lens is essential to successfully capture a photograph. The first main focus for the photographer on leaving Benllech however, is on the approach to Moelfre. It is a quaint place, with the appearance of a small Cornish fishing village, although as a consequence it can get very busy, so early hours photography provides the most tranquil shot. The only problem with Moelfre however, is finding the best location from which to take the shot as its located in a small corner of the coastline and doesnt have many natural vantage points for the landscape photographer. The best option is to walk past the village on the coastal path and take a photograph looking backwards into the small harbour.

The coastline onwards from Moelfre becomes flatter and features include nicely located sandy coves with interesting detail and texture. The most notable amongst these is the beach at Lligwy, it can be reached by car too. The landscape photographer also finds added interest here in the form of Ynys Dulas, a small, rocky island on which is built a distinctive and particularly photogenic structure. Its situated some distance from the beach so a powerful telephoto lens would be a good idea. If the coastal path is followed further however, the island does becomes closer in perspective, and as an added bonus the photographer will find the landscape provides increasingly strong foreground features, enhancing composition further.

Another special photography location, Dulas, soon becomes evident as the path continues. It is similar in nature to Red Wharf Bay, resembling an estuary. If crossed at low tide (without socks & shoes) another photographic opportunity is found in the form of a large wooden boat, long since abandoned and decaying but nonetheless an excellent subject, interestingly located.

On leaving Dulas the Anglesey Coastal Path again climbs above the coastline, the view again becoming more substantial, with the small island of Ynys Dulas constantly in view. Further interest soon appears in the form of the lighthouse at Point Lynas, an imposing structure sat high on the cliff top, seen from a good distance away. It provides the landscape photography with a variety of options, whilst the surrounding bracken and heather form excellent foreground features. Immediately below the lighthouse is Porth Eillan, a small bay enclosed by high cliffs, it provides the landscape photographer with further excellent opportunities. The beach itself, although small, has interesting features and sand detail and its location in particular provides scope for a good wide-angle seascape.

Continuing along the Anglesey Coastal Path from Porth Eillan, the landscape becomes rugged as it climbs further above the coastline, fewer photography opportunities exist however. The path soon reaches Amwlch, unfortunately now in decline. The old port however is still an excellent place for photography, particularly for those interested in maritime history or industrial landscapes and architecture. The old port has a small, very atmospheric harbour and interesting structures from its ancient industrial past remain.



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Tags: Cornish, Quaint Place